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Isabelo L. Tampinco (1850 - 1933)
Bewitching Pose
signed and dated 1908
marble
H:21” x L:8” x W:7”(53 cm x 20 cm x 18 cm)
Estimate: P 200,000
Provenance:
Acquired directly from the artist’s grandaughter, Amparo Z. Tampinco
Lot 86 of the Leon Gallery Auction on 7 February 2015. See www.leon-gallery.com for more information.
Isabelo Tampinco was a Filipino sculptor known for his woodcarvings for churches, most notably the Church of San Ignacio in Intramuros: altar, the pillars, the ceilings and the other intricate portions of the church; public edifices; and homes. Specific examples of his work were polychrome wood figures of saints and angels. Among his works were Manila Cathedral’s famous facade, the high relief on Santo Domingo church’s molave door, the main altar of the Laoag Cathedral, and woodcarvings in San Agustin church. Out of a desire to create a uniquely Filipino style, he incorporated native flora and fauna designs in his sinuous openwork and Art Nouveau whiplash outlines style of woodcarving. Among his native motifs were the banahaw, areca palm, and bamboo. The said detail became known as “Tampinco frames.”
A Chinese mestizo and a direct descendant of Rajah Lakandula, he was born in Binondo, Manila. He was the son of Tampinco y delos Reyes and Maria Justa de Lacandola. He apprenticed in the carving shops of Binondo and Santa Cruz districts and was able to start his career in his 20s. His works dated as early as 1870. When Tampinco began his art, even while he was trained in school with a classical foundation, there was a revival of the gothic style in Europe. These styles became very evident in his design of churches, such as that of the fallen San Ignacio Church. At age 26, he was chosen as the representative of the Philippines at the 1876 Philadelphia Centennial Exposition in the United States. In 1878 Tampinco landed an important commission- the undertaking of the historic Ayuntamiento which neded refurnishing. Tampinco worked on the statues, lions, the wooden crowns of state chairs and additional ornamentation for Queen Mercedes’ catafalque.
Receiving the “Diploma de Honor” given by the Royal Jury from the Exposicion General de las Islas Filipinas in Madrid, Spain in 1887, was said to be his most important recognition. Other awards and distinctions that Tampingco reaped were the Gold Medal at the Exposicion de Filipinas in 1895, another Gold Medal was at the St Louis Exposition in 1904.
When the Spaniards left and the American colonizers came, Tampinco enjoyed the newfound freedom as he was able to complete majority of his nude sculptures. Most of his works were either plaster of Paris or concrete. During the American Period, Tampinco was to land a few more commissions, including the interior decoration of the National Museum Building and later the Malacanang Palace in 1926 when he was already past his seventies. This female figure from 1908 reflects a lot of Tampinco’s formal training.
At age 15, he enrolled at the Academia de Dibujo y Pintura, Manila’s art academy, and studied sculpture under Agustin Saez and Lorenzo Rocha. He was hailed as one of the most outstanding sculptors of his time and was admired by Jose Rizal , who was his classmate in a modeling class at the Ateneo Municipal de Manila. He also had formal schooling at the Escuela de Artes y Oficios under the tutelage of Agustin Saez and Lorenzo Rocha. Escuela de Artes y Oficios was patterned after the Royal Academy of Painting and Sculpture which was established in 1648 by King Louis XIV of France. At this time (mid to turn of the 19h century) realism in the Classico-Romantic style was highly favored - an artistic style that was at the same time realistic, classical and romantic- an idealized version of the physical reality imbued with a delicate touch of emotion.
Tampinco’s style would show aspects of Neoclassicism, from the 1900s to his death in 1933. This was already the American Period. The style emphasized on “symbolic or allegorical iconography” and his penchant for faithful representation of details and psychological realism. This female figure as an allegorical personification is reminiscent of the neoclassical style. Inspired by Greek and Roman antiquity, this figure integrates classical motifs as the scroll in her hand.
Stylish openwork pattern tights with cotton www.tights-store-online.com/omero/omero-stylish-openwork-...
Bronze with turquoise, silver foil, and gold foil inlay, 3rd century B.C.E.
H. 15.2 cm.
Similar to catalogue number 93 in its openwork plaque-like format but larger and considerably grander, this belt hook displays one of the most complex designs of its kind known. Under close scrutiny, its intricately intertwined and overlapping elements crystallize into two creatures, a sinuous-bodied feline and a fancy-feathered bird, locked in fierce struggle.
With its head reared backward to form the hook, a feline looks straight down at its victim, whose head (with open beak) and neck strain back in an arch as the feline yanks the bird's long plume with the sharp claws of its left forelimb. One of the bird's scaled and feathered wings unfolds and extends from behind its strained neck, obscuring the body of the feline although the overlapping feathers are gripped by its right forelimb. The bird's two thin, scaled legs bend upward on either side of the wings. The feline's body emerges from underneath the bird's wings, to show two clawed hind limbs, the right extending to grab the end of the bird's long tail, while the left reaches up to clutch the bird's strained neck. The feline's curled tail, marked by striations and heart-shaped motifs, issues from behind the legs. The bird's other wing is visible, extending upward under the left front leg of the feline.
Every part of the feline's and bird's bodies are lavishly inlaid with gold and silver foil in curved bands punctuated with volutes and spirals, accented by striations, dots, and scales. Seven large turquoise cabochons distributed evenly over the design give additional color.
The underside of the plaque is decorated by a less complex, but still asymmetrically configured design of four felines. These are recognizable by their heads with silver-inlaid spots, alternating gold and silver-inlaid stripes on the bodies, and silver-spotted limbs and claws. A large button, inlaid with gold and silver volutes, projects from the underside for attachment. Another small lunette-shaped piece of bronze issues from under the neck of the feline-head hook. Broken remnants of a pin left in the hole of the projection suggest that it might have been used to fasten the hook to the leather belt. Unusually large and heavy belt hooks, like this and a 48-centimeter long gold- and silver-inlaid cast-iron example excavated from Jiangling Wangshan, Hubei province,1 may have required such an additional attachment device to keep them in place on the belt.
Although its decorative technique--using gold and silver foil and turquoise cabochons inlaid into prepared depressions in the bronze surface--is typical of the late Eastern Zhou period, its inspired design is unmatched by known examples of the time. Another unusually large belt hook, formerly in the J. T. Tai Collection, featuring four sinuous dragons attacking a large bird, displays similar color and complex openwork, but it exhibits a staid symmetry, rather than the drama and energy of the Shumei example.2 The openwork, plaque-like body, as well as the dynamic depiction of predator and victim suggest that designs like this were indebted to belt plaques worn by seminomadic peoples who lived along China's northern frontiers (cat. Nos. 110, 111). The carefully choreographed relationship between the feline predator and its elegantly feathered victim, together with the extravagant inlays on front and back, represent a brilliant integration of northern and Chinese cultural and artistic characteristics during the last centuries B.C. in China.
The creatures on the underside, however, compare well with similar motifs, also inlaid with gold and silver, on the back of a mirror in the Freer Gallery of Art, Smithsonian Institution, Washington, D.C.,3 and on the lids of three miniature ding vessels: in the Pillsbury collection, Minneapolis Institute of Arts,4 the Mengdiexuan collection,5 and recovered from an early Western Han tomb in Lianshui Sanliduan, Jiangsu province;6 the last example possibly was an antique already at the time of its interment.
JFS
1. Metropolitan Museum of Art 1980, no. 76.
2. Deydier 1980, no. 68.
3. Lawton 1982, no. 38.
4. Karlgren 1952, no. 47, pls. 66-67.
5. Rawson and Bunker 1990, no. 41.
6. Kaogu 1973.2, p. 82, fig. 3.1.
Text and image from the website of the Miho Museum.
Sanctuary
Built in 1864. The glowing centrepiece of the high altar is a detailed carving by Thomas Earp, showing Christ in Glory, framed by a mandorla and surrounded by angels. On either side of this there are enamelled mosaic panels depicting even more angels. These were installed in 1899 to replace earlier ones designed by Burne-Jones, which had, unfortunately, deteriorated beyond repair. The sanctuary lamps date from 1897. The East window, by Clayton & Bell, was designed by George Edmund Street.
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.
I have been traveling to Leuven once a month for some 17 months now, and have not, until yesterday, visited the church of St Peter.
It stands in the centre of the town, opposite the ornate Town Hall, and around most of it is a wide pedestrianised area, so it doesn't feel hemmed in.
It is undergoing renovation, and a large plastic sheet separates the chancel from the rest of the church, and in the chancel, called the treasury, are many wonderful items of art. And maybe due to the €3 entrance fee, I had the chancel to myself, and just my colleagues with me when I photographed the rest.
The naive is dominated by a huge wooden pulpit. If that were just it, a large wooden font that would enough. But the font is a carved scene an oak tree, complete with squirrels and cherubs, above a huge sounding board, and above that two palm trees.
I am sure that it wasn't carved from a single piece of wood, if not, the joins are well hidden.
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Saint Peter's Church (Dutch: Sint-Pieterskerk) of Leuven, Belgium, is situated on the city's Grote Markt (main market square), right across the ornate Town Hall. Built mainly in the 15th century in Brabantine Gothic style, the church has a cruciform floor plan and a low bell tower that has never been completed. It is 93 meters long.
The first church on the site, made of wood and presumably founded in 986, burned down in 1176.[1] It was replaced by a Romanesque church, made of stone, featuring a West End flanked by two round towers like at Our Lady's Basilica in Maastricht. Of the Romanesque building only part of the crypt remains, underneath the chancel of the actual church.
Construction of the present Gothic edifice, significantly larger than its predecessor, was begun approximately in 1425, and was continued for more than half a century in a remarkably uniform style, replacing the older church progressively from east (chancel) to west. Its construction period overlapped with that of the Town Hall across the Markt, and in the earlier decades of construction shared the same succession of architects as its civic neighbor: Sulpitius van Vorst to start with, followed by Jan II Keldermans and later on Matheus de Layens. In 1497 the building was practically complete,[1] although modifications, especially at the West End, continued.
In 1458, a fire struck the old Romanesque towers that still flanked the West End of the uncompleted building. The first arrangements for a new tower complex followed quickly, but were never realized. Then, in 1505, Joost Matsys (brother of painter Quentin Matsys) forged an ambitious plan to erect three colossal towers of freestone surmounted by openwork spires, which would have had a grand effect, as the central spire would rise up to about 170 m,[2] making it the world's tallest structure at the time. Insufficient ground stability and funds proved this plan impracticable, as the central tower reached less than a third of its intended height before the project was abandoned in 1541. After the height was further reduced by partial collapses from 1570 to 1604, the main tower now rises barely above the church roof; at its sides are mere stubs. The architect had, however, made a maquette of the original design, which is preserved in the southern transept.
Despite their incomplete status, the towers are mentioned on the UNESCO World Heritage List, as part of the Belfries of Belgium and France.
The church suffered severe damage in both World Wars. In 1914 a fire caused the collapse of the roof and in 1944 a bomb destroyed part of the northern side.
The reconstructed roof is surmounted at the crossing by a flèche, which, unlike the 18th-century cupola that preceded it, blends stylistically with the rest of the church.
A very late (1998) addition is the jacquemart, or golden automaton, which periodically rings a bell near the clock on the gable of the southern transept, above the main southern entrance door.
Despite the devastation during the World Wars, the church remains rich in works of art. The chancel and ambulatory were turned into a museum in 1998, where visitors can view a collection of sculptures, paintings and metalwork.
The church has two paintings by the Flemish Primitive Dirk Bouts on display, the Last Supper (1464-1468) and the Martyrdom of St Erasmus (1465). The street leading towards the West End of the church is named after the artist. The Nazis seized The Last Supper in 1942.[3] Panels from the painting had been sold legitimately to German museums in the 1800s, and Germany was forced to return all the panels as part of the required reparations of the Versailles Treaty after World War I.[3]
An elaborate stone tabernacle (1450), in the form of a hexagonal tower, soars amidst a bunch of crocketed pinnacles to a height of 12.5 meters. A creation of the architect de Layens (1450), it is an example of what is called in Dutch a sacramentstoren, or in German a Sakramentshaus, on which artists lavished more pains than on almost any other artwork.
In side chapels are the tombs of Duke Henry I of Brabant (d. 1235), his wife Matilda (d. 1211) and their daughter Marie (d. 1260). Godfrey II of Leuven is also buried in the church.
A large and elaborate oak pulpit, which is transferred from the abbey church of Ninove, is carved with a life-size representation of Norbert of Xanten falling from a horse.
One of the oldest objects in the art collection is a 12th-century wooden head, being the only remainder of a crucifix burnt in World War I.
There is also Nicolaas de Bruyne's 1442 sculpture of the Madonna and Child enthroned on the seat of wisdom (Sedes Sapientiae). The theme is still used today as the emblem of Katholieke Universiteit Leuven.
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.
Grade II* listed building.
"Former National Infants, Boys and Girls School of 1844-45, designed by William Hey Dykes junior of Hull and Wakefield, architect, with Samuel Wilderspin, educationalist and headmaster, for the Church of England and the National Society for the Education of the Poor in the Principles of the Established
Church. Pickard and Willington of Barton, builders. 1935 addition to rear in matching style and materials. Red brick in Flemish bond with stone dreesings to front and right return (Infant School). Welsh slate roof.
Tudor Revival style. H-shaped on plan. Infants School to right, Boys to left and girls to centre; later infill to rear centre and short projecting wing to rear left. Single storey, 5-bay symmetrical front with gabled central porch and projecting gabled wings. Plinth, quoins. Porch has double board door in double-chamfered Tudor-arched surround with hoodmould; pointed-arched inner doorway with chamfered stone surround. Flanking bays have pairs of cross-windows. Wings each have a single large 5-light mullioned and transomed window with a hood-mould, and finely-carved stone tablet above with arms in a sunken panel with a cusped surround (Royal Arms to left, arms of Rev. George Uppleby, rector, to right). Inner elevations of wings, facing centre, have a single board door in a chamfered 4-centred arch. Windows have wooden mullions and transoms in chamfered stone reveals; mostly boarded up at time of re-survey. Porch and wings have stone-coped gables with shaped kneelers and gablets at the apexes. Five ridge ventilators with cone finials; roof stack to front right. Side and rear elevations have mulllioned and transomed windows in stone and moulded brick surrounds with stone sills. Stone-coped dwarf wall to front carrying cast-iron railings with a single top rail, shaped finials and scrolled rear supports (further section of railings stored in school); central gateway has elaborate openwork cast-iron piers with corniced cap.
INTERIOR: 4-centred arched doorways, exposed plain roof trusses in entrance passage and above later suspended ceilings in rooms; three C19 cast-iron fireplaces with shafted surrounds, pointed aches, frieze and cornice. Infant schoolroom has movable partition and later panelled dado at east end. Evidence of the former 'gallery' or stepped platform which was such an important feature of Wilderspin's schools can be seen on the rear walls.
HISTORY: The National School superseded a smaller one superintended by Isaac Pitman, the shorthand inventor. When originally opened it served 100 infants from 2 to 6 years old, 150 boys and 150 girls. It closed in 1978. It is especially notable for its connection with Samuel Wilderspin (1791-1866), the pioneer or 'inventor' of infant education and a figure of international standing. Wilderspin was more closely involved here than at any other school, raising support for it and contributing to the design and layout of the building and its grounds to suit his innovative educational approach. He was head of the Infant School and both his wife and daughter taught here with him; whilst here he also undertook training of infant teachers and nursery overseers, and wrote his definitive teaching manual 'Wilderspin's Manual for the Religious and Moral Instruction of Young Children'. In 1846 he was given a Civil List Pension for his 'services as the founder and promoter of Infant Schools'. The school building forms part of a fine group of Victorian public buildings in Queen Street and neighbouring High Street (qv).
SOURCES: R C Russell, A History of Schools and Education in Barton on Humber, 1 800-1 850,Barton, 1960; P McCann and F A Young, Samuel Wilderspin and the Infant School Movement, London, 1982; J. French, 'A Victorian Legacy', pp. 221-225, in Land, People and Landscapes, ed. D. Tyszka et al, Lincoln, 1991. Thomas A Markus, Early Nineteenth Century School Space and Ideology, International Journal of the History of Education, XXXII, 1996, 1, pp. 9-51. Margaret Rees, `Teachers and Teaching 1800-1860, Hitchin, 1999."
www.britishlistedbuildings.co.uk/en-435165-former-nationa...
The area in Wolverhampton where the town was founded by Lady Wulfrun in Anglo-Saxon times.
St Peter's Collegiate Church, Wolverhampton stands in the middle.
St Peter's Gardens - it is like a memorial garden, entered via Lichfield Street.
The church is Grade I listed.
Church of St Peter, Wolverhampton
WOLVERHAMPTON
SO9198NW LICH GATES
895-1/11/248 (East side)
16/07/49 Church of St Peter
GV I
Church. Late C13 crossing and south transept; late C15 nave,
tower and north transept; chancel and restoration, 1852-65, by
E.Christian. Ashlar with lead roofs. Cruciform plan: 4-bay
apsed chancel, crossing tower and 6-bay aisled nave, 2-storey
south porch and 2-storey vestry to north. 4-bay chancel and
7-bay apse, in Decorated style, articulated by offset
buttresses with crocketed gables and gargoyles to cornice
below openwork parapet, has 2-light windows to apse and
3-light windows with flowing tracery to chancel. 3-stage tower
has north-east stair turret, panels with quinquefoil heads and
quatrefoil friezes and embattled parapet with crocketed
pinnacles; 2-light windows to 2nd stage, paired 2-light bell
openings to top stage. North transept has offset buttresses,
embattled parapet and C17 round-headed windows to north and
east with large central mullion. South transept has angle
buttresses and embattled parapet, 5-light east window, and
3-light south window with 3 two-light square-headed transomed
clerestory windows above and 2 to west, all with Perpendicular
tracery. North aisle has 3-light windows with segmental-
pointed heads and Perpendicular tracery between buttresses,
embattled parapet. South aisle similar, with 4-light windows.
Vestry has embattled parapet and varied square-headed windows
of one, 2 or 3 lights. 2-storey porch has angle buttresses and
panelled embattled parapet with pinnacles, entrance with
moulded arch, sundial above, 2-light square-headed window to
1st floor. West facade has entrance of 2 orders under
crocketed ogee hood, enriched cornice and 4-light Decorated
window also under crocketed ogee hood; panelled buttresses and
gabled aisles, 3-light window to north and 4-light window to
south. Clerestory has paired Perpendicular 2-light
square-headed transomed windows and panelled embattled
parapet.
INTERIOR: vaulted ceiling to apse with angel and square
foliate capitals to shafts and angels to cornice; hammer-beam
roof to chancel has angel corbels with angels to brattished
cornice; crossing has C17 beams to late C19 painted ceiling;
transepts have late C15 moulded tie-beam roofs; 5-bay
Perpendicular nave arcades on octagonal piers, and C15 nave
roof with carved spandrels to moulded tie beams, panelled
ceiling with bosses. Fittings: chancel stalls have traceried
fronts and angel finials; crossing has C19 timber screen to
north, similar to C15 screen to south with open tracery and
C15 shafts supporting brattished cornice; north transept has
C19 Decorated style screen; screen to south transept has C15
shafts and blind tracery panels below open-work upper panels,
C19 brattished cornice; nave has C15 panelled stone pulpit on
shaft with stair winding round pier and parapet with crouching
lion to foot; late C17 west gallery, much altered; late C19
two-stage internal timber porch in Decorated style with
openwork tracery and figures under crocketed canopies. Some
C15 stalls from Lilleshall Abbey. Memorials: north transept:
chest tomb to Thomas Lane d.1582, carved balusters and figures
and armorial bearings to sides, 2 finely carved recumbent
effigies; wall monument to John Lane d.1667, a distinguished
soldier instrumental in the rescue of Charles II, is in marble
and alabaster and has inscribed panel in Ionic aedicule with
garlanded scrolls and heraldic cartouche in swan-necked
pediment flanked by cannon, and projecting base has finely
carved trophy of arms with crown in oak tree to left; south
transept has bronze figure and cherubs from monument to
Admiral Leveson, c1635, by Le Seur, and chest tomb to John
Leveson d.1575 and wife, with spiral corner balusters, figures
and armorial shields to sides, finely carved recumbent
effigies; north aisle has wall tablet to Henry Bracegirdle
d.1702, inscribed panel in Doric aedicule, painted board to
William Walker d.1634 and other C19/early C20 wall tablets
including George Thorneycroft d.1851 and South African war
memorial. Stained glass by C.E.Kempe to south aisle and good
east window to south transept.
(The Buildings of England: N.Pevsner: Staffordshire: London:
1974-: 314-5).
Listing NGR: SO9141698792
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
History
The site of the hall was formerly occupied by the first Liverpool Infirmary from 1749 to 1824. Triennial music festivals were held in the city but there was no suitable hall to accommodate them. Following a public meeting in 1836 a company was formed to raise subscriptions for a hall in Liverpool to be used for the festivals, and for meetings, dinners and concerts. Shares were made available at £25 each and by January 1837 £23,350 had been raised. In 1838 the foundation stone was laid to commemorate the coronation of Queen Victoria. A competition in 1839 to design the hall was won by Harvey Lonsdale Elmes, a London architect aged 25 years. There was a need for assize courts in the city and a competition to design these was also won by Elmes. The original plan was to have separate buildings but in 1840 Elmes suggested that both functions could be combined in one building on a scale which would surpass most of the other public buildings in the country at the time. Construction started in 1841, the building opened in 1854 (with the small concert room opening two years later). Elmes died in 1847 and the work was continued by John Weightman, Corporation Surveyor, and Robert Rawlinson, structural engineer, until in 1851 Sir Charles Cockerell was appointed architect. Cockerell was largely responsible for the decoration of the interiors. During the 2000s a major restoration of the hall took place costing £23m and it was officially reopened on 23 April 2007 by HRH Prince of Wales.
Plan
The Concert Hall is the largest area, rectangular in shape, and occupies the centre of the building with an organ on its north wall. To the north of the Concert Hall is the Civil Court and beyond this is the elliptical Small Concert Room. To the south of the Concert Hall are the Crown Court and the Grand Jury Room. Smaller court rooms are on the periphery of the larger courts. The floor below consists of a cavernous basement with cells for prisoners along the west wall.
East front of St George's Hall
Exterior
The main entrance is in the centre of the east façade and is approached by a wide flight of steps. On the steps is a statue of Benjamin Disraeli by C. B. Birch.This front has a central portico of 16 Corinthian columns flanked on each side by series of square, unfluted pillars. Between these pillars are reliefs which were added between 1882 and 1901 by Thomas Stirling Lee, C. J. Allen and Conrad Dressler. The west front has a projecting central part with square pillars supporting a massive entablature. The south front has a portico of eight columns, two columns deep on steps above a rusticated podium. The north front has a semicircular apse with columns and three doorways which are flanked by statues of nereids and tritons bearing lamps which were designed by Nicholl.
Interior
The main entrance crosses a corridor and leads into the Concert Hall. This measures 169 feet (52 m) by 77 feet (23 m) and is 82 feet (25 m) high. The roof is a tunnel vault carried on columns of polished red granite. The walls have niches for statues and the panelled plasterwork of the vault has allegorical figures of Virtues, Science and Arts. The highly decorated floor consists of Minton tiles and it is usually covered by a removable floor to protect it.It contains over 30,000 tiles. The doors are bronze and have openwork panels which incorporate the letters SPQL (the Senate and the People of Liverpool) making an association with the SPQR badge of ancient Rome. The organ is at the north end and at the south end is a round arch supporting an entablature between whose columns is a gate leading directly into the Crown Court. The niches contain the statues of William Roscoe by Chantrey, Sir William Brown by Patrick MacDowell, Robert Peel by Matthew Noble, George Stephenson by John Gibson, Rev. Hugh Boyd McNeile by George Gamon Adams, E. Whitley by A. Bruce Joy, S. R. Graves by G. G. Fontana, Rev Jonathan Brookes by B. E. Spence, William Gladstone by John Adams-Acton, the 14th Earl of Derby by William Theed the Younger, the 16th Earl of Derby by F. W. Pomeroy, and Joseph Mayer by Fontana. The stained glass in the semicircular windows at each end of the hall was added in 1883–84 by Forrest and Son of Liverpool. Sharples and Pollard regard this as "one of the greatest Victorian interiors".
South side of St George's Hall
The Crown Court has a tunnel vault on red granite columns and the Civil Court a coved ceiling on grey granite columns. The south entrance is approached through the portico, is low and has Ionic columns. Below this is a larger vaulted space which was adapted to form a new entrance in 2003–05. The north entrance hall has Doric columns on its landing and a Doric ambulatory around the apse. A copy of part of the Parthenon frieze runs round its walls. In the entrance is a statue of Henry Booth by Theed the Younger. The Small Concert Room is almost circular and is lavishly decorated. In the past it was known as the Golden Concert Room and it was regularly host to Charles Dickens who held many of his readings there. A balcony supported by caryatids runs round the room. At the back of the platform are attached columns, decorated with arabesques, supporting a frieze with griffins and between the columns are mirrors. The concert room was refurbished between 2000 and 2007. This included making alterations to comply with the Disability Discrimination Act, restoring the historical painting scheme and restoring the chandelier, which consists of 2,824 crystal pieces. It has seating for an audience of 480.
In the basement is part of a unique heating and ventilation system devised by Dr Boswell Reid.This was the first attempt at air conditioning in a public building in the United Kingdom, its aim being to warm and ventilate the building without draughts. Air was warmed by five hot water pipes which were heated by two coke-fired boilers and two steam boilers. The air was circulated by four 10 feet (3 m) wide fans. It was controlled a large number of workers opening and closing a series of canvas flaps
Organ
This was built by Henry Willis and completed in 1855 with 100 speaking stops across four manual divisions (of non-standard compass, 63 notes GG to a) and pedals (30 notes). It comprised a total of 119 ranks of pipes, plus 10 couplers, 10 composition pedals, and 36 pistons to set combinations of stops. It was initially tuned to meantone temperament to the specification of S. S. Wesley but in 1867 W. T. Best, city organist, retuned it to equal temperament. The organ was rebuilt in 1896 when the key action was changed from the Willis-Barker lever assisted tracker (i.e. pneumatic assisted mechanical) action to pneumatic action. Also the manual compass was changed to the now standard CC to c, 61 notes, making the bottom 5 pipes on every manual stop redundant. In 1931 it was reconstructed by Henry Willis III when the number of stops was increased to 120 and electro-pneumatic action introduced for the combination systems and some of the key action. Its power source was still the Rockingham electric blowing plant which had replaced the two steam engines (one of 1855 and a second which had been added in about 1877 to run the increased pressure required since 1867 for some reed stops. In the interim this higher pressure had been hand blown!) The 1924 electric blowers remained in use until 2000 when the present new low and high pressure blowers were fitted by David Wells. In 1979 it was given a general clean and overhaul by Henry Willis IV. The total number of registers, including 24 couplers, is 144. With 7,737 pipes, it was the largest organ in the country until a larger one was built at the Royal Albert Hall in 1871, after which an organ even larger than the one at the Royal Albert Hall was constructed at Liverpool Anglican Cathedral, untilising over 10,000 pipes. As part of the 2000–2007 restoration of the hall repairs were made to the organ, including replacement of the bellows leather. The organ is maintained by David Wells, Organ Builders.
Main Entrance to the Hall
List of Organists to the City of Liverpool
* William Thomas (always known as W.T.) Best 1855 - 1894 (b1826 d1897)
* Dr Albert Lister Peace 1896 - 1912 (b1844 d1912)
* Herbert Frederick Ellingford 1912 - 1940 (b1876 d1966)
Following war damage in 1940 no appointment was made until 1957, but Caleb E Jarvis was appointed as consultant for the restoration work in 1954.
* Dr Caleb E Jarvis 1957 - 1980 (b1903 d1980)
* Dr Noel Rawsthorne 1980 - 1984 (b1929)
* Professor Ian Tracey 1984 - current
St George's Plateau
This is the flat space between the hall and the railway station and contains statues of four lions by Nicholl and cast iron lamp standards with dolphin bases. Also on the plateau are monuments, including equestrian bronzes of Prince Albert and Queen Victoria by Thomas Thornycroft, and a monument to Major-General William Earle by Birch. Between the equestrian statues is a cenotaph which was unveiled in 1930, designed by L. B. Budden and sculpted by H. Tyson Smith. It consists of a simple horizontal block with a bronze relief measuring over 31 feet (9 m) on each side. Sharples and Pollard regard it as one of the most remarkable war memorials in the country.
The Plateau has been associated with public rallies and gatherings, including the deaths of Beatles, John Lennon and George Harrison, and the homecomings of Liverpool and Everton football teams after Cup Final Victories. During the 1911 Liverpool General Transport Strike, many meetings were held there, including the rally which sparked the 'Bloody Sunday' attacks, when police baton charged thousands of people who had gathered to hear syndicalist Tom Mann speak.
Restoration
Following the restoration leading to the reopening of the hall in April 2007 it was granted a Civic Trust Award.It included the creation of a Heritage Centre which gives an introduction to the hall and its history. Guided tours, a programme of exhibitions and talks are arranged.[8] Over the 2007 and 2008 Christmas periods an artificial skating rink was installed in the Concert Hall.In January 2008 Liverpool started its tenure as European Capital of Culture with The People's Opening at St George's Hall with a performance which included Beatles' drummer Ringo Starr playing on its roof.
Adamowi Mickiewiczowi NARÓD“ (dt.: Für Adam Mickiewicz, die Nation), in memoriam Adam Mickiewicz (Rynek Główny), unveiled 1898 (Bronze), by Teodor Rygier
Church Church of Our Lady Assumed into Heaven (Assumption of the Blessed Virgin Mary), St. Mary's Church - one of the largest and most important, the Wawel Cathedral, Krakow church, Basilica since 1963 . It belongs to the most famous sights of Krakow and Polish. It is located at the northeast corner of the main square, the Marienplatz .
According to John Dlugosz Parish Church on the Market of Krakow was founded by the Bishop of Cracow Iwona Odrowąż between 1221-1222. In the years 1290-1300 was built partly on the foundations, new early Gothic style church, consecrated in 1320.
It was then completely rebuilt. In the years around 1355-1365 with the significant participation of Nicholas Wierzynka older (patrician Cracow and Sandomierz esquire carver ) was built on one level elongated presbytery opened up tall windows, which were filled with stained glass windows in the years around 1360 to 1400. With the construction of the sanctuary began work on a new main body, which had initially taken the form of a three-aisled hall. These works, however, delayed, and the original concept has changed, and finally at the end of the fourteenth century the body of the basilica was modeled on the western part of the Wawel Cathedral. Przekryty he was in the 1395-1397 cross-ribbed vault by Master Nicholas Werhnera from Prague. In the years 1435-1446 at the outer walls of the aisles were built chapels. Most of them were the work of a master of Kleparz Francis Wiechonia. At the same time the north tower was raised, designed to act as guardians of the city. In 1478, carpenter Maciej Heringk nabbed a characteristic polygonal tower cupola. The helmet is decorated with gilded crown Marian in 1666 .
In the years 1477 - 1489 Mary century, the temple has been enriched by a masterpiece of late Gothic sculpture - a new high altar by Veit Stoss, funded by the city councilors .
In the sixteenth and seventeenth century St. Mary's Church gained new chapels, tombs and altars, in later centuries replaced. Mannerist altar of St . Agnes and Saints Catherine and Dorothy found recently in Iwanowice, Baroque altars St . And St. Joseph's. Anne's parish church in Brzeszczach near Auschwitz . At the end of the seventeenth century, the church replaced the floor and built two magnificent portals made of black Debnik limestone. In the eighteenth century at the behest of Archpriest Jack Łopackiego, the interior of the church was thoroughly modernized in the late Baroque style. When the big altars, equipment, furniture and the walls were imposed pilasters and entablature, illusionist ceiling are covered with murals by Andrzej Radwanski. From this period has also been set in the late Baroque façade porch.
In 1795 the churchyard was abolished. This is how the Marienplatz square came into existence. Some survivors of the epitaphs was transferred to the walls of the temple. In the 90s of the nineteenth century, the architect Tadeusz Stryjeński conducted a comprehensive restaurant church, during which zregotycyzowano interior. Temple gained a new decorative painting design by Jan Matejko. By executing murals collaborated, among others Stanislaw Wyspianski and Mehoffer .
Facade of the temple is enclosed in two towers:
Higher tower, known as the Watchtower " Excubiarum ", is 82 meters high. It is built on a square plan, the individual stories separate stone cornices. On the ninth floor of the octagon passes, opened up lancet arches, falling two stories of windows. Gothic towers covers the helmet , which is the work of a master Matthias Heringka of the year 1478. The helmet consists of an octagonal, sharpened needle, surrounded by a ring of eight lower turrets. From the tower, from a height of 54 meters, is played every hour bugle Mary. At the bottom, on the north side, there is a rectangular annex, located a stone staircase leading to the interior of the tower. On the left side of the entrance to the tower draws attention turned, cast in bronze plaque depicting King Jan III Sobieski. It was made based on the design by the sculptor Pius Weloński in 1883 to commemorate the 200th anniversary of the Battle of Vienna. The higher the tower 's bell clock to 1530 (tons Impact d ', diameter 165 cm).
Lower tower with a height of 69 meters, is the church bells. It was built on a square plan, as higher is clearly marked on the entire height of the cornices and windows, floors division. On the floor of the bell tower is a Renaissance chapel dedicated to St Paul's. Paul ( Family Kauffmannów ), which can be accessed through the Renaissance balcony, a work of Italian masters from the workshop of Bartholomew Berecciego working on Wawel Hill. Outside, above the window of the chapel, the roof is suspended trójspadowym bell " for the dying ", cast by Kacper Koerber of Wroclaw in 1736 . Helmet covers the late Renaissance Tower, constructed in 1592, consisting of an elliptical dome, mounted on an octagonal drum and lantern topped with openwork. In the corners are set four smaller domes at low , hexagonal bases. In the tower are suspended five bells :
- The oldest (gis Impact tons, diameter 105 cm, weight 11.65 kN) at the turn of the thirteenth and fourteenth centuries ,
- Two more, called Misjonałem (attributable to FIS 00 tons, diameter 136 cm, weight 22.2 kN) and Tenebratem (attributable to dis tons, diameter 175 cm, weight 48.5 kN) were filed between 1386 and 1390 by John Weygela the New Village at Spis ,
- And also the fourth largest, called Półzygmuntem (attributable to cis 40 tons, diameter 180 cm, weight 60 kN, heart weight 1.95 kN), is the work of John Freudental of 1438, the foundation was established through collective magnate, as evidenced by adorning it crests knights. Półzygmunt and Tenebrat are accompanied by inscriptions on the content of Marian.
- Fifth, cymbal clock, made in 1564, once cooperated with located on the taller tower clock. Activated manually by the bugle call player was using rods .
Four bells liturgy is one of the largest and oldest medieval bells teams in Poland.
Tabernacle of Cherves
ca. 1220–1230
French; Made in Limoges
Copper (plaques): engraved, scraped, stippled, and gilt; (appliqués): repoussé, chased, engraved, scraped, and gilt; champlevé enamel: medium blue, turquoise, medium green, yellow, red, and white; Overall (Closed): 30 11/16 x 18 1/8 x 9 13/16 in. (78 x 46 x 25 cm) Overall (Open): 30 11/16 x 35 13/16 x 9 13/16 in. (78 x 91 x 25 cm) Overall (Case): 44 1/2 x 35 1/4 x 17 1/4 in. (113 x 89.5 x 43.8 cm)
Gift of J. Pierpont Morgan, 1917 (17.190.735)
The tabernacle is the most celebrated of the objects found at Cherves in 1896, near the site of a ruined priory of the Grandmont order at Gandory. The accomplished openwork medallions depict events following the Crucifixion, including the Holy Women at the tomb on Easter Sunday (center left) and the Doubting of Thomas (upper right). With their strong emphasis on the physical Christ, these scenes are most appropriate for this cupboard for storing the bread of the Eucharist. It is one of only two tabernacles of Limoges work to survive.
*
The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556 (1986)
At Sudeley Castle & Gardens on the Early May Bank Holiday.
It is near Winchcombe in Gloucestershire.
The castle was home to Queen Katherine Parr, 6th and final wife of King Henry VIII. She lived here after his death with her final husband Thomas Seymour (uncle of King Edward VI).
Pheasantry
Pond / pool with fish seen swimming under the water. Saw a little duck swimming above!
View of the Church of St Mary and the Castle.
The church is Grade I listed.
Sudeley Castle, Church of St Mary, Sudeley
SUDELEY -
SP 0227-0327
14/144 Sudeley Castle, Church of
St Mary
4.7.60
GV I
Parish Church. Circa 1460 for Ralph Boteler, late C15 or early C16
north aisle, restored 1859-'63 by Sir G.G. Scott for J.C. Dent.
Well coursed, squared stone, lead roof. Five-bay nave and chancel
structurally in one, 3-bay north aisle, western bell turret. West
end, double plinth, angled buttresses, boarded central doorway, 4-
centred arch, crocketed hoodmould; string course. Three-light
Perpendicular window, crocketed hoodmould, with each side a statue
in ogee-headed niche with tall finial. Above, string course,
crenellated parapet each side of square bell turret, slightly
corbelled at front on west side; 2-light louvred window, string
course, corner gargoyles, crenellated parapet with corner finials,
iron weathervane. South face, angled buttresses each end, plinth,
4 square-set buttresses, string course at sill level, changed to
dripmould for former low roof in fourth bay: bottom of buttress in
that bay forms jamb of door, blocked doorway and 4-light squint
under cambered arch to right below dripmould. Above, five 3-light
Perpendicular windows, hoodmoulds with carved-head stops, string
course, grotesques on buttresses; buttresses changing to diamond-
set above, rising into tall, crocketed finials; crenellated
parapet. East wall dripmould for roof to demolished vestry in
place of string course: blocked doorway on left. Above, 5-light
Perpendicular window, hoodmould and carved-head stops; string
course and crenellations follow line of low-pitch roof, short apex
finial. On right end of low aisle, plinth, 3-light mullion window,
angled corner buttress, string course and crenellated parapet over.
North wall: low aisle 3 bays, plinth, angled corner buttresses,
two 2-light mullioned windows with buttress and wide projection
between: crenellated parapet, finials missing. Boarded door on
right return, moulded arris, 4-centred arch, hoodmould, with finial
above string course. To right plinth, string course and buttress
on south side, inserted boarded door in last bay, sunk spandrels,
moulded surround. Windows and parapet above string course as south
side.
Interior: ashlar walls, marble floor, stone piers to carry turret,
nave and chancel in one. Chancel screen 4 bays each side central
opening, cusped ogee heads, heavily carved. Three sedilia on south
side, nodding ogee heads, high crocketed finials over; similar
piscina. Carved marble reredos with part marquetry finish. Two
arches north side of chancel to aisle, door to nave. Moulded beams
to roof. Openwork octagonal wooden pulpit, Decorated tracery, 2
brass candle holders, since electrified. Octagonal marble font,
carved sides to bowl, clustered pillar stem. Choir stalls returned
against screen, carved misericords, brass-book rest to front seats.
Memorial in chancel to Katherine Parr, effigy by J.B. Philip on
marble chest tomb, quatrefoils to sides, under foiled, 4-centred
arch, crocketed above, swept up to poppyhead finial: marble
pillars either side with statues under niche heads, finials over.
Stained glass by Preedy. Building fell into decay C18. Exterior
essentially C15/C16; interior nearly all 1859ff by Sir G.G. Scott:
fine example of his work. Katherine Parr buried in church.
(S. Rudder, A New History of Gloucestershire, 1779; papers at
Sudeley Castle; D. Verey, Gloucestershire, The Cotswolds, 1970)
Listing NGR: SP0318127669
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
The castle is Grade I listed.
SUDELEY -
SP 0227-0327
14/143 Sudeley Castle
(formerly listed as part of Sudeley
4.7.60 Castle and remains of the Grange)
GV I
Former castle, now country house. Mid C15 for Ralph Boteler; late
C15 for Richard III; much altered c1572 for Lord Chandos, mid C19
for J. Dent by Sir G.G. Scott, later C19 for Mrs. E. Dent by J.D.
Wyatt, early C20 by M. Anderson, 1930's by W.H. Godfrey for Major
Dent-Brocklehurst. Coursed, squared stone and ashlar, stone slate
roofs, lead flats, probably Welsh slate roofs. Large, rectangular
outer courtyard, west wing extended as side of inner courtyard,
opposite side ruins of Great Presence Chamber: 2 and 3 storeys,
higher towers. North, exterior face: late C19 tower on left,
plinth, 3-light mullion and transom window to ground and first
floors, string courses as hoodmoulds, 2-light similar above,
moulded head on consoles, string course, crenellations, higher at
corners. To right, C16 work: 4-light mullion and transom, with
king mullion, 6-light similar above with 2 king mullions. Wall
sets forward slightly to right, double boarded doors to gate in 4-
centred arch, 2-light mullion each side; above 2 oriel windows,
each with 2-light mullion and transom windows, hipped roofs. Set
back on right, 2 and 4-light mullioned or mullion and transom
windows, above three 4-light mullion and transom, one 6-light.
Moulded string course and crenellations run through from corner
tower, hipped roof, 6 chimneys, moulded caps. Inner walls of outer
courtyard: north side, corner turrets at ends; plinth, boarded
door, moulded arris to opening, 4-centred head with plain
spandrels; 2-light mullion on left return of turret; to left wide
archway, 4-centred head, chamfer to arris, single-light window each
side. Beyond 4-light mullion window each side of half-glazed door
in opening as first door: corner turret with boarded door on right
return as first, 2-light mullioned window main face. Above, string
course as hoodmould; 2-light mullion window each face of corner
turrets; between three 4-light mullion and transom windows, king
mullion, moulded string course, crenellated parapet. Right, east
wing; windows all 4-light mullion and transom, reserved chamfer,
king mullion, string course as hoodmould: doors boarded, moulded
surround, 4-centred arch, plain spandrel. Ground floor, plinth,
single window each end, 4 doors with 2 windows between each; first
floor 8 windows; crenellated parapet, 5 ashlar chimneys with
moulded caps. Great Presence Chamber at end of east range: east
and north walls only remain. From outside, octagonal stair turret
on right, lancets, string course and moulded head. To left,
plinth, 2 former mullion and transom windows, tracery gone,
relieving arch over, scrolls to flat hoodmould on left. Chimney
breast, 4-light mullion and transom window, cusped heads to lights,
flat head, hoodmould with scrolled ends. Above: 4-light mullioned
window, king mullion, 2 transoms, crenellations to sill; buttress
and high up each side 4-light window, as main but no transoms,
plain sill. Below left window open back to fireplace and flue.
Oriel window to left, 3-light mullioned window, 2 transoms. Inside
flying 4-centred arch to right ground-floor window, panelled vault
behind in wall thickness. Above, floor gone: fireplace with flat
stone lintel, moulded arris, blind tracery to reveals of tall
windows, moulded sill to shorter, start of fan vaulting over
oriel. On left return 9-light mullioned window high up, 4 king
mullions, moulded sill, end lights blind, 3-centred arch.
Interior north and east range: ground floor on east; Library,
bolection-moulded panelling, wide c1572 stone fireplace reset from
elsewhere in building, fluted columns each side, carved heads on
cornice, egg-and-dart frieze; carved panels over doors, stained
glass to upper parts of windows. Adjoining panelled room, Ionic
pilasters above dado, moulded cornice, stone fireplace surround.
Main stairs; open well, moulded string and rail, spiral balusters,
square newels with knob finials, dado panelling, 1580 stained glass
in windows. First floor, Katherine Parr room to south, largely
1847ff decoration, stone door surrounds, 4-centred arches, ornate
timber surrounds with crocketed frieze, linen-fold panelling,
ornate fireplace surround and overmantel with nodding ogee head:
carved wooden cornice, moulded plaster ceiling with pendants,
stained glass to windows, some C17. North drawing room 12-panelled
doors, ornate carved surround to fireplace: some C17 glass to
north stair windows, otherwise C19 painted. Room over gateway:
wide stone fireplace with 1930's strapwork frieze, 12 panel doors,
moulded plaster ceiling. Billiard room beyond, small-panelled
panelling, dado, strapwork Corinthian pilasters, carved frieze,
strapwork doors, ornate surround and overmantel to fireplace,
moulded plaster ceiling, stained glass to upper part windows. Last
home of Katherine Parr, Henry VIII's widow; castle slighted 1649,
purchased by Dents in 1837 and restored by them.
(S. Rudder, A New History of Gloucestershire, 1779; papers at
Sudeley Castle; Country Life, 1940; P.A. Faulkner, Archaeological
Journal, 1965; D. Verey, Gloucestershire, The Cotswolds, 1970)
Listing NGR: SP0310027668
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
On Gorsedd Gardens Road in Cardiff. Heading towards the National Museum Cardiff.
City Hall is a civic building in Cathays Park, Cardiff, Wales, not to be confused with the modern County Hall recently built down in Cardiff Bay. Built of Portland stone, it became the fifth building to serve as Cardiff's centre of local government when it opened in October 1906. The competition to design a town hall and adjacent law courts for Cardiff was won in 1897 by the firm of Lanchester, Stewart and Rickards. Construction was carried out by local builders, E. Turner and Sons. Cardiff received its city charter while construction was underway, in 1905. The building is an important early example of the Edwardian Baroque style.
Grade I listed building.
Location
Between King Edward VII Avenue and Museum Avenue, facing Gorsedd Gardens between Law Courts (L) and National Museum of Wales (R).
History
Cathays Park was purchased in 1898 by the Borough of Cardiff from The Third Marquess of Bute at a cost of 160,000 and developed as a civic centre to a layout by William Harpur. Cathays Park was developed over three-quarters of a century to become the finest in Britain reflecting Cardiff's status as city and eventually taking on a national importance as civic centre of the capital of Wales. A competition for Town Hall (Cardiff became a city only at opening ceremony of this building in1905) and Law Courts took place in in 1897; City Hall was built between 1901 and 1904 to design of Lanchester, Stewart and Rickards; details of design by E A Rickards. The building's Portland stone facing, and monumental Classical style set the pattern for other buildings in Cathays Park, particularly the contemporary Law Courts by the same architects, and the National Museum (By Smith and Brewer) which echoes its dome and general composition. The building reflects Cardiff's claims to be a city of international importance by its use of the grand European Baroque style which was also used in London to promote that city's staus as capital of an empire. The decoration of the building makes reference to Cardiff's economic power through trade with the world (maritime groups etc), and its relatively new position as leading city Wales (Welsh Unity and Patriotism etc). The interior contains an important series of Statues of Welsh Heroes (1912-1917) financed by D A Thomas (Lord Rhonnda).
City Hall forms an essential part of Cardiff's civic centre, the finest in Britain.
Interior
Sumptuous interior with sequence of brilliantly managed public and civic spaces.
Porte-cochere leads to polygonal lobby with stairs up to inner lobby. Deep rectangular entrance hall faced in Bath stone has staircase to each side (rich bronze balustrade) which rises to mezzanine landing then longer flight of steps to expansive first floor hall with polychrome marble paving; paired Doric columns with bronze capitals and bases and yellow veined marble shafts; landing side lit by tall round arched windows with stained glass; broad plaster band to ceiling with plaster foliage relief. Yellow marble architraves to doors; above doorways to ends, plaster shells and merfolk by Henry Poole. Group of life-size statues of Welsh Heroes by leading sculptors; statues on yellow-and-white marble pedestals. (On lower landings, bronze reliefs to Sir E J Reed, and Captain R F Scott). To S, Council Chamber in a style following Italian High Renaissance models. Coffered shallow dome, four broad piers (set diagonally) support spandrels pierced by round windows with plaster palm-fronds, and ventilation grilles. Arches between piers to E and W with flanking Ionic marble columns (swagged bronze capitals) supporting entablature.
Stained glass in grand S window is personification of Villa Cardiff by A Garth Jones (1905). Fine C17-style wall panelling in oak with lighter inlay of Cardiff arms; original circular banks of wooden seating (partly built into panelling) have barley-sugar posts and broad arms; to E, mayoral seat forms screen to lobby with similar panelling, to W, arch to similar lobby, visitors gallery over.
Exceptionally elaborate bronze electrolier by Rickards has Prince of Wales feathers and mirrors; smaller wall brackets in bronze also survive.
To N of landing, members' rooms flank entrances to Grand Assembly Hall with tunnel vaulted ceiling with transverse and longitudinal banding with elaborate plaster reliefs (by G P Bankart). Room lit by thermal windows at clerestorey level which break into vault and have cartouche decoration above. Ionic marble columns support entablature and diagonal scrolls by windows. Panelled walls and doors. At one end, recessed stage with flanking pairs of marble columns.
Three exceptionally elaborate bronze electroliers as in council chamber.
At front corners of building the Lord Mayor's parlour and Member's Room are said to have arched recesses and circular clerestorey windows. Corridors with committee rooms and offices have simple classicising doorcases and panelled doors. On ground floor, the large Benefits Office has Doric Columns painted as yellow veined marble, wooden panelling, classicising doors. Secondary entrance in King Edward VII Avenue has mosaic floors, 2 lobbies, arches to secondary stair with iron balustrade.
Exterior
Quadrangular city hall building in Baroque style and faced with Portland Stone; two- and three-storeys on deeply banded basement, broad areas of banding at angles; small-pane steel glazing. Tower to W, and smaller tower to rear. South-east elevation with central projecting wing of 5 bays surmounted by octagonal drum (maritime sculptures by H Poole) with round windows, and semi-circular dome to council chamber with snarling Welsh Dragon finial (by H C Fehr) on lantern; 1 storey porte cochre with trophies and lion masks projects from centre bay of wing; first floor window above is round-headed and projects into entablature; flanked by 2 blank openings decorated to either side with trophies. Saucer dome to porte cochere, entrances with heavy iron-grille gates with relief decoration. Projecting to west and east from centre portion, a lateral wing of 2 storeys, 6 bays with fenestration consisting of rectangular windows above, with aprons and with panelling between windows and round-headed windows in concave surrounds below. At each end projecting splayed bay of 2 storeys with similar fenestration to intermediate wings but surmounted by attic storey with sculptured group before it, western group by Paul Montford representing Poetry and Music and eastern group by Henry Poole, Unity and Patriotism.
Western elevation with wide projecting windowless bay at each end, with rusticated quoins and attic storey with oval lunette. Intermediate wings of 9 bay width with similar fenestration to intermediate wings of south-east front, but outer sections have square-headed windows to ground floor. In centre of west front, splayed 3-sided bay through 2 storeys and attic; rectangular doorway with window over in centre ground floor facet; first floor windows rectangular headed, centre facet window with trophies and with surmounted parapet rising over curved headed attic window. Above this rises a clock tower (circa 61m high) lower part quite plain, upper part ornate and Baroque and surmounted by a Cupola (carving by H C Fehr); below this, stage with open windows and volutes, then stage with putti and cartouches above clock stage with openwork clock faces, composite columns flanking openings with balcony grilles, Michelangelesque seated figures (The Four Winds) to corners. North elevation of 3 storeys, central canted bay, square windows to upper floor, rectangular windows beneath below which are camber-headed windows with voussoirs, entrance to central yard R; yard elevations in yellow brick, (modern glazed infill in yard to E). East elevation has central slightly advanced 5-window block with splayed central bay with sculptural group above; 7 windows to each side.
Reason for Listing
Graded I as amongst the finest examples of Edwardian civic architecture in Britain with ambitious exterior and extremely interesting interiors, all virtually unaltered.
The interior is remarkable not only for its sumptuous decoration but for the survival of fittings including lighting, panelling, integral seating to council chamber etc.
Part of a group of exceptionally fine public buildings in Cathays Park which form what is certainly the finest civic centre in Britain. In addition to its architectural interest, the building and its setting express Cardiff's claims to be a city of international importance at the peak of its economic power.
References
J Newman, Glamorgan (Buildings of Wales Series), 1995, pp220-225.
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Notes:
Between King Edward VII Avenue and Museum Avenue, facing Gorsedd Gardens between Law Courts (L) and National Museum of Wales (R).
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
South African War Memorial seen on King Edward VII Avenue sculpted by Albert Toft, 1905–9.
Grade II* listed.
South African War Memorial, Castle
Location
At S end of Avenue, between City Hall and the Law Courts.
History
By Albert Toft, sculptor. Unveiled 20 November 1909, by General Sir John French. Memorial to "Welshmen who died in South Africa, 1900-1902.". Seated figures to sides derived from Michelangelo.
Interior
Exterior
Memorial consisting of bronze figures on a tall Portland Stone plinth on square base of granite steps with, at each corner, on plinth, metal lampstand with glass globe. Standing windblown winged figure of Peace bearing a olive tree (dove vandalised 1993). Seated male figure (Warfare) on south-west side, right hand grasping a short sword and left upper arm resting against a shield. Seated female figure (Grief) on north-east side with left arm resting on a shield and left hand holding a wreath. Inscription to S side of plinth.
Reason for Listing
Graded II* as important National Memorial by prominent sculptor, on key site between two Grade I buildings. Group value.
References
J Newman, Glamorgan (Buildings of Wales Series), 1995, p229.
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Notes:
At S end of Avenue, between City Hall and the Law Courts.
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
Actually no, in this case there is a solid wall on the other side of the openwork, enclosing an interior room. No seethru.
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In Erie, Pennsylvania, on May 13th, 2020, outside the Antioch Missionary Baptist Church at the northeast corner of West 20th Street and Sassafras Street.
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Getty Thesaurus of Geographic Names terms:
• Erie (7017542)
• Erie (county) (1002358)
Art & Architecture Thesaurus terms:
• architectural ornament (300378995)
• Baptist (300153825)
• churches (buildings) (300007466)
• concrete blocks (300374976)
• downspouts (300052560)
• exterior walls (300002523)
• geometric patterns (300165213)
• Mid-Century Modernist (300343610)
• octagons (300055635)
• openwork (300253899)
• paint (coating) (300015029)
• squares (geometric figures) (300055637)
• white (color) (300129784)
Wikidata items:
• 13 May 2020 (Q57396740)
• Downtown Erie (Q5303431)
• Erie Triangle (Q3041864)
• May 13 (Q2560)
• May 2020 (Q55019753)
• Northwestern Pennsylvania (Q16895965)
• Treaty of Fort Stanwix (Q3536790)
• Western Pennsylvania (Q7988152)
Library of Congress Subject Headings:
• Buildings—Pennsylvania (sh85017803)
• Concrete masonry (sh85030722)
• Grids (Crisscross patterns) (sh2006005408)
It was such a nice day, that we headed to Weymouth and Portland. Lucky to have blue skys as well after previous rainy days.
The harbour in Weymouth.
Along Custom House Quay at Weymouth Harbour.
Followed by the Harbour Master - Harbour Office.
At 13 Custom House Quay. Grade II listed.
WEYMOUTH
SY6878NW CUSTOM HOUSE QUAY
873-1/24/65 (North side)
14/06/74 No.13
GV II
Warehouse. Mid C19. Flemish bond red brickwork, wide-span
low-pitched slate roof. A wide frontage building with
trapezoidal plan, resulting from the curve in the harbour
here.
3 storeys and attic; a high central gable covers a pair of
plank hauling doors. At second floor a central glazed opening,
formerly hauling way, is flanked by small 2-light casements,
and at first floor are 3 hauling doors, to slight brick
segmental heads and to flush stone sills. Ground floor has a
wide pair of central plank doors flanked by narrow plank doors
under 8-pane transom lights, these to concrete lintels. The
outer openings are set near the party walls, with wide areas
of plain walling. A saw-tooth brick eaves cornice. The rear
has 3 wide-spaced 2-light casements ate 3 levels, and a
central blocked hauling way.
INTERIOR: has on each floor 2 rows of cast-iron columns, by
Cosens, Engineers, Weymouth, carrying timber beams.
Listing NGR: SY6809678747
RDYC - Royal Dorset Yacht Club. Grade II listed - at 11 Custom House Quay.
WEYMOUTH
SY6878NW CUSTOM HOUSE QUAY
873-1/24/64 (North side)
14/06/74 No.11
(Formerly Listed as:
CUSTOMS HOUSE QUAY
Seamen's Institute)
GV II
Shown on OS map as Youth Centre.
Sailors' Bethel (Ricketts), later Seamen's Institute, and
Royal Dorset Yacht Club, now club and restaurant. Opened June
1866. Dark grey brick in Flemish bond, painted stone trim,
slate roof.
PLAN: a long narrow building, with modelled gable to the Quay,
at an angle to the party walls; the gable conceals a roof of
lower pitch behind.
EXTERIOR: 2 storeys, with gabled facade containing stepped
triple blind round-arched opening with small open oculi, under
continuous stepped label course, above 5 vertical deep-set
lights in an arcade with slender three-quarter colonnettes to
plain flush arches under a continuous stepped label, and on a
full-width sill band. Ground floor is triple-arched, with a
pair of glazed doors under plain fanlight to the left, a
central pair of plank doors with fanlight, and a plain light
to the right, all to a flush band and arches with continuous
stepped label and stopped ends. Stone plinth, a deep sill band
to the bottom floor, and the whole front is contained in brick
pilaster quoins carrying a deep moulded gable cornice with
leaf enrichment.
Rear wall is of brick, under a hipped roof, with 2 small
3-light small-pane casements at the eaves, and a large
flat-roofed extension.
INTERIOR: has one large space at the ground floor, with some
later partitions, and with lightweight banded cast-iron
columns with palmette capitals to bracketed heads, in 2 rows.
A straight flight openwork iron stair to the left rises to the
open first floor with a deep coved ceiling containing a series
of central cast-iron vents, plus access hatches.
HISTORICAL NOTE: a 1903 photograph inside refers to it as the
Seamen's Bethel; an advertisement of 1866 states: 'The
Committee of the Weymouth Sailors' Society have long felt the
importance of obtaining a more suitable place for the holding
of Religious Services than that which is at present occupied
as a Bethel. They have at length through the kindness of Sir F
Johnstone Bart., secured, free of cost, a most eligible site
on the Quay, together with the premises at present standing on
it and known as the Old Baths.' The advertisement goes on to
seek the sum of »700, for a '... plain but neat Bethel, with a
Reading Room...'.
In vaguely Venetian mode, this makes a bold statement on the
quayside. Except for some later lightweight partitioning, the
interior appears unaltered.
(Ricketts E: The Buildings of Old Weymouth: Melcombe Regis and
Westham: Weymouth: 1976-: 119).
Listing NGR: SY6808078752
April 21, 2022 - "A striking building along the Scheldt quays is the eclectic Loodswezen building. It was built on this site at the end of the 19th century to a design by architects Hendrik Kennes and Ferdinand J.A. Truyman.
History
On May 12, 1890, the Antwerp city council took the plunge for the establishment of "a construction on the Oude Zeeuwse Korenmarkt for the services of Antwerp, depending on the State", namely the pilotage service with all related services, housing for the main shed, offices , warehouses, post and telegraph office, archive room, and so on.
Four years earlier, the Society of Antwerp Architects had organized a competition, in which the fifteen projects submitted were assessed in the session of August 4, 1886. The winner was Franz De Vestel from Brussels with 24 points (out of a maximum of 28), closely followed by Jaak Alfons Van der Gucht from Antwerp with 22 points. The result, which was published in the authoritative magazine "L'Emulation", apparently provoked a lot of indignant reactions, because in the same episode the ranking was fully justified by the jury. However, behind-the-scenes lobbying overcame the academics and ultimately none of the nominees were tasked with the assignment.
The final choice fell on the design of Hendrik Kennes and Ferdinand J.A. Truyman, the first of which had been closely involved in the interior renovation of the town hall (1884-1885), the second in the construction of the Royal Athenaeum (1882-1884), both designed by city architect Pieter Dens, and the repair and expansion van het Steen (1889-1890 under the direction of city architect Gustave Royers). Shortly afterwards, in 1893-1897, Truyman also built the former Handelsgesticht on the South together with architect Jan Frans Sel. However, the pilotage's implementation plans are all signed by city architect Royers.
The general concept of a Renaissance palace with an ornate watchtower and courtyard was maintained, but in contrast to the more generous - and perhaps more expensive - acclaimed designs that mainly relied on Italian examples, the Kennes-Truyman design was a more sober interpretation of the English Renaissance.
Construction was awarded to the contractor Gebroeders Grangé by public tender on April 12, 1892, at a cost of 456,990 Belgian francs. Construction started on June 20, 1892, to be completed on June 20, 1894. On 14 July 1895, the pilotage service was solemnly inaugurated by mayor Jan Van Rijswijck. The celebration was accompanied by the commissioning of the hundredth hydraulic crane in the port. The so-called "buoy shed" south of the pilotage service was built in 1899. To date (2007) the building has housed various maritime and port services, namely the Maritime Inspectorate on the one hand, Pilotage, Fleet and Maritime Scheldt on the other hand, which fall under the federal and regional authorities respectively.
Architecture
On the right bank of the Scheldt, near the (former) entrance to the Bonapartedok, a detached building in an eclectic style with a neo-Renaissance slant, with a strong image-defining function as a pivot point between the old city and the harbour. Symmetrically elaborated volumes on an almost square ground plan of nine by eight bays and four or three (rear wing) with only a small part of basement storeys; complex interplay of saddleback roofs and two truncated tent roofs, open with several large and small dormer windows (ridge parallel to Scheldt, slates).
Brick cornices made lively with layers of plaster, water moldings, buttresses, pilasters, corner chains, decorative elements, door and window frames of white natural stone on a bluestone plinth and ditto embossed plates at the height of the ground floor. Natural stone and wooden cornices on differently elaborated consoles. Façade facing the Scheldt with an impressive entrance, preceded by a double landing staircase with wide landing, balustrades with anchor motif and postaments with shield-carrying lions of natural stone signed Alphonse Peeters, and wrought-iron lanterns that have since been removed, on the first floor with a facade plate with inscription S.P.Q.A. (Senatus Populusque Antverpiensis), on the dormer window of a gable stone with inscription 1894 and at the very top of a bronze Brabo statue by sculptor Jules Weyns from Merksem; a copy of this statue can be found at number 1 Cogels-Osylei in Berchem.
North-west corner with partly built-in octagonal observation tower of five sections with floral motifs on the parapets of the third storey, a pseudo-trans at the height of the fifth section and a three-part built, natural stone spire consisting of decreasing lanterns with orbits and openwork railings, encircling cornices on consoles, flying buttresses at the lower articulation and a small bell-shaped helmet." Previous text from the following website: inventaris.onroerenderfgoed.be/erfgoedobjecten/6232 Dutch translation to English courtesy of Google Translate.
I have been traveling to Leuven once a month for some 17 months now, and have not, until yesterday, visited the church of St Peter.
It stands in the centre of the town, opposite the ornate Town Hall, and around most of it is a wide pedestrianised area, so it doesn't feel hemmed in.
It is undergoing renovation, and a large plastic sheet separates the chancel from the rest of the church, and in the chancel, called the treasury, are many wonderful items of art. And maybe due to the €3 entrance fee, I had the chancel to myself, and just my colleagues with me when I photographed the rest.
----------------------------------------------
Saint Peter's Church (Dutch: Sint-Pieterskerk) of Leuven, Belgium, is situated on the city's Grote Markt (main market square), right across the ornate Town Hall. Built mainly in the 15th century in Brabantine Gothic style, the church has a cruciform floor plan and a low bell tower that has never been completed. It is 93 meters long.
The first church on the site, made of wood and presumably founded in 986, burned down in 1176.[1] It was replaced by a Romanesque church, made of stone, featuring a West End flanked by two round towers like at Our Lady's Basilica in Maastricht. Of the Romanesque building only part of the crypt remains, underneath the chancel of the actual church.
Construction of the present Gothic edifice, significantly larger than its predecessor, was begun approximately in 1425, and was continued for more than half a century in a remarkably uniform style, replacing the older church progressively from east (chancel) to west. Its construction period overlapped with that of the Town Hall across the Markt, and in the earlier decades of construction shared the same succession of architects as its civic neighbor: Sulpitius van Vorst to start with, followed by Jan II Keldermans and later on Matheus de Layens. In 1497 the building was practically complete,[1] although modifications, especially at the West End, continued.
In 1458, a fire struck the old Romanesque towers that still flanked the West End of the uncompleted building. The first arrangements for a new tower complex followed quickly, but were never realized. Then, in 1505, Joost Matsys (brother of painter Quentin Matsys) forged an ambitious plan to erect three colossal towers of freestone surmounted by openwork spires, which would have had a grand effect, as the central spire would rise up to about 170 m,[2] making it the world's tallest structure at the time. Insufficient ground stability and funds proved this plan impracticable, as the central tower reached less than a third of its intended height before the project was abandoned in 1541. After the height was further reduced by partial collapses from 1570 to 1604, the main tower now rises barely above the church roof; at its sides are mere stubs. The architect had, however, made a maquette of the original design, which is preserved in the southern transept.
Despite their incomplete status, the towers are mentioned on the UNESCO World Heritage List, as part of the Belfries of Belgium and France.
The church suffered severe damage in both World Wars. In 1914 a fire caused the collapse of the roof and in 1944 a bomb destroyed part of the northern side.
The reconstructed roof is surmounted at the crossing by a flèche, which, unlike the 18th-century cupola that preceded it, blends stylistically with the rest of the church.
A very late (1998) addition is the jacquemart, or golden automaton, which periodically rings a bell near the clock on the gable of the southern transept, above the main southern entrance door.
Despite the devastation during the World Wars, the church remains rich in works of art. The chancel and ambulatory were turned into a museum in 1998, where visitors can view a collection of sculptures, paintings and metalwork.
The church has two paintings by the Flemish Primitive Dirk Bouts on display, the Last Supper (1464-1468) and the Martyrdom of St Erasmus (1465). The street leading towards the West End of the church is named after the artist. The Nazis seized The Last Supper in 1942.[3] Panels from the painting had been sold legitimately to German museums in the 1800s, and Germany was forced to return all the panels as part of the required reparations of the Versailles Treaty after World War I.[3]
An elaborate stone tabernacle (1450), in the form of a hexagonal tower, soars amidst a bunch of crocketed pinnacles to a height of 12.5 meters. A creation of the architect de Layens (1450), it is an example of what is called in Dutch a sacramentstoren, or in German a Sakramentshaus, on which artists lavished more pains than on almost any other artwork.
In side chapels are the tombs of Duke Henry I of Brabant (d. 1235), his wife Matilda (d. 1211) and their daughter Marie (d. 1260). Godfrey II of Leuven is also buried in the church.
A large and elaborate oak pulpit, which is transferred from the abbey church of Ninove, is carved with a life-size representation of Norbert of Xanten falling from a horse.
One of the oldest objects in the art collection is a 12th-century wooden head, being the only remainder of a crucifix burnt in World War I.
There is also Nicolaas de Bruyne's 1442 sculpture of the Madonna and Child enthroned on the seat of wisdom (Sedes Sapientiae). The theme is still used today as the emblem of Katholieke Universiteit Leuven.
Brass astrolabe. German, 17th Century AD. Zwinger, Mathematisch-Physikalischer Salon. Dresden, Germany. Copyright 2019, James A. Glazier.
The area in Wolverhampton where the town was founded by Lady Wulfrun in Anglo-Saxon times.
St Peter's Collegiate Church, Wolverhampton stands in the middle.
St Peter's Gardens - it is like a memorial garden, entered via Lichfield Street.
The church is Grade I listed.
Church of St Peter, Wolverhampton
WOLVERHAMPTON
SO9198NW LICH GATES
895-1/11/248 (East side)
16/07/49 Church of St Peter
GV I
Church. Late C13 crossing and south transept; late C15 nave,
tower and north transept; chancel and restoration, 1852-65, by
E.Christian. Ashlar with lead roofs. Cruciform plan: 4-bay
apsed chancel, crossing tower and 6-bay aisled nave, 2-storey
south porch and 2-storey vestry to north. 4-bay chancel and
7-bay apse, in Decorated style, articulated by offset
buttresses with crocketed gables and gargoyles to cornice
below openwork parapet, has 2-light windows to apse and
3-light windows with flowing tracery to chancel. 3-stage tower
has north-east stair turret, panels with quinquefoil heads and
quatrefoil friezes and embattled parapet with crocketed
pinnacles; 2-light windows to 2nd stage, paired 2-light bell
openings to top stage. North transept has offset buttresses,
embattled parapet and C17 round-headed windows to north and
east with large central mullion. South transept has angle
buttresses and embattled parapet, 5-light east window, and
3-light south window with 3 two-light square-headed transomed
clerestory windows above and 2 to west, all with Perpendicular
tracery. North aisle has 3-light windows with segmental-
pointed heads and Perpendicular tracery between buttresses,
embattled parapet. South aisle similar, with 4-light windows.
Vestry has embattled parapet and varied square-headed windows
of one, 2 or 3 lights. 2-storey porch has angle buttresses and
panelled embattled parapet with pinnacles, entrance with
moulded arch, sundial above, 2-light square-headed window to
1st floor. West facade has entrance of 2 orders under
crocketed ogee hood, enriched cornice and 4-light Decorated
window also under crocketed ogee hood; panelled buttresses and
gabled aisles, 3-light window to north and 4-light window to
south. Clerestory has paired Perpendicular 2-light
square-headed transomed windows and panelled embattled
parapet.
INTERIOR: vaulted ceiling to apse with angel and square
foliate capitals to shafts and angels to cornice; hammer-beam
roof to chancel has angel corbels with angels to brattished
cornice; crossing has C17 beams to late C19 painted ceiling;
transepts have late C15 moulded tie-beam roofs; 5-bay
Perpendicular nave arcades on octagonal piers, and C15 nave
roof with carved spandrels to moulded tie beams, panelled
ceiling with bosses. Fittings: chancel stalls have traceried
fronts and angel finials; crossing has C19 timber screen to
north, similar to C15 screen to south with open tracery and
C15 shafts supporting brattished cornice; north transept has
C19 Decorated style screen; screen to south transept has C15
shafts and blind tracery panels below open-work upper panels,
C19 brattished cornice; nave has C15 panelled stone pulpit on
shaft with stair winding round pier and parapet with crouching
lion to foot; late C17 west gallery, much altered; late C19
two-stage internal timber porch in Decorated style with
openwork tracery and figures under crocketed canopies. Some
C15 stalls from Lilleshall Abbey. Memorials: north transept:
chest tomb to Thomas Lane d.1582, carved balusters and figures
and armorial bearings to sides, 2 finely carved recumbent
effigies; wall monument to John Lane d.1667, a distinguished
soldier instrumental in the rescue of Charles II, is in marble
and alabaster and has inscribed panel in Ionic aedicule with
garlanded scrolls and heraldic cartouche in swan-necked
pediment flanked by cannon, and projecting base has finely
carved trophy of arms with crown in oak tree to left; south
transept has bronze figure and cherubs from monument to
Admiral Leveson, c1635, by Le Seur, and chest tomb to John
Leveson d.1575 and wife, with spiral corner balusters, figures
and armorial shields to sides, finely carved recumbent
effigies; north aisle has wall tablet to Henry Bracegirdle
d.1702, inscribed panel in Doric aedicule, painted board to
William Walker d.1634 and other C19/early C20 wall tablets
including George Thorneycroft d.1851 and South African war
memorial. Stained glass by C.E.Kempe to south aisle and good
east window to south transept.
(The Buildings of England: N.Pevsner: Staffordshire: London:
1974-: 314-5).
Listing NGR: SO9141698792
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
On Gorsedd Gardens Road in Cardiff. Heading towards the National Museum Cardiff.
City Hall is a civic building in Cathays Park, Cardiff, Wales, not to be confused with the modern County Hall recently built down in Cardiff Bay. Built of Portland stone, it became the fifth building to serve as Cardiff's centre of local government when it opened in October 1906. The competition to design a town hall and adjacent law courts for Cardiff was won in 1897 by the firm of Lanchester, Stewart and Rickards. Construction was carried out by local builders, E. Turner and Sons. Cardiff received its city charter while construction was underway, in 1905. The building is an important early example of the Edwardian Baroque style.
Grade I listed building.
Location
Between King Edward VII Avenue and Museum Avenue, facing Gorsedd Gardens between Law Courts (L) and National Museum of Wales (R).
History
Cathays Park was purchased in 1898 by the Borough of Cardiff from The Third Marquess of Bute at a cost of 160,000 and developed as a civic centre to a layout by William Harpur. Cathays Park was developed over three-quarters of a century to become the finest in Britain reflecting Cardiff's status as city and eventually taking on a national importance as civic centre of the capital of Wales. A competition for Town Hall (Cardiff became a city only at opening ceremony of this building in1905) and Law Courts took place in in 1897; City Hall was built between 1901 and 1904 to design of Lanchester, Stewart and Rickards; details of design by E A Rickards. The building's Portland stone facing, and monumental Classical style set the pattern for other buildings in Cathays Park, particularly the contemporary Law Courts by the same architects, and the National Museum (By Smith and Brewer) which echoes its dome and general composition. The building reflects Cardiff's claims to be a city of international importance by its use of the grand European Baroque style which was also used in London to promote that city's staus as capital of an empire. The decoration of the building makes reference to Cardiff's economic power through trade with the world (maritime groups etc), and its relatively new position as leading city Wales (Welsh Unity and Patriotism etc). The interior contains an important series of Statues of Welsh Heroes (1912-1917) financed by D A Thomas (Lord Rhonnda).
City Hall forms an essential part of Cardiff's civic centre, the finest in Britain.
Interior
Sumptuous interior with sequence of brilliantly managed public and civic spaces.
Porte-cochere leads to polygonal lobby with stairs up to inner lobby. Deep rectangular entrance hall faced in Bath stone has staircase to each side (rich bronze balustrade) which rises to mezzanine landing then longer flight of steps to expansive first floor hall with polychrome marble paving; paired Doric columns with bronze capitals and bases and yellow veined marble shafts; landing side lit by tall round arched windows with stained glass; broad plaster band to ceiling with plaster foliage relief. Yellow marble architraves to doors; above doorways to ends, plaster shells and merfolk by Henry Poole. Group of life-size statues of Welsh Heroes by leading sculptors; statues on yellow-and-white marble pedestals. (On lower landings, bronze reliefs to Sir E J Reed, and Captain R F Scott). To S, Council Chamber in a style following Italian High Renaissance models. Coffered shallow dome, four broad piers (set diagonally) support spandrels pierced by round windows with plaster palm-fronds, and ventilation grilles. Arches between piers to E and W with flanking Ionic marble columns (swagged bronze capitals) supporting entablature.
Stained glass in grand S window is personification of Villa Cardiff by A Garth Jones (1905). Fine C17-style wall panelling in oak with lighter inlay of Cardiff arms; original circular banks of wooden seating (partly built into panelling) have barley-sugar posts and broad arms; to E, mayoral seat forms screen to lobby with similar panelling, to W, arch to similar lobby, visitors gallery over.
Exceptionally elaborate bronze electrolier by Rickards has Prince of Wales feathers and mirrors; smaller wall brackets in bronze also survive.
To N of landing, members' rooms flank entrances to Grand Assembly Hall with tunnel vaulted ceiling with transverse and longitudinal banding with elaborate plaster reliefs (by G P Bankart). Room lit by thermal windows at clerestorey level which break into vault and have cartouche decoration above. Ionic marble columns support entablature and diagonal scrolls by windows. Panelled walls and doors. At one end, recessed stage with flanking pairs of marble columns.
Three exceptionally elaborate bronze electroliers as in council chamber.
At front corners of building the Lord Mayor's parlour and Member's Room are said to have arched recesses and circular clerestorey windows. Corridors with committee rooms and offices have simple classicising doorcases and panelled doors. On ground floor, the large Benefits Office has Doric Columns painted as yellow veined marble, wooden panelling, classicising doors. Secondary entrance in King Edward VII Avenue has mosaic floors, 2 lobbies, arches to secondary stair with iron balustrade.
Exterior
Quadrangular city hall building in Baroque style and faced with Portland Stone; two- and three-storeys on deeply banded basement, broad areas of banding at angles; small-pane steel glazing. Tower to W, and smaller tower to rear. South-east elevation with central projecting wing of 5 bays surmounted by octagonal drum (maritime sculptures by H Poole) with round windows, and semi-circular dome to council chamber with snarling Welsh Dragon finial (by H C Fehr) on lantern; 1 storey porte cochre with trophies and lion masks projects from centre bay of wing; first floor window above is round-headed and projects into entablature; flanked by 2 blank openings decorated to either side with trophies. Saucer dome to porte cochere, entrances with heavy iron-grille gates with relief decoration. Projecting to west and east from centre portion, a lateral wing of 2 storeys, 6 bays with fenestration consisting of rectangular windows above, with aprons and with panelling between windows and round-headed windows in concave surrounds below. At each end projecting splayed bay of 2 storeys with similar fenestration to intermediate wings but surmounted by attic storey with sculptured group before it, western group by Paul Montford representing Poetry and Music and eastern group by Henry Poole, Unity and Patriotism.
Western elevation with wide projecting windowless bay at each end, with rusticated quoins and attic storey with oval lunette. Intermediate wings of 9 bay width with similar fenestration to intermediate wings of south-east front, but outer sections have square-headed windows to ground floor. In centre of west front, splayed 3-sided bay through 2 storeys and attic; rectangular doorway with window over in centre ground floor facet; first floor windows rectangular headed, centre facet window with trophies and with surmounted parapet rising over curved headed attic window. Above this rises a clock tower (circa 61m high) lower part quite plain, upper part ornate and Baroque and surmounted by a Cupola (carving by H C Fehr); below this, stage with open windows and volutes, then stage with putti and cartouches above clock stage with openwork clock faces, composite columns flanking openings with balcony grilles, Michelangelesque seated figures (The Four Winds) to corners. North elevation of 3 storeys, central canted bay, square windows to upper floor, rectangular windows beneath below which are camber-headed windows with voussoirs, entrance to central yard R; yard elevations in yellow brick, (modern glazed infill in yard to E). East elevation has central slightly advanced 5-window block with splayed central bay with sculptural group above; 7 windows to each side.
Reason for Listing
Graded I as amongst the finest examples of Edwardian civic architecture in Britain with ambitious exterior and extremely interesting interiors, all virtually unaltered.
The interior is remarkable not only for its sumptuous decoration but for the survival of fittings including lighting, panelling, integral seating to council chamber etc.
Part of a group of exceptionally fine public buildings in Cathays Park which form what is certainly the finest civic centre in Britain. In addition to its architectural interest, the building and its setting express Cardiff's claims to be a city of international importance at the peak of its economic power.
References
J Newman, Glamorgan (Buildings of Wales Series), 1995, pp220-225.
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Notes:
Between King Edward VII Avenue and Museum Avenue, facing Gorsedd Gardens between Law Courts (L) and National Museum of Wales (R).
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
clock tower
At Sudeley Castle & Gardens on the Early May Bank Holiday.
It is near Winchcombe in Gloucestershire.
The castle was home to Queen Katherine Parr, 6th and final wife of King Henry VIII. She lived here after his death with her final husband Thomas Seymour (uncle of King Edward VI).
Pheasantry
Pond / pool with fish seen swimming under the water. Saw a little duck swimming above!
View of the Church of St Mary and the Castle.
The church is Grade I listed.
Sudeley Castle, Church of St Mary, Sudeley
SUDELEY -
SP 0227-0327
14/144 Sudeley Castle, Church of
St Mary
4.7.60
GV I
Parish Church. Circa 1460 for Ralph Boteler, late C15 or early C16
north aisle, restored 1859-'63 by Sir G.G. Scott for J.C. Dent.
Well coursed, squared stone, lead roof. Five-bay nave and chancel
structurally in one, 3-bay north aisle, western bell turret. West
end, double plinth, angled buttresses, boarded central doorway, 4-
centred arch, crocketed hoodmould; string course. Three-light
Perpendicular window, crocketed hoodmould, with each side a statue
in ogee-headed niche with tall finial. Above, string course,
crenellated parapet each side of square bell turret, slightly
corbelled at front on west side; 2-light louvred window, string
course, corner gargoyles, crenellated parapet with corner finials,
iron weathervane. South face, angled buttresses each end, plinth,
4 square-set buttresses, string course at sill level, changed to
dripmould for former low roof in fourth bay: bottom of buttress in
that bay forms jamb of door, blocked doorway and 4-light squint
under cambered arch to right below dripmould. Above, five 3-light
Perpendicular windows, hoodmoulds with carved-head stops, string
course, grotesques on buttresses; buttresses changing to diamond-
set above, rising into tall, crocketed finials; crenellated
parapet. East wall dripmould for roof to demolished vestry in
place of string course: blocked doorway on left. Above, 5-light
Perpendicular window, hoodmould and carved-head stops; string
course and crenellations follow line of low-pitch roof, short apex
finial. On right end of low aisle, plinth, 3-light mullion window,
angled corner buttress, string course and crenellated parapet over.
North wall: low aisle 3 bays, plinth, angled corner buttresses,
two 2-light mullioned windows with buttress and wide projection
between: crenellated parapet, finials missing. Boarded door on
right return, moulded arris, 4-centred arch, hoodmould, with finial
above string course. To right plinth, string course and buttress
on south side, inserted boarded door in last bay, sunk spandrels,
moulded surround. Windows and parapet above string course as south
side.
Interior: ashlar walls, marble floor, stone piers to carry turret,
nave and chancel in one. Chancel screen 4 bays each side central
opening, cusped ogee heads, heavily carved. Three sedilia on south
side, nodding ogee heads, high crocketed finials over; similar
piscina. Carved marble reredos with part marquetry finish. Two
arches north side of chancel to aisle, door to nave. Moulded beams
to roof. Openwork octagonal wooden pulpit, Decorated tracery, 2
brass candle holders, since electrified. Octagonal marble font,
carved sides to bowl, clustered pillar stem. Choir stalls returned
against screen, carved misericords, brass-book rest to front seats.
Memorial in chancel to Katherine Parr, effigy by J.B. Philip on
marble chest tomb, quatrefoils to sides, under foiled, 4-centred
arch, crocketed above, swept up to poppyhead finial: marble
pillars either side with statues under niche heads, finials over.
Stained glass by Preedy. Building fell into decay C18. Exterior
essentially C15/C16; interior nearly all 1859ff by Sir G.G. Scott:
fine example of his work. Katherine Parr buried in church.
(S. Rudder, A New History of Gloucestershire, 1779; papers at
Sudeley Castle; D. Verey, Gloucestershire, The Cotswolds, 1970)
Listing NGR: SP0318127669
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
The castle is Grade I listed.
SUDELEY -
SP 0227-0327
14/143 Sudeley Castle
(formerly listed as part of Sudeley
4.7.60 Castle and remains of the Grange)
GV I
Former castle, now country house. Mid C15 for Ralph Boteler; late
C15 for Richard III; much altered c1572 for Lord Chandos, mid C19
for J. Dent by Sir G.G. Scott, later C19 for Mrs. E. Dent by J.D.
Wyatt, early C20 by M. Anderson, 1930's by W.H. Godfrey for Major
Dent-Brocklehurst. Coursed, squared stone and ashlar, stone slate
roofs, lead flats, probably Welsh slate roofs. Large, rectangular
outer courtyard, west wing extended as side of inner courtyard,
opposite side ruins of Great Presence Chamber: 2 and 3 storeys,
higher towers. North, exterior face: late C19 tower on left,
plinth, 3-light mullion and transom window to ground and first
floors, string courses as hoodmoulds, 2-light similar above,
moulded head on consoles, string course, crenellations, higher at
corners. To right, C16 work: 4-light mullion and transom, with
king mullion, 6-light similar above with 2 king mullions. Wall
sets forward slightly to right, double boarded doors to gate in 4-
centred arch, 2-light mullion each side; above 2 oriel windows,
each with 2-light mullion and transom windows, hipped roofs. Set
back on right, 2 and 4-light mullioned or mullion and transom
windows, above three 4-light mullion and transom, one 6-light.
Moulded string course and crenellations run through from corner
tower, hipped roof, 6 chimneys, moulded caps. Inner walls of outer
courtyard: north side, corner turrets at ends; plinth, boarded
door, moulded arris to opening, 4-centred head with plain
spandrels; 2-light mullion on left return of turret; to left wide
archway, 4-centred head, chamfer to arris, single-light window each
side. Beyond 4-light mullion window each side of half-glazed door
in opening as first door: corner turret with boarded door on right
return as first, 2-light mullioned window main face. Above, string
course as hoodmould; 2-light mullion window each face of corner
turrets; between three 4-light mullion and transom windows, king
mullion, moulded string course, crenellated parapet. Right, east
wing; windows all 4-light mullion and transom, reserved chamfer,
king mullion, string course as hoodmould: doors boarded, moulded
surround, 4-centred arch, plain spandrel. Ground floor, plinth,
single window each end, 4 doors with 2 windows between each; first
floor 8 windows; crenellated parapet, 5 ashlar chimneys with
moulded caps. Great Presence Chamber at end of east range: east
and north walls only remain. From outside, octagonal stair turret
on right, lancets, string course and moulded head. To left,
plinth, 2 former mullion and transom windows, tracery gone,
relieving arch over, scrolls to flat hoodmould on left. Chimney
breast, 4-light mullion and transom window, cusped heads to lights,
flat head, hoodmould with scrolled ends. Above: 4-light mullioned
window, king mullion, 2 transoms, crenellations to sill; buttress
and high up each side 4-light window, as main but no transoms,
plain sill. Below left window open back to fireplace and flue.
Oriel window to left, 3-light mullioned window, 2 transoms. Inside
flying 4-centred arch to right ground-floor window, panelled vault
behind in wall thickness. Above, floor gone: fireplace with flat
stone lintel, moulded arris, blind tracery to reveals of tall
windows, moulded sill to shorter, start of fan vaulting over
oriel. On left return 9-light mullioned window high up, 4 king
mullions, moulded sill, end lights blind, 3-centred arch.
Interior north and east range: ground floor on east; Library,
bolection-moulded panelling, wide c1572 stone fireplace reset from
elsewhere in building, fluted columns each side, carved heads on
cornice, egg-and-dart frieze; carved panels over doors, stained
glass to upper parts of windows. Adjoining panelled room, Ionic
pilasters above dado, moulded cornice, stone fireplace surround.
Main stairs; open well, moulded string and rail, spiral balusters,
square newels with knob finials, dado panelling, 1580 stained glass
in windows. First floor, Katherine Parr room to south, largely
1847ff decoration, stone door surrounds, 4-centred arches, ornate
timber surrounds with crocketed frieze, linen-fold panelling,
ornate fireplace surround and overmantel with nodding ogee head:
carved wooden cornice, moulded plaster ceiling with pendants,
stained glass to windows, some C17. North drawing room 12-panelled
doors, ornate carved surround to fireplace: some C17 glass to
north stair windows, otherwise C19 painted. Room over gateway:
wide stone fireplace with 1930's strapwork frieze, 12 panel doors,
moulded plaster ceiling. Billiard room beyond, small-panelled
panelling, dado, strapwork Corinthian pilasters, carved frieze,
strapwork doors, ornate surround and overmantel to fireplace,
moulded plaster ceiling, stained glass to upper part windows. Last
home of Katherine Parr, Henry VIII's widow; castle slighted 1649,
purchased by Dents in 1837 and restored by them.
(S. Rudder, A New History of Gloucestershire, 1779; papers at
Sudeley Castle; Country Life, 1940; P.A. Faulkner, Archaeological
Journal, 1965; D. Verey, Gloucestershire, The Cotswolds, 1970)
Listing NGR: SP0310027668
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
At Sudeley Castle & Gardens on the Early May Bank Holiday.
It is near Winchcombe in Gloucestershire.
The castle was home to Queen Katherine Parr, 6th and final wife of King Henry VIII. She lived here after his death with her final husband Thomas Seymour (uncle of King Edward VI).
The Wildflower Walk.
View of the Church of St Mary and the Castle from the Wildflower Walk.
The castle is Grade I listed.
SUDELEY -
SP 0227-0327
14/143 Sudeley Castle
(formerly listed as part of Sudeley
4.7.60 Castle and remains of the Grange)
GV I
Former castle, now country house. Mid C15 for Ralph Boteler; late
C15 for Richard III; much altered c1572 for Lord Chandos, mid C19
for J. Dent by Sir G.G. Scott, later C19 for Mrs. E. Dent by J.D.
Wyatt, early C20 by M. Anderson, 1930's by W.H. Godfrey for Major
Dent-Brocklehurst. Coursed, squared stone and ashlar, stone slate
roofs, lead flats, probably Welsh slate roofs. Large, rectangular
outer courtyard, west wing extended as side of inner courtyard,
opposite side ruins of Great Presence Chamber: 2 and 3 storeys,
higher towers. North, exterior face: late C19 tower on left,
plinth, 3-light mullion and transom window to ground and first
floors, string courses as hoodmoulds, 2-light similar above,
moulded head on consoles, string course, crenellations, higher at
corners. To right, C16 work: 4-light mullion and transom, with
king mullion, 6-light similar above with 2 king mullions. Wall
sets forward slightly to right, double boarded doors to gate in 4-
centred arch, 2-light mullion each side; above 2 oriel windows,
each with 2-light mullion and transom windows, hipped roofs. Set
back on right, 2 and 4-light mullioned or mullion and transom
windows, above three 4-light mullion and transom, one 6-light.
Moulded string course and crenellations run through from corner
tower, hipped roof, 6 chimneys, moulded caps. Inner walls of outer
courtyard: north side, corner turrets at ends; plinth, boarded
door, moulded arris to opening, 4-centred head with plain
spandrels; 2-light mullion on left return of turret; to left wide
archway, 4-centred head, chamfer to arris, single-light window each
side. Beyond 4-light mullion window each side of half-glazed door
in opening as first door: corner turret with boarded door on right
return as first, 2-light mullioned window main face. Above, string
course as hoodmould; 2-light mullion window each face of corner
turrets; between three 4-light mullion and transom windows, king
mullion, moulded string course, crenellated parapet. Right, east
wing; windows all 4-light mullion and transom, reserved chamfer,
king mullion, string course as hoodmould: doors boarded, moulded
surround, 4-centred arch, plain spandrel. Ground floor, plinth,
single window each end, 4 doors with 2 windows between each; first
floor 8 windows; crenellated parapet, 5 ashlar chimneys with
moulded caps. Great Presence Chamber at end of east range: east
and north walls only remain. From outside, octagonal stair turret
on right, lancets, string course and moulded head. To left,
plinth, 2 former mullion and transom windows, tracery gone,
relieving arch over, scrolls to flat hoodmould on left. Chimney
breast, 4-light mullion and transom window, cusped heads to lights,
flat head, hoodmould with scrolled ends. Above: 4-light mullioned
window, king mullion, 2 transoms, crenellations to sill; buttress
and high up each side 4-light window, as main but no transoms,
plain sill. Below left window open back to fireplace and flue.
Oriel window to left, 3-light mullioned window, 2 transoms. Inside
flying 4-centred arch to right ground-floor window, panelled vault
behind in wall thickness. Above, floor gone: fireplace with flat
stone lintel, moulded arris, blind tracery to reveals of tall
windows, moulded sill to shorter, start of fan vaulting over
oriel. On left return 9-light mullioned window high up, 4 king
mullions, moulded sill, end lights blind, 3-centred arch.
Interior north and east range: ground floor on east; Library,
bolection-moulded panelling, wide c1572 stone fireplace reset from
elsewhere in building, fluted columns each side, carved heads on
cornice, egg-and-dart frieze; carved panels over doors, stained
glass to upper parts of windows. Adjoining panelled room, Ionic
pilasters above dado, moulded cornice, stone fireplace surround.
Main stairs; open well, moulded string and rail, spiral balusters,
square newels with knob finials, dado panelling, 1580 stained glass
in windows. First floor, Katherine Parr room to south, largely
1847ff decoration, stone door surrounds, 4-centred arches, ornate
timber surrounds with crocketed frieze, linen-fold panelling,
ornate fireplace surround and overmantel with nodding ogee head:
carved wooden cornice, moulded plaster ceiling with pendants,
stained glass to windows, some C17. North drawing room 12-panelled
doors, ornate carved surround to fireplace: some C17 glass to
north stair windows, otherwise C19 painted. Room over gateway:
wide stone fireplace with 1930's strapwork frieze, 12 panel doors,
moulded plaster ceiling. Billiard room beyond, small-panelled
panelling, dado, strapwork Corinthian pilasters, carved frieze,
strapwork doors, ornate surround and overmantel to fireplace,
moulded plaster ceiling, stained glass to upper part windows. Last
home of Katherine Parr, Henry VIII's widow; castle slighted 1649,
purchased by Dents in 1837 and restored by them.
(S. Rudder, A New History of Gloucestershire, 1779; papers at
Sudeley Castle; Country Life, 1940; P.A. Faulkner, Archaeological
Journal, 1965; D. Verey, Gloucestershire, The Cotswolds, 1970)
Listing NGR: SP0310027668
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
Church of St Mary to the right.
The church is Grade I listed.
Sudeley Castle, Church of St Mary, Sudeley
SUDELEY -
SP 0227-0327
14/144 Sudeley Castle, Church of
St Mary
4.7.60
GV I
Parish Church. Circa 1460 for Ralph Boteler, late C15 or early C16
north aisle, restored 1859-'63 by Sir G.G. Scott for J.C. Dent.
Well coursed, squared stone, lead roof. Five-bay nave and chancel
structurally in one, 3-bay north aisle, western bell turret. West
end, double plinth, angled buttresses, boarded central doorway, 4-
centred arch, crocketed hoodmould; string course. Three-light
Perpendicular window, crocketed hoodmould, with each side a statue
in ogee-headed niche with tall finial. Above, string course,
crenellated parapet each side of square bell turret, slightly
corbelled at front on west side; 2-light louvred window, string
course, corner gargoyles, crenellated parapet with corner finials,
iron weathervane. South face, angled buttresses each end, plinth,
4 square-set buttresses, string course at sill level, changed to
dripmould for former low roof in fourth bay: bottom of buttress in
that bay forms jamb of door, blocked doorway and 4-light squint
under cambered arch to right below dripmould. Above, five 3-light
Perpendicular windows, hoodmoulds with carved-head stops, string
course, grotesques on buttresses; buttresses changing to diamond-
set above, rising into tall, crocketed finials; crenellated
parapet. East wall dripmould for roof to demolished vestry in
place of string course: blocked doorway on left. Above, 5-light
Perpendicular window, hoodmould and carved-head stops; string
course and crenellations follow line of low-pitch roof, short apex
finial. On right end of low aisle, plinth, 3-light mullion window,
angled corner buttress, string course and crenellated parapet over.
North wall: low aisle 3 bays, plinth, angled corner buttresses,
two 2-light mullioned windows with buttress and wide projection
between: crenellated parapet, finials missing. Boarded door on
right return, moulded arris, 4-centred arch, hoodmould, with finial
above string course. To right plinth, string course and buttress
on south side, inserted boarded door in last bay, sunk spandrels,
moulded surround. Windows and parapet above string course as south
side.
Interior: ashlar walls, marble floor, stone piers to carry turret,
nave and chancel in one. Chancel screen 4 bays each side central
opening, cusped ogee heads, heavily carved. Three sedilia on south
side, nodding ogee heads, high crocketed finials over; similar
piscina. Carved marble reredos with part marquetry finish. Two
arches north side of chancel to aisle, door to nave. Moulded beams
to roof. Openwork octagonal wooden pulpit, Decorated tracery, 2
brass candle holders, since electrified. Octagonal marble font,
carved sides to bowl, clustered pillar stem. Choir stalls returned
against screen, carved misericords, brass-book rest to front seats.
Memorial in chancel to Katherine Parr, effigy by J.B. Philip on
marble chest tomb, quatrefoils to sides, under foiled, 4-centred
arch, crocketed above, swept up to poppyhead finial: marble
pillars either side with statues under niche heads, finials over.
Stained glass by Preedy. Building fell into decay C18. Exterior
essentially C15/C16; interior nearly all 1859ff by Sir G.G. Scott:
fine example of his work. Katherine Parr buried in church.
(S. Rudder, A New History of Gloucestershire, 1779; papers at
Sudeley Castle; D. Verey, Gloucestershire, The Cotswolds, 1970)
Listing NGR: SP0318127669
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
Kairo (Corridor), which has been designated a National Treasure. The exterior wall of the building extending to the left and right of Yomeimon Gate is decorated with flower and bird carvings that are considered among the best in Japan. All the carvings are single-panel openwork painted in vivid colors.
#nikko #japan #autumn #tochigiprefecture #fall #visitjapan #japanesemaple #toshogushrine #unescoworldheritagesite
Opening of The Albert Bridge
The handsome new bridge which spans the river Torrens near the site of the old Frome, Bridge, and has been named after the late Prince Albert, was formally opened at noon on Wednesday May 7, by the Mayoress (Mrs Buik), in the presence of a large assemblage of leading citizens.
The bridge is an iron erection with the exception of the abutments, which are of stone, the lower part from the ground line to the plinth course being from Mr Bundey's quarry at Teatree Gully, while the piers, panels, and coping composing the superstructure are of Sydney freestone. The bridge has a total length of 120 feet between the abutments, and is composed of three spans—that in the centre being 60 feet, and those at the ends 30 feet each. The total width is 42 feet between the handrails, divided into a carriageway of 30 feet and two footpaths of six feet. The bridge has the appearance of an arched structure, but in reality it consists of continuous girders throughout, of which those over the central opening balance the side spans, which act as cantilevers. By this arrangement no weight is thrown upon the abutments, as would have been the case had an ordinary form of construction been adopted.
The piers in the river, which bear the whole weight of the bridge, are each formed of three cast-iron cylinders, the outer being 4½ feet diameter decreasing to 3 feet, and the inner 6 feet diameter decreasing to 4½ feet. These are provided at the bottom with a cutting edge, and are carried down to a depth of from 12 to 15 feet below the bed of the river, passing through a strong gravel and resting upon the_ gravel or upon an indurated clay which underlies it. The first cylinder was sunk dry, pumps having been used to keep down the water which flowed in from the gravel through which the cylinder passed. The power required to keep down the water was, however, so great that the contractors determined to sink the cylinders by means of a diver working under water, and the remaining cylinders have been sunk by this method. The diver excavated the gravel round the edge of the cylinders, which were heavily weighted by being loaded at the top with large blocks of cast iron and the bracing links from the old City Bridge, and as the gravel was removed by the diver the cylinder sunk by its own weight. When the cylinders had been sunk to the required depth they were filled up with concrete, and upon this bed stones were laid after the cylinders had been raised to the height of the under side of the girders. The cylinders are provided with ornamental bases and caps.
The height of the girders at the springing of the piers is 7¼ feet, and at the abutments 6½ feet, the radius of the curve of the under side of the girders for the side and centre spans being 28 feet and 106½ feet respectively. The girders are of wrought iron, and have a web 3/8 inch thick throughout, the flange-plates being of the same thickness. These are two feet wide and increase in number from a single plate at the ends to three at the piers. There are three girders, which are spaced 15 feet apart, and are securely braced together over the piers: these run the whole length of the bridge, and upon them cross girders are fixed 1¼ feet deep and 6 feet apart: the latter project 6½ feet beyond the girders and form cantilevers for carrying the footpath and parapet.
The roadway is carried by 3-inch jarrah planking resting upon joists of the same material, and which are borne by the cross girders. The footway is covered with timber planking two inches thick. The ends of the cross girders support a moulded cornice with corbels, to which are attached the brackets which secure the handrail and the openwork panels under it. Over the caps of the river piers half-columns with fluted sides are carried up, covering the junctions of the springing of the curves of the girders, and giving the spectator just the idea of the extra strength required at these points to support pilasters of iron, which relieve the monotony of the handrail and are ornamented with panels on each side, the one facing the roadway being filled in with the arms of the Corporation of Adelaide. A lamp of graceful design upon each of these pilasters completes the bridge, which is a handsome one, though of massive proportions and, perhaps, a trifle heavy in appearance. The panels and lamps are, however, not yet erected as in consequence of the large amount of minute work upon them they were not ready for shipment with the rest of the ironwork. They are expected to arrive in a few days.
The bridge has been erected under the superintendence of Mr Langdon, the City Surveyor, by the contractors, Messrs Davies & Wishart, the contract price being £7,550. There have been some extras, however, which have brought the actual cost of the bridge up to £9,000. The design was chosen by the City Council in an open competition, the successful competitor being Mr John H Grainger, who is to be complimented upon the handsome bridge which is now completed.
The opening ceremony was a very simple affair. The bridge was gaily decorated with flags and banners, and a couple of arches of evergreen spanned the roadway. In the centre of the structure a temporary platform had been erected, and here the Mayor and Mayoress, members of the Government, and the City Corporation stood while the bridge was being formally named and declared open for traffic. The Mayor arrived in his carriage immediately after the time given had indicated the hour, and he was soon afterwards followed by a string of vehicles containing most of those who were anxious to see the ceremony. Among these were the Chief Secretary, Hon W Morgan, the Commissioner of Public Works (Hon G C Hawker), the Commissioner of Crown Lands (Hon T Playford), Messrs Townsend, Fowler, and Fraser MP's, Colonel Downes and Major Godwin, Mr R C Patterson, Assistant Engineer: the members of the Corporation: Mr Langdon, the City Surveyor: and several ex-members of the Corporation and other gentlemen interested in the erection of a third bridge between North and South Adelaide. The Mayor announced that his wife had been asked to formally open the bridge. Mrs Buik then stepped forward, and after breaking the bottle of wine in the orthodox fashion, formally named the structure "The Albert Bridge”, and declared it open for traffic.
The Mayor then came forward and said that he had been desired by his wife to say on her behalf that she felt highly honoured at being asked to perform the ceremony of opening this beautiful bridge. He believed it was universally admitted that though the bridge was smaller than the City Bridge it was better in many respects, at any rate it was much more beautiful. It was called the "Albert Bridge" after the illustrious husband of our beloved Queen.
The cost of the bridge was about £9,000 altogether, the contract price was £8,100, the extra cost being incurred principally through it having been found necessary to deepen the foundations. He felt sure the citizens would admit that the contractors had fairly and properly done their work, and that the bridge would be an ornament to the city as well as a great convenience to the eastern end of the town.
Ref: Evening Journal (Adelaide SA) 7 May 1879.
A visit to Coughton Court in Warwickshire, on the Spring Bank Holiday Weekend in late May 2018. A National Trust property, it was the home of the Throckmorton family.
Coughton Court is an English Tudor country house, situated on the main road between Studley and Alcester in Warwickshire. It is a Grade I listed building.
The house has a long crenelated façade directly facing the main road, at the centre of which is the Tudor Gatehouse, dating from 1530; this has hexagonal turrets and oriel windows in the English Renaissance style. The gatehouse is the oldest part of the house and is flanked by later wings, in the Strawberry Hill Gothic style, popularised by Horace Walpole.
The Coughton estate has been owned by the Throckmorton family since 1409. The estate was acquired through marriage to the De Spinney family. Coughton was rebuilt by Sir George Throckmorton, the first son of Sir Robert Throckmorton of Coughton Court by Catherine Marrow, daughter of William Marrow of London. The great gatehouse at Coughton was dedicated to King Henry VIII by Throckmorton, a favorite of the King. Throckmorton would become notorious due to his almost fatal involvement in the divorce between King Henry and his first wife Catherine of Aragon. Throckmorton favoured the queen and was against the Reformation. Throckmorton spent most of his life rebuilding Coughton. In 1549, when he was planning the windows in the great hall, he asked his son Nicholas to obtain from the heralds the correct tricking (colour abbreviations) of the arms of his ancestors' wives and his own cousin and niece by marriage Queen Catherine Parr. The costly recusancy (refusal to attend Anglican Church services) of Robert Throckmorton and his heirs restricted later rebuilding, so that much of the house still stands largely as he left it.
After Throckmorton's death in 1552, Coughton passed to his eldest son, Robert. Robert Throckmorton and his family were practicing Catholics therefore the house at one time contained a priest hole, a hiding place for priests during the period when Catholics were persecuted by law in England, from the beginning of the reign of Queen Elizabeth I. The Hall also holds a place in English history for its roles in both the Throckmorton Plot of 1583 to murder Queen Elizabeth I of England, and the Gunpowder Plot of 1605, although the Throckmorton family were themselves only indirectly implicated in the latter, when some of the Gunpowder conspirators rode directly there after its discovery.
The house has been in the ownership of the National Trust since 1946. The family, however, hold a 300-year lease and previously managed the property on behalf of the Trust. In 2007, however, the house reverted to management by the National Trust. The management of the property is renewed every 10 years. The family tenant until recently was Clare McLaren-Throckmorton, known professionally as Clare Tritton QC, until she died on 31 October 2017.
The house, which is open to the public all year round, is set in extensive grounds including a walled formal garden, a river and a lake.
The gatehouse at Coughton was built at the earliest in 1536, as it is built of stones which came from Bordesley Abbey and Evesham Abbey after the Dissolution of the Monasteries Act in 1536. As with other Tudor houses, it was built around a courtyard, with the gatehouse used for deliveries and coaches to travel through to the courtyard. The courtyard was closed on all four sides until 1651, when Parliamentary soldiers burnt the fourth (east) wing, along with many of the Throckmorton's family papers, during the English Civil War.
After the Roman Catholic Relief Act was passed in 1829, the Throckmorton family were able to afford large-scale building works, allowing them to remodel the west front.
Grade I Listed Building
Listing Text
COUGHTON
SP06SE
1/144 Coughton Court
10/02/56
GV I
Country house, Gatehouse late C15, and after 1518; early and late C16; late C17
additions; west front remodelled 1780; additions and remodelling of 1835(VCH).
Limestone ashlar gatehouse. Timber framed with lath and plaster infill; brick;
imitation stone render. Tile and lead roofs; brick stacks, U-plan, formerly
courtyard. 2 and 3 storeys; 13-window range. Entrance (west) front symmetrical.
3 storey central gatehouse range has moulded plinth and double string course.
Square ground floor with corner turrets. C19 Gothic panelled part-glazed
double-leaf doors in 4-centred moulded arch with square head, hood mould and
carved spandrels. Stone mullioned and transomed windows with arched lights
throughout. Upper floors of different coloured stone. 2-storey canted oriel with
flanking lights and glazed octagonal turrets; 2 transoms on first floor, one on
second. Shield of arms on each floor. Turrets continued up another floor'; left
turret unglazed. Remainder 2 storeys only. Single 5-light window with transom
and hood mould. Clasping buttresses with quatrefoil panels projecting above
roof. Crenellated parapets with string course throughout. Remainder of front of '
scored imitation ashlar with stucco hood moulds. Ground floor has leaded 2-light
casements, 3 slightly recessed bays have Gothick sashes and moulded surrounds on
first floor. Projecting end bays with clasping buttresses. First floor: leaded
cross windows. String course above first floor. Attic with quatrefoil panels,
some part glazed. String course and crenellated parapet. Right return side of
thin bricks. Two C17 shaped gables with stone coping. Left gable between 2
external brick stacks; right gable has ball finials. 5-window range, mostly C17
stone cross windows. Narrow gabled wing set back. High single-storey range with
early C20 window, and plaster eaves cove. East front of gatehouse has unglazed
turrets and inscription over entrance. Irregular ranges to courtyard. Timber
framed with brick ground floor. Corresponding small 4-centred door. Irregular
fenestration with moulded stone mullioned windows ground floor, wood mullions
and casements above; some with transoms. 2 storey south range has close studding
with middle rail. Left section breaks forward and has 4 framed gables with
brackets. Entrance in recessed bay below third gable has 4-centred moulded
doorway with square head, hood mould and carved spandrels. Paired 6-panelled
doors with Gothick overlight. Right section has 2 large gables, and another
behind and above in roof, with decorative panel framing. Elaborately carved
scrolled bargeboards with finials and openwork pendants. End wall has gable.
Ground floor has 2 stone cross windows with arched lights. Blocked arches above
and in centre. 2-storey and attic north range. Close studding. 3 large framed
gables and smaller end gable all with casements and brackets. Ground floor has
four 3-light mullioned and transomed windows. First floor projects on plaster
cove. Blank gabled end wall. Left return side: range of c.1690. Scored render
with quoins. 3 projecting bays with hipped roofs. 4-centred doorway. Slightly
projecting first floor. Irregular fenestration with wood mullioned and transomed
windows. Interior: Entrance Hall with plaster fan vault. Late C18 open well
cantilevered staircase with moulded soffit and simple handrail; Gothick
plasterwork cornice. Drawing Room has simple early Cl6 stone fireplace. Windows
with C16,C17 and C19 armorial glass. Gothick plasterwork cornice. 6-panelled
doors. Little Drawing Room has C18 style carved wooden fireplace. Newel
staircase to roof. Tower Room has moulded 4-centred fireplace with carved
spandrels and projecting top. Two 4-centred doorways. North east turret has 2
hiding places. Dining Room and Tribune have fine C16 panelling possibly with
later work, turned balusters, grotesques and medallions with heads. Fine marble
chimneypiece with paired Ionic and Corinthian columns, cartouche and coat of
arms, Saloon, formed 1910, has arcaded panelled screen c.1660 (VCH) to Tribune.
C16 double-flight staircase from Harvington hall with heavy turned balusters and
square newel posts with finials. Study has fine C17 panelling with pilasters.
Ground floor with broad-chamfered ceiling beams. North range has part of a fine
C16 panelled timber cieling with moulded ribs and carved bosses. Dog-leg
staircase with C17 turned balusters. The Throckmortons were Catholics, and were
deeply involved in the Throckmorton plot of 1583. In 1605 the wives of the
Gunpowder Plotters awaited news at Coughton. In 1688 the east wing was destroyed
by a Protestant mob, and was finally cleared away in 1780.
(V.C.H.: Warwickshire, Vol.III, pp.75-78; Buldings of England: Warwickshire,
pp.245-6; Coughton Court; The National Trust 1984).
Listing NGR: SP0831160624
This text is from the original listing, and may not necessarily reflect the current setting of the building.
First look at the Courtyard. There used to be an East Wing, but it was burnt down in 1688 and it was later demolished in the 1780s leaving one side exposed to the countryside.
The Courtyard - The South Wing to the left, The Gatehouse in he middle and The North Wing to the right.
St Mary's Church, (Church of St Mary) Church Rd, Yatton, Bristol BS49 4HH
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1137349
Date first listed: 11-Oct-1961
District: North Somerset (Unitary Authority)
Parish: Yatton
The Diocese of Bath and Wells
National Grid Reference: ST 43131 65416
Details
YATTON C.P. CHURCH ROAD (south side) ST 46 NW 5/147 Church of St. Mary G.V. I 11.10.61 Parish church. Late C13, nave, aisles and chancel remodelled C15 with later C15 south porch and chancel chapel; extensive restoration 1872 by G. Street (box pews and west gallery removed) and late C20 chapter house. Dundry stone, rubble with freestone dressings, nave, aisles, porch and chapel in coursed freestone, lead roofs. Nave, north and south aisles, south porch, north chapter house, crossing tower, north and south transept, chancel and north chancel chapel. Mostly Perpendicular style, some earlier work as in south window of south aisle. Nave has west elevation with large 6-light window with sub-arches, pointed arch, hood mould and angel stops, image niche above with seated figure, probably the Trinity, coped verge with fleurons and finial, window has moulded cill above pointed arched west door, surround of 3 hollow moulded orders, figure in niche in central order to each side, carved hood, finial and pinnacles to sides; 3-stage hexagonal turret left and right with string courses continued over heads of aisle windows, with lancets, cornice, pyramidal ribbed stone roofs, carved finial to north, missing to south, plinth. West elevation of each aisle has 4-light window, polygonal buttress to each side with similar top to stair turrets, pitched roofs with cornice and parapet with frieze of cusped triangles. North and south elevations of nave haves-bay clerestorey, all pointed arched 2-light windows with cusped lights and quatrefoil, hood mould and mask stops, turrets have small pointed arched door to aisle roof and upper door to nave roof behind similar parapet with crocketed pinnacles and gargoyles between bays. 5-bay north aisle has four 4-light windows with Y-tracery in upper sections, hood mould, weathered buttresses between with triangular shafts rising to crocketed pinnacles above similar parapet, large gargoyles, 3 fully remaining, 3 1/2 bays of parapet of C20 replacement; central bay has north door with pointed arch, fleurons on hollow-moulded surround, ogee hood with large finial and pinnacles, concealed by passage to C20 chapter house, door removed. South aisle as north, with fine carved demonic figure as gargoyle to west, scratch dial to west of porch; central bay has 2-storey south porch, highly decorated, 4-centred arched entrance, frieze of small leaves running up the jambs and along the arch, ogee gable with more foliage and naturalistic crockets, to left and right blank panelling sending up an ogee-curved crocketed feeler towards the gable, more panelling above; angel under parapet as on aisles, central image niche, lancets to west wall, clasping buttresses, scratch dial on south east buttress, gnomon missing, with figures 7, 8 and 9. Tower of 3 stages has diagonal weathered buttresses with crocketed pinnacles, south east hexagonal stair turret rising above parapet with panelled sides to top, open cusped parapet, tower has parapet with similar frieze, gargoyles, octagonal spire, truncated and ribbed with pinnacles above ribs, WH and IW in lead, weathercock of 1822, string courses; at 2nd stage all sides a single lancet and double lancet with Y-tracery under string course, 3rd stage has clock to east and 2-light cusped windows with pierced stone tracery. North transept has large north window of 5 lights, hood mould, stonework extended below window (tomb recesses inside) weathered angle buttresses, raised coped verges to gable with cross finial, parapet continued from aisle to west. South transept has 5-light south window with intersected tracery and 4 quatrefoiled circles above, hood mould with mask stops and relieving arch, buttresses to sides, upper east window of 3 cusped lights with flat head and hood mould, 4-centred arched door below. 3-bay chancel has 5-light east window with continuous hood mould, raised coped verges and cross finial, plinth, weathered angle buttresses and buttresses, one similar 2-light north window, 3 similar 2-light south windows, central one smaller with pointed arched priest's door below with moulded surround and hood mould. North chapel has pitched roof, 2 north windows, 4-centred arched, 3-light with fine upper tracery, hood moulds, similar parapet with gargoyles, north east octagonal angle turret with string course and cusped lancet, crocketed pinnacles, spire and finial; 4-light east window with pointed arch and continuous hood mould. Interior: nave has 10-bay wagon roof, demi-figures of angels on wall-plate, principals moulded and painted; to east, tall pointed C19 chancel arch, line of lower nave roof visible above and formerly external tower window (as on other sides); to west, window has 4-centred arched door with foliate hood and crocketed pinnacles to left and right at base (possibly access for former gallery); 5-bay pointed arched arcade to north and south, section of piers a Greek cross with concave quadrants in the diagonals, demi-shafts attached to the ends of the cross-arms, thin attached shafts set in the hollows, shafts have small capitals with bits of leaf, east responds have heads instead, north east capital with green man; demi-shafts on nave side rise to roof, through cill-course of clerestory, decorated with fleurons, and ending in little heads which carry the roof-principals. North and south aisles have 5-bay C19 ceiled roofs with moulded ribs and bosses, also wall-shafts with mask tops carrying depressed pointed trefoiled arches of wood with closely panelled tracery under wall-plate; nook-shafts to windows. North aisle has north door with pointed segmental head with fleurons, stone with quatrefoil piscina re-set in wall to right of door, north east window has remains of shaft and carved figure on cill, possibly from former rood support, pointed arch of 2 chamfered orders to north transept and stonework remaining at upper level, possibly remains of buttress to earlier nave. South aisle has west door to nave stair turret with 2 convex mouldings and pointed arch, south wall shaft curtailed above pointed arched door to parvise, moulded pointed arch to south transept. Porch has thin-ribbed lierne vault, carved bosses including a green man, paired shafts to corners, 4-centred arched door with fleuron frieze, image niche above. Tower rests on arches with 2-wave moulding, round shafts at corners supporting ribs of tierceron vault with C19 painted flowers. North transept has 3-bay wagon roof with moulded ridge purlin and one row of purlins, bosses, pointed arched chamfered west doorway, studded door with raised fillets, to former rood stair, squint to south east with cinquefoil head, north east image stand, pointed arch to chapel has hollow-moulded surround with cusped panels, slender shafts with leaf capitals and similar panelled soffit. South transept has similar roof, east door to tower, inner side of arch to tower has 2 broad wave and hollow mouldings, arch to aisle has 3 jamb shafts with leaf capitals. Chancel has 4-bay C19 wagon roof, brattished wall-plate, windows have moulded nook-shafts rising from lower cill, continuous hood mould and cill string on south wall, piscina to south, north wall has cill string and hood mould to window, 4-centred arched skew doorway to chapel, arch to chapel as between transept and chapel, outer shaft of arch continued through middle of squint, south priest's door has flat inner head. Chapel has framed ceiling in 9 panels of C19, stone angel corbels remaining from former roof, east window has tall elaborate image niche to left and right with clustered pinnacles to tops, pillar piscina to right, 4-centred arched north door to stair turret. Fittings: 2 carved oak figures of St. Peter and St. Paul in nave, in Baroque attitudes, made for the organ of Bath Abbey 1708; C19 stone octagonal font in south aisle; C18 panelled chest in north transept; 2 Jacobean sanctuary chairs in chancel. Mediaeval monuments in north transept (De Wyck Chapel) 2 effigies in recesses with broad cusped ogee gables, a knight and lady c.1325, possibly Sir Robert de Gyene and his wife Egelina de Wyck; alabaster monument to Sir Richard Newton, 1449 and his wife, 1475, good recumbent effigies on tomb chest with ogee niches filled by figures of angels carrying shields; in chapel, monument to Sir John Newton, 1488 and Isobel of Cheddar, 1498, recumbent effigies on tomb chest with quatrefoils in recess, broad buttresses and pinnacles left and right, low Tudor arch with openwork cusps, tracery in spandrels and crocketing, relief of the Annunciation on back wall, frieze of 10 niches for figures, half a figure left, upper fleuron frieze and cornice. In north transept, marble tablet to Edward Day, 1802; marble tablet to Henry Hawes, 1809, by Wood of Bristol; marble tablet to John Norman, 1837; marble tablet with pediment to Sarah Battiscombe, 1736; in south transept, marble tablet with draped urn, to John Cam, 1795; in north chapel, marble monument with broken pediment and shield, to Henry Grimsteed, 1714, by M. Sidnell of Bristol; marble monument with draped urn, to Hannah Markham, 1768; in chancel, marble monument to Thomas Wickham, 1829. (Sources: Pevsner, N. : Buildings of England : North Somerset and Bristol 1958. Peart, M.C. : History of Yatton Parish Church 1931. Keily, G. : Guide to the Parish Church of St. Mary The Virgin, Yatton 1982. Somerset Record Society, Proceedings, vol. IV, 1890, containing extracts from Yatton churchwardens' accounts, 1446-1602, full accounts in Somerset Record Office).
© Historic England 2020
en.wikipedia.org/wiki/St_John_the_Baptist_Church,_Cardiff
St John the Baptist Church is a Grade I listed parish church in Cardiff, Wales. Other than Cardiff Castle, it is the only medieval building in the city centre.
Black's Picturesque Guide through Wales (1851) described St John's as "an ancient and finely proportioned edifice, with a noble quadrangular tower, surmounted by pierced battlements and four open gothic pinnacles... It is justly admired, and forms a conspicuous feature in every view of the town." The same remains true today, with good views of the church from Church Street, Trinity Street and Working Street in the city centre.
John Newman, in his Glamorgan volume of the Pevsner Buildings of Wales series, describes the pinnacled west tower as a "magnificent marker". At a height of over 40 metres[3] the tower is in four stages, faced in grey limestone ashlar with details in buff coloured Dundry stone.
The church was built in 1180 as a chapel of ease for the larger St Mary's Church, itself founded by Benedictine monks from Tewkesbury Abbey. Originally constructed of blue Lias, a Jurassic stone with layers of fossilised shells, it was sourced from Aberthaw. The walls were then originally dressed with freestone - limestone sourced from Dundry.
St John's was sacked during a rebellion of Owain Glyndŵr in 1404. The church was rebuilt in the second half of the 15th century and given a perpendicular tower with a peal of ten bells. Today it still has a crown of openwork battlements, reminiscent of churches in the West Country of England, and is dated c. 1490 because of the similar Jasper Tower of Llandaff Cathedral which was built at this time.
After the foundations of St Mary's were destroyed by the Bristol Channel flood of 1607, the two churches were worked as a dual-location parish until all main services were moved to St John in 1620.
In 1843, the 2nd Marquess of Bute paid for the construction of the Church of St Mary and St Stephen in Bute Street as a permanent replacement for St Mary's. This allowed the reconstruction of St John, with extensions to the church made in 1886–1897 using carboniferous limestone quarried from Culverhouse Cross. The churchyard wall was also rebuilt, using original Lias mixed with red sandstone in the walls, topped with coping stones of Devonian sandstones from the Forest of Dean.
In 1851 the Cardiff firm of Messrs. Thomas & Norris were engaged for repewing of St John's with the work to be completed by Christmas that year.
St John's stained glass windows date from circa 1855, in the north chapel, with references to the Bute family. Those in the north inner aisle date to 1869, by Morris & Co, with a top row of apostles designed by William Morris himself.
The church was increased in width with outer aisles added to St John's in 1889 and 1891. The old aisle windows were re-set and all the new building was re-surfaced with Sweldon limestone.
The graveyard, already full, was divided by a new public pathway in the 1890s connecting Working Street with Cardiff Central Market. As part of the agreement for the new path, Cardiff Corporation agreed to take responsibility for the graveyard south of the path. This later became St John's Gardens. The path is still owned by the church and is closed every Good Friday. Brass numbers on the path mark the location of graves and family tombs.
In 1952 St John's became a Grade I listed building, of exceptional architectural and historical interest.
The church serves as the priory church for Wales of the Order of Saint John.
The church's current organ was built in 1894 by "Father" Henry Willis. It was restored in 2005 by David Wells of Liverpool, funded by private donations and the Heritage Lottery Fund. The completion of the restoration was marked with a concert by Thomas Trotter, attended by the Lord Lieutenant of South Glamorgan and Lord Mayor of Cardiff. In 2013 the British Institute of Organ Studies awarded it a Grade I Historic Organ Certificate, as an organ of exceptional interest.
Cardiff is the capital and largest city of Wales. Cardiff had a population of 362,310 in 2021 and forms a principal area officially known as the City and County of Cardiff (Welsh: Dinas a Sir Caerdydd). The city is the eleventh largest in the United Kingdom. Located in the southeast of Wales and in the Cardiff Capital Region, Cardiff is the county town of the historic county of Glamorgan and in 1974–1996 of South Glamorgan. It belongs to the Eurocities network of the largest European cities. A small town until the early 19th century, its prominence as a port for coal when mining began in the region helped its expansion. In 1905, it was ranked as a city and in 1955 proclaimed capital of Wales. Cardiff Built-up Area covers a larger area outside the county boundary, including the towns of Dinas Powys and Penarth.
Cardiff is the main commercial centre of Wales as well as the base for the Senedd, the Welsh Parliament. At the 2021 census, the unitary authority area population was put at 362,400 The population of the wider urban area in 2011 was 479,000. In 2011, it ranked sixth in the world in a National Geographic magazine list of alternative tourist destinations. It is the most popular destination in Wales with 21.3 million visitors in 2017.
Cardiff is a major centre for television and film production (such as the 2005 revival of Doctor Who, Torchwood and Sherlock) and is the Welsh base for the main national broadcasters.
Cardiff Bay contains the Senedd building and the Wales Millennium Centre arts complex. Work continues at Cardiff Bay and in the centre on projects such as Cardiff International Sports Village, BBC drama village, and a new business district.
The history of Cardiff—a City and County Borough and the capital of Wales—spans at least 6,000 years. The area around Cardiff has been inhabited by modern humans since the Neolithic Period. Four Neolithic burial chambers stand within a radius of 10 mi (16 km) of Cardiff City Centre, with the St Lythans burial chamber the nearest, at about 4 mi (6.4 km) to the west. Bronze Age tumuli are at the summit of Garth Hill (The Garth; Welsh: Mynydd y Garth), within the county's northern boundary, and four Iron Age hillfort and enclosure sites have been identified within the City and County of Cardiff boundary, including Caerau Hillfort, an enclosed area of 5.1 ha (13 acres). Until the Roman conquest of Britain, Cardiff was part of the territory of an Iron Age Celtic British tribe called the Silures, which included the areas that would become known as Brecknockshire, Monmouthshire and Glamorgan. The Roman fort established by the River Taff, which gave its name to the city—Caerdydd, earlier Caerdyf, from caer (fort) and Taf—was built over an extensive settlement that had been established by the Silures in the 50s AD.
Mesolithic hunter-gatherers from Central Europe began to migrate northwards from the end of the last ice age (between 12,000 and 10,000 years before present(BP)). The area that would become known as Wales had become free of glaciers by about 10,250 BP. At that time sea levels were much lower than today, and the shallower parts of what is now the North Sea were dry land. The east coast of present-day England and the coasts of present-day Denmark, Germany and the Netherlands were connected by the former landmass known as Doggerland, forming the British Peninsula on the European mainland. The post-glacial rise in sea level separated Wales and Ireland, forming the Irish Sea. Doggerland was submerged by the North Sea and, by 8000 BP, the British Peninsula had become the island of Great Britain. John Davies has theorised that the story of Cantre'r Gwaelod's drowning and tales in the Mabinogion, of the waters between Wales and Ireland being narrower and shallower, may be distant folk memories of this time.
As Great Britain became heavily wooded, movement between different areas was restricted, and travel between what was to become known as Wales and continental Europe became easier by sea, rather than by land. People came to Wales by boat from the Iberian Peninsula. These Neolithic colonists integrated with the indigenous people, gradually changing their lifestyles from a nomadic life of hunting and gathering, to become farmers, some of whom settled in the area that would become Glamorgan. They cleared the forests to establish pasture and to cultivate the land, developed new technologies such as ceramics and textile production, and they brought a tradition of long barrow construction that began in continental Europe during the 7th millennium BC.
Archaeological evidence from sites in and around Cardiff—the St Lythans burial chamber, near Wenvoe (about 4 mi (6.4 km) west, southwest of Cardiff City Centre), the Tinkinswood burial chamber, near St. Nicholas, Vale of Glamorgan (about 6 mi (9.7 km) west of Cardiff City Centre), the Cae'rarfau Chambered Tomb, Creigiau (about 6 mi (9.7 km) northwest of Cardiff City Centre) and the Gwern y Cleppa Long Barrow, near Coedkernew, Newport (about 8+1⁄4 mi (13.3 km) northeast of Cardiff City Centre)—shows that these Neolithic people had settled in the area around Cardiff from at least around 6,000 BP, about 1500 years before either Stonehenge or The Egyptian Great Pyramid of Giza was completed.
In common with the people living all over Great Britain, over the following centuries the people living around what is now known as Cardiff assimilated new immigrants and exchanged ideas of the Bronze Age and Iron Age Celtic cultures. Together with the approximate areas now known as Breconshire, Monmouthshire and the rest of Glamorgan, the area that would become known as Cardiff was settled by a Celtic British tribe called the Silures. There is a group of five tumuli at the top of Mynydd y Garth—near the City and County of Cardiff's northern boundary—thought to be Bronze Age, one of which supports a trig. pillar on its flat top. Several Iron Age sites have been found in the City and County of Cardiff. They are: the Castle Field Camp, east of Graig Llywn, Pontprennau; Craig y Parc enclosure, Pentyrch; Llwynda Ddu Hillfort, Pentyrch; and Caerau Hillfort—an enclosed area of 5.1 ha (13 acres).
The Roman army invaded Great Britain in May AD 43. The area to the south east of the Fosse Way—between modern day Lincoln and Exeter—was under Roman control by 47. British tribes from beyond this new frontier of the Roman Empire resisted the Roman advance and the Silures, along with Caratacus (Welsh: Caradoc), attacked the Romans in 47 and 48.[18] A Roman legion (thought to be the Twentieth) was defeated in 52 by the Silures. Archaeological evidence shows that a settlement had been established by the Silures in central Cardiff in the 50s AD, probably during the period following their victory over the Roman army. The settlement included several large timber-framed buildings of up to 45 m (148 ft) by 25 m (82 ft). The extent of the settlement is not known. Until the Romans established their fort, which they built on the earlier Silures settlement, the area that would become known as Cardiff remained outside the control of the Roman province of Britannia.
Excavations from inside Cardiff Castle walls suggest Roman legions arrived in the area as early as AD 54–68 during the reign of the Emperor Nero. The Romans defeated the Silures and exiled Caratacus to Rome. They then established their first fort, built on this strategically important site where the River Taff and River Ely enter the Bristol Channel, on a 10 acres (4.0 ha) site on which were built timber barracks, stores and workshops.
The Silures were not finally conquered until c. AD 75, when Sextus Julius Frontinus' long campaign against them began to succeed, and they gained control of the whole of Wales. The Roman fort at Cardiff was rebuilt smaller than before, in the 70s AD on the site of the extensive previous settlement dating from the 50s AD. Another fort was built on the site around 250, with stone walls 10 ft (3.0 m) thick along with an earth bank, to help defend against attacks from Hibernia. This was used until the Roman army withdrew from the fort, and from the whole of the province of Britannia, near the start of the 5th century.
During the early Dark Ages little is known of Cardiff. It is speculated that perhaps for long periods, raiders attacked the area, making Cardiff untenable, By 850 the Vikings attacked the Welsh coast and used Cardiff as a base and later as a port. Street names such as Dumballs Road and Womanby Street come from the Vikings.
In 1091, Robert Fitzhamon the Lord of Glamorgan, began work on the castle keep within the walls of the old Roman fort and by 1111, Cardiff town walls had also been built and this was recorded by Caradoc of Llancarfan in his book Brut y Tywysogion (Chronicle of the Princes). Cardiff Castle has been at the heart of the city ever since. Soon a little town grew up in the shadow of the castle, made up primarily of settlers from England. Cardiff had a population of between 1,500 and 2,000 in the Middle Ages, a relatively normal size for a Welsh town in this period. Robert Fitzhamon died in 1107, later his daughter Mabel, married Robert, 1st Earl of Gloucester, the illegitimate son of King Henry I of England. He built the first stone keep in Cardiff Castle, and he used it to imprison Robert II, Duke of Normandy from 1126 until his death in 1134, by order of King Henry I, who was the Duke's younger brother. During the same period Ralph "Prepositus de Kardi" ("Provost of Cardiff") took up office as the first Mayor of Cardiff. During this period after the Norman conquest they usually referred the leading figure by the Latin name of prepositus (English: provost) meaning "leading man". Robert (Earl of Gloucester) died in 1147 and was succeeded by his son William, 2nd Earl of Gloucester who died without male heir in 1183. The lordship of Cardiff then passed to Prince John, later King John through his marriage to Isabel, Countess of Gloucester, William's daughter. John divorced Isabel but retained the lordship until her second marriage; to Geoffrey FitzGeoffrey de Mandeville, 2nd Earl of Essex in 1214 until 1216 when the lordship passed to Gilbert de Clare, 5th Earl of Hertford.
Between 1158 and 1316 Cardiff was attacked on several occasions. Amongst the various attackers of the castle were Ifor Bach, who captured the Earl of Gloucester who at the time held the castle. Morgan ap Maredudd apparently attacked the settlement during the revolt of Madog ap Llywelyn in 1294. In 1316 Llywelyn Bren, Ifor Bach's great-grandson, also attacked Cardiff Castle as part of a revolt. He was illegally executed in the town in 1318 on the order of Hugh Despenser the Younger.
By the end of the 13th century, Cardiff was the only town in Wales with a population exceeding 2,000, but it was relatively small compared to most other notable towns in the Kingdom of England. Cardiff had an established port in the Middle Ages and by 1327, it was declared a Staple port. The town had weekly markets and after 1340, Cardiff also had 2 annual fairs, which drew traders from all around Glamorgan.
In 1404, Owain Glyndŵr burned Cardiff and took Cardiff Castle. As the town was still very small, most of the buildings were made of wood and the town was reduced to ashes. However, the town was rebuilt not long after and began to flourish once again.
In 1536, the Act of Union between England and Wales led to the creation of the shire of Glamorgan. Cardiff was made the county town. Around this same time the Herbert family became the most powerful family in the area. In 1538, Henry VIII closed the Dominican and Franciscan friaries in Cardiff, the remains of which were used as building materials. A writer around this period described Cardiff: "The River Taff runs under the walls of his honours castle and from the north part of the town to the south part where there is a fair quay and a safe harbour for shipping."
In 1542, Cardiff gained representation in the House of Commons for the first time. The next year, the English militia system was introduced. In 1551, William Herbert, Earl of Pembroke was created first Baron Herbert of Cardiff.
Cardiff had become a Free Borough in 1542. In 1573, it was made a head port for collection of customs duties. In 1581, Elizabeth I granted Cardiff its first royal charter. By 1602 Pembrokeshire historian George Owen described Cardiff as "the fayrest towne in Wales yett not the welthiest. The town gained a second Royal charter in 1608. During the Second English Civil War, St. Fagans just to the west of the town, played host to the Battle of St Fagans. The battle, between a Royalist rebellion and a New Model Army detachment, was a decisive victory for the Parliamentarians and allowed Oliver Cromwell to conquer Wales. It is the last major battle to occur in Wales, with a total death toll of about 200 (mostly Royalist) soldiers killed.
In the ensuing century Cardiff was at peace. In 1766, John Stuart, 1st Marquess of Bute married into the Herbert family and was later created Baron Cardiff. In 1778, he began renovations on Cardiff Castle. In the 1790s, a race track, printing press, bank and coffee room all opened, and Cardiff gained a stagecoach service to London. Despite these improvements, Cardiff's position in the Welsh urban hierarchy had declined over the 18th century. Iolo Morganwg called it "an obscure and inconsiderable place", and the 1801 census found the population to be only 1,870, making Cardiff only the twenty-fifth largest town in Wales, well behind Merthyr Tydfil and Swansea.
In 1793, John Crichton-Stuart, 2nd Marquess of Bute was born. He would spend his life building the Cardiff docks and would later be called "the creator of modern Cardiff". In 1815, a boat service between Cardiff and Bristol was established, running twice weekly. In 1821, the Cardiff Gas Works was established.
The town grew rapidly from the 1830s onwards, when the Marquess of Bute built a dock which eventually linked to the Taff Vale Railway. Cardiff became the main port for exports of coal from the Cynon, Rhondda, and Rhymney valleys, and grew at a rate of nearly 80% per decade between 1840 and 1870. Much of the growth was due to migration from within and outside Wales: in 1851, a quarter of Cardiff's population were English-born and more than 10% had been born in Ireland. By the 1881 census, Cardiff had overtaken both Merthyr and Swansea to become the largest town in Wales. Cardiff's new status as the premier town in South Wales was confirmed when it was chosen as the site of the University College South Wales and Monmouthshire in 1893.
Cardiff developed municipal slaughterhouses from 1835, one of the first cities in the United Kingdom to do so, and by the early twentieth century there were no private slaughterhouses.
Cardiff faced a challenge in the 1880s when David Davies of Llandinam and the Barry Railway Company promoted the development of rival docks at Barry. Barry docks had the advantage of being accessible in all tides, and David Davies claimed that his venture would cause "grass to grow in the streets of Cardiff". From 1901 coal exports from Barry surpassed those from Cardiff, but the administration of the coal trade remained centred on Cardiff, in particular its Coal Exchange, where the price of coal on the British market was determined and the first million-pound deal was struck in 1907. The city also strengthened its industrial base with the decision of Guest, Keen and Nettlefolds, owners of the Dowlais Ironworks in Merthyr, to build a new steelworks close to the docks at East Moors in 1890. The metalworks at nearby Port Talbot also helped developed the industrial base of Glamorgan.
King Edward VII granted Cardiff city status on 28 October 1905, and the city acquired a Roman Catholic Cathedral in 1916. In subsequent years an increasing number of national institutions were located in the city, including the National Museum of Wales, Welsh national war memorial, and the University of Wales registry – although it was denied the National Library of Wales, partly because the library's founder, Sir John Williams, considered Cardiff to have "a non-Welsh population".
After a brief post-war boom, Cardiff docks entered a prolonged decline in the interwar period. By 1936, their trade was less than half its value in 1913, reflecting the slump in demand for Welsh coal. Bomb damage during the Cardiff Blitz in World War II included the devastation of Llandaff Cathedral, and in the immediate postwar years the city's link with the Bute family came to an end.
The city was proclaimed capital city of Wales on 20 December 1955, by a written reply by the Home Secretary Gwilym Lloyd George. Caernarfon had also vied for this title. Cardiff therefore celebrated two important anniversaries in 2005. The Encyclopedia of Wales notes that the decision to recognise the city as the capital of Wales "had more to do with the fact that it contained marginal Conservative constituencies than any reasoned view of what functions a Welsh capital should have". Although the city hosted the Commonwealth Games in 1958, Cardiff only became a centre of national administration with the establishment of the Welsh Office in 1964, which later prompted the creation of various other public bodies such as the Arts Council of Wales and the Welsh Development Agency, most of which were headquartered in Cardiff.
The East Moors Steelworks closed in 1978 and Cardiff lost population during the 1980s, consistent with a wider pattern of counter urbanisation in Britain. However, it recovered and was one of the few cities (outside London) where population grew during the 1990s. During this period the Cardiff Bay Development Corporation was promoting the redevelopment of south Cardiff; an evaluation of the regeneration of Cardiff Bay published in 2004 concluded that the project had "reinforced the competitive position of Cardiff" and "contributed to a massive improvement in the quality of the built environment", although it had failed "to attract the major inward investors originally anticipated".
In the 1997 devolution referendum, Cardiff voters rejected the establishment of the National Assembly for Wales by 55.4% to 44.2% on a 47% turnout, which Denis Balsom partly ascribed to a general preference in Cardiff and some other parts of Wales for a 'British' rather than exclusively 'Welsh' identity. The relative lack of support for the Assembly locally, and difficulties between the Welsh Office and Cardiff Council in acquiring the original preferred venue, Cardiff City Hall, encouraged other local authorities to bid to house the Assembly. However, the Assembly eventually located at Crickhowell House in Cardiff Bay in 1999; in 2005, a new debating chamber on an adjacent site, designed by Richard Rogers, was opened.
The city was county town of Glamorgan until the council reorganisation in 1974 paired Cardiff and the now Vale of Glamorgan together as the new county of South Glamorgan. Further local government restructuring in 1996 resulted in Cardiff city's district council becoming a unitary authority, the City and County of Cardiff, with the addition of Creigiau and Pentyrch.
On 1 March 2004, Cardiff was granted Fairtrade City status.
Keble Chapel
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.
Die Orgel der Klosterkirche wurde 1746 bis 1751 durch den Lippstädter Johann Patroclus Möller errichtet. {de.wikipedia.org/wiki/Kloster_Marienfeld_(Harsewinkel)#Orgel}
Built from 1746-51 by Johann Patroclus Möller of Lippstadt.
At Sudeley Castle & Gardens on the Early May Bank Holiday.
It is near Winchcombe in Gloucestershire.
The castle was home to Queen Katherine Parr, 6th and final wife of King Henry VIII. She lived here after his death with her final husband Thomas Seymour (uncle of King Edward VI).
The Church of St Mary is the final resting place of Katherine Parr!
Apparently this Cedar tree dates to the 19th century!
The church is Grade I listed.
Sudeley Castle, Church of St Mary, Sudeley
SUDELEY -
SP 0227-0327
14/144 Sudeley Castle, Church of
St Mary
4.7.60
GV I
Parish Church. Circa 1460 for Ralph Boteler, late C15 or early C16
north aisle, restored 1859-'63 by Sir G.G. Scott for J.C. Dent.
Well coursed, squared stone, lead roof. Five-bay nave and chancel
structurally in one, 3-bay north aisle, western bell turret. West
end, double plinth, angled buttresses, boarded central doorway, 4-
centred arch, crocketed hoodmould; string course. Three-light
Perpendicular window, crocketed hoodmould, with each side a statue
in ogee-headed niche with tall finial. Above, string course,
crenellated parapet each side of square bell turret, slightly
corbelled at front on west side; 2-light louvred window, string
course, corner gargoyles, crenellated parapet with corner finials,
iron weathervane. South face, angled buttresses each end, plinth,
4 square-set buttresses, string course at sill level, changed to
dripmould for former low roof in fourth bay: bottom of buttress in
that bay forms jamb of door, blocked doorway and 4-light squint
under cambered arch to right below dripmould. Above, five 3-light
Perpendicular windows, hoodmoulds with carved-head stops, string
course, grotesques on buttresses; buttresses changing to diamond-
set above, rising into tall, crocketed finials; crenellated
parapet. East wall dripmould for roof to demolished vestry in
place of string course: blocked doorway on left. Above, 5-light
Perpendicular window, hoodmould and carved-head stops; string
course and crenellations follow line of low-pitch roof, short apex
finial. On right end of low aisle, plinth, 3-light mullion window,
angled corner buttress, string course and crenellated parapet over.
North wall: low aisle 3 bays, plinth, angled corner buttresses,
two 2-light mullioned windows with buttress and wide projection
between: crenellated parapet, finials missing. Boarded door on
right return, moulded arris, 4-centred arch, hoodmould, with finial
above string course. To right plinth, string course and buttress
on south side, inserted boarded door in last bay, sunk spandrels,
moulded surround. Windows and parapet above string course as south
side.
Interior: ashlar walls, marble floor, stone piers to carry turret,
nave and chancel in one. Chancel screen 4 bays each side central
opening, cusped ogee heads, heavily carved. Three sedilia on south
side, nodding ogee heads, high crocketed finials over; similar
piscina. Carved marble reredos with part marquetry finish. Two
arches north side of chancel to aisle, door to nave. Moulded beams
to roof. Openwork octagonal wooden pulpit, Decorated tracery, 2
brass candle holders, since electrified. Octagonal marble font,
carved sides to bowl, clustered pillar stem. Choir stalls returned
against screen, carved misericords, brass-book rest to front seats.
Memorial in chancel to Katherine Parr, effigy by J.B. Philip on
marble chest tomb, quatrefoils to sides, under foiled, 4-centred
arch, crocketed above, swept up to poppyhead finial: marble
pillars either side with statues under niche heads, finials over.
Stained glass by Preedy. Building fell into decay C18. Exterior
essentially C15/C16; interior nearly all 1859ff by Sir G.G. Scott:
fine example of his work. Katherine Parr buried in church.
(S. Rudder, A New History of Gloucestershire, 1779; papers at
Sudeley Castle; D. Verey, Gloucestershire, The Cotswolds, 1970)
Listing NGR: SP0318127669
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
At Sudeley Castle & Gardens on the Early May Bank Holiday.
It is near Winchcombe in Gloucestershire.
The castle was home to Queen Katherine Parr, 6th and final wife of King Henry VIII. She lived here after his death with her final husband Thomas Seymour (uncle of King Edward VI).
The Church of St Mary at Sudeley Castle. It is the final resting place of Queen Katherine Parr. She is now resting in a tomb made during the Victorian period (she was dug up a lot during the 18th and 19th centuries).
The church is Grade I listed.
Sudeley Castle, Church of St Mary, Sudeley
SUDELEY -
SP 0227-0327
14/144 Sudeley Castle, Church of
St Mary
4.7.60
GV I
Parish Church. Circa 1460 for Ralph Boteler, late C15 or early C16
north aisle, restored 1859-'63 by Sir G.G. Scott for J.C. Dent.
Well coursed, squared stone, lead roof. Five-bay nave and chancel
structurally in one, 3-bay north aisle, western bell turret. West
end, double plinth, angled buttresses, boarded central doorway, 4-
centred arch, crocketed hoodmould; string course. Three-light
Perpendicular window, crocketed hoodmould, with each side a statue
in ogee-headed niche with tall finial. Above, string course,
crenellated parapet each side of square bell turret, slightly
corbelled at front on west side; 2-light louvred window, string
course, corner gargoyles, crenellated parapet with corner finials,
iron weathervane. South face, angled buttresses each end, plinth,
4 square-set buttresses, string course at sill level, changed to
dripmould for former low roof in fourth bay: bottom of buttress in
that bay forms jamb of door, blocked doorway and 4-light squint
under cambered arch to right below dripmould. Above, five 3-light
Perpendicular windows, hoodmoulds with carved-head stops, string
course, grotesques on buttresses; buttresses changing to diamond-
set above, rising into tall, crocketed finials; crenellated
parapet. East wall dripmould for roof to demolished vestry in
place of string course: blocked doorway on left. Above, 5-light
Perpendicular window, hoodmould and carved-head stops; string
course and crenellations follow line of low-pitch roof, short apex
finial. On right end of low aisle, plinth, 3-light mullion window,
angled corner buttress, string course and crenellated parapet over.
North wall: low aisle 3 bays, plinth, angled corner buttresses,
two 2-light mullioned windows with buttress and wide projection
between: crenellated parapet, finials missing. Boarded door on
right return, moulded arris, 4-centred arch, hoodmould, with finial
above string course. To right plinth, string course and buttress
on south side, inserted boarded door in last bay, sunk spandrels,
moulded surround. Windows and parapet above string course as south
side.
Interior: ashlar walls, marble floor, stone piers to carry turret,
nave and chancel in one. Chancel screen 4 bays each side central
opening, cusped ogee heads, heavily carved. Three sedilia on south
side, nodding ogee heads, high crocketed finials over; similar
piscina. Carved marble reredos with part marquetry finish. Two
arches north side of chancel to aisle, door to nave. Moulded beams
to roof. Openwork octagonal wooden pulpit, Decorated tracery, 2
brass candle holders, since electrified. Octagonal marble font,
carved sides to bowl, clustered pillar stem. Choir stalls returned
against screen, carved misericords, brass-book rest to front seats.
Memorial in chancel to Katherine Parr, effigy by J.B. Philip on
marble chest tomb, quatrefoils to sides, under foiled, 4-centred
arch, crocketed above, swept up to poppyhead finial: marble
pillars either side with statues under niche heads, finials over.
Stained glass by Preedy. Building fell into decay C18. Exterior
essentially C15/C16; interior nearly all 1859ff by Sir G.G. Scott:
fine example of his work. Katherine Parr buried in church.
(S. Rudder, A New History of Gloucestershire, 1779; papers at
Sudeley Castle; D. Verey, Gloucestershire, The Cotswolds, 1970)
Listing NGR: SP0318127669
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
Stained glass windows inside the church.
Another one from my Fall / Winter Collection.
Its design and pattern in this particular color combination reminds me of meandering river and it presents itself even better in nature than on a photograph. This uncommon set of colors will surely attract attention!
Available in my Etsy shop.
© Evelda's Neverland, 2010. All rights reserved.
Capilla de la Presentación.
Burgos Cathedral
Burgos, Spain
chapel built 1519 - 1524 in a late gothic style
"openwork star-shaped vault"
IMG_3108
On Gorsedd Gardens Road in Cardiff. Heading towards the National Museum Cardiff.
City Hall is a civic building in Cathays Park, Cardiff, Wales, not to be confused with the modern County Hall recently built down in Cardiff Bay. Built of Portland stone, it became the fifth building to serve as Cardiff's centre of local government when it opened in October 1906. The competition to design a town hall and adjacent law courts for Cardiff was won in 1897 by the firm of Lanchester, Stewart and Rickards. Construction was carried out by local builders, E. Turner and Sons. Cardiff received its city charter while construction was underway, in 1905. The building is an important early example of the Edwardian Baroque style.
Grade I listed building.
Location
Between King Edward VII Avenue and Museum Avenue, facing Gorsedd Gardens between Law Courts (L) and National Museum of Wales (R).
History
Cathays Park was purchased in 1898 by the Borough of Cardiff from The Third Marquess of Bute at a cost of 160,000 and developed as a civic centre to a layout by William Harpur. Cathays Park was developed over three-quarters of a century to become the finest in Britain reflecting Cardiff's status as city and eventually taking on a national importance as civic centre of the capital of Wales. A competition for Town Hall (Cardiff became a city only at opening ceremony of this building in1905) and Law Courts took place in in 1897; City Hall was built between 1901 and 1904 to design of Lanchester, Stewart and Rickards; details of design by E A Rickards. The building's Portland stone facing, and monumental Classical style set the pattern for other buildings in Cathays Park, particularly the contemporary Law Courts by the same architects, and the National Museum (By Smith and Brewer) which echoes its dome and general composition. The building reflects Cardiff's claims to be a city of international importance by its use of the grand European Baroque style which was also used in London to promote that city's staus as capital of an empire. The decoration of the building makes reference to Cardiff's economic power through trade with the world (maritime groups etc), and its relatively new position as leading city Wales (Welsh Unity and Patriotism etc). The interior contains an important series of Statues of Welsh Heroes (1912-1917) financed by D A Thomas (Lord Rhonnda).
City Hall forms an essential part of Cardiff's civic centre, the finest in Britain.
Interior
Sumptuous interior with sequence of brilliantly managed public and civic spaces.
Porte-cochere leads to polygonal lobby with stairs up to inner lobby. Deep rectangular entrance hall faced in Bath stone has staircase to each side (rich bronze balustrade) which rises to mezzanine landing then longer flight of steps to expansive first floor hall with polychrome marble paving; paired Doric columns with bronze capitals and bases and yellow veined marble shafts; landing side lit by tall round arched windows with stained glass; broad plaster band to ceiling with plaster foliage relief. Yellow marble architraves to doors; above doorways to ends, plaster shells and merfolk by Henry Poole. Group of life-size statues of Welsh Heroes by leading sculptors; statues on yellow-and-white marble pedestals. (On lower landings, bronze reliefs to Sir E J Reed, and Captain R F Scott). To S, Council Chamber in a style following Italian High Renaissance models. Coffered shallow dome, four broad piers (set diagonally) support spandrels pierced by round windows with plaster palm-fronds, and ventilation grilles. Arches between piers to E and W with flanking Ionic marble columns (swagged bronze capitals) supporting entablature.
Stained glass in grand S window is personification of Villa Cardiff by A Garth Jones (1905). Fine C17-style wall panelling in oak with lighter inlay of Cardiff arms; original circular banks of wooden seating (partly built into panelling) have barley-sugar posts and broad arms; to E, mayoral seat forms screen to lobby with similar panelling, to W, arch to similar lobby, visitors gallery over.
Exceptionally elaborate bronze electrolier by Rickards has Prince of Wales feathers and mirrors; smaller wall brackets in bronze also survive.
To N of landing, members' rooms flank entrances to Grand Assembly Hall with tunnel vaulted ceiling with transverse and longitudinal banding with elaborate plaster reliefs (by G P Bankart). Room lit by thermal windows at clerestorey level which break into vault and have cartouche decoration above. Ionic marble columns support entablature and diagonal scrolls by windows. Panelled walls and doors. At one end, recessed stage with flanking pairs of marble columns.
Three exceptionally elaborate bronze electroliers as in council chamber.
At front corners of building the Lord Mayor's parlour and Member's Room are said to have arched recesses and circular clerestorey windows. Corridors with committee rooms and offices have simple classicising doorcases and panelled doors. On ground floor, the large Benefits Office has Doric Columns painted as yellow veined marble, wooden panelling, classicising doors. Secondary entrance in King Edward VII Avenue has mosaic floors, 2 lobbies, arches to secondary stair with iron balustrade.
Exterior
Quadrangular city hall building in Baroque style and faced with Portland Stone; two- and three-storeys on deeply banded basement, broad areas of banding at angles; small-pane steel glazing. Tower to W, and smaller tower to rear. South-east elevation with central projecting wing of 5 bays surmounted by octagonal drum (maritime sculptures by H Poole) with round windows, and semi-circular dome to council chamber with snarling Welsh Dragon finial (by H C Fehr) on lantern; 1 storey porte cochre with trophies and lion masks projects from centre bay of wing; first floor window above is round-headed and projects into entablature; flanked by 2 blank openings decorated to either side with trophies. Saucer dome to porte cochere, entrances with heavy iron-grille gates with relief decoration. Projecting to west and east from centre portion, a lateral wing of 2 storeys, 6 bays with fenestration consisting of rectangular windows above, with aprons and with panelling between windows and round-headed windows in concave surrounds below. At each end projecting splayed bay of 2 storeys with similar fenestration to intermediate wings but surmounted by attic storey with sculptured group before it, western group by Paul Montford representing Poetry and Music and eastern group by Henry Poole, Unity and Patriotism.
Western elevation with wide projecting windowless bay at each end, with rusticated quoins and attic storey with oval lunette. Intermediate wings of 9 bay width with similar fenestration to intermediate wings of south-east front, but outer sections have square-headed windows to ground floor. In centre of west front, splayed 3-sided bay through 2 storeys and attic; rectangular doorway with window over in centre ground floor facet; first floor windows rectangular headed, centre facet window with trophies and with surmounted parapet rising over curved headed attic window. Above this rises a clock tower (circa 61m high) lower part quite plain, upper part ornate and Baroque and surmounted by a Cupola (carving by H C Fehr); below this, stage with open windows and volutes, then stage with putti and cartouches above clock stage with openwork clock faces, composite columns flanking openings with balcony grilles, Michelangelesque seated figures (The Four Winds) to corners. North elevation of 3 storeys, central canted bay, square windows to upper floor, rectangular windows beneath below which are camber-headed windows with voussoirs, entrance to central yard R; yard elevations in yellow brick, (modern glazed infill in yard to E). East elevation has central slightly advanced 5-window block with splayed central bay with sculptural group above; 7 windows to each side.
Reason for Listing
Graded I as amongst the finest examples of Edwardian civic architecture in Britain with ambitious exterior and extremely interesting interiors, all virtually unaltered.
The interior is remarkable not only for its sumptuous decoration but for the survival of fittings including lighting, panelling, integral seating to council chamber etc.
Part of a group of exceptionally fine public buildings in Cathays Park which form what is certainly the finest civic centre in Britain. In addition to its architectural interest, the building and its setting express Cardiff's claims to be a city of international importance at the peak of its economic power.
References
J Newman, Glamorgan (Buildings of Wales Series), 1995, pp220-225.
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Notes:
Between King Edward VII Avenue and Museum Avenue, facing Gorsedd Gardens between Law Courts (L) and National Museum of Wales (R).
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
The spires of Lichfield Cathedral can be seen when you are walking up Anson Avenue in Lichfield.
This view is over Darwin Close.
To the left (in the distance) is the Sutton Coldfield Transmitting Station. The smaller spire belongs to what is now St Mary's in the Market Square (which I later went up on a Spire Climb with a guide).
Grade I listed building
Cathedral Church of the Blessed Virgin Mary and St Chad, Lichfield
LICHFIELD
SK1109NE THE CLOSE
1094-1/5/212 Cathedral Church of the Blessed
05/02/52 Virgin Mary and St Chad
(Formerly Listed as:
THE CLOSE
Cathedral Church of St Chad and St
Mary)
GV I
Cathedral church. Early C13 west choir arcade and aisles,
chapter house and chapel, transepts and crossing tower; c1280
nave, aisles and west towers; 1300-50 Lady Chapel and east
choir arcade and aisles, and choir clerestory. Major
restorations of 1660s, 1788-95 continued by Joseph Potter Snr
of Lichfield, 1850s by S Smirke, and 1856-78 by Sir Gilbert
Scott, continued by John Oldrid Scott until 1905.
Ashlar with graduated slate roofs.
PLAN: cruciform: 3-bay Lady Chapel, 8-bay choir with aisles,
chapter house to north with library above and consistory court
to south with chapel of St Chad's Head above, crossing steeple
and 3-bay transepts with east chapels, 8-bay nave with aisles
and 2 west steeples.
EXTERIOR: Lady Chapel has 3-bay apse articulated by plinth,
stepped to end due to slope of ground, gabled buttresses with
C19 statues, enriched cornice with traceried and embattled
parapet with pinnacles; 3-light windows, 6-light central
windows to north and south, with trefoil tracery; 3 much
restored tomb recesses to south with cusped arches, gables and
pinnacles.
Choir has similar clerestory, gabled buttresses supporting
flying buttresses and pinnacles, angle buttresses with C19
statues; 3-light aisle windows with Decorated tracery and
5-light clerestory windows with Perpendicular tracery, those
to east bay with Decorated tracery; organ loft to north west
has quatrefoil windows in rich square settings and north east
octagonal stair turret with pinnacle.
Chapter house of elongated octagon form, buttresses with top
tabernacles with statues, Y-tracery windows, vestibule with
Y-tracery north window and 2-light plate tracery windows to
1st floor. Court and chapel have large octagonal turrets with
shafts and pinnacles and 2 statues in niches; 3-light windows
with Perpendicular tracery, 1st floor triplets of lancets.
Crossing tower has polygonal buttresses with crocketed
pinnacles, lines of former steep gables, two 2-light bell
openings in blind tracery settings, traceried parapet and
spire with 5 tiers of lucarnes.
Transepts have 3- and 5-light clerestory windows with
Perpendicular tracery; north transept has polygonal buttresses
flanking portal of 5 orders with rich decoration to arch with
flanking niches, 1880s window of 7 lancets, Y-tracery windows
above; 4-light chapel north window and west windows; south
transept has large C18 gabled angle buttresses flanking portal
similar to above, but much restored, trefoil-headed arcade
with C19 figures, 9-light window with Perpendicular tracery
and top Catherine wheel windows with flanking statues; chapel
has 3-light windows and south tomb recess with cusped arch,
gable and pinnacles; 2 pairs of lancets to west; statue of
Charles II for west front gable, attributed to Sir W Wilson,
attached to south west angle.
Nave has gabled buttresses supporting flying buttresses and
pinnacles, enriched cornices and parapets with pinnacles;
3-light aisle windows with Decorated tracery and spherical
triangle windows to clerestories; south side restored by
Smirke.
West front has gable between towers with large polygonal outer
turrets; central portal with multi-cusped arch and inner doors
with C13 seated Christ over trumeau, original doors with rich
scrolled iron work, statues to returns; flanking portals of 5
orders with restored arches and similar doors; 6-light west
window with Decorated tracery of 1868; towers have 2-light
louvred bell openings, lozenge parapet and square crocketed
pinnacles, spires with 4 tiers of lucarnes.
Facade articulated with blind tracery and crocketed trefoil
arches, corbelled C19 statues, with some medieval statues to
north tower, trefoil-headed arcade with seated figures and
figure of Christ to gable; much ball flower and crocketing,
treatment continued to returns. Wind vanes and C18 rainwater
heads.
INTERIOR: Lady Chapel has tiercon vault with ridge rib and
bosses, wall shafts with 1895 canopied statues by C E Kempe;
applied arcade of nodding ogee arches with buttresses and
pinnacles, wall passage has traceried and brattished parapet.
Choir has similar clerestory with quatrefoils to reveals; west
arcades with stiff-leaf capitals and 1860 canopied statues by
J B Philip, east arcades with Decorated foliage capitals and
applied cinquefoils; aisles with applied arcading, to west of
4 trefoil-headed arches per bay, to east of 6 cusped arches
per bay.
Entrance to vestibule has triplet over, 3-bay quadripartite
vault, applied trefoil-headed arcade to east, similar arcade
to west forming vaulted passage, probably pedilavium for
Maundy Thursday, a rare feature; rich entrance to chapter
house with C13 seated Christ over trumeau; chapter house has
vault with central pier and good figure corbels,
trefoil-headed arcade to wall bench; library has similar
features, pavement has medieval encaustic tiles.
Chapel of St Chad's Head has gallery with traceried parapet on
ribbed coving, C19 vault with large bosses. Crossing has star
vault. Transepts have tiercon vaults and 2-bay arcades to
chapels, which have quadripartite vaults, former external
windows to north and south of choir. Nave has arcades with
good Decorated foliage capitals and applied cinquefoils, two
2-light traceried openings to triforium, blind to towers,
tiercon vault has C18 lath-and-plaster cells, west window has
1980s timber balcony on ribbed coving.
Fittings include: Lady Chapel: 1895 triptych altarpiece with
high relief scenes from Oberammergau, contemporary alabaster
altar rail. Chancel has complete ensemble of 1860s fittings, a
good example of High Victorian Gothic design: alabaster and
coloured marble reredos and screen by Scott and Philip,
statues to gabled niches, crocketed central arch and pinnacle
with cross; sedilia have ex-situ C15 canopies; Minton tiles
and incised medallions to pavement; timber stalls with
traceried and wrought-iron fronts, wrought-iron side grilles;
wrought-iron and brass choir screen by Scott and Skidmore has
some painting, gabled central arch and angels, one of the best
remaining examples; similar aisle gates and pulpit to nave
north east.
Consistory court has three 1670s stalls, Baroque back panels,
openwork front panels, twisted columns to openwork canopies
with Gothic touches. Ex-situ font to north transept by Slater
has early French Gothic detail and high relief scenes and
figures; south transept has 1870s screen to St Michael's
chapel with Zulu shields and assegais.
Wall paintings: C14 Crucifixion to piscina to south choir
aisle; damaged c1400 Trinity to recess in south choir aisle;
C14 Assumption over entrance in chapter house.
Monuments: a few pre C18 monuments and many good C18 and C19
monuments and wall tablets including: Bishop Selwyn, d.1878,
to Lady Chapel tomb recess, effigy by Nicholls, decoration by
Clayton and Bell, tiles by de Morgan; 2 medieval effigies of
bishops to south choir aisle, also Bishop Hacket, d.1670, high
sarcophagus with painted effigy; mutilated tomb in recess to
?John Stanley, d.1515; Robinson Children, 1817, by F Chantrey,
2 girls sleeping on couch; of later C19 tombs, those to Bishop
Lonsdale, d.1867, and Dean Howard, d.1868, have re-used C15
canopies, and Major Hodson, d.1858, boldly carved chest tomb
with high relief scenes; Bishop Ryder to north choir aisle,
1840 by Chantrey, free standing kneeling figure; vestibule has
bronze bust by Epstein to Bishop Woods, d.1953; Dean Haywood,
d.1492, mutilated base to 2-tier tomb with cadaver, good C19
wall tablets; Andrew Newton, d.1808, to south transept, by
Westmacott, also busts of Johnson and Garrick, 1793; 80th
Regiment of Foot, 1846, Egyptian pylon by P Hollins; nave has
good floor brass to 1st Earl of Lichfield, and wall tablet to
members of the Walmesley family, d.1751, 1785, 1786, by W
Thompson, good work with coloured marbles, cartouches and
putti.
Stained glass: Lady Chapel has c1540 glass from Herckenrode
Abbey, installed 1806, other Herckenrode glass in choir
aisles; west windows have C16 Flemish glass installed 1895;
C18 and C19 heraldic glass to library; 1819 glass by Betton
and Evans to south transept east clerestory; good later glass
incuding much by CE Kempe, eg chapter house, chapel of St
Chad's Head and south transept south and east windows; other
C19 glass includes: 1893 grisaille glass to north transept
north window and 1869 nave west window by Clayton and Bell.
One of England's smaller cathedrals, much damaged during the
Civil War, but retaining much of interest, and very good C19
work.
(Pevsner N: The Cathedrals of England (Midlands Eastern and
Northern): London: 1985-: P.181-196; Cobb G: English
Cathedrals: The Forgotten Centuries: London: 1980-: P.140-59;
Bird LJ: Sir GG Scott's Restorations of Lichfield Cathedral:
1979-).
Listing NGR: SK1154809762
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
Bronze mountain incense burner (Boshan Lu) with animal emblems of directions (Eastern Blue Dragon, Southern Red Bird, Western White Tiger, Northern Dark Warrior Camel) and a man leading a cart and a child on a panther as stand derived from Hellenistic Bacchic models. Found in Tomb #2, Dou Wan, Mancheng, Hebei, China. Chinese, Western Han, 206 BC - 9 AD. From the Hebei Provincial Museum, Shijiahuang. Special exhibit: Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 220). Metropolitan Museum, New York, New York, USA. Copyright 2017, James A. Glazier
A visit to Coughton Court in Warwickshire, on the Spring Bank Holiday Weekend in late May 2018. A National Trust property, it was the home of the Throckmorton family.
Coughton Court is an English Tudor country house, situated on the main road between Studley and Alcester in Warwickshire. It is a Grade I listed building.
The house has a long crenelated façade directly facing the main road, at the centre of which is the Tudor Gatehouse, dating from 1530; this has hexagonal turrets and oriel windows in the English Renaissance style. The gatehouse is the oldest part of the house and is flanked by later wings, in the Strawberry Hill Gothic style, popularised by Horace Walpole.
The Coughton estate has been owned by the Throckmorton family since 1409. The estate was acquired through marriage to the De Spinney family. Coughton was rebuilt by Sir George Throckmorton, the first son of Sir Robert Throckmorton of Coughton Court by Catherine Marrow, daughter of William Marrow of London. The great gatehouse at Coughton was dedicated to King Henry VIII by Throckmorton, a favorite of the King. Throckmorton would become notorious due to his almost fatal involvement in the divorce between King Henry and his first wife Catherine of Aragon. Throckmorton favoured the queen and was against the Reformation. Throckmorton spent most of his life rebuilding Coughton. In 1549, when he was planning the windows in the great hall, he asked his son Nicholas to obtain from the heralds the correct tricking (colour abbreviations) of the arms of his ancestors' wives and his own cousin and niece by marriage Queen Catherine Parr. The costly recusancy (refusal to attend Anglican Church services) of Robert Throckmorton and his heirs restricted later rebuilding, so that much of the house still stands largely as he left it.
After Throckmorton's death in 1552, Coughton passed to his eldest son, Robert. Robert Throckmorton and his family were practicing Catholics therefore the house at one time contained a priest hole, a hiding place for priests during the period when Catholics were persecuted by law in England, from the beginning of the reign of Queen Elizabeth I. The Hall also holds a place in English history for its roles in both the Throckmorton Plot of 1583 to murder Queen Elizabeth I of England, and the Gunpowder Plot of 1605, although the Throckmorton family were themselves only indirectly implicated in the latter, when some of the Gunpowder conspirators rode directly there after its discovery.
The house has been in the ownership of the National Trust since 1946. The family, however, hold a 300-year lease and previously managed the property on behalf of the Trust. In 2007, however, the house reverted to management by the National Trust. The management of the property is renewed every 10 years. The family tenant until recently was Clare McLaren-Throckmorton, known professionally as Clare Tritton QC, until she died on 31 October 2017.
The house, which is open to the public all year round, is set in extensive grounds including a walled formal garden, a river and a lake.
The gatehouse at Coughton was built at the earliest in 1536, as it is built of stones which came from Bordesley Abbey and Evesham Abbey after the Dissolution of the Monasteries Act in 1536. As with other Tudor houses, it was built around a courtyard, with the gatehouse used for deliveries and coaches to travel through to the courtyard. The courtyard was closed on all four sides until 1651, when Parliamentary soldiers burnt the fourth (east) wing, along with many of the Throckmorton's family papers, during the English Civil War.
After the Roman Catholic Relief Act was passed in 1829, the Throckmorton family were able to afford large-scale building works, allowing them to remodel the west front.
Grade I Listed Building
Listing Text
COUGHTON
SP06SE
1/144 Coughton Court
10/02/56
GV I
Country house, Gatehouse late C15, and after 1518; early and late C16; late C17
additions; west front remodelled 1780; additions and remodelling of 1835(VCH).
Limestone ashlar gatehouse. Timber framed with lath and plaster infill; brick;
imitation stone render. Tile and lead roofs; brick stacks, U-plan, formerly
courtyard. 2 and 3 storeys; 13-window range. Entrance (west) front symmetrical.
3 storey central gatehouse range has moulded plinth and double string course.
Square ground floor with corner turrets. C19 Gothic panelled part-glazed
double-leaf doors in 4-centred moulded arch with square head, hood mould and
carved spandrels. Stone mullioned and transomed windows with arched lights
throughout. Upper floors of different coloured stone. 2-storey canted oriel with
flanking lights and glazed octagonal turrets; 2 transoms on first floor, one on
second. Shield of arms on each floor. Turrets continued up another floor'; left
turret unglazed. Remainder 2 storeys only. Single 5-light window with transom
and hood mould. Clasping buttresses with quatrefoil panels projecting above
roof. Crenellated parapets with string course throughout. Remainder of front of '
scored imitation ashlar with stucco hood moulds. Ground floor has leaded 2-light
casements, 3 slightly recessed bays have Gothick sashes and moulded surrounds on
first floor. Projecting end bays with clasping buttresses. First floor: leaded
cross windows. String course above first floor. Attic with quatrefoil panels,
some part glazed. String course and crenellated parapet. Right return side of
thin bricks. Two C17 shaped gables with stone coping. Left gable between 2
external brick stacks; right gable has ball finials. 5-window range, mostly C17
stone cross windows. Narrow gabled wing set back. High single-storey range with
early C20 window, and plaster eaves cove. East front of gatehouse has unglazed
turrets and inscription over entrance. Irregular ranges to courtyard. Timber
framed with brick ground floor. Corresponding small 4-centred door. Irregular
fenestration with moulded stone mullioned windows ground floor, wood mullions
and casements above; some with transoms. 2 storey south range has close studding
with middle rail. Left section breaks forward and has 4 framed gables with
brackets. Entrance in recessed bay below third gable has 4-centred moulded
doorway with square head, hood mould and carved spandrels. Paired 6-panelled
doors with Gothick overlight. Right section has 2 large gables, and another
behind and above in roof, with decorative panel framing. Elaborately carved
scrolled bargeboards with finials and openwork pendants. End wall has gable.
Ground floor has 2 stone cross windows with arched lights. Blocked arches above
and in centre. 2-storey and attic north range. Close studding. 3 large framed
gables and smaller end gable all with casements and brackets. Ground floor has
four 3-light mullioned and transomed windows. First floor projects on plaster
cove. Blank gabled end wall. Left return side: range of c.1690. Scored render
with quoins. 3 projecting bays with hipped roofs. 4-centred doorway. Slightly
projecting first floor. Irregular fenestration with wood mullioned and transomed
windows. Interior: Entrance Hall with plaster fan vault. Late C18 open well
cantilevered staircase with moulded soffit and simple handrail; Gothick
plasterwork cornice. Drawing Room has simple early Cl6 stone fireplace. Windows
with C16,C17 and C19 armorial glass. Gothick plasterwork cornice. 6-panelled
doors. Little Drawing Room has C18 style carved wooden fireplace. Newel
staircase to roof. Tower Room has moulded 4-centred fireplace with carved
spandrels and projecting top. Two 4-centred doorways. North east turret has 2
hiding places. Dining Room and Tribune have fine C16 panelling possibly with
later work, turned balusters, grotesques and medallions with heads. Fine marble
chimneypiece with paired Ionic and Corinthian columns, cartouche and coat of
arms, Saloon, formed 1910, has arcaded panelled screen c.1660 (VCH) to Tribune.
C16 double-flight staircase from Harvington hall with heavy turned balusters and
square newel posts with finials. Study has fine C17 panelling with pilasters.
Ground floor with broad-chamfered ceiling beams. North range has part of a fine
C16 panelled timber cieling with moulded ribs and carved bosses. Dog-leg
staircase with C17 turned balusters. The Throckmortons were Catholics, and were
deeply involved in the Throckmorton plot of 1583. In 1605 the wives of the
Gunpowder Plotters awaited news at Coughton. In 1688 the east wing was destroyed
by a Protestant mob, and was finally cleared away in 1780.
(V.C.H.: Warwickshire, Vol.III, pp.75-78; Buldings of England: Warwickshire,
pp.245-6; Coughton Court; The National Trust 1984).
Listing NGR: SP0831160624
This text is from the original listing, and may not necessarily reflect the current setting of the building.
A look along The West Front with The Gatehouse in the middle, from the road in front of this side of the house.
The road links both churches on the estate.
The Cathedral Church of St Andrew, Wells (Wells Cathedral)
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1382901
Date first listed: 12-Nov-1953
Statutory Address: CATHEDRAL CHURCH OF ST ANDREW, CATHEDRAL GREEN
County: Somerset
District: Mendip (District Authority)
Parish: Wells
National Grid Reference: ST 55148 45885
Details
Cathedral Bishopric established in 909. Saxon cathedral built, nothing now visible (excavations 1978/79). See transferred to Bath in 1090. Church extended and altered in 1140, in Norman style, under Bishop Robert Lewes; part of this lies under south transept of the present church.
Present church begun, at east end, in 1176 and continued to consecration in 1239, but with substantial interruption from 1190-1206. Designer Adam Lock, west front probably by Thomas Norreys. Nave, west front (but not towers), north porch, transepts, and part of choir date from this phase. Bishopric becomes Bath and Wells in 1218. Central tower begun 1315, completed 1322. Designer Thomas Witney Lady Chapel begun 1323, completed c 1326. Probably by Thomas Witney. At this stage the Chapel a free-standing structure to the east of the original (1176) east end. Extension of choir and presbytery in 1330 to connect with the new Lady Chapel. Designer Thomas Witney, but presbytery vaults by William Joy.
Following signs of dangerous settlement and cracking under the new tower, the great arches and other work inserted to prevent collapse in 1337; designer William Joy. (The St Andrew's arches known as strainer arches). South-west tower begun in 1385 to design of William Wynford, completed c 1395. North-west tower built 1410. Tracery added to nave windows in 1410. Central tower damaged by fire in 1439; repair and substantial design modification (designer not known) completed c 1450. Stillington's chapel built 1477, (off east cloister) designer William Smyth, who also designed the fan vault to the main crossing. The chapel was demolished in 1552.
MATERIALS: Doulting ashlar with blue Lias dressings, partly replaced by Kilkenny marble, some Purbeck marble internal dressings, and pink rubble outer cloister walls.
PLAN: Cruciform plan with aisled nave and transepts, north porch, cruciform aisled chancel with transeptal chapels and Retroquire. East Lady Chapel, north-east Chapter House and south Cloister.
EXTERIOR: Early English Gothic style, Decorated Gothic style Chapter House, Retroquire and Lady Chapel, Perpendicular Gothic style west and crossing towers and cloister. Early English windows throughout, mainly filled with two-light tracery c 1415, with a parapet of cusped triangles added c 1320 to all but the Chapter House and west front. Five-sided Lady Chapel has angle buttresses, drip and a parapet of cusped triangles, with wide five-light windows with reticulated tracery of cusped spheroid triangles; a late C14 flying buttress with a square pinnacle to the south-east. North chancel aisles: the east bay has a shallow two-centre arched five-light window with Decorated tracery, steeper three-light windows to the west bays, the transept chapel window of four-lights with reticulated tracery. The early C14 east end of the chancel has flying buttresses to the gable and three east bays; the east end has a five-light window with Decorated tracery, including two mullions up to the soffit, and a raised surround beneath a shallow canted parapet, with the coped gable set back and lit by four lozenge windows divided by a wide Y-shaped mullion; the north clerestory windows of three-lights, the three to the east have ogee hoods, the three late C12 west and two north transept windows linked by a continuous hood mould.
North Transept and nave aisles have a plinth, sill band, corbel table and parapet, with wide buttresses separating aisle lancet windows with inserted early C15 two-light Perpendicular tracery, and a clerestory with similar moulding and fenestration. Transept gable in three stages, with clasping buttress turrets and sill bands: three lower-stage windows and one to the end of west aisle, middle stage has a blind arcade of six lancets, the middle four truncated beneath three tall stepped lancets to upper stage, with similar blind panels paired to the turrets, and medallions to the spandrels; a weathered band beneath an arcade of stepped blind lancets, and panelled turret pinnacles with octagonal caps, a third to the flanking aisle; the right-hand turret has a good c 1475 clock with paired soldiers above striking two bells, and a crenellated canopy. Nine-bay nave aisle, ten-bay clerestory, of which the two windows flanking the transept re-entrant cut off above a mid C14 relieving arch.
Fine north porch two bays deep with blue Lias shafts and C18 outer doors: entrance archway of five orders with alternate paired banded columns with stiff leaf capitals to the west, carved showing the martyrdom of King Edmund to the east, and a roll-moulded arch, including two orders of undercut chevron mouldings with filigree decoration over fine doors of c 1200; clasping buttresses with octagonal pinnacles as the transept, and a gable with six stepped lancets beneath three stepped parvise lancets with sunken panels in the spandrels. Inside of two bays, articulated by banded vault shafts with stiff leaf capitals to a sexpartite vault; side benches are backed by arcades of four bayed seats with stiff leaf spandrels, beneath a string bitten off at the ends by serpents; a deeply recessed upper arcade of three arches to a bay, with complex openwork roll mouldings intersecting above the capitals, on coupled shafts free standing in front of attached shafts, enriched spandrels, and openwork Y-tracery in the tympanum beneath the vault. The south end decorated after the front entrance, including a moulded arch with a chevron order, and containing a pair of arched doorways with a deeply-moulded trumeau and good panelled early C13 doors with C15 Perpendicular tracery panels.
South elevation is similar: the chancel wall of the 1340 extension is recessed for the three east bays with flying buttresses, the windows to the west have uncusped intersecting tracery. Crossing tower has a c 1200 blind arcade to a string level with the roof ridge; upper section 1313, remodelled c 1440, has ribbed clasping buttresses to gabled niches with figures and pinnacles with sub-pinnacles; each side of three bays separated by narrow buttresses with pinnacles, a recessed transom with openwork tracery beneath and louvred trefoil-headed windows above, gabled hoods and finials. Corbels within for a spire, destroyed 1439.
West front screen is a double square in width, divided into five bays by very deep buttresses, with the wider nave bay set forward. The towers stand outside the aisles, the design of the front continued round both ends and returned at the rear. Statues of c 1230-1250, to an uncertain iconographic scheme. Divided vertically into three bands, beneath a central nave gable and Perpendicular towers; arches with originally blue Lias shafts, now mostly Kilkenny marble, and stiff leaf capitals. A tall, weathered plinth, with a central nave entrance of four orders with paired doorways and quatrefoil in the tympanum containing the seated Virgin with flanking angels, and smaller aisle entrances of two orders. Above is an arcade of gabled hoods over arches, containing paired trefoil-headed statue niches with bases and fifteen surviving figures; two-light Perpendicular tracery windows between the buttresses outside the nave; sunken quatrefoils in the spandrels, which cut across the corners of the buttresses. The third and principal band contains three tall, slightly stepped nave lancets, paired blind lancets between the outer buttresses, with narrower arches flanking them and to the faces and sides of the buttresses, all with banded Lias shafts and roll-moulded heads; the three arches to the sides and angled faces on the south-west and north-west corners have intersecting mouldings as in the north porch. All except the window arches contain two tiers of gabled statue niches with figures, taller ones in the upper tier, and across the top is an arcade of trefoil-headed statue niches with seated figures and carved spandrels. The nave buttresses have gabled tops containing cinquefoil-arched niches, and tall pinnacles with arched faces and conical tops; above the nave is a three-tier stepped gable with a lower arcade of ten cinquefoil-arched niches containing seated figures, a taller arcade of twelve niches with c 1400 figures of the Apostles, and a central top section with outer trefoil arches, corner sunken quatrefoils; the central oval recess with cusped sides and top contains a 1985 figure of Christ in Judgement beneath a pinnacle, with crosses and finials on the weathered coping. The Perpendicular towers continue the buttresses up with canopied statue niches to their faces and blank panelling to the sides, before raking them back into deep angle buttresses; between are a pair of two-light west windows, louvred above a transom and blind below, with a blind arcade above the windows, and a low crenellated coping.
INTERIOR: Lady Chapel: An elongated octagon in plan, with triple vault shafts with spherical foliate capitals to a tierceron vault forming a pattern of concentric stars, with spherical bosses and a paint scheme of 1845; the three west arches with Purbeck marble shafts onto the Retroquire have blind arched panels above; beneath the windows is a sill mould with fleurons, and a bench round the walls. Stone reredos has six statue niches with crocketed canopies and smaller niches in between, with four C19 sedilia with ogee-arched and crocketed canopies and a C14 cusped ogee trefoil-arched south doorway; C19 encaustic tiles.
The Retroquire extends laterally into east chapels each side and transeptal chapels: all with ogee-arched piscinae with crockets and finials, with a complex asymmetrical lierne vault on Purbeck marble shafts and capitals. The three east bays of the choir added early C14, and the high lierne vault of squares extended back over the three late C12 west bays, on triple vault shafts, Purbeck marble with roll-moulded capitals for the C14 and limestone with stiff leaf capitals for the C12; above the two-centre aisle arches and below the clerestory walk is a richly-carved openwork grille of statue niches with canopies, containing eight early C20 figures across the east end; clerestory walk has ogee-arched doorways. Rich canopies over choir stalls on Purbeck marble shafts, and five sedilia with enriched canopies. Ogee-arched doorways with crockets and pinnacles each side of the choir give onto the aisles, which have lierne vaults forming hexagons.
Transepts: Three bays deep and three wide, with cluster columns and stiff leaf capitals, including some fine figure carving in the south-west aisle, paired triforium arches between the vault shafts; the chancel aisles entered by C14 ogee-arched doorways with cinquefoil cusps and openwork panels each side; the north transept has a doorway from the east aisle with a depressed arch and moulded sides with a panelled Perpendicular ridge door, and Perpendicular panelled stone screens across the arcade; the south transept has an early C14 reredos with cusped ogee arches. The openings to the crossing contain inserted cross ogee strainer arches with triple chamfered moulding, on the west one an early C20 raised crucifix and flanking figures on shafted bases, and the roof has late C15 fan vaulting with mouchettes to the springers.
Nave: Ten-bay nave has compound columns of eight shafts with stiff leaf capitals enriched with figures, a continuous hood mould, with carved stops until the four west bays, which also have more richly-carved stiff leaf; a continuous triforium arcade of roll-moulded lancets with moulded rere arches, three to each bay, with enriched tympana and paterae in the spandrels above, carved corbels and springers to vault shafts above to a quadripartite vault without ridges; vault painted to a scheme of 1844. A panelled c 1450 gallery in the south clerestory window six from the west; aisles vaulted as nave, with enriched stiff leaf corbels. The west end has a trefoil-headed blank arcade on blue Lias shafts and a central stilted depressed-arch doorway, beneath the three west windows; the aisles end with a lateral rib from the vault to the west arcade. Chapels beneath the towers have sexpartite vaults with an enriched hole for the bell ropes; the south-west chapel has a shallow arch to the cloister beneath three cusped arched panels. The parvise over the north chapel contains a rare drawing floor. Two chantry chapels set between the east nave piers have fine openwork Perpendicular tracery and cresting, the south chapel of St Edmund c 1490 has a fan-vaulted canopy over the altar and two statue niches with canopies, and an ogee-arched doorway, the North Holy Cross Chapel c 1420 has quatrefoil panelling to the east canopy, distressed statue niches, and four-centre arched doorways.
FITTINGS: Lady Chapel: Brass lectern 1661 has a moulded stand and foliate crest.
Retroquire, North-East Chapel: fine oak C13 Cope Chest with a two-leaf top doors; panelled C17/C18 chest; north transept chapel: C17 oak screen with columns, formerly part of cow stalls, with artisan Ionic capitals and cornice, set forward over chest tomb of John Godilee; C14 floor tiles; south-east chapel: Bound oak C14 chest for Chapter Seal.
North Transept: Very fine c 1390 clock, considered the second oldest in the world after Salisbury Cathedral (qv), the face with heavenly bodies represented and four knights riding round above, and a quarter jack in the corner striking bells with a hammer and his heels; pine chest with bowed top.
Choir: Very fine stalls with misericords, c 1335; Bishop's Throne, c 1340, restored by Salvin c 1850, wide with panelled, canted front and stone doorway, deep nodding cusped ogee canopy over, with three stepped statue niches and pinnacles; C19 pulpit opposite, octagonal on a coved base with panelled sides, and steps up from the North aisle; organ within the chancel arch rebuilt and new case 1974.
South Transept: Round font from the former Saxon cathedral, with an arcade of round-headed arches, on a round plinth, with a c 1635 cover with heads of putti round sides.
Nave: Pulpit and tomb of William Knight, mid C16, built out from the Sugar chantry, with panelled buttresses, curved sides and a cornice.
Library: Good shelves and desks with panelled ends, cornices and scroll crests, and benches with ogee ends with ball finials of 1686.
MONUMENTS: Quire Corpus Christi North Transept Chapel: marble chest tomb of Robert Creyghton d 1672, an alabaster effigy on a sarcophagus with bowed sides; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Godelee, d 1333, effigy on a chest with open ogee arcade.
North Quire aisle: chest tombs of Bishop Giso, d 1088, Ralph of Salisby, d 1463, alabaster, and two further c 1230 effigies of Saxon Bishops, on mid C20 plinths; panelled chest tomb with three heraldic panels and moulded top; South-East Chapel of St John the Baptist: chest tomb encloses north side, with arcaded sides, thin mullions to a good openwork top with cusped gables and a canopy to east end.
St Katherine's Transept Chapel: Chest tomb of John Drokensford, d 1329, a painted effigy on a chest with open ogee arcade, as that for John Godelee; chest tomb of John Gunthorpe, d 1498 with five heraldic panels and moulded top. South chancel aisle: effigy of John Bernard, d 1459 on a mid C20 plinth; fine chest tomb of Bishop Bekynton, d 1464 but made c 1450, a cadaver within the open lower section with enriched shafts and angel capitals, with a painted marble figure on top, surrounded by a fine C15 wrought-iron screen with buttress stanchions; raised, incised coffin slab of Bishop Bytton d 1274, blue Lias; large chest tomb of Bishop Harvey d 1894 with five trefoil panels and an effigy with putti to the head; three c 1230 effigies of Saxon Bishops on mid C20 plinths; chest tomb of Bishop Harewell d 1386, a marble effigy on a C20 plinth.
North Transept, east aisle: Enriched marble chest tomb of John Still d 1607 with black Corinthian columns to entablature, sarcophagus with alabaster effigy; chest tomb to Bishop Kidder, d 1703 marble with an enriched naturalistic reclining figure of his daughter in front of two urns of her parents.
South Transept: Chapel of St Calixtus, fine un-named chest tomb of c 1450, with carved alabaster panels and effigy; Chapel of St Martin, chest tomb of William Bykonyll c 1448 with an arcaded front, cusped shallow arch over the effigy, panelled ceiling and a rich crested top; C15 wrought-iron gates to both chapels; in the south wall, good monument to Bishop William de Marchia, d 1302, three cusped cinquefoil-headed arches on moulded shafts, ogee hoods and pinnacles to a crenellated top, with an effigy within, with a three-bay segmental vaulted canopy, and decorated with six carved heads beneath.
STAINED GLASS: Original early glass is mainly in the choir and Lady Chapel; the Parliamentarians caused extensive damage generally in August 1642 and May 1643. Earliest fragments are in two windows on the west side of the Chapter House staircase (c 1280-90), and in two windows in the south choir aisle (c 1310-20), but of principal interest is the Lady Chapel range, c 1325-30, the east window including extensive repairs by Willement, 1845, and the others with substantial complete canopy-work, otherwise much in fragments. The choir east window is a fine Jesse Tree, including much silver stain, flanked by two windows each side in the clerestory, with large figures of saints, all these of c 1340-45; a further window each side is late C19. The chapel of St Katherine has interesting panels of c 1520, attributed to Arnold of Nijmegen; these, in the south and east windows were acquired from the destroyed church of St John, Rouen, the last panel was bought in 1953. The large triple lancet to the nave west end was glazed at the expense of Dean Creyghton at a cost of £140 in c 1664: repaired in 1813, but the central light largely replaced to a design by A K Nicholson between 1925-31. The main north and south transept end windows are by Powell, 1903-05, and the nave south aisle has four paired lights of 1881-1904, with a similar window at the west end of each aisle.
c1537 parclose screen entrance from the south aisle to the south Annery chapel, "amongst the most remarkable of the many Devon screens" (Pevsner): Perpendicular openwork tracery in upper panels, with richly-carved leaf decoration, (including Pelican and Tudor rose) in spandrels and to frieze above); lower panels, with applied tracery, have ballflower ornament to cinquefoiled heads; similar tracery to double doors; panels are divided by cable-moulded pilasters with crocketed finials.
The door of chapel has late 15c architrave with finely-carved foliate decoration.
Placed at the expense of Anne St. Leger when she endowed the south chapel for the repose of the soul of her husband Sir George St Leger of Annery 1536 . She later married Sir James Coffin www.flickr.com/gp/52219527@N00/7f44q9K39c
A memorial on the wall says "This aisle belonging to the mansion house and Barton of Annery , was rebuilt at the sole expence of William Tardrew Esq , the proprietor of the said Mansion House and Barton AD 1829"
Within the manor and parish is located the former historic estate of Annery. The post-Dissolution lords of the manor of Monkleigh had their main residence elsewhere outside the parish at Portledge, Alwington, and thus Annery was the most important seat within the manor and the successive holders of it had their own chapel within the parish church, at the east end of the south aisle, known as the "Annery Chapel".
- Church of St George, Monkleigh Devon
Andrew du Cross www.google.com/search?q=monkleigh+church&sca_esv=b0a1...