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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.
The church seen from an empty St Peter's Square. You can access St Peter's Gardens from here.
Nearby is the Civic Centre of Wolverhampton City Council.
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.
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 Bangor Pier also known as the Garth Pier in Bangor, North Wales. The pier was undergoing another restoration at the time of our visit. To get on the pier, it's 50p each (goes to the renovation funds I think).
The pier has views to Anglesey and either side of the Menai Strait.
The pier is quite long, seems like it goes over half of the water between Gwynedd and Anglesey!
Garth Pier in Bangor.
Garth Pier is a Grade II listed structure in Bangor, Gwynedd, North Wales. At 1,500 feet (460 m) in length, it is the second-longest pier in Wales, and the ninth longest in the British Isles.
Designed by J.J. Webster of Westminster, London, the 1,550 feet (470 m) pier has cast iron columns, with the rest of the metal structure made in steel, including the handrails. The wooden deck has a series of octagonal kiosks with roofs, plus street lighting, which lead to a pontoon landing stage for pleasure steamers on the Menai Strait.
Opened to the public on 14 May 1896, the ceremony performed by George Douglas-Pennant, 2nd Baron Penrhyn. A 3 ft (914 mm) railway for handling baggage which had been included in the design, was removed in 1914.
The pontoon handled the pleasure steamers of the Liverpool and North Wales Steamship Company to/from Blackpool, Liverpool and Douglas, Isle of Man. In 1914, the cargo steamer SS Christiana broke free from the pontoon overnight,[1] and caused considerable damage to the neck of the pier. A resulting gap to the pontoon was temporarily bridged by the Royal Engineers, that remained until place until 1921 due to the onset of World War I. By this time, additional damage had occurred, and repairs took a few months over the originally envisaged few weeks.
Grade II* Listed Building
History
Built 1896 by Mr J J Webster of London, contractors Mr Alfred Thorne of London; cost £17,000. It is considered to be the best in Britain of the older type of pier without a large pavilion at the landward end. Damaged by a ship in 1914; closed in 1971 and currently undergoing restoration (Autumn 1987).
Exterior
1550ft long; the longest surviving in Wales. Largely original steel girders and cast iron columns carrying an extensively rebuilt 24ft wide timber planked deck, kiosks, and pavilions. The pier is entered through ornate wrought iron gates enriched with fleurons and barley twist uprights; square openwork gate piers carrying lanterns. These are flanked by octagonal kiosks with onion domed roofs and Indian style trefoil headed openings; beyond these are similar smaller gates. Cast iron lampstandards and fill length seating to each side of deck. The pier projects at various intervals beyond with polygonal timber kiosks with mostly tent-like roofs. Splayed out at NW end containing 14 sided timber pavilion with 2-stage pyramidal roof. The iron staircase at the end with 6 levels of platforms led to the former floating pontoon.
Tea Rooms
The Pier Pavillion Tea Room - we popped in for a drink. Think I only had a cold drink as they didn't have a hot drink that I wanted.
Chandelier seen inside of the tea room on the pier.
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.
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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.
TOP VIEW OF THE IMPERIAL STATE CROWN MINIATURE
Creator:
Garrard & Co (jeweller)
Creation Date:
1937
Materials:
Gold, platinum, silver, diamonds, rubies, emeralds, sapphires, spinel, pearls, velvet, ermine
Dimensions:
31.5 cm
Acquirer:
King George VI, King of the United Kingdom (1895-1952)
Provenance:
Commissioned for the Coronation of King George VI on 12 May 1937, from the Crown Jewellers, Garrard & Co.
Description:
The Imperial State Crown is formed from an openwork gold frame, mounted with three very large stones, and set with 2868 diamonds in silver mounts, largely table-, rose- and brilliant-cut, and coloured stones in gold mounts, including 17 sapphires, 11 emeralds and 269 pearls.
At the front of the crown band is the large cushion-shaped brilliant, Cullinan II, the second largest stone cut from the Cullianan Diamond (also known as the Second Star of Africa). At the back of the band is the large oval sapphire known as the 'Stuart Sapphire'. The two large stones are linked by an openwork frieze, containing eight step-cut emeralds and eight sapphires, between two rows of pearls.
Above the band are two arches (or four half-arches), each springing from a cross-pattée. The front cross is mounted with a large, irregular cabochon red spinel, known as the 'Black Prince's Ruby'. In its history the stone was pierced for use as a pendant, and the upper hole later plugged with a small cabochon ruby in a gold slip mount. The remaining three crosses are each mounted with a step-cut emerald mounted as a lozenge. The crosses alternate with four fleurs-de-lis, each with a mixed-cut ruby in the centre. Both crosses and fleurs-de-lis are further mounted with diamonds. The crosses and fleurs-de-lis are linked by swags of diamonds, supported on sapphires.
The arches are cast as oak leaves, set with diamonds, each having paired pearl acorns in diamond cups projecting from the sides. At the intersection of the arches are suspended four large pear-shaped pearls in rose-diamond caps, known as 'Queen Elizabeth's Earrings'. The arches are surmounted by a monde of fretted silver, pavé-set with brilliants, with a cross-pattée above, set in the centre with an octagonal rose-cut sapphire known as 'St Edward's Sapphire'.
The Crown is fitted with a purple velvet cap and ermine band. Small plates on the reverse of the 'Black Prince's Ruby' and the 'Stuart Sapphire' are engraved to commemorate the history of the Crown.
The Imperial State Crown, or Crown of State, is the crown the monarch exchanges for St Edward's Crown, at the end of the coronation ceremony. Before the Civil War the ancient coronation crown was always kept at Westminster Abbey and the monarch needed another crown to wear when leaving the Abbey. The Imperial State Crown is also used on formal occasions, such as the annual State Opening of Parliament. The term imperial state crown dates back to the fifteenth century when English monarchs chose a crown design closed by arches, to demonstrate that England was not subject to any other earthly power.
This crown was made for the coronation of King George VI in 1937 but is closely based on a crown designed for Queen Victoria in 1838 by the crown jewellers of the time, Rundell, Bridge & Rundell. The crown is mounted with several historic stones to which a number of legends are attached. These include:
St Edward's Sapphire which carries the legend that Edward the Confessor (1042-66), or St Edward, one of the last Anglo-Saxon kings of England, was asked for alms by a beggar. Carrying no money on him, the King presented the beggar with a ring. The beggar later turned out to be St John the Evangelist, who assisted two English pilgrims in Syria in gratitude for the King's help, and asked them to return the ring to St Edward. The King was buried with the ring in Westminster Abbey in 1066. In the 12th century his tomb was opened and the ring removed.
Queen Elizabeth's Earrings, the four large pearls, have become associated with the seven pearls that Catherine de Medici received from Pope Clement VII on her marriage to Henri II of France in 1533. She later gave them to her daughter-in-law, Mary, Queen of Scots, and after her imprisonment they were allegedly sold to Elizabeth I. Elizabeth is unlikely to have worn them as earrings, as she preferred to wear pearls scattered over her ruff, on her hair or on her costume, and despite this romantic tale it appears that at least two of the pearls did not enter the Collection until the nineteenth century.
The Black Prince's Ruby - in fact a large spinel - was traditionally thought to have been the ruby given to Edward, Prince of Wales (1330-76), son of Edward III, and known as the Black Prince, by Don Pedro, King of Castile, after the Battle of Najera near Vittoria in 1367. The stone, which measures 170 carats, is of Eastern origin and has been drilled in the past for use as a pendant. According to legend it passed to Spain in about 1366, where Don Pedro took it from the Moorish king of Granada. In 1415 it was one of the stones worn by Henry V in his helmet, at the Battle of Agincourt. It is difficult to prove that this is indeed the same stone but a large Balas (or spinel) certainly appears in the descriptions of historic state crowns, and it has been reset each time the crown was refashioned.
The Stuart Sapphire, which has also been drilled in its history for use as a pendant, is approximately 104 carats. It is traditionally thought to have been smuggled by James II, when he fled England in December 1688. He passed it to his son Prince James Francis Edward, 'the Old Pretender', and it eventually came into the collection of Henry, Cardinal York. When an Italian dealer, Angioli Bonelli was sent on behalf of George IV to retrieve any remaining Stuart papers, after the Cardinal's death, he encountered a Venetian merchant who produced a large sapphire, saying that it belonged to the Stuart Crown. Bonelli purchased the sapphire and returned it to Britain. George IV certainly believed it was the Stuart Sapphire and by the time of Queen Victoria's coronation it was set into the front of the band of her State Crown. It was moved to the rear of the band in 1909 to make way for the newly acquired Cullinan II.
Cullinan II, or the 'Second Star of Africa, weighs 317.4 carats. It is the second largest stone cut from the great Cullinan Diamond, the largest diamond ever discovered. It was found in 1905 by Frederick G.S. Wells, at the Premier Mine, about twenty miles from Pretoria in South Africa. The stone, which weighed 3025 carats, was named after Thomas Cullinan, the Chairman of the Premier (Transvaal) Diamond Mining Company. The diamond was presented to Edward VII in 1907 as a symbolic gesture to heal the rift between Britain and South Africa after the Boer War. It was formally handed over to the King on his birthday, 9 November 1907, at Sandringham. The stone was cut by Asschers of Amsterdam. Nine large stones were cut from the original diamond. The cutting and polishing took three men eight months to complete. A further 97 small brilliants and some unpolished fragments were also created. The largest cleaving of the stone, Cullinan I, the Star of Africa, was placed in the Sovereign's Sceptre, and Cullinan II placed in the front of the band of the Imperial State Crown. The remaining numbered stones were mounted as jewellery (and do not form part of the official Crown Jewels).
Be aware this miniature from Crowns and Regalia contains several more stones than the one they normally show. I believe it is no longer available, but best to check this out in case I am wrong.
Information is copyright of The Royal Collection Trust. Link here to be amazed by the original photos on their site which are so detailed.
www.royalcollection.org.uk/collection/31701/the-imperial-...
АЛЕКСАНДР ГОЛОВИН - Пейзаж. Павловск
☆
Location: State Tretyakov Gallery, Moscow, Russia.
Source: goskatalog.ru/portal/#/collections?id=4585908
Aleksandr Golovin (1863-1930) belongs with the constellation of prodigiously talented artists, poets, composers, theatre-makers and actors who brought about an unprecedented cultural explosion in Russia in the period called the "Silver Age", which lasted from the end of the 19th century to 1920. From all the diversity of creative personalities working at that period, Golovin - "an elegant person" who captured "the subtlest nuances of thought and feeling" - and his art, "brilliant and refined in execution and taste", remains unique. There are few artists whose oeuvre reflected the culture of the Silver Age so admirably and consistently as that of Golovin. Like his brilliant contemporaries Valentin Serov, Mikhail Vrubel and Konstantin Korovin, Golovin can be also called a creator of the artistic world of that era.
In the work “Landscape. Pavlovsk ”, the painter depicted a manor visible through openwork foliage and a web of branches in the foreground. To show the perspective of the landscape, the artist paints the trees of a long-range plan in a generalized unified mass, while at the same time carefully working out all the details of the first. Thus, it separates one plan from another, which, however, overlapping one another, give the impression of an indivisible, integral decorative panel. The composition of the picture is organized exclusively by color rhythms and linear patterns. Golovin interprets nature as a decorative image.
Rus: В работе «Пейзаж. Павловск» живописец изобразил усадьбу, виднеющуюся сквозь ажурную листву и паутину ветвей, находящихся на первом плане. Чтобы показать перспективу пейзажа, художник пишет деревья дальнего плана обобщенной единой массой, в то же время филигранно прорабатывая все детали первого. Таким образом, он отделяет один план от другого, которые, однако, накладываясь друг на друга, производят впечатление неделимого, цельного декоративного панно. Композиция картины организована исключительно цветовыми ритмами и линейными узорами. Природа трактуется Головиным как декоративный образ.
A bank holiday weekend visit to Arbury Hall, near Nuneaton in Warwickshire. It is only open to the public on the four bank holiday weekends (8 days a year).
It is a private lived in house. While you can have tours of the house, you are not allowed to take photos inside, so grounds and exteriors only.
A Grade I listed building
Listing Text
NUNEATON AND BEDWORTH ARBURY PARK
SP38NW
4/7 Arbury Hall
06/12/47
GV I
Country house. Late C16 for Sir Edmund Anderson. Chapel remodelled 1678.
Completely remodelled and Gothicised 1749-1803 for Sir Roger Newdigate. Designs
by William Hiorn, mason-architect 1748-1755, Henry Keene 1761-1776 and Henry
Couchman, clerk of works 1776-1789, and probably also by Sir Roger himself;
Sanderson Miller may also have been involved. Grey Attleborough and Wilnecote
sandstone ashlar. Roofs hidden by parapets. Ashlar external and other stacks.
Courtyard plan. Gothic Revival style, with late Perpendicular details. 3
storeys. Moulded plinth and string courses, and moulded and embattled parapets
with crocketed pinnacles throughout. Moulded and chamfered 4-centred openings
throughout. Sashes and casements have Gothick glazing bars. South garden front:
western bay window 1752, eastern bay 1761, central Dining Room range 1769-1779.
Symmetrical. 1-1-3-1-1 bays. Projecting wings have polygonal clasping buttresses
to outer corners, with blind quatrefoil and lancet panelling, rising into
panelled and crocketed pinnacles. 2-storey polygonal bays have windows to 3
sides, leaf carving and blind arches. Elaborately moulded quatrefoil panel with
coat of arms below first floor windows. Second floor has straight-headed windows
of 2 arched lights with hood moulds throughout. Large one-storey 3-bay central
projection has polygonal clasping buttresses rising into panelled and crocketed
turrets with niches. Elaborate decoration throughout, with blind arcading and
quatrefoil frieze, and arcaded parapet with panelled and crocketed pinnacles
between bays. Large 4-light windows have panel tracery and ogee outer arches
with finials. Lower single-storey bays to left and right have moulded doorways
with hood moulds, and double-leaf sash doors with painted wood tracery and blind
tracery panels. Openwork embattled parapets. First floor has sashes. North
entrance front, probably designed 1783 but built 1792-1796, of 1-3-1 bays. Large
external stacks between centre and blank outer bays. Angles have buttresses with
turrets similar to garden front. Central 3-bay porte-cochere has angle and other
buttresses rising into panelled crocketed pinnacles. Moulded cornice and parapet
with finials. Interior is vaulted, with moulded piers. Central double-leaf sash
door has fanlight with painted wood tracery. Flanking bays have small quatrefoil
window in square panel. Windows to left and right of porte-cochere on each floor
are mostly blind. First floor has more elaborately treated windows; central
tripartite window has simple intersecting tracery. Second floor has central
2-light window, similar to garden front. East front of c.1786. Two storeys;
1-3-2-1 bays. 3 large external stacks. Detailing largely similar to entrance
front. 3-bay section has large polygonal one-storey bay window, of 7 mullioned
and transomed lights with elaborate Gothick glazing. Central sash door. Blind
fret frieze, moulded cornice and vine leaf frieze. Crocketed pinnacles and
fleur-de-lys cresting. West front of 1789-1803 is irregular. Some rubble walling
and remains of blocked mullioned and transomed windows may be a survival from
the earlier house. 3 large external stacks. Interior: Entrance Hall and the
Cloisters of 1783-1785 have plaster quadripartite vaulting with moulded ribs and
shafts. Semi-circular apse has stone geometrical staircase with re-used openwork
balusters, scrollwork, newel posts and finials of c.1580. Old armorial glass in
some windows. Chapel has plaster ceiling of 1678 by Edward Martin. Central
shaped panel has inner wreath and deep coving with festoons, and richly
decorated outer border of flowers, fruit and foliage. Small similarly decorated
shaped panels. Acanthus cornice. Contemporary panelling of bolection-moulded
lower panels; upper moulded panels have shouldered and indented architraves, and
are separated by carved drops suspended from winged cherubs' heads. Arched organ
recess at west end has fluted Tuscan pilasters, more elaborate drops between the
panels, and a late C18 ceiling. Panelled pulpit. Library of 1754-1761 by Hiorn
has Gothick panelling with shafts, cornice and ogee-gabled bookcases, and open
fretwork arches to bay window and recess. Chimney-piece has panelling and canopy
of 3 ornamented ogee arches. Segmental plaster ceiling with 'Etruscan' motifs
and medallions from a design of 1791 by Sir Roger. Dining Room by Keene
1769-1773 on the site of the hall. Plaster fan vaulting with wall shafts.
Windows are treated as an aisle with Gothick-panelled arches. Very large
fireplace has polygonal turrets with crocketed buttresses, moulded arch and a
row of triangular canopied niches with cresting. Tall elaborate canopied niches
above fireplace and in walls have casts of Roman statues. East wall has
Gothic-panelled recess with Classical relief. Gothic-panelled doors and
doorcases with triple canopies and pinnacles. Drawing Room by Keene 1762-1763
has Gothick plaster panelling with inset portraits. Segmental Gothic plasterwork
vault, and fan vault in bay window. Chimneypiece, inspired by the monument of
Aymer de Vallance in Westminster Abbey, carved 1764 by Richard Hayward of Weston
Hall (q.v.). Saloon, Little Sitting Room and School Room (Chaplain's Room), all
decorated under direction of Couchman. Saloon of 1786-1794, probably from
designs by Keene, has vaulting and pendants inspired by Henry VII's chapel;
scagliola columns and Gothic capitals were supplied by Joseph Alcott 1797.
Little Sitting Room has marble fireplace of c.1740 with eared architrave. School
Room has Gothick fireplace with ogee arch, inset with Classical medallions
probably carved by Hayward. Long Gallery on first floor has stone fireplace of
c.1580. Panelling, and possibly the painted wooden overmantel with columns and
obelisks, of c.1606. Shallow Gothic plaster vault and large moulded arch to
lobby of 1787. 'Arbury Hall is one of the finest examples of the early Gothic
Revival in England' (Buildings of England, p67). The house was built on the site
of a monestery.
(VCH: Warwickshire: Vol IV, p173-174; Buildings of England: Warwickshire:
p67-71; Gordon Nares: Arbury Hall, Country Life 8 October 1953, pp1126-1129; 15
October 1953, p1210-1213; 29 October 1953, pp1414-1417; G.C. Tyack: Country
House Building in Warwickshire 1500-1914, ppl98-206; Arbury Hall guidebook)
Listing NGR: SP3351989255
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The Porte-cochère near the current main entrance to the house. The guided tour starts from inside this entrance.
Isabelo Tampinco (1850-1933)
Bed
dated 1909
Narra, Lanite and Rattan
H:103” x L:88 1/2” x W:48 1/2”
(262 cm x 225 cm x 123 cm)
Opening bid: P 1,400,000
Provenance:
Dr. Maximo Viola, thence by descent
Lot 63 of the Leon Gallery Auction on 10 June 2017. Please see www.leon-gallery.com for more information.
IsabeloTampinco y Lacandola, while taking courses at the Academia de Dibujo y Pintura, Manila’s art academy, drew the admiration of Jose Rizal for his work in a Modeling Class, wherein they were classmates. Later hailed as one of the most outstanding sculptors of his time, Tampinco garnered many awards and prizes in local and international exhibitions in Philadelphia, St. Louis, Madrid and Barcelona.
Tampinco was principally known as a laborista, a carver of ornament, because of the doors, altars, ceilings and other decorations he made for the Manila Cathedral and the churches of Sto. Domingo and San Ignacio in Intramuros. He also did decorative carvings for private homes like transoms, picture frames and even furniture. Later, he made statues of saints and angels in wood, plaster of Paris, concrete and marble. At the turn-of-the-20th century, when Art Noveau became fashionable, he created a uniquely Filipino style by incorporating native flora and fauna designs in his calado or pierced transoms. His sinuous openwork and whiplash outlines in woodcarving abounded with the anahaw, areca palm, gabi or taro leaves and bamboo. It came to a point that any frame or piece furniture decorated with these was instantly labeled as by ‘Tampinco’.
In the early 20th century, Tampinco often worked in conjuction with Emilio Alvero, an architect who was the most popular interior designer of the day and the foremost exponent of Art Nouveau in the Philippines. The two artists collaborated on many major works, the Bautista-Tanjosoy House in Malolos and the Villavicencio-Marella House in Taal, among them. In both these houses, Alvero designed the furniture and Tampinco executed them. On the other hand, Máximo Sison Viola of San Miguel, Bulacan was studying medicine in the University of Barcelona, when he met Jose Rizal and became his best friend in Europe. They both became involved in the Propaganda Movement and when Viola learned that Rizal was having difficulty in publishing the ‘Noli Me Tangere’ due to the delay of his allowance, Viola sought Rizal and offered to lend him the money needed to have the book published. When Rizal finally received his allowance from Manila, the P1,000 sent by his brother, Paciano, not only enabled him to repay Viola, but also invite him on a tour across Germany, Austria-Hungary, and Switzerland from May to June 1887. Soon after, Viola returned to the Philippines to practice his profession as a doctor.
Viola met Rizal briefly in Manila in 1892 and returned home to find that his home had been searched by the Spaniards who suspected him of having links with the secessionist movement. When the Philippine Revolution broke out, he joined the Katipuneros in Biak-na-Bato. After the Philippine-American War, he was imprisoned in a military prison in Manila by the Americans and later transferred to Olongapo. There, Viola was freed by Dr. Fresnell, an American doctor who asked for Viola's assistance in treating American soldiers who had tropical diseases, which he did not know how to treat.
Viola’s hobby of making furniture from kamagong in his later years garnered him an award in an exposition in Manila in 1920. This bed is a collaborative work between IsabeloTampinco and Emilio Alvero, who undoubtedly designed the footboard and the diamond-shaped cartouche incised with the date ‘1909’ on its reverse side. The bed stands on feet carved in the shape of an inverted and truncated trunk of an arecaor bonga palm emanating from a quadrant at each corner carved with a spray of anahaw leaves.
The bed frame, in the form of a corona of an entablature, is carved with a serrated frieze of joined, upended triangles incised with diamond-shaped depressions that give an impression of stylized anahaw leaves. A boss is carved below the junction of each triangle, while a cymatium molding decorates the upper edge of the bedframe. The mattress support is caned in one piece. The footposts, carved in the shape of a short areca palm, has a crownshaft terminating in a stylized ionic capital consisting of a small anahaw leaf on a thorny stem at the center flanked by an ionic scroll. The posts flank a wide narra plank forming the footboard that is carved with a central design of a diamond-shaped frame consisting of four bamboo canes tied together with rattan strips. A garland of sampaguitas and ylang-ylang is entwined and hangs from the upper canes. Surrounding the bamboo frame are whiplash vines bearing camote leaves and flowers, while small anahaw leaf quadrants are carved at the corners.
The entire ground of the footboard is stippled. An entablature above the posts and footboard is carved with a small anahaw leaf with a thorny stalk on the block above the post and a frieze of a coconut frond, a banana leaf and bamboo twigs tied at the center with a ribbon, both on an entirely stippled ground. The cymatium molding above the corona is topped with a beveled edge.
The tall bedpost supporting the headboard and the tester is shaped like a full-grown areca palm trunk supporting a stylized ionic capital like that on the bedpost at the foot. The headboard, consisting of an extremely wide narra plank, is framed by a pilaster with molded vertical edges and a capital in the form of an inverted anahaw leaf. The former is carved with a central cartouche in the form of a scroll following the outline of a gabi or taro leaf enclosing an inverted clump of miniature traveler’s palm leaves emanating from an anahaw leaf at the top.
At the bottom of the panel, beneath the cartouche, is carved a bird’s nest with a pair of eggs. Leafy, intertwined branches abloom with Chinese roses meander on either side of the cartouche to fill the headboard. A pair of doves are perched on the vines, that on the left holding a ribbon tied in a lover’s knot in its beak, while the one on the right has a wide band inscribed with ‘Felicidades’ or ‘Congratulations’. These symbols indicate that the bed was most probably a gift to Maximo Viola on the occasion of a wedding anniversary.
An entablature similar to that at the foot is surmounted by a wide crest consisting of a large spray of roses realistically carved in the round and topped by an acroterion superimposed with an anahaw leaf. Symmetrically arranged on either side are realistically carved jungle ferns, coconut fronds and banana leaves. Above the pilaster at either end is an acroterion in the form of a palmette carved with a small anahaw leaf with a thorny stalk inside its scrolled outline. At the top of the headpost is a half-tester supported by a carved console in the shape of a banana leaf. The frame of the tester is in the form of an entablature running around three sides, all carved with like those of the head and footboards with a frieze of a coconut frond, a banana leaf and bamboo twigs tied at the center with a ribbon on an entirely stippled ground. The latticed tester or canopy is carved with an anahaw leaf at each intersection. Instead of the usual fabric covering the top of the tester, rattan caning is used, an unusual and unique innovation.
-Martin I. Tinio, Jr.
TOP VIEW OF THE IMPERIAL STATE CROWN MINIATURE
Creator:
Garrard & Co (jeweller)
Creation Date:
1937
Materials:
Gold, platinum, silver, diamonds, rubies, emeralds, sapphires, spinel, pearls, velvet, ermine
Dimensions:
31.5 cm
Acquirer:
King George VI, King of the United Kingdom (1895-1952)
Provenance:
Commissioned for the Coronation of King George VI on 12 May 1937, from the Crown Jewellers, Garrard & Co.
Description:
The Imperial State Crown is formed from an openwork gold frame, mounted with three very large stones, and set with 2868 diamonds in silver mounts, largely table-, rose- and brilliant-cut, and coloured stones in gold mounts, including 17 sapphires, 11 emeralds and 269 pearls.
At the front of the crown band is the large cushion-shaped brilliant, Cullinan II, the second largest stone cut from the Cullianan Diamond (also known as the Second Star of Africa). At the back of the band is the large oval sapphire known as the 'Stuart Sapphire'. The two large stones are linked by an openwork frieze, containing eight step-cut emeralds and eight sapphires, between two rows of pearls.
Above the band are two arches (or four half-arches), each springing from a cross-pattée. The front cross is mounted with a large, irregular cabochon red spinel, known as the 'Black Prince's Ruby'. In its history the stone was pierced for use as a pendant, and the upper hole later plugged with a small cabochon ruby in a gold slip mount. The remaining three crosses are each mounted with a step-cut emerald mounted as a lozenge. The crosses alternate with four fleurs-de-lis, each with a mixed-cut ruby in the centre. Both crosses and fleurs-de-lis are further mounted with diamonds. The crosses and fleurs-de-lis are linked by swags of diamonds, supported on sapphires.
The arches are cast as oak leaves, set with diamonds, each having paired pearl acorns in diamond cups projecting from the sides. At the intersection of the arches are suspended four large pear-shaped pearls in rose-diamond caps, known as 'Queen Elizabeth's Earrings'. The arches are surmounted by a monde of fretted silver, pavé-set with brilliants, with a cross-pattée above, set in the centre with an octagonal rose-cut sapphire known as 'St Edward's Sapphire'.
The Crown is fitted with a purple velvet cap and ermine band. Small plates on the reverse of the 'Black Prince's Ruby' and the 'Stuart Sapphire' are engraved to commemorate the history of the Crown.
The Imperial State Crown, or Crown of State, is the crown the monarch exchanges for St Edward's Crown, at the end of the coronation ceremony. Before the Civil War the ancient coronation crown was always kept at Westminster Abbey and the monarch needed another crown to wear when leaving the Abbey. The Imperial State Crown is also used on formal occasions, such as the annual State Opening of Parliament. The term imperial state crown dates back to the fifteenth century when English monarchs chose a crown design closed by arches, to demonstrate that England was not subject to any other earthly power.
This crown was made for the coronation of King George VI in 1937 but is closely based on a crown designed for Queen Victoria in 1838 by the crown jewellers of the time, Rundell, Bridge & Rundell. The crown is mounted with several historic stones to which a number of legends are attached. These include:
St Edward's Sapphire which carries the legend that Edward the Confessor (1042-66), or St Edward, one of the last Anglo-Saxon kings of England, was asked for alms by a beggar. Carrying no money on him, the King presented the beggar with a ring. The beggar later turned out to be St John the Evangelist, who assisted two English pilgrims in Syria in gratitude for the King's help, and asked them to return the ring to St Edward. The King was buried with the ring in Westminster Abbey in 1066. In the 12th century his tomb was opened and the ring removed.
Queen Elizabeth's Earrings, the four large pearls, have become associated with the seven pearls that Catherine de Medici received from Pope Clement VII on her marriage to Henri II of France in 1533. She later gave them to her daughter-in-law, Mary, Queen of Scots, and after her imprisonment they were allegedly sold to Elizabeth I. Elizabeth is unlikely to have worn them as earrings, as she preferred to wear pearls scattered over her ruff, on her hair or on her costume, and despite this romantic tale it appears that at least two of the pearls did not enter the Collection until the nineteenth century.
The Black Prince's Ruby - in fact a large spinel - was traditionally thought to have been the ruby given to Edward, Prince of Wales (1330-76), son of Edward III, and known as the Black Prince, by Don Pedro, King of Castile, after the Battle of Najera near Vittoria in 1367. The stone, which measures 170 carats, is of Eastern origin and has been drilled in the past for use as a pendant. According to legend it passed to Spain in about 1366, where Don Pedro took it from the Moorish king of Granada. In 1415 it was one of the stones worn by Henry V in his helmet, at the Battle of Agincourt. It is difficult to prove that this is indeed the same stone but a large Balas (or spinel) certainly appears in the descriptions of historic state crowns, and it has been reset each time the crown was refashioned.
The Stuart Sapphire, which has also been drilled in its history for use as a pendant, is approximately 104 carats. It is traditionally thought to have been smuggled by James II, when he fled England in December 1688. He passed it to his son Prince James Francis Edward, 'the Old Pretender', and it eventually came into the collection of Henry, Cardinal York. When an Italian dealer, Angioli Bonelli was sent on behalf of George IV to retrieve any remaining Stuart papers, after the Cardinal's death, he encountered a Venetian merchant who produced a large sapphire, saying that it belonged to the Stuart Crown. Bonelli purchased the sapphire and returned it to Britain. George IV certainly believed it was the Stuart Sapphire and by the time of Queen Victoria's coronation it was set into the front of the band of her State Crown. It was moved to the rear of the band in 1909 to make way for the newly acquired Cullinan II.
Cullinan II, or the 'Second Star of Africa, weighs 317.4 carats. It is the second largest stone cut from the great Cullinan Diamond, the largest diamond ever discovered. It was found in 1905 by Frederick G.S. Wells, at the Premier Mine, about twenty miles from Pretoria in South Africa. The stone, which weighed 3025 carats, was named after Thomas Cullinan, the Chairman of the Premier (Transvaal) Diamond Mining Company. The diamond was presented to Edward VII in 1907 as a symbolic gesture to heal the rift between Britain and South Africa after the Boer War. It was formally handed over to the King on his birthday, 9 November 1907, at Sandringham. The stone was cut by Asschers of Amsterdam. Nine large stones were cut from the original diamond. The cutting and polishing took three men eight months to complete. A further 97 small brilliants and some unpolished fragments were also created. The largest cleaving of the stone, Cullinan I, the Star of Africa, was placed in the Sovereign's Sceptre, and Cullinan II placed in the front of the band of the Imperial State Crown. The remaining numbered stones were mounted as jewellery (and do not form part of the official Crown Jewels).
Be aware this miniature from Crowns and Regalia contains several more stones than the one they normally show. I believe it is no longer available, but best to check this out in case I am wrong.
Information is copyright of The Royal Collection Trust. Link here to be amazed by the original photos on their site which are so detailed.
www.royalcollection.org.uk/collection/31701/the-imperial-...
Heading into Bangor once again on a rainy afternoon, I noticed this unusual looking sculpture at Bangor University.
It is called The Caban. Seems like the locals don't really like it.
Unveiled in 2016. It was sculpted by Joep van Lieshout.
Something to do with Quarrymen.
This view from near Storiel.
Main Building of Bangor University.
Grade I Listed Building
Road University College of North Wales Main Building (Original Courtyard Ranges only)
History
The University was founded in 1884 after the city of Bangor was chosen as the University’s North Wales site. First established of the former Penrhyn Arms Hotel; the present Penrallt site was donated in 1902.
Built 1907-11 by Henry T Hare, architect of London; chosen following a competition assessed by Sir Aston Webb and with other entrants including W D Caroe. The designs were modified by the University (Isambard Owen in particular) to take full advantage of the site. Contractors were Messrs Thornton and Sons of Liverpool; cost ca £175,000. Foundation stone laid by Edward VII on 9 July 1907; opened 14 June 1911.
"Collegiate Tudor" style with Arts and Crafts influences; Hare also carried it "generally of late Renaissance character". Designed around two courtyards, the larger of which was never completed (later enclosed with ranges by Sir Percy Thomas 1966-1970). The entire scheme is linked and focused upon the cathedral like central tower. Buff coloured Cefn stone in snecked courses with freestone dressings and flat buttresses; slate roofs with parapet and stone chimney stacks. Mullioned and transomed windows with leaded lights. Tudor style down-pipes etc dated 1909. Metalwork by William Bainbridge Reynolds of London. The building was described in his obituary as Hare’s finest work.
Exterior
Starting at the NW Hall range facing College Road. 2-storey, 6-window front with advanced end pavilions; altered to right by addition of modern entrance block closing the NW side of the SW courtyard. Steep roof, crenellated parapet and bellcote with lantern and spirelet. Tall segmental headed hall windows, double-transomed and with panel tracery; projecting flat roof ground floor with entrances to either end, deeply recessed doors. Left hand end pavilion had central stepped buttress flanked to 2nd floor by 2 segmental headed windows with unusual tear-drop oculi; right hand pavilion is lower with dentil cornice over 3-light window.
The original main entrances if on the SW gable end of this range. Broad gable with Tudor octagonal end turrets and Baroque niches containing statue of Lewis Morris to apex. Central segmental headed 4-light double-transomed and panel traceried window with flanking buttresses. Advanced below is a triple arched porch with panelled pilasters, coasts of arms and Latin inscription dated 1911. Enriched spandrels over recessed entrances with double doors and lugged architraves to each. Shaped gables at right angles to either side, to the advanced end bays of the adjoining ranges; commemorative tablets with garlanded borders below each gable. At the top of the steps up to the entrance are cast-iron square, tapered lamp standards with bracketed octagonal lamps and openwork ornament.
The spinal/administrative range, together with the Library, forms an :-plan group to the E side of the SW courtyard. The former has an 8-bay, 2-storey front, the advanced left hand bay as above, parapet is balustraded over cross frame windows with architraves to 1st floor and semicircular pediments to ground floor. Baroque entrance to centre with small-pane circular window over door.
The 2-stage tower to right has crenellated parapet and taller stair turret to SE side; splayed corners. 2 segmental-headed double-transomed windows flanking ogee niche to each face; niches contain statues of Welsh historical characters over coats of arms.
The Library at right angles has a 9-window front with central royal coat of arms; 2 bays are advanced with tall 1st floor oriel windows. Crenellated parapet and gabled and panelled buttress pilasters. Arched headed lights, square headed 1st floor windows and segmental headed ground floor windows and entrance which has open pedimented doorcase, lugged architrave and double doors. Plaque with Latin inscription.
Gable end to Penrallt Road has full height buttresses, extruded corners and small attic windows. Central 2-storey splayed bay with horseshoe shaped high arch above containing recessed 3-light window - no leaded glass to this elevation.
The 3-storey SE side of the Library overlooking the city had 1 9 bay front, (stylistically foreshadowing Sir Edwin Lutyens at Castle Drogo). Attic to the advanced and gabled end bay with Baroque scrolls over stepped buttresses; 2nd floor has statute flanked by cross frame windows under overall label. Symmetrical to right with a repeat of the courtyard elevation as above with the addition of a slightly swept out ground floor with single light windows and entrances below the oriels; 1st floor windows set in splayed recesses. Forward to right beyond the tower is the SE range of the NE courtyard. This has a gabled SW end with slate hung attic to left and chimney breast to right, the latter with open-pedimented tablet. 2-storey porch facing Penrallt road entrance with part balustraded parapet, tapered buttresses on chamfered corners and round arched entry with multipane fanlight - swaged shield over.
The main 3-storey and attic SE elevation is symmetrical with an especially collegiate feel to it. Tapered cross range gable ends advanced at the end advanced at the end of 10-bay range, the ground floor of which is arcaded and the central 4 bays open, forming a loggia; storey chimney stacks and flat roof attics over parapet. 2nd floor cornice extend to edges of end pavilions over shield; splayed broad buttresses. Lintels over 1st floor windows and broad ground floor windows, bowed to centre and with high parapets containing UCNW monogram, 1st floor double transomed windows between have lugged architraves and open pediments. Stilted arch arcade windows and part glazed doors to ends of loggia.
The NE end of this range is a repeat of the SW gable end. Advanced to its right is a 3-window bay with boldly tapered end pilasters; double transomed 1st floor windows. 9-bay tall roofed range beyond set into the hillside; largely 2-storey and attic with higher attic to south-eastern 3 bays, also with double transomed ground floor windows. Dividing pilasters to remaining bays. Segmental headed entrance to NW end bay and a smaller one lower down. Octagonal bellcote. The gabled NW return elevation is partly screened by the broader gable end of the hall range. This has a stronger Arts and Crafts feel to it - 4-light gable window, crenellated broad end pilasters with narrow lights (?stair projection) and grills to lower windows.
The enclosed NE courtyard is terraced with similar detail to that on the exterior of each range. The Hall range is at the top and has an ivy clad ground floor projection. The inner side of the SE range is symmetrical; lower gabled projection with polygonal corner turrets, lateral chimney breasts and frontis-piece with 3-light transomed window over scrolled inscription and round arched entrance. Six 2nd floor and three 1st floor segmental headed windows to either side; projecting ground floor. To SW the range is dominated by the tower’s 6-storey NE face; including splayed oriel with crenellated parapet and recessed plain Venetian window; lowest stage splayed out. Twin gabled 3-storey block projects to right of the tower matching similar projection opposite (NE range).
The 4-tier terrace has rubble walls, freestone copings and ball finials.
Main doors open onto a part groin vaulted entrance hall with original 3-lamp light fittings and brass War Memorial tablets by F Osborne and Co Ltd of London. Straight ahead is the 150 ft long Pritchard Jones Hall. 9-bay arches coffered ceiling with panelled ribs and strapwork ornamented ceiling panels, apsidal dais end; coats of arms over windows, panelled dado and other fine woodwork detail etc. Gallery raked over the entrance hall with panelled screen front and segmental open-pediments to the 3 doorways, Original brass light fittings (octagonal). Main staircase lies to SE in groin vaulted stairwell - marble topped ‘closed’ stone balustrade; stained glass window. Open pedimented and carved doorcase at top leads to hall gallery. To SE run 2 tiers of groin vaulted corridors with panelled ribs (not glazed until after 2nd Work War). 1st floor has various bronze oval plaques, panelled doors and cornices and similar pedimented doorcase at SE end leading to back stairs; plainer ground floor corridor. Stained glass windows at SE end by Dudley Forsyth of London 1910, the classical subject and signed "Architectus Dedit" with the monogram of a hare. Short arms of the passages lead off to the Library, that to the 1st floor contained a porcelain museum. The finest single room is the Council Chamber on 1st floor - segmental vaulted ceiling with panelled Jacobean plasterwork and coats of arms of the Welsh Princes full height wainscoting, segmental pedimented doorcases and ashlar fireplaces and overmantels with panelled and fireplaces. Also contains 2 busts by W Goscombe John, one of William Cadwallader Davies and another of Sir Isambard Owen.
NE range has smaller hall with coved ceiling ridges. SE range has metal staircase with barley twist uprights to courtyard side. Library range contains the ground floor Lloyd Reading Room which Hare had intended to be a museum and the 1st floor Shankland Library with segmental vaulted roof with square panel-lining and 36 heraldic shielded in oak frames. Two bays are screened off (corresponding to those with external oriels) and have broken Baroque pedimented openings - 1 bay also has wooden gates. Splayed oriel over entrance with similar doorcase.
Reasons for Listing
Architecturally, one of the most significant public buildings of the period in Britain and historically, the foremost institution in Wales to pioneer the academic development of the Welsh language.
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Itchan Kala is the walled inner town of the city of Khiva, Uzbekistan. Since 1990, it has been protected as the World Heritage Site.
The old town retains more than 50 historic monuments and 250 old houses, dating primarily from the eighteenth or nineteenth centuries. Djuma Mosque, for instance, was established in the tenth century and rebuilt from 1788 to 1789, although its celebrated hypostyle hall still retains 112 columns taken from ancient structures.
The most spectacular features of Itchan Kala are its crenellated brick walls and four gates at each side of the rectangular fortress. Although the foundations are believed to have been laid in the tenth century, present-day 10-meters-high walls were erected mostly in the late seventeenth century and later repaired.
Tash-Hauli Palace
In the period of Allakuli-khan (1825-1842), the political, public and trading center of Khiva had moved to the eastern part of Ichan-Qala. A new complex formed at the gates of Palvan-darvaza: a new palace, madrassah, caravanserai and shopping mall (tim). The palace of Allakuli-khan was named Tash-Hauli ("Stone courtyard"). It looks like a fortress with high battlements, towers and fortified gates. Its architecture is based on the traditions of Khorezm houses and country villas ("hauli") with enclosed courtyards, shady column aivans and loggias.
Tash-Hauli consists of three parts, grouped around inner courtyards. The northern part was occupied by the Khan's harem. The formal reception room-ishrat-hauli adjoins the last one on the southeast; court office (arz-khana) - in the southwest. In the center of Ishrat-hauli there is a round platform for the Khan's yurt. Long labyrinths of dark corridors and rooms connected the different parts of the palace. Refined majolica on walls, colored paintings on the ceiling, carved columns and doors are distinctive features of Tash-Hauli decor.
A corridor separated the family courtyard of Tash-Hauli (harem or haram) from the official part. Its southern side is occupied by five main rooms: apartments for the Khan and his four wives. The two-storied structure along the perimeter of the courtyard was intended for servants, relatives and concubines. Each aivan of the harem represents a masterpiece of Khivan applied arts. Their walls, ceilings and columns display unique ornamental patterns. Majolica wall panels were performed in traditional blue and white color. Red-brown paintings cover the ceilings. Copper openwork lattices decorate the windows.
Arcelia Wrap skirt by designer Kristin Omdahl - as published by Interweave in their new book, "A Knitting Wrapsody".
Knit up a lace skirt that looks crocheted! Wear over a contrasting skirt or dress - or even as a halter top over a tunic and leggings. The pattern includes a couple of unusual techniques, including pleats, crochet-inspired circular motif edging, and an incredibly quick openwork pattern. The edging is worked vertically but joined in two different ways for the hem and side of the skirt.
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.
Including Lady Jane Gray and John 1st Lord Chandos.
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.
A visit to the National Trust property of Tyntesfield in North Somerset, on the way down for the mid autumn holiday in Dorset.
It is to the west of Bristol and the M5.
Between the Chaplain's House and Tyntesfield House was a distant view to a church. St Andrew's Church, Backwell.
Grade I Listed Building
Description
ST 46 NE BACKWELL CHURCH LANE (north-west side)
6/21 CHURCH OF ST ANDREW
11.10.61
G.V. I
Parish Church (Anglican). C12, altered and enlarged C13, C15; altered C16 and
repaired C17. West tower, nave, north and south aisles, south porch, north and
south chapels; chancel. Coursed, squared rubble with freestone dressings,
ashlar tower; lead and stone slate roofs with coped raised verges. West
tower: C15, restored 1928; 4 stages with setback buttresses which terminate in
clustered pinnacles on the 3rd stage, clustered and setback pinnacles on the 4th
stage, terminating in square turrets set diagonally, surmounted by openwork
spires; projecting stair turret to north-east which is square on the first stage
and half-octagonal above; blocked 2-light windows on second and third stages,
cusped heads to tracery and hoodmoulds with lozenge stops, the mullion of the 3rd
stage windows has a pierced quatrefoil in a circle at the base (inscription to
the left of the 2nd stage window on the west wide); two single-light windows to
bell chamber, pierced quatrefoils in arches, 4-centred heads to the windows which
are both under a single ogee hoodmould which breaks through the parapet; 5-light
west window (restored) with cusped heads to the tracery; west door in moulded
surround; south-east buttress bears plaque which reads: "I.B./I.C./C.W./1713".
South aisle and chapel: plain parapet; 3 windows all in a Perpendicular style
(restored), 4-lights to west and 3-lights to east window; projecting square rood
stair turret with embattled parapet; east window has cusped 4-centred heads to
the tracery and daggers above; relieving arch over blocked window immediately
east of porch; carved gargoyles empty into downpipes with hoppers dated
"EIIR/1953". Nave: sanctus bellcote over east gable, crocketed pinnacles.
South porch: circa 1300 with embattled parapet and diagonal buttresses; south
doorway of 5 orders, ovolo moulding alternating with chamfers - roll moulded
hoodmould on small fluted corbel to west. Chancel has angle buttresses and
3-light windows; priest's door in heavy roll moulded surround, hoodmould with
carved head stops; restored 3-light Perpendicular style east window. Rodney
Chapel: embattled parapet, east gable with trefoil headed window; 3-light
restored Perpendicular style window; north doorway in chamfered surround with
depressed 4-centred head. North aisle: plain parapet; four 2-, 3- and 4-light
windows, all in Perpendicular style; cusped ogee heads to two 4-light westernmost
windows; north door in chamfered, 4-centre headed surround. Interior. South
porch: blocked door to left (now missing) has a chamfered surround and pointed
head, corbel with leaf ornament to right; stoup to right of door with pointed
surround; plank and cross battened south door of late C15. Nave: 5 bay
arcades, the westernmost part dying into the later west wall, octagonal piers and
caps and chamfered, pointed arches. C15 tower arch of 2 wave mouldings.
Chancel arch rests on thickened east piers of arcade: sharply pointed arch;
carved heads on piers and square squints through piers. Restored Perpendicular
style roofs, those of the arcades rest on carved corbel heads; arch-braced roof
to nave, with a 2-light dormer window at the south-east corner (possibly to light
the rood); two blocked doors to rood stair turret, the lower one has an ogee and
hollow moulded surround. Single bay to north and south chapels but no capital
to east pier. Single bay chancel: triple sedilia with colonnettes and pointed
arches under a linked hoodmould on carved stops, piscina of similar details but
with an outer roll moulding which has a fillet; ogee headed niche to left of
piscina; two shallow niches on east wall; in the north-east corner is a door
with a double ogee moulded surround and a 4-centred head. Rodney Chapel:
inscribed and dated 1536, resto red 1933; 3 bay screen of depressed arches with
a doorway to the left and two 3-light cusped lights to the right, above are arms
and everything is surmounted by a crocketted gable with pinnacles; 2-light
trefoil headed squint to right with fragment of C11 carving; inside is a cusped
rere-arch to the screen and a roof of 5 cusped transverse ribs. Pulpit is late
C19. Font; C12, restored 1907, circular bowl with cable moulding, circular
stem with foliate moulding on base. The pews are all 1933. The rood screen is
early C16: blank arcaded base with cusped tracery and quatrefoils in circles;
pierced tracery to upper part, decorative heads; pointed 4-centred heads to
doorways. Brass chandelier, dated 1786. Monuments. Rodney tomb: the effigy
is that of Sir Walter Rodney, died 1466 but the tomb chest is mid-C14; 5-bay
blank arcade of cusped, ogee headed niches, angels bear arms, band of fleurons
above. Rodney Chapel: Elizabeth Harvey, early C17, aedicular with a small
obelisk finial; Rice Davis, died 1638, brass and marble plaques, flanked by
ashlar terms, moulded frieze and cornice with arms above. North aisle: Joseph
Whitchurch, died 1792, by Tyley of Bristol, inscribed marble plaque, a weeping
woman rests on an urn; Anthony Biggs, died 1752, marble, broken pediment on
brackets; Joseph Hitchman, died 1765, classical marble plaque. South aisle -
two to the Simmons family, the lower one 1835, a marble plaque with a draped urn,
the upper one with a weeping woman; Charles Biggs, died 1775, marble tablet,
flanked by urns. (N. Pevsner, The Buildings of England : North Somerset and
Bristol, 1958).
Listing NGR: ST4931168337
A logo and identity elements for The Best Winter City festival 2014–2015 which took place on streets, boulevards and parks of Moscow. Made for ART.LEBEDEV Studio. Art director: Еrken Kagarov.
More about project:
www.behance.net/gallery/33068633/The-Best-Winter-City
Tsuki says: "This is mine, nobody else is having it !"
Tsuki's gorgeous hand carved bench is a fabulous piece of art by Joanna Rajtar, JRajtar on etsy.
Empire style inspired, oak wood with openwork armrest, black leather upholstery and brass foot pads.
Photos cannot do it justice,
Simply stunning!
Tsuki - porcelain Enchanted Doll Sapphire, wig by Marina Bychkova, dress by Bibarina.
Omero - Stylish openwork pattern tights with cotton Leyda www.tights-store-online.com/omero/omero-stylish-openwork-...
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.
A bank holiday weekend visit to Arbury Hall, near Nuneaton in Warwickshire. It is only open to the public on the four bank holiday weekends (8 days a year).
It is a private lived in house. While you can have tours of the house, you are not allowed to take photos inside, so grounds and exteriors only.
A Grade I listed building
Listing Text
NUNEATON AND BEDWORTH ARBURY PARK
SP38NW
4/7 Arbury Hall
06/12/47
GV I
Country house. Late C16 for Sir Edmund Anderson. Chapel remodelled 1678.
Completely remodelled and Gothicised 1749-1803 for Sir Roger Newdigate. Designs
by William Hiorn, mason-architect 1748-1755, Henry Keene 1761-1776 and Henry
Couchman, clerk of works 1776-1789, and probably also by Sir Roger himself;
Sanderson Miller may also have been involved. Grey Attleborough and Wilnecote
sandstone ashlar. Roofs hidden by parapets. Ashlar external and other stacks.
Courtyard plan. Gothic Revival style, with late Perpendicular details. 3
storeys. Moulded plinth and string courses, and moulded and embattled parapets
with crocketed pinnacles throughout. Moulded and chamfered 4-centred openings
throughout. Sashes and casements have Gothick glazing bars. South garden front:
western bay window 1752, eastern bay 1761, central Dining Room range 1769-1779.
Symmetrical. 1-1-3-1-1 bays. Projecting wings have polygonal clasping buttresses
to outer corners, with blind quatrefoil and lancet panelling, rising into
panelled and crocketed pinnacles. 2-storey polygonal bays have windows to 3
sides, leaf carving and blind arches. Elaborately moulded quatrefoil panel with
coat of arms below first floor windows. Second floor has straight-headed windows
of 2 arched lights with hood moulds throughout. Large one-storey 3-bay central
projection has polygonal clasping buttresses rising into panelled and crocketed
turrets with niches. Elaborate decoration throughout, with blind arcading and
quatrefoil frieze, and arcaded parapet with panelled and crocketed pinnacles
between bays. Large 4-light windows have panel tracery and ogee outer arches
with finials. Lower single-storey bays to left and right have moulded doorways
with hood moulds, and double-leaf sash doors with painted wood tracery and blind
tracery panels. Openwork embattled parapets. First floor has sashes. North
entrance front, probably designed 1783 but built 1792-1796, of 1-3-1 bays. Large
external stacks between centre and blank outer bays. Angles have buttresses with
turrets similar to garden front. Central 3-bay porte-cochere has angle and other
buttresses rising into panelled crocketed pinnacles. Moulded cornice and parapet
with finials. Interior is vaulted, with moulded piers. Central double-leaf sash
door has fanlight with painted wood tracery. Flanking bays have small quatrefoil
window in square panel. Windows to left and right of porte-cochere on each floor
are mostly blind. First floor has more elaborately treated windows; central
tripartite window has simple intersecting tracery. Second floor has central
2-light window, similar to garden front. East front of c.1786. Two storeys;
1-3-2-1 bays. 3 large external stacks. Detailing largely similar to entrance
front. 3-bay section has large polygonal one-storey bay window, of 7 mullioned
and transomed lights with elaborate Gothick glazing. Central sash door. Blind
fret frieze, moulded cornice and vine leaf frieze. Crocketed pinnacles and
fleur-de-lys cresting. West front of 1789-1803 is irregular. Some rubble walling
and remains of blocked mullioned and transomed windows may be a survival from
the earlier house. 3 large external stacks. Interior: Entrance Hall and the
Cloisters of 1783-1785 have plaster quadripartite vaulting with moulded ribs and
shafts. Semi-circular apse has stone geometrical staircase with re-used openwork
balusters, scrollwork, newel posts and finials of c.1580. Old armorial glass in
some windows. Chapel has plaster ceiling of 1678 by Edward Martin. Central
shaped panel has inner wreath and deep coving with festoons, and richly
decorated outer border of flowers, fruit and foliage. Small similarly decorated
shaped panels. Acanthus cornice. Contemporary panelling of bolection-moulded
lower panels; upper moulded panels have shouldered and indented architraves, and
are separated by carved drops suspended from winged cherubs' heads. Arched organ
recess at west end has fluted Tuscan pilasters, more elaborate drops between the
panels, and a late C18 ceiling. Panelled pulpit. Library of 1754-1761 by Hiorn
has Gothick panelling with shafts, cornice and ogee-gabled bookcases, and open
fretwork arches to bay window and recess. Chimney-piece has panelling and canopy
of 3 ornamented ogee arches. Segmental plaster ceiling with 'Etruscan' motifs
and medallions from a design of 1791 by Sir Roger. Dining Room by Keene
1769-1773 on the site of the hall. Plaster fan vaulting with wall shafts.
Windows are treated as an aisle with Gothick-panelled arches. Very large
fireplace has polygonal turrets with crocketed buttresses, moulded arch and a
row of triangular canopied niches with cresting. Tall elaborate canopied niches
above fireplace and in walls have casts of Roman statues. East wall has
Gothic-panelled recess with Classical relief. Gothic-panelled doors and
doorcases with triple canopies and pinnacles. Drawing Room by Keene 1762-1763
has Gothick plaster panelling with inset portraits. Segmental Gothic plasterwork
vault, and fan vault in bay window. Chimneypiece, inspired by the monument of
Aymer de Vallance in Westminster Abbey, carved 1764 by Richard Hayward of Weston
Hall (q.v.). Saloon, Little Sitting Room and School Room (Chaplain's Room), all
decorated under direction of Couchman. Saloon of 1786-1794, probably from
designs by Keene, has vaulting and pendants inspired by Henry VII's chapel;
scagliola columns and Gothic capitals were supplied by Joseph Alcott 1797.
Little Sitting Room has marble fireplace of c.1740 with eared architrave. School
Room has Gothick fireplace with ogee arch, inset with Classical medallions
probably carved by Hayward. Long Gallery on first floor has stone fireplace of
c.1580. Panelling, and possibly the painted wooden overmantel with columns and
obelisks, of c.1606. Shallow Gothic plaster vault and large moulded arch to
lobby of 1787. 'Arbury Hall is one of the finest examples of the early Gothic
Revival in England' (Buildings of England, p67). The house was built on the site
of a monestery.
(VCH: Warwickshire: Vol IV, p173-174; Buildings of England: Warwickshire:
p67-71; Gordon Nares: Arbury Hall, Country Life 8 October 1953, pp1126-1129; 15
October 1953, p1210-1213; 29 October 1953, pp1414-1417; G.C. Tyack: Country
House Building in Warwickshire 1500-1914, ppl98-206; Arbury Hall guidebook)
Listing NGR: SP3351989255
This text is from the original listing, and may not necessarily reflect the current setting of the building.
清 康熙 Kangxi Period（1662 - 1722）
20.7 cm high
www.christies.com/lotfinder/lot_details.aspx?from=salesum...
Estimate : 600,000 - 800,000 HKD
Price Realized : 1,240,000 HKD
Christie's
Important Chinese Ceramics and Works of Art
HK, 2 Dec 2015
The Wool Exchange, Market Street, Bradford
Grade I Listed
List Entry Number: 1132985
Details
1. 5111 MARKET STREET BD1 (west side)
The Wool Exchange SE 1633 SW 36/140 14.6.63
I
2. Competition winning design of 1864 by Lockwood and Mawson. The foundation stone was laid by the Prime Minister Lord Palmerston. Completed in 1867. Occupying a triangular island site, the building has 3 main storeys of very finely masoned Bradford sandstone with a prominent clock tower at the north end. Red and yellow sandstone dressings. In type the design looks to the precedent of the great Flemish Cloth Halls but the style is Venetian Gothic, particularly in the polychromy and the serrated openwork of the parapet cresting. (An unexecuted design for Halifax Town Hall by sir G G Scott was perhaps a more immediate influence). Steep hipped slate roof with ridge cresting. Pointed ground floor arcade, originally open, with shafts and geometrical tracery. Coupled shafted lights to first floor and similar but shorter tripled lights to second floor. Both with toothed weathered sill courses and carved impost bands. Bartizan pinnacled turrets to each corner. Rose windows to south end. The north tower provides a grand open porch on the ground floor, with canopied statues to corners, and roses in 3 tall stages to the clock stage with crocketed gables applied to each face and pinnacled bartizan corner turrets. Similar parapet existing as on main building and sharp spire surmounted by crocketed pinnacle. In the spandrel of the ground floor arcade are portrait medallions of the following notables: facing Market Street: Cobden, Sir Titus Salt, Stephenson, Watt, Arkwright, Jacquard, Gladstone, Palmerston. Facing Bank Street: Raleigh, Drake, Columbus, Cook and Anson. The main hall is still used as a Wool exchange and has finely detailed lofty hammer-beam roof with wrought iron work decoration. The hall is surrounded by tall polished granite columns with foliate capitals and there is an outer south aisle arcade with good naturalistic foliage carving. Lively wrought ironwork balcony and staircase balustrade. The Wool Exchange, perhaps more than any other building, symbolises the wealth and importance that Bradford had gained by the mid C19, on the basis of the wool trade.
Listing NGR: SE1640233128
historicengland.org.uk/listing/the-list/list-entry/1132985
----------------------------------------------------------------------------------------------
Wool Exchange, Market Street, Bradford, 1864-67.
By Lockwood & Mawson.
Grade l listed.
The Wool Exchange built in 1867 to the design of architects Lockwood and Mawson. This was the site of the old Market House built by Benjamin Pawson in 1799 which became an extension of the Piece Hall in 1824.
See also:-
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.
Giles 3rd Lord Chandos, Elizabeth I and Edward VI.
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.
A few of the many details of the Town Hall - Brussel
The Town Hall of the City of Brussels is a Gothic building from the Middle Ages. It is located on the famous Grand Place in Brussels, Belgium.
The oldest part of the present Town Hall is its east wing (to the left, when facing the front). This wing, together with a small belfry, was built from 1402 to 1420 under direction of Jacob van Thienen, and future additions were not originally foreseen. However, the admission of the craft guilds into the traditionally patrician city government probably spurred interest in expanding the building. A second, shorter wing was completed within five years of Charles the Bold laying its first stone in 1444. The right wing was built by Guillaume (Willem) de Voghel who in 1452 also built the Magna Aula.
The 96 meter (310 ft) high tower in Brabantine Gothic style emerged from the plans of Jan van Ruysbroek, the court architect of Philip the Good. By 1455 this tower had replaced the older belfry. Above the roof of the Town Hall, the square tower body narrows to a lavishly pinnacled octagonal openwork. Atop the spire stands a 5-meter-high gilt metal statue of the archangel Michael, patron saint of Brussels, slaying a dragon or devil. The tower, its front archway and the main building facade are conspicuously off-center relative to one another. According to legend, the architect upon discovering this "error" leapt to his death from the tower. More likely, the asymmetry of the Town Hall was an accepted consequence of the scattered construction history and space constraints.
The Town Hall at night
The facade is decorated with numerous statues representing nobles, saints, and allegorical figures. The present sculptures are reproductions; the older ones are in the city museum in the "King's House" across the Grand Place.
After the bombardment of Brussels in 1695 by a French army under the Duke of Villeroi, the resulting fire completely gutted the Town Hall, destroying the archives and the art collections. The interior was soon rebuilt, and the addition of two rear wings transformed the L-shaped building into its present configuration: a quadrilateral with an inner courtyard completed by Corneille Van Nerven in 1712. The Gothic interior was revised by Victor Jamar in 1868 in the style of his mentor Viollet-le-Duc. The halls have been replenished with tapestries, paintings, and sculptures, largely representing subjects of importance in local and regional history.
The Town Hall accommodated not only the municipal authorities of the city, but until 1795 also the States of Brabant. From 1830, a provisional government assembled here during the Belgian Revolution
Church archiprezbiterialny P. W. 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.
The Stanhope Memorial, by by E. H. Lingen Barker, dominates Horncastle Market Place. Three octagonal steps lead up to the memorial on it's moulded octagonal plinth. Consisiting of Limestone ashlar, red sandstone, pink and grey streaked marble, with it's eight pointed, richly cusped, openings set under crocketed gables with large foliate stops supported on markble shafts. Above are eight openwork arches with trefoiled pointed heads supported on marble shafts with a small octagonal copper turret set above eight trefoil headed openings supported on shafts with tall gables above and with wrought iron finials. A tall pyramidal roof with wrought iron finial above completes the memorial which was commissioned in 1894 and as a shield attached to the memorial states was "Erected by public subscription in the memory of the Right Honourable Edward Stanhope Member of Parliament for this Divison of the County 1874-1893".
The altar was made between 1470 & 1485; these prophets are on the left side of the altar.
king David with harp
Salamis "royal" Tombs, at Tuzla, outskirts of Salamis
................
The royal tombs (sometimes called the kings tombs) are located in an area between Tuzla and Salamis. The entrance to the complex is close to St Barnabas' Monastery.
Tomb 3 at the Royal Tombs, Salamis near Famagusta, North Cyprus
Tomb 3
This site became famous in the 1950s because of the rich finds here. Until the end of the 19th century, however there was almost a "free for all" for treasure hunters. At the start of the 20th century, however, more scientific excavation was started. Unfortunately, the methods used in those days also caused some damage. However, in every case, the entrance way (dromos) had been undisturbed, and it was in this area that the richest discoveries were made.
The tombs date to the 8th and 7th centuries BC. Some go back to the 11th century BC, suggesting that for some time, Salamis coexisted with Enkomi.
The funerary rites of the tombs are very similar. In all, at least one pair of yoked horses has been sacrificed in the dromos, with or without a chariot. The wooden parts of these chariots had decayed, but left impressions in the soil with the metal parts still in place. In tomb 3, excavated in 1964, one chariot was accompanied by the deceased's armour, a silver studied sword, some bronze and iron-headed arrows, a bronze shield and an iron-headed spear. Offerings of food and honey, placed in amphora, were also found here.
Tomb 1, excavated in 1957, contained two burials from different periods. The first consisted of a bronze cauldron containing the cremated bones of a dead woman wrapped in cloth, with a necklace of gold, rock crystal beads and several thin sheets of gold. It is thought because of the shape of the tomb and the richness of the material, the burial belonged to a noble lady or princess. The skeletons of two horses were found on the floor of the dromos, with traces of the wooden parts of a chariot. These date to middle of the 8th century BC. The second burial, around 100 years later was disturbed badly, but four horses' skeletons, traces of a two-poled chariot, as well as some metal parts of horses' gear and a chariot's metal parts were found.
Tomb 47 with Tomb 3 in the background at the Royal Tombs, Salamis, near Famagusta, North Cyprus
Tomb 47 (Tomb 3 in the Background)
Tombs 79 and 47 provided the richest finds, with evidence of several elaborate royal burials. Tomb 47 is the largest, and is alongside the Royal Tombs Museum. It was excavated in 1964. It has a spacious cemented dromos leading to a monumental temple in front of a chamber built of enormous well-dressed stones.
This tomb was used twice for burials. In the first, two horses of a hearse were sacrificed. One of the horses had tried to escape when its companion was killed, but had twisted round the chariot pole and was found with its neck broken. The iron bits of the horses were still in their mouths, and the remains of leather frontlets and blinkers covered with sheets of gold on their heads. There was no trace of the chariot in this burial, and it was probably used as a hearse and placed with the body.
At a later burial, six horses were sacrificed, yoked in pairs, with ornamental coverings, iron bits and blinkers and frontlets of ivory and bronze with relief decorations of lotus flowers.
The best finds, however, are from tomb 79, just south of tomb 47. Evidence shows that it received two burials in a short space of time towards the end of the 8th century BC. A four-horse chariot had its wheels held by magnificent lynch pins nearly 2 ft long, with a bronze sphinx head at one end, and a hollow bronze figure of a warrior at the other, wearing a crested helmet, body armour inlaid with blue glass, and a long sword hanging from a baldric.
Tomb 79 att the Royal Tombs, Salamis, near Famagusta, North Cyprus
Tomb 79
A two-horse hearse had bronze lion heads on the corners and on the front The bronze gear of the horses lay piled in a corner, including breast plates with embossed designs of oriental animals and myths, and two side pendants showing the goddess Ishtar as mistress of the wild beasts. |Also of oriental design was a bronze tripod cauldron decorated with illustrations of griffins and bird-men round the rim.
The principal find at this tomb was a number of ivories, including a gold and ivory throne and an ivory-veneered bed. Of the ornaments discovered, the finest was probably an openwork, two-sided plaque of a winged sphinx wearing the crowns of Egypt.
Some of the horse skeletons have been left in situ, and there is a small museum on site showing some of the finds, although most are now elsewhere, the bed for example being in the Cyprus Museum in south Nicosia.
There is no evidence to show that these Royal Tombs belonged to the kings of Salamis, but with the precious death gifts, and the monumental architecture of the tombs, there is no doubt that they belonged to noble or rich persons.
And the less noble or rich? They were buried at the Necropolis of Cellarka, which is to be found within this complex, as is Tomb 50, commonly known as St Catherine's prison.
METHODIST CHURCH, SCHOOL ROOM, COACH HOUSE AND ATTACHED WALLS
Overview
Heritage Category: Listed Building
Grade: II
List Entry Number: 1157925
Date first listed: 19-Jan-1987
District:
North Somerset (Unitary Authority)
Parish: Churchill
National Grid Reference: ST 44352 59773
Details
Methodist Church, School Room and Coach House. Dated 1879 (on east gable end of School Room). By Foster and Wood of Bristol. Squared and coursed rockfaced rubble with flush ashlar quoins and dressings, stone copings, plain tile roofs and brick stacks. 3-bay church at right-angles to road to left-hand linked to 4-bay School Room by 4-bay corridor with service rooms. School Room further linked by loggia to porte cochere and Coach House. The complex forms an irregular L-shaped plan. Free-form Gothic style. Church with south-east porch and south apsidal ending with cusped openwork panelled parapets and crocketted pinnacles. Windows are 2 and 3-cusped lights of florid Perpendicular style. North-east staircase turret with pyramidal cap for gallery access. Interior. South gallery, barrel roof in nave, canted barrel roof in chancel. Contemporary fittings and stained glass in all windows. School Room with cross-mullion windows under gabled heads. Some applied half-timbering with brick infil to east and west gable ends. Good dentil coursed bargeboards. Similar details to Coach House complex. Tall panelled brick stacks. Spear railings fence between buildings and graveyard. Boundary walls, 1 metre high, with gate entrances to east and west ends with fine cast iron gas lamp standards. Further walls and railings to Coach House courtyard. The complex, built for Sidney Hill of Langford House , makes a fine group with the Clock Tower.
Listed Grade 1 "TQ 2981 SE CITY OF WESTMINSTER GREEK STREET, W1 58/23 No. 1 (House of St. 24.2.58 Barnabas) - I Corner terrace house with Soho Square. c.1744-46 by Joseph Pearce, the interior fitted out with very fine plasterwork etc. for Richard Beckford, brother of the Alderman in 1754. Stock brick, slate roof. Plain rather old fashioned elevations in keeping with Soho Square. 3 storeys, basement and dormered mansard. 5 windows wide and 4 window return to Soho Square. Entrance in 2nd bay from right has stone architrave with consoles carrying cornice. Recessed glazing bar sashes in stucco reveals under flat gauged arches, blind in chimney breast bay and to left on 2nd floor to Greek Street. Brick plat bands and sill bands, the 1st floor sill band of stone, brick parapet with coping. Wrought iron urn finialed area railings and stone obelisks flanking the steps to doorway. The interior finished in carved wood and moulded plaster is one of the best surviving examples in London of mid C18 Rococo decoration with pedimented ornamental chimneypieces, carved pedimented doorcases, stone staircase with wrought iron openwork balusters and plasterwork panels to 1st floor level of compartment, etc. ceilings, cornices etc. A chapel was added in the former stable yard and to Manette Street for the House of Charity by Joseph Clarke in 1862, stone built in a bold c.1300 Burges related style of Gothic, 2 bays with an east apse and pairs of apsed chapels off each side of the lofty narrow nave; marble facings and mosaic work; large rose window in west wall. Survey of London; Vol. XXXIII. Listing NGR: TQ2976481213" Historic England
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.
Salamis "royal" Tombs, at Tuzla, outskirts of Salamis
................
The royal tombs (sometimes called the kings tombs) are located in an area between Tuzla and Salamis. The entrance to the complex is close to St Barnabas' Monastery.
Tomb 3 at the Royal Tombs, Salamis near Famagusta, North Cyprus
Tomb 3
This site became famous in the 1950s because of the rich finds here. Until the end of the 19th century, however there was almost a "free for all" for treasure hunters. At the start of the 20th century, however, more scientific excavation was started. Unfortunately, the methods used in those days also caused some damage. However, in every case, the entrance way (dromos) had been undisturbed, and it was in this area that the richest discoveries were made.
The tombs date to the 8th and 7th centuries BC. Some go back to the 11th century BC, suggesting that for some time, Salamis coexisted with Enkomi.
The funerary rites of the tombs are very similar. In all, at least one pair of yoked horses has been sacrificed in the dromos, with or without a chariot. The wooden parts of these chariots had decayed, but left impressions in the soil with the metal parts still in place. In tomb 3, excavated in 1964, one chariot was accompanied by the deceased's armour, a silver studied sword, some bronze and iron-headed arrows, a bronze shield and an iron-headed spear. Offerings of food and honey, placed in amphora, were also found here.
Tomb 1, excavated in 1957, contained two burials from different periods. The first consisted of a bronze cauldron containing the cremated bones of a dead woman wrapped in cloth, with a necklace of gold, rock crystal beads and several thin sheets of gold. It is thought because of the shape of the tomb and the richness of the material, the burial belonged to a noble lady or princess. The skeletons of two horses were found on the floor of the dromos, with traces of the wooden parts of a chariot. These date to middle of the 8th century BC. The second burial, around 100 years later was disturbed badly, but four horses' skeletons, traces of a two-poled chariot, as well as some metal parts of horses' gear and a chariot's metal parts were found.
Tomb 47 with Tomb 3 in the background at the Royal Tombs, Salamis, near Famagusta, North Cyprus
Tomb 47 (Tomb 3 in the Background)
Tombs 79 and 47 provided the richest finds, with evidence of several elaborate royal burials. Tomb 47 is the largest, and is alongside the Royal Tombs Museum. It was excavated in 1964. It has a spacious cemented dromos leading to a monumental temple in front of a chamber built of enormous well-dressed stones.
This tomb was used twice for burials. In the first, two horses of a hearse were sacrificed. One of the horses had tried to escape when its companion was killed, but had twisted round the chariot pole and was found with its neck broken. The iron bits of the horses were still in their mouths, and the remains of leather frontlets and blinkers covered with sheets of gold on their heads. There was no trace of the chariot in this burial, and it was probably used as a hearse and placed with the body.
At a later burial, six horses were sacrificed, yoked in pairs, with ornamental coverings, iron bits and blinkers and frontlets of ivory and bronze with relief decorations of lotus flowers.
The best finds, however, are from tomb 79, just south of tomb 47. Evidence shows that it received two burials in a short space of time towards the end of the 8th century BC. A four-horse chariot had its wheels held by magnificent lynch pins nearly 2 ft long, with a bronze sphinx head at one end, and a hollow bronze figure of a warrior at the other, wearing a crested helmet, body armour inlaid with blue glass, and a long sword hanging from a baldric.
Tomb 79 att the Royal Tombs, Salamis, near Famagusta, North Cyprus
Tomb 79
A two-horse hearse had bronze lion heads on the corners and on the front The bronze gear of the horses lay piled in a corner, including breast plates with embossed designs of oriental animals and myths, and two side pendants showing the goddess Ishtar as mistress of the wild beasts. |Also of oriental design was a bronze tripod cauldron decorated with illustrations of griffins and bird-men round the rim.
The principal find at this tomb was a number of ivories, including a gold and ivory throne and an ivory-veneered bed. Of the ornaments discovered, the finest was probably an openwork, two-sided plaque of a winged sphinx wearing the crowns of Egypt.
Some of the horse skeletons have been left in situ, and there is a small museum on site showing some of the finds, although most are now elsewhere, the bed for example being in the Cyprus Museum in south Nicosia.
There is no evidence to show that these Royal Tombs belonged to the kings of Salamis, but with the precious death gifts, and the monumental architecture of the tombs, there is no doubt that they belonged to noble or rich persons.
And the less noble or rich? They were buried at the Necropolis of Cellarka, which is to be found within this complex, as is Tomb 50, commonly known as St Catherine's prison.
A bank holiday weekend visit to Arbury Hall, near Nuneaton in Warwickshire. It is only open to the public on the four bank holiday weekends (8 days a year).
It is a private lived in house. While you can have tours of the house, you are not allowed to take photos inside, so grounds and exteriors only.
A Grade I listed building
Listing Text
NUNEATON AND BEDWORTH ARBURY PARK
SP38NW
4/7 Arbury Hall
06/12/47
GV I
Country house. Late C16 for Sir Edmund Anderson. Chapel remodelled 1678.
Completely remodelled and Gothicised 1749-1803 for Sir Roger Newdigate. Designs
by William Hiorn, mason-architect 1748-1755, Henry Keene 1761-1776 and Henry
Couchman, clerk of works 1776-1789, and probably also by Sir Roger himself;
Sanderson Miller may also have been involved. Grey Attleborough and Wilnecote
sandstone ashlar. Roofs hidden by parapets. Ashlar external and other stacks.
Courtyard plan. Gothic Revival style, with late Perpendicular details. 3
storeys. Moulded plinth and string courses, and moulded and embattled parapets
with crocketed pinnacles throughout. Moulded and chamfered 4-centred openings
throughout. Sashes and casements have Gothick glazing bars. South garden front:
western bay window 1752, eastern bay 1761, central Dining Room range 1769-1779.
Symmetrical. 1-1-3-1-1 bays. Projecting wings have polygonal clasping buttresses
to outer corners, with blind quatrefoil and lancet panelling, rising into
panelled and crocketed pinnacles. 2-storey polygonal bays have windows to 3
sides, leaf carving and blind arches. Elaborately moulded quatrefoil panel with
coat of arms below first floor windows. Second floor has straight-headed windows
of 2 arched lights with hood moulds throughout. Large one-storey 3-bay central
projection has polygonal clasping buttresses rising into panelled and crocketed
turrets with niches. Elaborate decoration throughout, with blind arcading and
quatrefoil frieze, and arcaded parapet with panelled and crocketed pinnacles
between bays. Large 4-light windows have panel tracery and ogee outer arches
with finials. Lower single-storey bays to left and right have moulded doorways
with hood moulds, and double-leaf sash doors with painted wood tracery and blind
tracery panels. Openwork embattled parapets. First floor has sashes. North
entrance front, probably designed 1783 but built 1792-1796, of 1-3-1 bays. Large
external stacks between centre and blank outer bays. Angles have buttresses with
turrets similar to garden front. Central 3-bay porte-cochere has angle and other
buttresses rising into panelled crocketed pinnacles. Moulded cornice and parapet
with finials. Interior is vaulted, with moulded piers. Central double-leaf sash
door has fanlight with painted wood tracery. Flanking bays have small quatrefoil
window in square panel. Windows to left and right of porte-cochere on each floor
are mostly blind. First floor has more elaborately treated windows; central
tripartite window has simple intersecting tracery. Second floor has central
2-light window, similar to garden front. East front of c.1786. Two storeys;
1-3-2-1 bays. 3 large external stacks. Detailing largely similar to entrance
front. 3-bay section has large polygonal one-storey bay window, of 7 mullioned
and transomed lights with elaborate Gothick glazing. Central sash door. Blind
fret frieze, moulded cornice and vine leaf frieze. Crocketed pinnacles and
fleur-de-lys cresting. West front of 1789-1803 is irregular. Some rubble walling
and remains of blocked mullioned and transomed windows may be a survival from
the earlier house. 3 large external stacks. Interior: Entrance Hall and the
Cloisters of 1783-1785 have plaster quadripartite vaulting with moulded ribs and
shafts. Semi-circular apse has stone geometrical staircase with re-used openwork
balusters, scrollwork, newel posts and finials of c.1580. Old armorial glass in
some windows. Chapel has plaster ceiling of 1678 by Edward Martin. Central
shaped panel has inner wreath and deep coving with festoons, and richly
decorated outer border of flowers, fruit and foliage. Small similarly decorated
shaped panels. Acanthus cornice. Contemporary panelling of bolection-moulded
lower panels; upper moulded panels have shouldered and indented architraves, and
are separated by carved drops suspended from winged cherubs' heads. Arched organ
recess at west end has fluted Tuscan pilasters, more elaborate drops between the
panels, and a late C18 ceiling. Panelled pulpit. Library of 1754-1761 by Hiorn
has Gothick panelling with shafts, cornice and ogee-gabled bookcases, and open
fretwork arches to bay window and recess. Chimney-piece has panelling and canopy
of 3 ornamented ogee arches. Segmental plaster ceiling with 'Etruscan' motifs
and medallions from a design of 1791 by Sir Roger. Dining Room by Keene
1769-1773 on the site of the hall. Plaster fan vaulting with wall shafts.
Windows are treated as an aisle with Gothick-panelled arches. Very large
fireplace has polygonal turrets with crocketed buttresses, moulded arch and a
row of triangular canopied niches with cresting. Tall elaborate canopied niches
above fireplace and in walls have casts of Roman statues. East wall has
Gothic-panelled recess with Classical relief. Gothic-panelled doors and
doorcases with triple canopies and pinnacles. Drawing Room by Keene 1762-1763
has Gothick plaster panelling with inset portraits. Segmental Gothic plasterwork
vault, and fan vault in bay window. Chimneypiece, inspired by the monument of
Aymer de Vallance in Westminster Abbey, carved 1764 by Richard Hayward of Weston
Hall (q.v.). Saloon, Little Sitting Room and School Room (Chaplain's Room), all
decorated under direction of Couchman. Saloon of 1786-1794, probably from
designs by Keene, has vaulting and pendants inspired by Henry VII's chapel;
scagliola columns and Gothic capitals were supplied by Joseph Alcott 1797.
Little Sitting Room has marble fireplace of c.1740 with eared architrave. School
Room has Gothick fireplace with ogee arch, inset with Classical medallions
probably carved by Hayward. Long Gallery on first floor has stone fireplace of
c.1580. Panelling, and possibly the painted wooden overmantel with columns and
obelisks, of c.1606. Shallow Gothic plaster vault and large moulded arch to
lobby of 1787. 'Arbury Hall is one of the finest examples of the early Gothic
Revival in England' (Buildings of England, p67). The house was built on the site
of a monestery.
(VCH: Warwickshire: Vol IV, p173-174; Buildings of England: Warwickshire:
p67-71; Gordon Nares: Arbury Hall, Country Life 8 October 1953, pp1126-1129; 15
October 1953, p1210-1213; 29 October 1953, pp1414-1417; G.C. Tyack: Country
House Building in Warwickshire 1500-1914, ppl98-206; Arbury Hall guidebook)
Listing NGR: SP3351989255
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The Porte-cochère near the current main entrance to the house. The guided tour starts from inside this entrance.
gargoyle
Salamis "royal" Tombs, at Tuzla, outskirts of Salamis
................
The royal tombs (sometimes called the kings tombs) are located in an area between Tuzla and Salamis. The entrance to the complex is close to St Barnabas' Monastery.
Tomb 3 at the Royal Tombs, Salamis near Famagusta, North Cyprus
Tomb 3
This site became famous in the 1950s because of the rich finds here. Until the end of the 19th century, however there was almost a "free for all" for treasure hunters. At the start of the 20th century, however, more scientific excavation was started. Unfortunately, the methods used in those days also caused some damage. However, in every case, the entrance way (dromos) had been undisturbed, and it was in this area that the richest discoveries were made.
The tombs date to the 8th and 7th centuries BC. Some go back to the 11th century BC, suggesting that for some time, Salamis coexisted with Enkomi.
The funerary rites of the tombs are very similar. In all, at least one pair of yoked horses has been sacrificed in the dromos, with or without a chariot. The wooden parts of these chariots had decayed, but left impressions in the soil with the metal parts still in place. In tomb 3, excavated in 1964, one chariot was accompanied by the deceased's armour, a silver studied sword, some bronze and iron-headed arrows, a bronze shield and an iron-headed spear. Offerings of food and honey, placed in amphora, were also found here.
Tomb 1, excavated in 1957, contained two burials from different periods. The first consisted of a bronze cauldron containing the cremated bones of a dead woman wrapped in cloth, with a necklace of gold, rock crystal beads and several thin sheets of gold. It is thought because of the shape of the tomb and the richness of the material, the burial belonged to a noble lady or princess. The skeletons of two horses were found on the floor of the dromos, with traces of the wooden parts of a chariot. These date to middle of the 8th century BC. The second burial, around 100 years later was disturbed badly, but four horses' skeletons, traces of a two-poled chariot, as well as some metal parts of horses' gear and a chariot's metal parts were found.
Tomb 47 with Tomb 3 in the background at the Royal Tombs, Salamis, near Famagusta, North Cyprus
Tomb 47 (Tomb 3 in the Background)
Tombs 79 and 47 provided the richest finds, with evidence of several elaborate royal burials. Tomb 47 is the largest, and is alongside the Royal Tombs Museum. It was excavated in 1964. It has a spacious cemented dromos leading to a monumental temple in front of a chamber built of enormous well-dressed stones.
This tomb was used twice for burials. In the first, two horses of a hearse were sacrificed. One of the horses had tried to escape when its companion was killed, but had twisted round the chariot pole and was found with its neck broken. The iron bits of the horses were still in their mouths, and the remains of leather frontlets and blinkers covered with sheets of gold on their heads. There was no trace of the chariot in this burial, and it was probably used as a hearse and placed with the body.
At a later burial, six horses were sacrificed, yoked in pairs, with ornamental coverings, iron bits and blinkers and frontlets of ivory and bronze with relief decorations of lotus flowers.
The best finds, however, are from tomb 79, just south of tomb 47. Evidence shows that it received two burials in a short space of time towards the end of the 8th century BC. A four-horse chariot had its wheels held by magnificent lynch pins nearly 2 ft long, with a bronze sphinx head at one end, and a hollow bronze figure of a warrior at the other, wearing a crested helmet, body armour inlaid with blue glass, and a long sword hanging from a baldric.
Tomb 79 att the Royal Tombs, Salamis, near Famagusta, North Cyprus
Tomb 79
A two-horse hearse had bronze lion heads on the corners and on the front The bronze gear of the horses lay piled in a corner, including breast plates with embossed designs of oriental animals and myths, and two side pendants showing the goddess Ishtar as mistress of the wild beasts. |Also of oriental design was a bronze tripod cauldron decorated with illustrations of griffins and bird-men round the rim.
The principal find at this tomb was a number of ivories, including a gold and ivory throne and an ivory-veneered bed. Of the ornaments discovered, the finest was probably an openwork, two-sided plaque of a winged sphinx wearing the crowns of Egypt.
Some of the horse skeletons have been left in situ, and there is a small museum on site showing some of the finds, although most are now elsewhere, the bed for example being in the Cyprus Museum in south Nicosia.
There is no evidence to show that these Royal Tombs belonged to the kings of Salamis, but with the precious death gifts, and the monumental architecture of the tombs, there is no doubt that they belonged to noble or rich persons.
And the less noble or rich? They were buried at the Necropolis of Cellarka, which is to be found within this complex, as is Tomb 50, commonly known as St Catherine's prison.
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.
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.
Coat of arms and Latin inscription above the door of the Gatehouse above the door of the Gatehouse. Similar to the West Front version. Saw this before going inside.
The Courtyard - The South Wing to the left, The Gatehouse in he middle and The North Wing to the right.
Looking west down the nave completed in 1451 - the 1856 pews are by Edward Browning, with openwork backs, poppyheads and carved ends. The choir stalls are also by Browning- Church of St John the Baptist, Stamford Lincolnshire
Bronze fibula with floral openwork. Germanic, 5th Century AD. Vienna, Austria. Copyright 2016, James A. Glazier.
From www.britishmuseum.org:
The Royal Gold Cup, made of solid gold; enamelled; comprising bowl, lid and stem; the lid decorated in basse taille enamel with scenes leading to and the martyrdom of St Agnes; the bowl decorated similarly with scenes from the history of St Agnes after her death; the inside of the lid set with a basse taille circular medallion of Christ blessing; the inside of the bowl set with a basse taille circular medallion of St Agnes receiving instruction at school.; the stem enamelled in basse taille with the symbols of the Evangelists and their scrolls; the rim of the foot decorated with openwork foliate cresting and pearls; the lid missing its finial and decorative band around the rim; the stem extended twice; once with a band of Tudor roses in opaque enamel; further with a band with Latin inscription