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The Cathedral Church of St Andrew, Wells (Wells Cathedral)
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1382901
Date first listed: 12-Nov-1953
Statutory Address: CATHEDRAL CHURCH OF ST ANDREW, CATHEDRAL GREEN
County: Somerset
District: Mendip (District Authority)
Parish: Wells
National Grid Reference: ST 55148 45885
Details
Cathedral Bishopric established in 909. Saxon cathedral built, nothing now visible (excavations 1978/79). See transferred to Bath in 1090. Church extended and altered in 1140, in Norman style, under Bishop Robert Lewes; part of this lies under south transept of the present church.
Present church begun, at east end, in 1176 and continued to consecration in 1239, but with substantial interruption from 1190-1206. Designer Adam Lock, west front probably by Thomas Norreys. Nave, west front (but not towers), north porch, transepts, and part of choir date from this phase. Bishopric becomes Bath and Wells in 1218. Central tower begun 1315, completed 1322. Designer Thomas Witney Lady Chapel begun 1323, completed c 1326. Probably by Thomas Witney. At this stage the Chapel a free-standing structure to the east of the original (1176) east end. Extension of choir and presbytery in 1330 to connect with the new Lady Chapel. Designer Thomas Witney, but presbytery vaults by William Joy.
Following signs of dangerous settlement and cracking under the new tower, the great arches and other work inserted to prevent collapse in 1337; designer William Joy. (The St Andrew's arches known as strainer arches). South-west tower begun in 1385 to design of William Wynford, completed c 1395. North-west tower built 1410. Tracery added to nave windows in 1410. Central tower damaged by fire in 1439; repair and substantial design modification (designer not known) completed c 1450. Stillington's chapel built 1477, (off east cloister) designer William Smyth, who also designed the fan vault to the main crossing. The chapel was demolished in 1552.
MATERIALS: Doulting ashlar with blue Lias dressings, partly replaced by Kilkenny marble, some Purbeck marble internal dressings, and pink rubble outer cloister walls.
PLAN: Cruciform plan with aisled nave and transepts, north porch, cruciform aisled chancel with transeptal chapels and Retroquire. East Lady Chapel, north-east Chapter House and south Cloister.
EXTERIOR: Early English Gothic style, Decorated Gothic style Chapter House, Retroquire and Lady Chapel, Perpendicular Gothic style west and crossing towers and cloister. Early English windows throughout, mainly filled with two-light tracery c 1415, with a parapet of cusped triangles added c 1320 to all but the Chapter House and west front. Five-sided Lady Chapel has angle buttresses, drip and a parapet of cusped triangles, with wide five-light windows with reticulated tracery of cusped spheroid triangles; a late C14 flying buttress with a square pinnacle to the south-east. North chancel aisles: the east bay has a shallow two-centre arched five-light window with Decorated tracery, steeper three-light windows to the west bays, the transept chapel window of four-lights with reticulated tracery. The early C14 east end of the chancel has flying buttresses to the gable and three east bays; the east end has a five-light window with Decorated tracery, including two mullions up to the soffit, and a raised surround beneath a shallow canted parapet, with the coped gable set back and lit by four lozenge windows divided by a wide Y-shaped mullion; the north clerestory windows of three-lights, the three to the east have ogee hoods, the three late C12 west and two north transept windows linked by a continuous hood mould.
North Transept and nave aisles have a plinth, sill band, corbel table and parapet, with wide buttresses separating aisle lancet windows with inserted early C15 two-light Perpendicular tracery, and a clerestory with similar moulding and fenestration. Transept gable in three stages, with clasping buttress turrets and sill bands: three lower-stage windows and one to the end of west aisle, middle stage has a blind arcade of six lancets, the middle four truncated beneath three tall stepped lancets to upper stage, with similar blind panels paired to the turrets, and medallions to the spandrels; a weathered band beneath an arcade of stepped blind lancets, and panelled turret pinnacles with octagonal caps, a third to the flanking aisle; the right-hand turret has a good c 1475 clock with paired soldiers above striking two bells, and a crenellated canopy. Nine-bay nave aisle, ten-bay clerestory, of which the two windows flanking the transept re-entrant cut off above a mid C14 relieving arch.
Fine north porch two bays deep with blue Lias shafts and C18 outer doors: entrance archway of five orders with alternate paired banded columns with stiff leaf capitals to the west, carved showing the martyrdom of King Edmund to the east, and a roll-moulded arch, including two orders of undercut chevron mouldings with filigree decoration over fine doors of c 1200; clasping buttresses with octagonal pinnacles as the transept, and a gable with six stepped lancets beneath three stepped parvise lancets with sunken panels in the spandrels. Inside of two bays, articulated by banded vault shafts with stiff leaf capitals to a sexpartite vault; side benches are backed by arcades of four bayed seats with stiff leaf spandrels, beneath a string bitten off at the ends by serpents; a deeply recessed upper arcade of three arches to a bay, with complex openwork roll mouldings intersecting above the capitals, on coupled shafts free standing in front of attached shafts, enriched spandrels, and openwork Y-tracery in the tympanum beneath the vault. The south end decorated after the front entrance, including a moulded arch with a chevron order, and containing a pair of arched doorways with a deeply-moulded trumeau and good panelled early C13 doors with C15 Perpendicular tracery panels.
South elevation is similar: the chancel wall of the 1340 extension is recessed for the three east bays with flying buttresses, the windows to the west have uncusped intersecting tracery. Crossing tower has a c 1200 blind arcade to a string level with the roof ridge; upper section 1313, remodelled c 1440, has ribbed clasping buttresses to gabled niches with figures and pinnacles with sub-pinnacles; each side of three bays separated by narrow buttresses with pinnacles, a recessed transom with openwork tracery beneath and louvred trefoil-headed windows above, gabled hoods and finials. Corbels within for a spire, destroyed 1439.
West front screen is a double square in width, divided into five bays by very deep buttresses, with the wider nave bay set forward. The towers stand outside the aisles, the design of the front continued round both ends and returned at the rear. Statues of c 1230-1250, to an uncertain iconographic scheme. Divided vertically into three bands, beneath a central nave gable and Perpendicular towers; arches with originally blue Lias shafts, now mostly Kilkenny marble, and stiff leaf capitals. A tall, weathered plinth, with a central nave entrance of four orders with paired doorways and quatrefoil in the tympanum containing the seated Virgin with flanking angels, and smaller aisle entrances of two orders. Above is an arcade of gabled hoods over arches, containing paired trefoil-headed statue niches with bases and fifteen surviving figures; two-light Perpendicular tracery windows between the buttresses outside the nave; sunken quatrefoils in the spandrels, which cut across the corners of the buttresses. The third and principal band contains three tall, slightly stepped nave lancets, paired blind lancets between the outer buttresses, with narrower arches flanking them and to the faces and sides of the buttresses, all with banded Lias shafts and roll-moulded heads; the three arches to the sides and angled faces on the south-west and north-west corners have intersecting mouldings as in the north porch. All except the window arches contain two tiers of gabled statue niches with figures, taller ones in the upper tier, and across the top is an arcade of trefoil-headed statue niches with seated figures and carved spandrels. The nave buttresses have gabled tops containing cinquefoil-arched niches, and tall pinnacles with arched faces and conical tops; above the nave is a three-tier stepped gable with a lower arcade of ten cinquefoil-arched niches containing seated figures, a taller arcade of twelve niches with c 1400 figures of the Apostles, and a central top section with outer trefoil arches, corner sunken quatrefoils; the central oval recess with cusped sides and top contains a 1985 figure of Christ in Judgement beneath a pinnacle, with crosses and finials on the weathered coping. The Perpendicular towers continue the buttresses up with canopied statue niches to their faces and blank panelling to the sides, before raking them back into deep angle buttresses; between are a pair of two-light west windows, louvred above a transom and blind below, with a blind arcade above the windows, and a low crenellated coping.
INTERIOR: Lady Chapel: An elongated octagon in plan, with triple vault shafts with spherical foliate capitals to a tierceron vault forming a pattern of concentric stars, with spherical bosses and a paint scheme of 1845; the three west arches with Purbeck marble shafts onto the Retroquire have blind arched panels above; beneath the windows is a sill mould with fleurons, and a bench round the walls. Stone reredos has six statue niches with crocketed canopies and smaller niches in between, with four C19 sedilia with ogee-arched and crocketed canopies and a C14 cusped ogee trefoil-arched south doorway; C19 encaustic tiles.
The Retroquire extends laterally into east chapels each side and transeptal chapels: all with ogee-arched piscinae with crockets and finials, with a complex asymmetrical lierne vault on Purbeck marble shafts and capitals. The three east bays of the choir added early C14, and the high lierne vault of squares extended back over the three late C12 west bays, on triple vault shafts, Purbeck marble with roll-moulded capitals for the C14 and limestone with stiff leaf capitals for the C12; above the two-centre aisle arches and below the clerestory walk is a richly-carved openwork grille of statue niches with canopies, containing eight early C20 figures across the east end; clerestory walk has ogee-arched doorways. Rich canopies over choir stalls on Purbeck marble shafts, and five sedilia with enriched canopies. Ogee-arched doorways with crockets and pinnacles each side of the choir give onto the aisles, which have lierne vaults forming hexagons.
Transepts: Three bays deep and three wide, with cluster columns and stiff leaf capitals, including some fine figure carving in the south-west aisle, paired triforium arches between the vault shafts; the chancel aisles entered by C14 ogee-arched doorways with cinquefoil cusps and openwork panels each side; the north transept has a doorway from the east aisle with a depressed arch and moulded sides with a panelled Perpendicular ridge door, and Perpendicular panelled stone screens across the arcade; the south transept has an early C14 reredos with cusped ogee arches. The openings to the crossing contain inserted cross ogee strainer arches with triple chamfered moulding, on the west one an early C20 raised crucifix and flanking figures on shafted bases, and the roof has late C15 fan vaulting with mouchettes to the springers.
Nave: Ten-bay nave has compound columns of eight shafts with stiff leaf capitals enriched with figures, a continuous hood mould, with carved stops until the four west bays, which also have more richly-carved stiff leaf; a continuous triforium arcade of roll-moulded lancets with moulded rere arches, three to each bay, with enriched tympana and paterae in the spandrels above, carved corbels and springers to vault shafts above to a quadripartite vault without ridges; vault painted to a scheme of 1844. A panelled c 1450 gallery in the south clerestory window six from the west; aisles vaulted as nave, with enriched stiff leaf corbels. The west end has a trefoil-headed blank arcade on blue Lias shafts and a central stilted depressed-arch doorway, beneath the three west windows; the aisles end with a lateral rib from the vault to the west arcade. Chapels beneath the towers have sexpartite vaults with an enriched hole for the bell ropes; the south-west chapel has a shallow arch to the cloister beneath three cusped arched panels. The parvise over the north chapel contains a rare drawing floor. Two chantry chapels set between the east nave piers have fine openwork Perpendicular tracery and cresting, the south chapel of St Edmund c 1490 has a fan-vaulted canopy over the altar and two statue niches with canopies, and an ogee-arched doorway, the North Holy Cross Chapel c 1420 has quatrefoil panelling to the east canopy, distressed statue niches, and four-centre arched doorways.
FITTINGS: Lady Chapel: Brass lectern 1661 has a moulded stand and foliate crest.
Retroquire, North-East Chapel: fine oak C13 Cope Chest with a two-leaf top doors; panelled C17/C18 chest; north transept chapel: C17 oak screen with columns, formerly part of cow stalls, with artisan Ionic capitals and cornice, set forward over chest tomb of John Godilee; C14 floor tiles; south-east chapel: Bound oak C14 chest for Chapter Seal.
North Transept: Very fine c 1390 clock, considered the second oldest in the world after Salisbury Cathedral (qv), the face with heavenly bodies represented and four knights riding round above, and a quarter jack in the corner striking bells with a hammer and his heels; pine chest with bowed top.
Choir: Very fine stalls with misericords, c 1335; Bishop's Throne, c 1340, restored by Salvin c 1850, wide with panelled, canted front and stone doorway, deep nodding cusped ogee canopy over, with three stepped statue niches and pinnacles; C19 pulpit opposite, octagonal on a coved base with panelled sides, and steps up from the North aisle; organ within the chancel arch rebuilt and new case 1974.
South Transept: Round font from the former Saxon cathedral, with an arcade of round-headed arches, on a round plinth, with a c 1635 cover with heads of putti round sides.
Nave: Pulpit and tomb of William Knight, mid C16, built out from the Sugar chantry, with panelled buttresses, curved sides and a cornice.
Library: Good shelves and desks with panelled ends, cornices and scroll crests, and benches with ogee ends with ball finials of 1686.
MONUMENTS: Quire Corpus Christi North Transept Chapel: marble chest tomb of Robert Creyghton d 1672, an alabaster effigy on a sarcophagus with bowed sides; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Godelee, d 1333, effigy on a chest with open ogee arcade.
North Quire aisle: chest tombs of Bishop Giso, d 1088, Ralph of Salisby, d 1463, alabaster, and two further c 1230 effigies of Saxon Bishops, on mid C20 plinths; panelled chest tomb with three heraldic panels and moulded top; South-East Chapel of St John the Baptist: chest tomb encloses north side, with arcaded sides, thin mullions to a good openwork top with cusped gables and a canopy to east end.
St Katherine's Transept Chapel: Chest tomb of John Drokensford, d 1329, a painted effigy on a chest with open ogee arcade, as that for John Godelee; chest tomb of John Gunthorpe, d 1498 with five heraldic panels and moulded top. South chancel aisle: effigy of John Bernard, d 1459 on a mid C20 plinth; fine chest tomb of Bishop Bekynton, d 1464 but made c 1450, a cadaver within the open lower section with enriched shafts and angel capitals, with a painted marble figure on top, surrounded by a fine C15 wrought-iron screen with buttress stanchions; raised, incised coffin slab of Bishop Bytton d 1274, blue Lias; large chest tomb of Bishop Harvey d 1894 with five trefoil panels and an effigy with putti to the head; three c 1230 effigies of Saxon Bishops on mid C20 plinths; chest tomb of Bishop Harewell d 1386, a marble effigy on a C20 plinth.
North Transept, east aisle: Enriched marble chest tomb of John Still d 1607 with black Corinthian columns to entablature, sarcophagus with alabaster effigy; chest tomb to Bishop Kidder, d 1703 marble with an enriched naturalistic reclining figure of his daughter in front of two urns of her parents.
South Transept: Chapel of St Calixtus, fine un-named chest tomb of c 1450, with carved alabaster panels and effigy; Chapel of St Martin, chest tomb of William Bykonyll c 1448 with an arcaded front, cusped shallow arch over the effigy, panelled ceiling and a rich crested top; C15 wrought-iron gates to both chapels; in the south wall, good monument to Bishop William de Marchia, d 1302, three cusped cinquefoil-headed arches on moulded shafts, ogee hoods and pinnacles to a crenellated top, with an effigy within, with a three-bay segmental vaulted canopy, and decorated with six carved heads beneath.
STAINED GLASS: Original early glass is mainly in the choir and Lady Chapel; the Parliamentarians caused extensive damage generally in August 1642 and May 1643. Earliest fragments are in two windows on the west side of the Chapter House staircase (c 1280-90), and in two windows in the south choir aisle (c 1310-20), but of principal interest is the Lady Chapel range, c 1325-30, the east window including extensive repairs by Willement, 1845, and the others with substantial complete canopy-work, otherwise much in fragments. The choir east window is a fine Jesse Tree, including much silver stain, flanked by two windows each side in the clerestory, with large figures of saints, all these of c 1340-45; a further window each side is late C19. The chapel of St Katherine has interesting panels of c 1520, attributed to Arnold of Nijmegen; these, in the south and east windows were acquired from the destroyed church of St John, Rouen, the last panel was bought in 1953. The large triple lancet to the nave west end was glazed at the expense of Dean Creyghton at a cost of £140 in c 1664: repaired in 1813, but the central light largely replaced to a design by A K Nicholson between 1925-31. The main north and south transept end windows are by Powell, 1903-05, and the nave south aisle has four paired lights of 1881-1904, with a similar window at the west end of each aisle.
Le buffet est le fruit du travail collectif d’une famille de sculpteurs et de menuisiers audomarois, les Piette.
La famille des Piette comprenait le père, Jean, les fils, Antoine-Joseph et Jean-Henri, ainsi que le gendre, Jacques-Joseph Baligand.
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The case is the work of a family of regional sculptors & wood carvers, the Piettes.
The family consisted of the father, Jean ; the sons, Antoine-Joseph & Jean-Henri ; & the son-in-law, Jacques-Joseph Baligand.
On Gorsedd Gardens Road in Cardiff. Heading towards the National Museum Cardiff.
City Hall is a civic building in Cathays Park, Cardiff, Wales, not to be confused with the modern County Hall recently built down in Cardiff Bay. Built of Portland stone, it became the fifth building to serve as Cardiff's centre of local government when it opened in October 1906. The competition to design a town hall and adjacent law courts for Cardiff was won in 1897 by the firm of Lanchester, Stewart and Rickards. Construction was carried out by local builders, E. Turner and Sons. Cardiff received its city charter while construction was underway, in 1905. The building is an important early example of the Edwardian Baroque style.
Grade I listed building.
Location
Between King Edward VII Avenue and Museum Avenue, facing Gorsedd Gardens between Law Courts (L) and National Museum of Wales (R).
History
Cathays Park was purchased in 1898 by the Borough of Cardiff from The Third Marquess of Bute at a cost of 160,000 and developed as a civic centre to a layout by William Harpur. Cathays Park was developed over three-quarters of a century to become the finest in Britain reflecting Cardiff's status as city and eventually taking on a national importance as civic centre of the capital of Wales. A competition for Town Hall (Cardiff became a city only at opening ceremony of this building in1905) and Law Courts took place in in 1897; City Hall was built between 1901 and 1904 to design of Lanchester, Stewart and Rickards; details of design by E A Rickards. The building's Portland stone facing, and monumental Classical style set the pattern for other buildings in Cathays Park, particularly the contemporary Law Courts by the same architects, and the National Museum (By Smith and Brewer) which echoes its dome and general composition. The building reflects Cardiff's claims to be a city of international importance by its use of the grand European Baroque style which was also used in London to promote that city's staus as capital of an empire. The decoration of the building makes reference to Cardiff's economic power through trade with the world (maritime groups etc), and its relatively new position as leading city Wales (Welsh Unity and Patriotism etc). The interior contains an important series of Statues of Welsh Heroes (1912-1917) financed by D A Thomas (Lord Rhonnda).
City Hall forms an essential part of Cardiff's civic centre, the finest in Britain.
Interior
Sumptuous interior with sequence of brilliantly managed public and civic spaces.
Porte-cochere leads to polygonal lobby with stairs up to inner lobby. Deep rectangular entrance hall faced in Bath stone has staircase to each side (rich bronze balustrade) which rises to mezzanine landing then longer flight of steps to expansive first floor hall with polychrome marble paving; paired Doric columns with bronze capitals and bases and yellow veined marble shafts; landing side lit by tall round arched windows with stained glass; broad plaster band to ceiling with plaster foliage relief. Yellow marble architraves to doors; above doorways to ends, plaster shells and merfolk by Henry Poole. Group of life-size statues of Welsh Heroes by leading sculptors; statues on yellow-and-white marble pedestals. (On lower landings, bronze reliefs to Sir E J Reed, and Captain R F Scott). To S, Council Chamber in a style following Italian High Renaissance models. Coffered shallow dome, four broad piers (set diagonally) support spandrels pierced by round windows with plaster palm-fronds, and ventilation grilles. Arches between piers to E and W with flanking Ionic marble columns (swagged bronze capitals) supporting entablature.
Stained glass in grand S window is personification of Villa Cardiff by A Garth Jones (1905). Fine C17-style wall panelling in oak with lighter inlay of Cardiff arms; original circular banks of wooden seating (partly built into panelling) have barley-sugar posts and broad arms; to E, mayoral seat forms screen to lobby with similar panelling, to W, arch to similar lobby, visitors gallery over.
Exceptionally elaborate bronze electrolier by Rickards has Prince of Wales feathers and mirrors; smaller wall brackets in bronze also survive.
To N of landing, members' rooms flank entrances to Grand Assembly Hall with tunnel vaulted ceiling with transverse and longitudinal banding with elaborate plaster reliefs (by G P Bankart). Room lit by thermal windows at clerestorey level which break into vault and have cartouche decoration above. Ionic marble columns support entablature and diagonal scrolls by windows. Panelled walls and doors. At one end, recessed stage with flanking pairs of marble columns.
Three exceptionally elaborate bronze electroliers as in council chamber.
At front corners of building the Lord Mayor's parlour and Member's Room are said to have arched recesses and circular clerestorey windows. Corridors with committee rooms and offices have simple classicising doorcases and panelled doors. On ground floor, the large Benefits Office has Doric Columns painted as yellow veined marble, wooden panelling, classicising doors. Secondary entrance in King Edward VII Avenue has mosaic floors, 2 lobbies, arches to secondary stair with iron balustrade.
Exterior
Quadrangular city hall building in Baroque style and faced with Portland Stone; two- and three-storeys on deeply banded basement, broad areas of banding at angles; small-pane steel glazing. Tower to W, and smaller tower to rear. South-east elevation with central projecting wing of 5 bays surmounted by octagonal drum (maritime sculptures by H Poole) with round windows, and semi-circular dome to council chamber with snarling Welsh Dragon finial (by H C Fehr) on lantern; 1 storey porte cochre with trophies and lion masks projects from centre bay of wing; first floor window above is round-headed and projects into entablature; flanked by 2 blank openings decorated to either side with trophies. Saucer dome to porte cochere, entrances with heavy iron-grille gates with relief decoration. Projecting to west and east from centre portion, a lateral wing of 2 storeys, 6 bays with fenestration consisting of rectangular windows above, with aprons and with panelling between windows and round-headed windows in concave surrounds below. At each end projecting splayed bay of 2 storeys with similar fenestration to intermediate wings but surmounted by attic storey with sculptured group before it, western group by Paul Montford representing Poetry and Music and eastern group by Henry Poole, Unity and Patriotism.
Western elevation with wide projecting windowless bay at each end, with rusticated quoins and attic storey with oval lunette. Intermediate wings of 9 bay width with similar fenestration to intermediate wings of south-east front, but outer sections have square-headed windows to ground floor. In centre of west front, splayed 3-sided bay through 2 storeys and attic; rectangular doorway with window over in centre ground floor facet; first floor windows rectangular headed, centre facet window with trophies and with surmounted parapet rising over curved headed attic window. Above this rises a clock tower (circa 61m high) lower part quite plain, upper part ornate and Baroque and surmounted by a Cupola (carving by H C Fehr); below this, stage with open windows and volutes, then stage with putti and cartouches above clock stage with openwork clock faces, composite columns flanking openings with balcony grilles, Michelangelesque seated figures (The Four Winds) to corners. North elevation of 3 storeys, central canted bay, square windows to upper floor, rectangular windows beneath below which are camber-headed windows with voussoirs, entrance to central yard R; yard elevations in yellow brick, (modern glazed infill in yard to E). East elevation has central slightly advanced 5-window block with splayed central bay with sculptural group above; 7 windows to each side.
Reason for Listing
Graded I as amongst the finest examples of Edwardian civic architecture in Britain with ambitious exterior and extremely interesting interiors, all virtually unaltered.
The interior is remarkable not only for its sumptuous decoration but for the survival of fittings including lighting, panelling, integral seating to council chamber etc.
Part of a group of exceptionally fine public buildings in Cathays Park which form what is certainly the finest civic centre in Britain. In addition to its architectural interest, the building and its setting express Cardiff's claims to be a city of international importance at the peak of its economic power.
References
J Newman, Glamorgan (Buildings of Wales Series), 1995, pp220-225.
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Notes:
Between King Edward VII Avenue and Museum Avenue, facing Gorsedd Gardens between Law Courts (L) and National Museum of Wales (R).
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
gate
The Cathedral Church of St Andrew, Wells (Wells Cathedral)
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1382901
Date first listed: 12-Nov-1953
Statutory Address: CATHEDRAL CHURCH OF ST ANDREW, CATHEDRAL GREEN
County: Somerset
District: Mendip (District Authority)
Parish: Wells
National Grid Reference: ST 55148 45885
Details
Cathedral Bishopric established in 909. Saxon cathedral built, nothing now visible (excavations 1978/79). See transferred to Bath in 1090. Church extended and altered in 1140, in Norman style, under Bishop Robert Lewes; part of this lies under south transept of the present church.
Present church begun, at east end, in 1176 and continued to consecration in 1239, but with substantial interruption from 1190-1206. Designer Adam Lock, west front probably by Thomas Norreys. Nave, west front (but not towers), north porch, transepts, and part of choir date from this phase. Bishopric becomes Bath and Wells in 1218. Central tower begun 1315, completed 1322. Designer Thomas Witney Lady Chapel begun 1323, completed c 1326. Probably by Thomas Witney. At this stage the Chapel a free-standing structure to the east of the original (1176) east end. Extension of choir and presbytery in 1330 to connect with the new Lady Chapel. Designer Thomas Witney, but presbytery vaults by William Joy.
Following signs of dangerous settlement and cracking under the new tower, the great arches and other work inserted to prevent collapse in 1337; designer William Joy. (The St Andrew's arches known as strainer arches). South-west tower begun in 1385 to design of William Wynford, completed c 1395. North-west tower built 1410. Tracery added to nave windows in 1410. Central tower damaged by fire in 1439; repair and substantial design modification (designer not known) completed c 1450. Stillington's chapel built 1477, (off east cloister) designer William Smyth, who also designed the fan vault to the main crossing. The chapel was demolished in 1552.
MATERIALS: Doulting ashlar with blue Lias dressings, partly replaced by Kilkenny marble, some Purbeck marble internal dressings, and pink rubble outer cloister walls.
PLAN: Cruciform plan with aisled nave and transepts, north porch, cruciform aisled chancel with transeptal chapels and Retroquire. East Lady Chapel, north-east Chapter House and south Cloister.
EXTERIOR: Early English Gothic style, Decorated Gothic style Chapter House, Retroquire and Lady Chapel, Perpendicular Gothic style west and crossing towers and cloister. Early English windows throughout, mainly filled with two-light tracery c 1415, with a parapet of cusped triangles added c 1320 to all but the Chapter House and west front. Five-sided Lady Chapel has angle buttresses, drip and a parapet of cusped triangles, with wide five-light windows with reticulated tracery of cusped spheroid triangles; a late C14 flying buttress with a square pinnacle to the south-east. North chancel aisles: the east bay has a shallow two-centre arched five-light window with Decorated tracery, steeper three-light windows to the west bays, the transept chapel window of four-lights with reticulated tracery. The early C14 east end of the chancel has flying buttresses to the gable and three east bays; the east end has a five-light window with Decorated tracery, including two mullions up to the soffit, and a raised surround beneath a shallow canted parapet, with the coped gable set back and lit by four lozenge windows divided by a wide Y-shaped mullion; the north clerestory windows of three-lights, the three to the east have ogee hoods, the three late C12 west and two north transept windows linked by a continuous hood mould.
North Transept and nave aisles have a plinth, sill band, corbel table and parapet, with wide buttresses separating aisle lancet windows with inserted early C15 two-light Perpendicular tracery, and a clerestory with similar moulding and fenestration. Transept gable in three stages, with clasping buttress turrets and sill bands: three lower-stage windows and one to the end of west aisle, middle stage has a blind arcade of six lancets, the middle four truncated beneath three tall stepped lancets to upper stage, with similar blind panels paired to the turrets, and medallions to the spandrels; a weathered band beneath an arcade of stepped blind lancets, and panelled turret pinnacles with octagonal caps, a third to the flanking aisle; the right-hand turret has a good c 1475 clock with paired soldiers above striking two bells, and a crenellated canopy. Nine-bay nave aisle, ten-bay clerestory, of which the two windows flanking the transept re-entrant cut off above a mid C14 relieving arch.
Fine north porch two bays deep with blue Lias shafts and C18 outer doors: entrance archway of five orders with alternate paired banded columns with stiff leaf capitals to the west, carved showing the martyrdom of King Edmund to the east, and a roll-moulded arch, including two orders of undercut chevron mouldings with filigree decoration over fine doors of c 1200; clasping buttresses with octagonal pinnacles as the transept, and a gable with six stepped lancets beneath three stepped parvise lancets with sunken panels in the spandrels. Inside of two bays, articulated by banded vault shafts with stiff leaf capitals to a sexpartite vault; side benches are backed by arcades of four bayed seats with stiff leaf spandrels, beneath a string bitten off at the ends by serpents; a deeply recessed upper arcade of three arches to a bay, with complex openwork roll mouldings intersecting above the capitals, on coupled shafts free standing in front of attached shafts, enriched spandrels, and openwork Y-tracery in the tympanum beneath the vault. The south end decorated after the front entrance, including a moulded arch with a chevron order, and containing a pair of arched doorways with a deeply-moulded trumeau and good panelled early C13 doors with C15 Perpendicular tracery panels.
South elevation is similar: the chancel wall of the 1340 extension is recessed for the three east bays with flying buttresses, the windows to the west have uncusped intersecting tracery. Crossing tower has a c 1200 blind arcade to a string level with the roof ridge; upper section 1313, remodelled c 1440, has ribbed clasping buttresses to gabled niches with figures and pinnacles with sub-pinnacles; each side of three bays separated by narrow buttresses with pinnacles, a recessed transom with openwork tracery beneath and louvred trefoil-headed windows above, gabled hoods and finials. Corbels within for a spire, destroyed 1439.
West front screen is a double square in width, divided into five bays by very deep buttresses, with the wider nave bay set forward. The towers stand outside the aisles, the design of the front continued round both ends and returned at the rear. Statues of c 1230-1250, to an uncertain iconographic scheme. Divided vertically into three bands, beneath a central nave gable and Perpendicular towers; arches with originally blue Lias shafts, now mostly Kilkenny marble, and stiff leaf capitals. A tall, weathered plinth, with a central nave entrance of four orders with paired doorways and quatrefoil in the tympanum containing the seated Virgin with flanking angels, and smaller aisle entrances of two orders. Above is an arcade of gabled hoods over arches, containing paired trefoil-headed statue niches with bases and fifteen surviving figures; two-light Perpendicular tracery windows between the buttresses outside the nave; sunken quatrefoils in the spandrels, which cut across the corners of the buttresses. The third and principal band contains three tall, slightly stepped nave lancets, paired blind lancets between the outer buttresses, with narrower arches flanking them and to the faces and sides of the buttresses, all with banded Lias shafts and roll-moulded heads; the three arches to the sides and angled faces on the south-west and north-west corners have intersecting mouldings as in the north porch. All except the window arches contain two tiers of gabled statue niches with figures, taller ones in the upper tier, and across the top is an arcade of trefoil-headed statue niches with seated figures and carved spandrels. The nave buttresses have gabled tops containing cinquefoil-arched niches, and tall pinnacles with arched faces and conical tops; above the nave is a three-tier stepped gable with a lower arcade of ten cinquefoil-arched niches containing seated figures, a taller arcade of twelve niches with c 1400 figures of the Apostles, and a central top section with outer trefoil arches, corner sunken quatrefoils; the central oval recess with cusped sides and top contains a 1985 figure of Christ in Judgement beneath a pinnacle, with crosses and finials on the weathered coping. The Perpendicular towers continue the buttresses up with canopied statue niches to their faces and blank panelling to the sides, before raking them back into deep angle buttresses; between are a pair of two-light west windows, louvred above a transom and blind below, with a blind arcade above the windows, and a low crenellated coping.
INTERIOR: Lady Chapel: An elongated octagon in plan, with triple vault shafts with spherical foliate capitals to a tierceron vault forming a pattern of concentric stars, with spherical bosses and a paint scheme of 1845; the three west arches with Purbeck marble shafts onto the Retroquire have blind arched panels above; beneath the windows is a sill mould with fleurons, and a bench round the walls. Stone reredos has six statue niches with crocketed canopies and smaller niches in between, with four C19 sedilia with ogee-arched and crocketed canopies and a C14 cusped ogee trefoil-arched south doorway; C19 encaustic tiles.
The Retroquire extends laterally into east chapels each side and transeptal chapels: all with ogee-arched piscinae with crockets and finials, with a complex asymmetrical lierne vault on Purbeck marble shafts and capitals. The three east bays of the choir added early C14, and the high lierne vault of squares extended back over the three late C12 west bays, on triple vault shafts, Purbeck marble with roll-moulded capitals for the C14 and limestone with stiff leaf capitals for the C12; above the two-centre aisle arches and below the clerestory walk is a richly-carved openwork grille of statue niches with canopies, containing eight early C20 figures across the east end; clerestory walk has ogee-arched doorways. Rich canopies over choir stalls on Purbeck marble shafts, and five sedilia with enriched canopies. Ogee-arched doorways with crockets and pinnacles each side of the choir give onto the aisles, which have lierne vaults forming hexagons.
Transepts: Three bays deep and three wide, with cluster columns and stiff leaf capitals, including some fine figure carving in the south-west aisle, paired triforium arches between the vault shafts; the chancel aisles entered by C14 ogee-arched doorways with cinquefoil cusps and openwork panels each side; the north transept has a doorway from the east aisle with a depressed arch and moulded sides with a panelled Perpendicular ridge door, and Perpendicular panelled stone screens across the arcade; the south transept has an early C14 reredos with cusped ogee arches. The openings to the crossing contain inserted cross ogee strainer arches with triple chamfered moulding, on the west one an early C20 raised crucifix and flanking figures on shafted bases, and the roof has late C15 fan vaulting with mouchettes to the springers.
Nave: Ten-bay nave has compound columns of eight shafts with stiff leaf capitals enriched with figures, a continuous hood mould, with carved stops until the four west bays, which also have more richly-carved stiff leaf; a continuous triforium arcade of roll-moulded lancets with moulded rere arches, three to each bay, with enriched tympana and paterae in the spandrels above, carved corbels and springers to vault shafts above to a quadripartite vault without ridges; vault painted to a scheme of 1844. A panelled c 1450 gallery in the south clerestory window six from the west; aisles vaulted as nave, with enriched stiff leaf corbels. The west end has a trefoil-headed blank arcade on blue Lias shafts and a central stilted depressed-arch doorway, beneath the three west windows; the aisles end with a lateral rib from the vault to the west arcade. Chapels beneath the towers have sexpartite vaults with an enriched hole for the bell ropes; the south-west chapel has a shallow arch to the cloister beneath three cusped arched panels. The parvise over the north chapel contains a rare drawing floor. Two chantry chapels set between the east nave piers have fine openwork Perpendicular tracery and cresting, the south chapel of St Edmund c 1490 has a fan-vaulted canopy over the altar and two statue niches with canopies, and an ogee-arched doorway, the North Holy Cross Chapel c 1420 has quatrefoil panelling to the east canopy, distressed statue niches, and four-centre arched doorways.
FITTINGS: Lady Chapel: Brass lectern 1661 has a moulded stand and foliate crest.
Retroquire, North-East Chapel: fine oak C13 Cope Chest with a two-leaf top doors; panelled C17/C18 chest; north transept chapel: C17 oak screen with columns, formerly part of cow stalls, with artisan Ionic capitals and cornice, set forward over chest tomb of John Godilee; C14 floor tiles; south-east chapel: Bound oak C14 chest for Chapter Seal.
North Transept: Very fine c 1390 clock, considered the second oldest in the world after Salisbury Cathedral (qv), the face with heavenly bodies represented and four knights riding round above, and a quarter jack in the corner striking bells with a hammer and his heels; pine chest with bowed top.
Choir: Very fine stalls with misericords, c 1335; Bishop's Throne, c 1340, restored by Salvin c 1850, wide with panelled, canted front and stone doorway, deep nodding cusped ogee canopy over, with three stepped statue niches and pinnacles; C19 pulpit opposite, octagonal on a coved base with panelled sides, and steps up from the North aisle; organ within the chancel arch rebuilt and new case 1974.
South Transept: Round font from the former Saxon cathedral, with an arcade of round-headed arches, on a round plinth, with a c 1635 cover with heads of putti round sides.
Nave: Pulpit and tomb of William Knight, mid C16, built out from the Sugar chantry, with panelled buttresses, curved sides and a cornice.
Library: Good shelves and desks with panelled ends, cornices and scroll crests, and benches with ogee ends with ball finials of 1686.
MONUMENTS: Quire Corpus Christi North Transept Chapel: marble chest tomb of Robert Creyghton d 1672, an alabaster effigy on a sarcophagus with bowed sides; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Godelee, d 1333, effigy on a chest with open ogee arcade.
North Quire aisle: chest tombs of Bishop Giso, d 1088, Ralph of Salisby, d 1463, alabaster, and two further c 1230 effigies of Saxon Bishops, on mid C20 plinths; panelled chest tomb with three heraldic panels and moulded top; South-East Chapel of St John the Baptist: chest tomb encloses north side, with arcaded sides, thin mullions to a good openwork top with cusped gables and a canopy to east end.
St Katherine's Transept Chapel: Chest tomb of John Drokensford, d 1329, a painted effigy on a chest with open ogee arcade, as that for John Godelee; chest tomb of John Gunthorpe, d 1498 with five heraldic panels and moulded top. South chancel aisle: effigy of John Bernard, d 1459 on a mid C20 plinth; fine chest tomb of Bishop Bekynton, d 1464 but made c 1450, a cadaver within the open lower section with enriched shafts and angel capitals, with a painted marble figure on top, surrounded by a fine C15 wrought-iron screen with buttress stanchions; raised, incised coffin slab of Bishop Bytton d 1274, blue Lias; large chest tomb of Bishop Harvey d 1894 with five trefoil panels and an effigy with putti to the head; three c 1230 effigies of Saxon Bishops on mid C20 plinths; chest tomb of Bishop Harewell d 1386, a marble effigy on a C20 plinth.
North Transept, east aisle: Enriched marble chest tomb of John Still d 1607 with black Corinthian columns to entablature, sarcophagus with alabaster effigy; chest tomb to Bishop Kidder, d 1703 marble with an enriched naturalistic reclining figure of his daughter in front of two urns of her parents.
South Transept: Chapel of St Calixtus, fine un-named chest tomb of c 1450, with carved alabaster panels and effigy; Chapel of St Martin, chest tomb of William Bykonyll c 1448 with an arcaded front, cusped shallow arch over the effigy, panelled ceiling and a rich crested top; C15 wrought-iron gates to both chapels; in the south wall, good monument to Bishop William de Marchia, d 1302, three cusped cinquefoil-headed arches on moulded shafts, ogee hoods and pinnacles to a crenellated top, with an effigy within, with a three-bay segmental vaulted canopy, and decorated with six carved heads beneath.
STAINED GLASS: Original early glass is mainly in the choir and Lady Chapel; the Parliamentarians caused extensive damage generally in August 1642 and May 1643. Earliest fragments are in two windows on the west side of the Chapter House staircase (c 1280-90), and in two windows in the south choir aisle (c 1310-20), but of principal interest is the Lady Chapel range, c 1325-30, the east window including extensive repairs by Willement, 1845, and the others with substantial complete canopy-work, otherwise much in fragments. The choir east window is a fine Jesse Tree, including much silver stain, flanked by two windows each side in the clerestory, with large figures of saints, all these of c 1340-45; a further window each side is late C19. The chapel of St Katherine has interesting panels of c 1520, attributed to Arnold of Nijmegen; these, in the south and east windows were acquired from the destroyed church of St John, Rouen, the last panel was bought in 1953. The large triple lancet to the nave west end was glazed at the expense of Dean Creyghton at a cost of £140 in c 1664: repaired in 1813, but the central light largely replaced to a design by A K Nicholson between 1925-31. The main north and south transept end windows are by Powell, 1903-05, and the nave south aisle has four paired lights of 1881-1904, with a similar window at the west end of each aisle.
The Cathedral Church of St Andrew, Wells (Wells Cathedral)
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1382901
Date first listed: 12-Nov-1953
Statutory Address: CATHEDRAL CHURCH OF ST ANDREW, CATHEDRAL GREEN
County: Somerset
District: Mendip (District Authority)
Parish: Wells
National Grid Reference: ST 55148 45885
Details
Cathedral Bishopric established in 909. Saxon cathedral built, nothing now visible (excavations 1978/79). See transferred to Bath in 1090. Church extended and altered in 1140, in Norman style, under Bishop Robert Lewes; part of this lies under south transept of the present church.
Present church begun, at east end, in 1176 and continued to consecration in 1239, but with substantial interruption from 1190-1206. Designer Adam Lock, west front probably by Thomas Norreys. Nave, west front (but not towers), north porch, transepts, and part of choir date from this phase. Bishopric becomes Bath and Wells in 1218. Central tower begun 1315, completed 1322. Designer Thomas Witney Lady Chapel begun 1323, completed c 1326. Probably by Thomas Witney. At this stage the Chapel a free-standing structure to the east of the original (1176) east end. Extension of choir and presbytery in 1330 to connect with the new Lady Chapel. Designer Thomas Witney, but presbytery vaults by William Joy.
Following signs of dangerous settlement and cracking under the new tower, the great arches and other work inserted to prevent collapse in 1337; designer William Joy. (The St Andrew's arches known as strainer arches). South-west tower begun in 1385 to design of William Wynford, completed c 1395. North-west tower built 1410. Tracery added to nave windows in 1410. Central tower damaged by fire in 1439; repair and substantial design modification (designer not known) completed c 1450. Stillington's chapel built 1477, (off east cloister) designer William Smyth, who also designed the fan vault to the main crossing. The chapel was demolished in 1552.
MATERIALS: Doulting ashlar with blue Lias dressings, partly replaced by Kilkenny marble, some Purbeck marble internal dressings, and pink rubble outer cloister walls.
PLAN: Cruciform plan with aisled nave and transepts, north porch, cruciform aisled chancel with transeptal chapels and Retroquire. East Lady Chapel, north-east Chapter House and south Cloister.
EXTERIOR: Early English Gothic style, Decorated Gothic style Chapter House, Retroquire and Lady Chapel, Perpendicular Gothic style west and crossing towers and cloister. Early English windows throughout, mainly filled with two-light tracery c 1415, with a parapet of cusped triangles added c 1320 to all but the Chapter House and west front. Five-sided Lady Chapel has angle buttresses, drip and a parapet of cusped triangles, with wide five-light windows with reticulated tracery of cusped spheroid triangles; a late C14 flying buttress with a square pinnacle to the south-east. North chancel aisles: the east bay has a shallow two-centre arched five-light window with Decorated tracery, steeper three-light windows to the west bays, the transept chapel window of four-lights with reticulated tracery. The early C14 east end of the chancel has flying buttresses to the gable and three east bays; the east end has a five-light window with Decorated tracery, including two mullions up to the soffit, and a raised surround beneath a shallow canted parapet, with the coped gable set back and lit by four lozenge windows divided by a wide Y-shaped mullion; the north clerestory windows of three-lights, the three to the east have ogee hoods, the three late C12 west and two north transept windows linked by a continuous hood mould.
North Transept and nave aisles have a plinth, sill band, corbel table and parapet, with wide buttresses separating aisle lancet windows with inserted early C15 two-light Perpendicular tracery, and a clerestory with similar moulding and fenestration. Transept gable in three stages, with clasping buttress turrets and sill bands: three lower-stage windows and one to the end of west aisle, middle stage has a blind arcade of six lancets, the middle four truncated beneath three tall stepped lancets to upper stage, with similar blind panels paired to the turrets, and medallions to the spandrels; a weathered band beneath an arcade of stepped blind lancets, and panelled turret pinnacles with octagonal caps, a third to the flanking aisle; the right-hand turret has a good c 1475 clock with paired soldiers above striking two bells, and a crenellated canopy. Nine-bay nave aisle, ten-bay clerestory, of which the two windows flanking the transept re-entrant cut off above a mid C14 relieving arch.
Fine north porch two bays deep with blue Lias shafts and C18 outer doors: entrance archway of five orders with alternate paired banded columns with stiff leaf capitals to the west, carved showing the martyrdom of King Edmund to the east, and a roll-moulded arch, including two orders of undercut chevron mouldings with filigree decoration over fine doors of c 1200; clasping buttresses with octagonal pinnacles as the transept, and a gable with six stepped lancets beneath three stepped parvise lancets with sunken panels in the spandrels. Inside of two bays, articulated by banded vault shafts with stiff leaf capitals to a sexpartite vault; side benches are backed by arcades of four bayed seats with stiff leaf spandrels, beneath a string bitten off at the ends by serpents; a deeply recessed upper arcade of three arches to a bay, with complex openwork roll mouldings intersecting above the capitals, on coupled shafts free standing in front of attached shafts, enriched spandrels, and openwork Y-tracery in the tympanum beneath the vault. The south end decorated after the front entrance, including a moulded arch with a chevron order, and containing a pair of arched doorways with a deeply-moulded trumeau and good panelled early C13 doors with C15 Perpendicular tracery panels.
South elevation is similar: the chancel wall of the 1340 extension is recessed for the three east bays with flying buttresses, the windows to the west have uncusped intersecting tracery. Crossing tower has a c 1200 blind arcade to a string level with the roof ridge; upper section 1313, remodelled c 1440, has ribbed clasping buttresses to gabled niches with figures and pinnacles with sub-pinnacles; each side of three bays separated by narrow buttresses with pinnacles, a recessed transom with openwork tracery beneath and louvred trefoil-headed windows above, gabled hoods and finials. Corbels within for a spire, destroyed 1439.
West front screen is a double square in width, divided into five bays by very deep buttresses, with the wider nave bay set forward. The towers stand outside the aisles, the design of the front continued round both ends and returned at the rear. Statues of c 1230-1250, to an uncertain iconographic scheme. Divided vertically into three bands, beneath a central nave gable and Perpendicular towers; arches with originally blue Lias shafts, now mostly Kilkenny marble, and stiff leaf capitals. A tall, weathered plinth, with a central nave entrance of four orders with paired doorways and quatrefoil in the tympanum containing the seated Virgin with flanking angels, and smaller aisle entrances of two orders. Above is an arcade of gabled hoods over arches, containing paired trefoil-headed statue niches with bases and fifteen surviving figures; two-light Perpendicular tracery windows between the buttresses outside the nave; sunken quatrefoils in the spandrels, which cut across the corners of the buttresses. The third and principal band contains three tall, slightly stepped nave lancets, paired blind lancets between the outer buttresses, with narrower arches flanking them and to the faces and sides of the buttresses, all with banded Lias shafts and roll-moulded heads; the three arches to the sides and angled faces on the south-west and north-west corners have intersecting mouldings as in the north porch. All except the window arches contain two tiers of gabled statue niches with figures, taller ones in the upper tier, and across the top is an arcade of trefoil-headed statue niches with seated figures and carved spandrels. The nave buttresses have gabled tops containing cinquefoil-arched niches, and tall pinnacles with arched faces and conical tops; above the nave is a three-tier stepped gable with a lower arcade of ten cinquefoil-arched niches containing seated figures, a taller arcade of twelve niches with c 1400 figures of the Apostles, and a central top section with outer trefoil arches, corner sunken quatrefoils; the central oval recess with cusped sides and top contains a 1985 figure of Christ in Judgement beneath a pinnacle, with crosses and finials on the weathered coping. The Perpendicular towers continue the buttresses up with canopied statue niches to their faces and blank panelling to the sides, before raking them back into deep angle buttresses; between are a pair of two-light west windows, louvred above a transom and blind below, with a blind arcade above the windows, and a low crenellated coping.
INTERIOR: Lady Chapel: An elongated octagon in plan, with triple vault shafts with spherical foliate capitals to a tierceron vault forming a pattern of concentric stars, with spherical bosses and a paint scheme of 1845; the three west arches with Purbeck marble shafts onto the Retroquire have blind arched panels above; beneath the windows is a sill mould with fleurons, and a bench round the walls. Stone reredos has six statue niches with crocketed canopies and smaller niches in between, with four C19 sedilia with ogee-arched and crocketed canopies and a C14 cusped ogee trefoil-arched south doorway; C19 encaustic tiles.
The Retroquire extends laterally into east chapels each side and transeptal chapels: all with ogee-arched piscinae with crockets and finials, with a complex asymmetrical lierne vault on Purbeck marble shafts and capitals. The three east bays of the choir added early C14, and the high lierne vault of squares extended back over the three late C12 west bays, on triple vault shafts, Purbeck marble with roll-moulded capitals for the C14 and limestone with stiff leaf capitals for the C12; above the two-centre aisle arches and below the clerestory walk is a richly-carved openwork grille of statue niches with canopies, containing eight early C20 figures across the east end; clerestory walk has ogee-arched doorways. Rich canopies over choir stalls on Purbeck marble shafts, and five sedilia with enriched canopies. Ogee-arched doorways with crockets and pinnacles each side of the choir give onto the aisles, which have lierne vaults forming hexagons.
Transepts: Three bays deep and three wide, with cluster columns and stiff leaf capitals, including some fine figure carving in the south-west aisle, paired triforium arches between the vault shafts; the chancel aisles entered by C14 ogee-arched doorways with cinquefoil cusps and openwork panels each side; the north transept has a doorway from the east aisle with a depressed arch and moulded sides with a panelled Perpendicular ridge door, and Perpendicular panelled stone screens across the arcade; the south transept has an early C14 reredos with cusped ogee arches. The openings to the crossing contain inserted cross ogee strainer arches with triple chamfered moulding, on the west one an early C20 raised crucifix and flanking figures on shafted bases, and the roof has late C15 fan vaulting with mouchettes to the springers.
Nave: Ten-bay nave has compound columns of eight shafts with stiff leaf capitals enriched with figures, a continuous hood mould, with carved stops until the four west bays, which also have more richly-carved stiff leaf; a continuous triforium arcade of roll-moulded lancets with moulded rere arches, three to each bay, with enriched tympana and paterae in the spandrels above, carved corbels and springers to vault shafts above to a quadripartite vault without ridges; vault painted to a scheme of 1844. A panelled c 1450 gallery in the south clerestory window six from the west; aisles vaulted as nave, with enriched stiff leaf corbels. The west end has a trefoil-headed blank arcade on blue Lias shafts and a central stilted depressed-arch doorway, beneath the three west windows; the aisles end with a lateral rib from the vault to the west arcade. Chapels beneath the towers have sexpartite vaults with an enriched hole for the bell ropes; the south-west chapel has a shallow arch to the cloister beneath three cusped arched panels. The parvise over the north chapel contains a rare drawing floor. Two chantry chapels set between the east nave piers have fine openwork Perpendicular tracery and cresting, the south chapel of St Edmund c 1490 has a fan-vaulted canopy over the altar and two statue niches with canopies, and an ogee-arched doorway, the North Holy Cross Chapel c 1420 has quatrefoil panelling to the east canopy, distressed statue niches, and four-centre arched doorways.
FITTINGS: Lady Chapel: Brass lectern 1661 has a moulded stand and foliate crest.
Retroquire, North-East Chapel: fine oak C13 Cope Chest with a two-leaf top doors; panelled C17/C18 chest; north transept chapel: C17 oak screen with columns, formerly part of cow stalls, with artisan Ionic capitals and cornice, set forward over chest tomb of John Godilee; C14 floor tiles; south-east chapel: Bound oak C14 chest for Chapter Seal.
North Transept: Very fine c 1390 clock, considered the second oldest in the world after Salisbury Cathedral (qv), the face with heavenly bodies represented and four knights riding round above, and a quarter jack in the corner striking bells with a hammer and his heels; pine chest with bowed top.
Choir: Very fine stalls with misericords, c 1335; Bishop's Throne, c 1340, restored by Salvin c 1850, wide with panelled, canted front and stone doorway, deep nodding cusped ogee canopy over, with three stepped statue niches and pinnacles; C19 pulpit opposite, octagonal on a coved base with panelled sides, and steps up from the North aisle; organ within the chancel arch rebuilt and new case 1974.
South Transept: Round font from the former Saxon cathedral, with an arcade of round-headed arches, on a round plinth, with a c 1635 cover with heads of putti round sides.
Nave: Pulpit and tomb of William Knight, mid C16, built out from the Sugar chantry, with panelled buttresses, curved sides and a cornice.
Library: Good shelves and desks with panelled ends, cornices and scroll crests, and benches with ogee ends with ball finials of 1686.
MONUMENTS: Quire Corpus Christi North Transept Chapel: marble chest tomb of Robert Creyghton d 1672, an alabaster effigy on a sarcophagus with bowed sides; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Godelee, d 1333, effigy on a chest with open ogee arcade.
North Quire aisle: chest tombs of Bishop Giso, d 1088, Ralph of Salisby, d 1463, alabaster, and two further c 1230 effigies of Saxon Bishops, on mid C20 plinths; panelled chest tomb with three heraldic panels and moulded top; South-East Chapel of St John the Baptist: chest tomb encloses north side, with arcaded sides, thin mullions to a good openwork top with cusped gables and a canopy to east end.
St Katherine's Transept Chapel: Chest tomb of John Drokensford, d 1329, a painted effigy on a chest with open ogee arcade, as that for John Godelee; chest tomb of John Gunthorpe, d 1498 with five heraldic panels and moulded top. South chancel aisle: effigy of John Bernard, d 1459 on a mid C20 plinth; fine chest tomb of Bishop Bekynton, d 1464 but made c 1450, a cadaver within the open lower section with enriched shafts and angel capitals, with a painted marble figure on top, surrounded by a fine C15 wrought-iron screen with buttress stanchions; raised, incised coffin slab of Bishop Bytton d 1274, blue Lias; large chest tomb of Bishop Harvey d 1894 with five trefoil panels and an effigy with putti to the head; three c 1230 effigies of Saxon Bishops on mid C20 plinths; chest tomb of Bishop Harewell d 1386, a marble effigy on a C20 plinth.
North Transept, east aisle: Enriched marble chest tomb of John Still d 1607 with black Corinthian columns to entablature, sarcophagus with alabaster effigy; chest tomb to Bishop Kidder, d 1703 marble with an enriched naturalistic reclining figure of his daughter in front of two urns of her parents.
South Transept: Chapel of St Calixtus, fine un-named chest tomb of c 1450, with carved alabaster panels and effigy; Chapel of St Martin, chest tomb of William Bykonyll c 1448 with an arcaded front, cusped shallow arch over the effigy, panelled ceiling and a rich crested top; C15 wrought-iron gates to both chapels; in the south wall, good monument to Bishop William de Marchia, d 1302, three cusped cinquefoil-headed arches on moulded shafts, ogee hoods and pinnacles to a crenellated top, with an effigy within, with a three-bay segmental vaulted canopy, and decorated with six carved heads beneath.
STAINED GLASS: Original early glass is mainly in the choir and Lady Chapel; the Parliamentarians caused extensive damage generally in August 1642 and May 1643. Earliest fragments are in two windows on the west side of the Chapter House staircase (c 1280-90), and in two windows in the south choir aisle (c 1310-20), but of principal interest is the Lady Chapel range, c 1325-30, the east window including extensive repairs by Willement, 1845, and the others with substantial complete canopy-work, otherwise much in fragments. The choir east window is a fine Jesse Tree, including much silver stain, flanked by two windows each side in the clerestory, with large figures of saints, all these of c 1340-45; a further window each side is late C19. The chapel of St Katherine has interesting panels of c 1520, attributed to Arnold of Nijmegen; these, in the south and east windows were acquired from the destroyed church of St John, Rouen, the last panel was bought in 1953. The large triple lancet to the nave west end was glazed at the expense of Dean Creyghton at a cost of £140 in c 1664: repaired in 1813, but the central light largely replaced to a design by A K Nicholson between 1925-31. The main north and south transept end windows are by Powell, 1903-05, and the nave south aisle has four paired lights of 1881-1904, with a similar window at the west end of each aisle.
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.
Parish Church of St Nectain,Ashcombe Dawlish EX7 0QE
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1308702
Date first listed: 30-Jun-1961
Location
County: Devon
District: Teignbridge (District Authority)
Parish: Ashcombe
National Grid Reference: SX 91218 79559
Details
Parish church. Fabric probably largely C13, north aisle added in the C15. Substantial restoration of the 1820s by Salvin, interior refurbished 1885 (plaque in church). Stone rubble with slate roofs. Plan: C13 cruciform plan, most of the lancet windows are restored but may be copies of the Early English originals ; north aisle added in the C15. Restoration and some rebuilding by Salvin in the 1820s with Gothick interior details. Exterior: chancel with set-back buttresses and a probably C19 Perpendicular east window ; lancet window on the north side. Lancet window and one Y tracery early C19 window on the south side. Transepts with set back buttresses, the south transept with single lancets to the east and west walls and a C19 Perpendicular window to the south wall. North transept with triple lancet east window, C19 Perpendicular north window. The aisle has 2 3-light cusped windows with depressed arches ; similar windows to the nave. 3-stage tapering battlemented unbuttressed tower with an internal north west stair turret. The west face has a C19 door to left of centre and a ground floor window with C19 Y tracery ; 3-light C19 window above with a depressed arch. C19 south porch with diagonal buttresses and a chamfered arched outer doorway below a niche, early C19 inner doorway with a good early C19 Gothick door with blind tracery, ceiled wagon roof with plaster moulded ribs with small bosses. Interior: Plastered walls ; rounded moulded chancel arch on moulded responds with carved capitals. 1820s tower arch flanked by pairs of engaged shafts with bell capitals, the arch decorated with Gothick panelling and applied flowers. North arcade with rounded moulded arches on carved capitals and plaster pendants above the capitals in the spandrels. Ceiled wagon roofs, with moulded ribs, 1820s Gothick ornamental gables at junction of walls plates and lateral ribs. The chancel has a low trefoil-headed piscina on the south side and a C20 reredos: a rounded arch on the south side may be a tomb recess. Fine probably C17 chair (not English) in the chancel with inset panels. The nave has a good gilded timber eagle lectern dated 1735, on a big turned stem ; C19 octagonal font on a pink marble stem with slender black marble shafts openwork font cover. Interesting and unusual set of C16 or C17 benches wih bench ends carved with 2 tiers of blind tracery, the borders carved with grotesques, reptiles and snakes. Probably C17 chair with inlaid back in nave. Memorials Wall tablet in chancel to Jane Parkyns, died 1817, signed Jago and Davey of Dawlish. Glass Fragments of late medieval C17 and C18 glass, including some Flemish roundels, leaded into the east window in patterns, north transept east window with memorial date 1885 probably by Drake of Exeter. A rare example for Devon of a largely C13 church. Devon Nineteenth Century Churches Project.
Harkness Tower, constructed between 1917 and 1921 as part of the Memorial Quadrangle donated to Yale by Anna M. Harkness in honor of her recently deceased son, Charles William Harkness, Yale class of 1883, was designed by James Gamble Rogers, who designed many of Yale's "Collegiate Gothic" structures. It was, when built, the only couronne ("crown") tower in English Perpendicular Gothic style that had been constructed in the modern era. Rogers said his design for the tower was inspired by "Boston Stump," a 15th-century tower of the parish church (of St Botolph) in Boston, England notable as the tallest parish church tower in all of England. Rogers also based some details on the tower of Saint Giles church in Wrexham, Wales, where Elihu Yale is buried.
From the street level to the roof there are 284 steps. Harkness Tower rises 216 feet (66 m) tall--one foot for each year since Yale's founding at the time it was built--with a square base rising in stages to a double stone crown on an octagonal base, dissolving at the top in a spray of stone pinnacles. It was built of separate stone blocks in the authentic manner. Yale tour guides like to perpetuate the myth that the Tower was once the tallest free-standing stone structure in the world, but needed to be reinforced because its eccentric architect poured acid down the walls to make the tower look older. The Washington Monument, however, has held that distinction in the U.S. since it was completed, 37 years before Harkness Tower was built.
The tower contains the 54-bell Yale Memorial Carillon, a transposing instrument (the C bell sounds a concert B). Ten bells were installed in 1922, and the instrument was augmented by the addition of 44 bells in 1966, necessitated the aforementioned reinforcements. The carillion is played by the student-run Yale Guild of Carillonneurs, and selected guest carillonneurs for two half-hour sessions per day during the academic year (the evening session is a full hour on Saturdays); in summer it is played only in the evening, with a Summer Series of regularly scheduled concerts on Fridays.
Midway to the top, four openwork copper clockfaces tell the hours. The bells of the carillon are located behind the clockfaces, fixed to a frame made of steel I-beams. The playing console of the carillon is at the level of the balconies immediately below the faces. Lower levels of the tower house an extant water tank, two practice carillons, office space for the Yale University Guild of Carillonneurs, and a memorial chapel.
decorative elements were sculpted by Lee Lawrie A Yale professor from 1908-1918. The lowest level of sculpture depicts Yale's Eight Worthies: Elihu Yale, Jonathan Edwards, Nathan Hale, Noah Webster, James Fenimore Cooper, John C. Calhoun, Samuel F. B. Morse, and Eli Whitney. The second level of sculpture depicts Phidias, Homer, Aristotle, and Euclid. The next level of sculpture consists of allegorical figures depicting Medicine, Business, Law, the Church, Courage and Effort, War and Peace, Generosity and Order, Justice and Truth, Life and Progress, and Death and Freedom. The gargoyles on the top level depict Yale's students at war and in study (a pen-wielding writer, a proficient athlete, a tea-drinking socialite, and a diligent scholar), along with masks of Homer, Virgil, Dante, and Shakespeare.
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.
The Cathedral Church of St Andrew, Wells (Wells Cathedral)
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1382901
Date first listed: 12-Nov-1953
Statutory Address: CATHEDRAL CHURCH OF ST ANDREW, CATHEDRAL GREEN
County: Somerset
District: Mendip (District Authority)
Parish: Wells
National Grid Reference: ST 55148 45885
Details
Cathedral Bishopric established in 909. Saxon cathedral built, nothing now visible (excavations 1978/79). See transferred to Bath in 1090. Church extended and altered in 1140, in Norman style, under Bishop Robert Lewes; part of this lies under south transept of the present church.
Present church begun, at east end, in 1176 and continued to consecration in 1239, but with substantial interruption from 1190-1206. Designer Adam Lock, west front probably by Thomas Norreys. Nave, west front (but not towers), north porch, transepts, and part of choir date from this phase. Bishopric becomes Bath and Wells in 1218. Central tower begun 1315, completed 1322. Designer Thomas Witney Lady Chapel begun 1323, completed c 1326. Probably by Thomas Witney. At this stage the Chapel a free-standing structure to the east of the original (1176) east end. Extension of choir and presbytery in 1330 to connect with the new Lady Chapel. Designer Thomas Witney, but presbytery vaults by William Joy.
Following signs of dangerous settlement and cracking under the new tower, the great arches and other work inserted to prevent collapse in 1337; designer William Joy. (The St Andrew's arches known as strainer arches). South-west tower begun in 1385 to design of William Wynford, completed c 1395. North-west tower built 1410. Tracery added to nave windows in 1410. Central tower damaged by fire in 1439; repair and substantial design modification (designer not known) completed c 1450. Stillington's chapel built 1477, (off east cloister) designer William Smyth, who also designed the fan vault to the main crossing. The chapel was demolished in 1552.
MATERIALS: Doulting ashlar with blue Lias dressings, partly replaced by Kilkenny marble, some Purbeck marble internal dressings, and pink rubble outer cloister walls.
PLAN: Cruciform plan with aisled nave and transepts, north porch, cruciform aisled chancel with transeptal chapels and Retroquire. East Lady Chapel, north-east Chapter House and south Cloister.
EXTERIOR: Early English Gothic style, Decorated Gothic style Chapter House, Retroquire and Lady Chapel, Perpendicular Gothic style west and crossing towers and cloister. Early English windows throughout, mainly filled with two-light tracery c 1415, with a parapet of cusped triangles added c 1320 to all but the Chapter House and west front. Five-sided Lady Chapel has angle buttresses, drip and a parapet of cusped triangles, with wide five-light windows with reticulated tracery of cusped spheroid triangles; a late C14 flying buttress with a square pinnacle to the south-east. North chancel aisles: the east bay has a shallow two-centre arched five-light window with Decorated tracery, steeper three-light windows to the west bays, the transept chapel window of four-lights with reticulated tracery. The early C14 east end of the chancel has flying buttresses to the gable and three east bays; the east end has a five-light window with Decorated tracery, including two mullions up to the soffit, and a raised surround beneath a shallow canted parapet, with the coped gable set back and lit by four lozenge windows divided by a wide Y-shaped mullion; the north clerestory windows of three-lights, the three to the east have ogee hoods, the three late C12 west and two north transept windows linked by a continuous hood mould.
North Transept and nave aisles have a plinth, sill band, corbel table and parapet, with wide buttresses separating aisle lancet windows with inserted early C15 two-light Perpendicular tracery, and a clerestory with similar moulding and fenestration. Transept gable in three stages, with clasping buttress turrets and sill bands: three lower-stage windows and one to the end of west aisle, middle stage has a blind arcade of six lancets, the middle four truncated beneath three tall stepped lancets to upper stage, with similar blind panels paired to the turrets, and medallions to the spandrels; a weathered band beneath an arcade of stepped blind lancets, and panelled turret pinnacles with octagonal caps, a third to the flanking aisle; the right-hand turret has a good c 1475 clock with paired soldiers above striking two bells, and a crenellated canopy. Nine-bay nave aisle, ten-bay clerestory, of which the two windows flanking the transept re-entrant cut off above a mid C14 relieving arch.
Fine north porch two bays deep with blue Lias shafts and C18 outer doors: entrance archway of five orders with alternate paired banded columns with stiff leaf capitals to the west, carved showing the martyrdom of King Edmund to the east, and a roll-moulded arch, including two orders of undercut chevron mouldings with filigree decoration over fine doors of c 1200; clasping buttresses with octagonal pinnacles as the transept, and a gable with six stepped lancets beneath three stepped parvise lancets with sunken panels in the spandrels. Inside of two bays, articulated by banded vault shafts with stiff leaf capitals to a sexpartite vault; side benches are backed by arcades of four bayed seats with stiff leaf spandrels, beneath a string bitten off at the ends by serpents; a deeply recessed upper arcade of three arches to a bay, with complex openwork roll mouldings intersecting above the capitals, on coupled shafts free standing in front of attached shafts, enriched spandrels, and openwork Y-tracery in the tympanum beneath the vault. The south end decorated after the front entrance, including a moulded arch with a chevron order, and containing a pair of arched doorways with a deeply-moulded trumeau and good panelled early C13 doors with C15 Perpendicular tracery panels.
South elevation is similar: the chancel wall of the 1340 extension is recessed for the three east bays with flying buttresses, the windows to the west have uncusped intersecting tracery. Crossing tower has a c 1200 blind arcade to a string level with the roof ridge; upper section 1313, remodelled c 1440, has ribbed clasping buttresses to gabled niches with figures and pinnacles with sub-pinnacles; each side of three bays separated by narrow buttresses with pinnacles, a recessed transom with openwork tracery beneath and louvred trefoil-headed windows above, gabled hoods and finials. Corbels within for a spire, destroyed 1439.
West front screen is a double square in width, divided into five bays by very deep buttresses, with the wider nave bay set forward. The towers stand outside the aisles, the design of the front continued round both ends and returned at the rear. Statues of c 1230-1250, to an uncertain iconographic scheme. Divided vertically into three bands, beneath a central nave gable and Perpendicular towers; arches with originally blue Lias shafts, now mostly Kilkenny marble, and stiff leaf capitals. A tall, weathered plinth, with a central nave entrance of four orders with paired doorways and quatrefoil in the tympanum containing the seated Virgin with flanking angels, and smaller aisle entrances of two orders. Above is an arcade of gabled hoods over arches, containing paired trefoil-headed statue niches with bases and fifteen surviving figures; two-light Perpendicular tracery windows between the buttresses outside the nave; sunken quatrefoils in the spandrels, which cut across the corners of the buttresses. The third and principal band contains three tall, slightly stepped nave lancets, paired blind lancets between the outer buttresses, with narrower arches flanking them and to the faces and sides of the buttresses, all with banded Lias shafts and roll-moulded heads; the three arches to the sides and angled faces on the south-west and north-west corners have intersecting mouldings as in the north porch. All except the window arches contain two tiers of gabled statue niches with figures, taller ones in the upper tier, and across the top is an arcade of trefoil-headed statue niches with seated figures and carved spandrels. The nave buttresses have gabled tops containing cinquefoil-arched niches, and tall pinnacles with arched faces and conical tops; above the nave is a three-tier stepped gable with a lower arcade of ten cinquefoil-arched niches containing seated figures, a taller arcade of twelve niches with c 1400 figures of the Apostles, and a central top section with outer trefoil arches, corner sunken quatrefoils; the central oval recess with cusped sides and top contains a 1985 figure of Christ in Judgement beneath a pinnacle, with crosses and finials on the weathered coping. The Perpendicular towers continue the buttresses up with canopied statue niches to their faces and blank panelling to the sides, before raking them back into deep angle buttresses; between are a pair of two-light west windows, louvred above a transom and blind below, with a blind arcade above the windows, and a low crenellated coping.
INTERIOR: Lady Chapel: An elongated octagon in plan, with triple vault shafts with spherical foliate capitals to a tierceron vault forming a pattern of concentric stars, with spherical bosses and a paint scheme of 1845; the three west arches with Purbeck marble shafts onto the Retroquire have blind arched panels above; beneath the windows is a sill mould with fleurons, and a bench round the walls. Stone reredos has six statue niches with crocketed canopies and smaller niches in between, with four C19 sedilia with ogee-arched and crocketed canopies and a C14 cusped ogee trefoil-arched south doorway; C19 encaustic tiles.
The Retroquire extends laterally into east chapels each side and transeptal chapels: all with ogee-arched piscinae with crockets and finials, with a complex asymmetrical lierne vault on Purbeck marble shafts and capitals. The three east bays of the choir added early C14, and the high lierne vault of squares extended back over the three late C12 west bays, on triple vault shafts, Purbeck marble with roll-moulded capitals for the C14 and limestone with stiff leaf capitals for the C12; above the two-centre aisle arches and below the clerestory walk is a richly-carved openwork grille of statue niches with canopies, containing eight early C20 figures across the east end; clerestory walk has ogee-arched doorways. Rich canopies over choir stalls on Purbeck marble shafts, and five sedilia with enriched canopies. Ogee-arched doorways with crockets and pinnacles each side of the choir give onto the aisles, which have lierne vaults forming hexagons.
Transepts: Three bays deep and three wide, with cluster columns and stiff leaf capitals, including some fine figure carving in the south-west aisle, paired triforium arches between the vault shafts; the chancel aisles entered by C14 ogee-arched doorways with cinquefoil cusps and openwork panels each side; the north transept has a doorway from the east aisle with a depressed arch and moulded sides with a panelled Perpendicular ridge door, and Perpendicular panelled stone screens across the arcade; the south transept has an early C14 reredos with cusped ogee arches. The openings to the crossing contain inserted cross ogee strainer arches with triple chamfered moulding, on the west one an early C20 raised crucifix and flanking figures on shafted bases, and the roof has late C15 fan vaulting with mouchettes to the springers.
Nave: Ten-bay nave has compound columns of eight shafts with stiff leaf capitals enriched with figures, a continuous hood mould, with carved stops until the four west bays, which also have more richly-carved stiff leaf; a continuous triforium arcade of roll-moulded lancets with moulded rere arches, three to each bay, with enriched tympana and paterae in the spandrels above, carved corbels and springers to vault shafts above to a quadripartite vault without ridges; vault painted to a scheme of 1844. A panelled c 1450 gallery in the south clerestory window six from the west; aisles vaulted as nave, with enriched stiff leaf corbels. The west end has a trefoil-headed blank arcade on blue Lias shafts and a central stilted depressed-arch doorway, beneath the three west windows; the aisles end with a lateral rib from the vault to the west arcade. Chapels beneath the towers have sexpartite vaults with an enriched hole for the bell ropes; the south-west chapel has a shallow arch to the cloister beneath three cusped arched panels. The parvise over the north chapel contains a rare drawing floor. Two chantry chapels set between the east nave piers have fine openwork Perpendicular tracery and cresting, the south chapel of St Edmund c 1490 has a fan-vaulted canopy over the altar and two statue niches with canopies, and an ogee-arched doorway, the North Holy Cross Chapel c 1420 has quatrefoil panelling to the east canopy, distressed statue niches, and four-centre arched doorways.
FITTINGS: Lady Chapel: Brass lectern 1661 has a moulded stand and foliate crest.
Retroquire, North-East Chapel: fine oak C13 Cope Chest with a two-leaf top doors; panelled C17/C18 chest; north transept chapel: C17 oak screen with columns, formerly part of cow stalls, with artisan Ionic capitals and cornice, set forward over chest tomb of John Godilee; C14 floor tiles; south-east chapel: Bound oak C14 chest for Chapter Seal.
North Transept: Very fine c 1390 clock, considered the second oldest in the world after Salisbury Cathedral (qv), the face with heavenly bodies represented and four knights riding round above, and a quarter jack in the corner striking bells with a hammer and his heels; pine chest with bowed top.
Choir: Very fine stalls with misericords, c 1335; Bishop's Throne, c 1340, restored by Salvin c 1850, wide with panelled, canted front and stone doorway, deep nodding cusped ogee canopy over, with three stepped statue niches and pinnacles; C19 pulpit opposite, octagonal on a coved base with panelled sides, and steps up from the North aisle; organ within the chancel arch rebuilt and new case 1974.
South Transept: Round font from the former Saxon cathedral, with an arcade of round-headed arches, on a round plinth, with a c 1635 cover with heads of putti round sides.
Nave: Pulpit and tomb of William Knight, mid C16, built out from the Sugar chantry, with panelled buttresses, curved sides and a cornice.
Library: Good shelves and desks with panelled ends, cornices and scroll crests, and benches with ogee ends with ball finials of 1686.
MONUMENTS: Quire Corpus Christi North Transept Chapel: marble chest tomb of Robert Creyghton d 1672, an alabaster effigy on a sarcophagus with bowed sides; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Godelee, d 1333, effigy on a chest with open ogee arcade.
North Quire aisle: chest tombs of Bishop Giso, d 1088, Ralph of Salisby, d 1463, alabaster, and two further c 1230 effigies of Saxon Bishops, on mid C20 plinths; panelled chest tomb with three heraldic panels and moulded top; South-East Chapel of St John the Baptist: chest tomb encloses north side, with arcaded sides, thin mullions to a good openwork top with cusped gables and a canopy to east end.
St Katherine's Transept Chapel: Chest tomb of John Drokensford, d 1329, a painted effigy on a chest with open ogee arcade, as that for John Godelee; chest tomb of John Gunthorpe, d 1498 with five heraldic panels and moulded top. South chancel aisle: effigy of John Bernard, d 1459 on a mid C20 plinth; fine chest tomb of Bishop Bekynton, d 1464 but made c 1450, a cadaver within the open lower section with enriched shafts and angel capitals, with a painted marble figure on top, surrounded by a fine C15 wrought-iron screen with buttress stanchions; raised, incised coffin slab of Bishop Bytton d 1274, blue Lias; large chest tomb of Bishop Harvey d 1894 with five trefoil panels and an effigy with putti to the head; three c 1230 effigies of Saxon Bishops on mid C20 plinths; chest tomb of Bishop Harewell d 1386, a marble effigy on a C20 plinth.
North Transept, east aisle: Enriched marble chest tomb of John Still d 1607 with black Corinthian columns to entablature, sarcophagus with alabaster effigy; chest tomb to Bishop Kidder, d 1703 marble with an enriched naturalistic reclining figure of his daughter in front of two urns of her parents.
South Transept: Chapel of St Calixtus, fine un-named chest tomb of c 1450, with carved alabaster panels and effigy; Chapel of St Martin, chest tomb of William Bykonyll c 1448 with an arcaded front, cusped shallow arch over the effigy, panelled ceiling and a rich crested top; C15 wrought-iron gates to both chapels; in the south wall, good monument to Bishop William de Marchia, d 1302, three cusped cinquefoil-headed arches on moulded shafts, ogee hoods and pinnacles to a crenellated top, with an effigy within, with a three-bay segmental vaulted canopy, and decorated with six carved heads beneath.
STAINED GLASS: Original early glass is mainly in the choir and Lady Chapel; the Parliamentarians caused extensive damage generally in August 1642 and May 1643. Earliest fragments are in two windows on the west side of the Chapter House staircase (c 1280-90), and in two windows in the south choir aisle (c 1310-20), but of principal interest is the Lady Chapel range, c 1325-30, the east window including extensive repairs by Willement, 1845, and the others with substantial complete canopy-work, otherwise much in fragments. The choir east window is a fine Jesse Tree, including much silver stain, flanked by two windows each side in the clerestory, with large figures of saints, all these of c 1340-45; a further window each side is late C19. The chapel of St Katherine has interesting panels of c 1520, attributed to Arnold of Nijmegen; these, in the south and east windows were acquired from the destroyed church of St John, Rouen, the last panel was bought in 1953. The large triple lancet to the nave west end was glazed at the expense of Dean Creyghton at a cost of £140 in c 1664: repaired in 1813, but the central light largely replaced to a design by A K Nicholson between 1925-31. The main north and south transept end windows are by Powell, 1903-05, and the nave south aisle has four paired lights of 1881-1904, with a similar window at the west end of each aisle.
Gilded copper reliquary with applied relief figurines of saints, openwork and engraved Celtic Knots with snakes and dragons, lion heads, stones and crosses. Irish, Medieval, 11th Century AD. National Museum. Dublin, Ireland. Copyright 2016, James A. Glazier
Information on the church of Plouguin
Date : 17th century – 1867-1868
Architect : Joseph Bigot
Material : Granite
Department : Finistère
District : Brest
Canton : Plabennec
Town : Plouguin
Address : Place Eugène Forest – Plouguin
Position: 48.525131, -4.599319
The Saint-Pierre de Plouguin church in Finistère.
St. Peter's Church
This church, built with the help of stonemasons from Locronan, has a built-in bell tower, with one floor of bells and a single gallery, dating from 1662, and a 17th century chapel built above the tomb of Saint Pirric, on the plasterboard. It also includes a five-bay nave with aisles, a transept and a Beaumanoir-style multi-valley choir.
Description of the church of Plouguin
Latin cross plan with three vessels. Outer south porch at the level of the third bay. Multiple chevet flanked by two sacristies to the north and south of a rectangular plan. Off-work bell tower with a gallery and openwork bell chamber cushioned by an octagonal spire decorated with hooks and framed at its base by four openwork gables and four pinnacles. Carcass work in granite rubble stone coated with cement, with the exception of the frames of the openings and the corner chains, in granite cut stone. Five-bay nave covered with paneling painted blue with red veins, ties painted green. Pointed arch arcades resting on the capitals of the octagonal pillars. Floor covered with granite slabs.
Source: heritage.bzh
FaMESHed, the monthly showcase of new mesh items by Second Life creators, is all new again. I won't be able to show all my favorites in one blog post, so stay tuned. The slouchy sweater and shorts from Mon Tissu are darling and the inspiration of my look today. I added the black and white dotted skinny scarf (I wish I'd fatpacked them) and surprised myself by liking pale peach shoes (I should have fatpacked these, too) and handbag instead of the black or red that I'd thought I should use. Maxi Gossamer jewelry from FaMESHed polished the outfit, the messy D!va hair emphasizes the casual urban glamour of the look.
The skin is the "bare" version of Lilith, Glam Affair's newest release. ARGH, so many gorgeous skins, so few Lindens!
Credits:
Maxi Gossamer - Bracelets - Barcelona (at FaMESHed)
Maxi Gossamer - Earrings - Barcelona (at FaMESHed)
Mon Tissu Hanalei Shorts ~ Graffitikat (at FaMESHed)
Mon Tissu Two ToneSlouchy Sweatshirt ~ Grey (at FaMESHed)
Mon Tissu Openwork Wedges ~ Peach
Mon Tissu Skinny Scarf ~ Polka Dot
Mon Tissu Sophmore Satchel / Shoulder Strap ~ Glossy Peach
Glam Affair - Lilith - America - Clean Red HB
Glam Affair - Lilith Eyebrows Shape 02
D!va Hair "Manon" (Type A)(Red amber)
Beetlebones Mesh Lashes V.01 (Dainty brown)
Mayfly - Deep Sky Mesh Eye (Olive Hazel, w3)
Pose by Marukin (altered)
Location: Mayfair
aylaanddolly.blogspot.com/2012/09/fameshed-mon-tissu-and-...
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.
The Cathedral Church of St Andrew, Wells (Wells Cathedral)
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1382901
Date first listed: 12-Nov-1953
Statutory Address: CATHEDRAL CHURCH OF ST ANDREW, CATHEDRAL GREEN
County: Somerset
District: Mendip (District Authority)
Parish: Wells
National Grid Reference: ST 55148 45885
Details
Cathedral Bishopric established in 909. Saxon cathedral built, nothing now visible (excavations 1978/79). See transferred to Bath in 1090. Church extended and altered in 1140, in Norman style, under Bishop Robert Lewes; part of this lies under south transept of the present church.
Present church begun, at east end, in 1176 and continued to consecration in 1239, but with substantial interruption from 1190-1206. Designer Adam Lock, west front probably by Thomas Norreys. Nave, west front (but not towers), north porch, transepts, and part of choir date from this phase. Bishopric becomes Bath and Wells in 1218. Central tower begun 1315, completed 1322. Designer Thomas Witney Lady Chapel begun 1323, completed c 1326. Probably by Thomas Witney. At this stage the Chapel a free-standing structure to the east of the original (1176) east end. Extension of choir and presbytery in 1330 to connect with the new Lady Chapel. Designer Thomas Witney, but presbytery vaults by William Joy.
Following signs of dangerous settlement and cracking under the new tower, the great arches and other work inserted to prevent collapse in 1337; designer William Joy. (The St Andrew's arches known as strainer arches). South-west tower begun in 1385 to design of William Wynford, completed c 1395. North-west tower built 1410. Tracery added to nave windows in 1410. Central tower damaged by fire in 1439; repair and substantial design modification (designer not known) completed c 1450. Stillington's chapel built 1477, (off east cloister) designer William Smyth, who also designed the fan vault to the main crossing. The chapel was demolished in 1552.
MATERIALS: Doulting ashlar with blue Lias dressings, partly replaced by Kilkenny marble, some Purbeck marble internal dressings, and pink rubble outer cloister walls.
PLAN: Cruciform plan with aisled nave and transepts, north porch, cruciform aisled chancel with transeptal chapels and Retroquire. East Lady Chapel, north-east Chapter House and south Cloister.
EXTERIOR: Early English Gothic style, Decorated Gothic style Chapter House, Retroquire and Lady Chapel, Perpendicular Gothic style west and crossing towers and cloister. Early English windows throughout, mainly filled with two-light tracery c 1415, with a parapet of cusped triangles added c 1320 to all but the Chapter House and west front. Five-sided Lady Chapel has angle buttresses, drip and a parapet of cusped triangles, with wide five-light windows with reticulated tracery of cusped spheroid triangles; a late C14 flying buttress with a square pinnacle to the south-east. North chancel aisles: the east bay has a shallow two-centre arched five-light window with Decorated tracery, steeper three-light windows to the west bays, the transept chapel window of four-lights with reticulated tracery. The early C14 east end of the chancel has flying buttresses to the gable and three east bays; the east end has a five-light window with Decorated tracery, including two mullions up to the soffit, and a raised surround beneath a shallow canted parapet, with the coped gable set back and lit by four lozenge windows divided by a wide Y-shaped mullion; the north clerestory windows of three-lights, the three to the east have ogee hoods, the three late C12 west and two north transept windows linked by a continuous hood mould.
North Transept and nave aisles have a plinth, sill band, corbel table and parapet, with wide buttresses separating aisle lancet windows with inserted early C15 two-light Perpendicular tracery, and a clerestory with similar moulding and fenestration. Transept gable in three stages, with clasping buttress turrets and sill bands: three lower-stage windows and one to the end of west aisle, middle stage has a blind arcade of six lancets, the middle four truncated beneath three tall stepped lancets to upper stage, with similar blind panels paired to the turrets, and medallions to the spandrels; a weathered band beneath an arcade of stepped blind lancets, and panelled turret pinnacles with octagonal caps, a third to the flanking aisle; the right-hand turret has a good c 1475 clock with paired soldiers above striking two bells, and a crenellated canopy. Nine-bay nave aisle, ten-bay clerestory, of which the two windows flanking the transept re-entrant cut off above a mid C14 relieving arch.
Fine north porch two bays deep with blue Lias shafts and C18 outer doors: entrance archway of five orders with alternate paired banded columns with stiff leaf capitals to the west, carved showing the martyrdom of King Edmund to the east, and a roll-moulded arch, including two orders of undercut chevron mouldings with filigree decoration over fine doors of c 1200; clasping buttresses with octagonal pinnacles as the transept, and a gable with six stepped lancets beneath three stepped parvise lancets with sunken panels in the spandrels. Inside of two bays, articulated by banded vault shafts with stiff leaf capitals to a sexpartite vault; side benches are backed by arcades of four bayed seats with stiff leaf spandrels, beneath a string bitten off at the ends by serpents; a deeply recessed upper arcade of three arches to a bay, with complex openwork roll mouldings intersecting above the capitals, on coupled shafts free standing in front of attached shafts, enriched spandrels, and openwork Y-tracery in the tympanum beneath the vault. The south end decorated after the front entrance, including a moulded arch with a chevron order, and containing a pair of arched doorways with a deeply-moulded trumeau and good panelled early C13 doors with C15 Perpendicular tracery panels.
South elevation is similar: the chancel wall of the 1340 extension is recessed for the three east bays with flying buttresses, the windows to the west have uncusped intersecting tracery. Crossing tower has a c 1200 blind arcade to a string level with the roof ridge; upper section 1313, remodelled c 1440, has ribbed clasping buttresses to gabled niches with figures and pinnacles with sub-pinnacles; each side of three bays separated by narrow buttresses with pinnacles, a recessed transom with openwork tracery beneath and louvred trefoil-headed windows above, gabled hoods and finials. Corbels within for a spire, destroyed 1439.
West front screen is a double square in width, divided into five bays by very deep buttresses, with the wider nave bay set forward. The towers stand outside the aisles, the design of the front continued round both ends and returned at the rear. Statues of c 1230-1250, to an uncertain iconographic scheme. Divided vertically into three bands, beneath a central nave gable and Perpendicular towers; arches with originally blue Lias shafts, now mostly Kilkenny marble, and stiff leaf capitals. A tall, weathered plinth, with a central nave entrance of four orders with paired doorways and quatrefoil in the tympanum containing the seated Virgin with flanking angels, and smaller aisle entrances of two orders. Above is an arcade of gabled hoods over arches, containing paired trefoil-headed statue niches with bases and fifteen surviving figures; two-light Perpendicular tracery windows between the buttresses outside the nave; sunken quatrefoils in the spandrels, which cut across the corners of the buttresses. The third and principal band contains three tall, slightly stepped nave lancets, paired blind lancets between the outer buttresses, with narrower arches flanking them and to the faces and sides of the buttresses, all with banded Lias shafts and roll-moulded heads; the three arches to the sides and angled faces on the south-west and north-west corners have intersecting mouldings as in the north porch. All except the window arches contain two tiers of gabled statue niches with figures, taller ones in the upper tier, and across the top is an arcade of trefoil-headed statue niches with seated figures and carved spandrels. The nave buttresses have gabled tops containing cinquefoil-arched niches, and tall pinnacles with arched faces and conical tops; above the nave is a three-tier stepped gable with a lower arcade of ten cinquefoil-arched niches containing seated figures, a taller arcade of twelve niches with c 1400 figures of the Apostles, and a central top section with outer trefoil arches, corner sunken quatrefoils; the central oval recess with cusped sides and top contains a 1985 figure of Christ in Judgement beneath a pinnacle, with crosses and finials on the weathered coping. The Perpendicular towers continue the buttresses up with canopied statue niches to their faces and blank panelling to the sides, before raking them back into deep angle buttresses; between are a pair of two-light west windows, louvred above a transom and blind below, with a blind arcade above the windows, and a low crenellated coping.
INTERIOR: Lady Chapel: An elongated octagon in plan, with triple vault shafts with spherical foliate capitals to a tierceron vault forming a pattern of concentric stars, with spherical bosses and a paint scheme of 1845; the three west arches with Purbeck marble shafts onto the Retroquire have blind arched panels above; beneath the windows is a sill mould with fleurons, and a bench round the walls. Stone reredos has six statue niches with crocketed canopies and smaller niches in between, with four C19 sedilia with ogee-arched and crocketed canopies and a C14 cusped ogee trefoil-arched south doorway; C19 encaustic tiles.
The Retroquire extends laterally into east chapels each side and transeptal chapels: all with ogee-arched piscinae with crockets and finials, with a complex asymmetrical lierne vault on Purbeck marble shafts and capitals. The three east bays of the choir added early C14, and the high lierne vault of squares extended back over the three late C12 west bays, on triple vault shafts, Purbeck marble with roll-moulded capitals for the C14 and limestone with stiff leaf capitals for the C12; above the two-centre aisle arches and below the clerestory walk is a richly-carved openwork grille of statue niches with canopies, containing eight early C20 figures across the east end; clerestory walk has ogee-arched doorways. Rich canopies over choir stalls on Purbeck marble shafts, and five sedilia with enriched canopies. Ogee-arched doorways with crockets and pinnacles each side of the choir give onto the aisles, which have lierne vaults forming hexagons.
Transepts: Three bays deep and three wide, with cluster columns and stiff leaf capitals, including some fine figure carving in the south-west aisle, paired triforium arches between the vault shafts; the chancel aisles entered by C14 ogee-arched doorways with cinquefoil cusps and openwork panels each side; the north transept has a doorway from the east aisle with a depressed arch and moulded sides with a panelled Perpendicular ridge door, and Perpendicular panelled stone screens across the arcade; the south transept has an early C14 reredos with cusped ogee arches. The openings to the crossing contain inserted cross ogee strainer arches with triple chamfered moulding, on the west one an early C20 raised crucifix and flanking figures on shafted bases, and the roof has late C15 fan vaulting with mouchettes to the springers.
Nave: Ten-bay nave has compound columns of eight shafts with stiff leaf capitals enriched with figures, a continuous hood mould, with carved stops until the four west bays, which also have more richly-carved stiff leaf; a continuous triforium arcade of roll-moulded lancets with moulded rere arches, three to each bay, with enriched tympana and paterae in the spandrels above, carved corbels and springers to vault shafts above to a quadripartite vault without ridges; vault painted to a scheme of 1844. A panelled c 1450 gallery in the south clerestory window six from the west; aisles vaulted as nave, with enriched stiff leaf corbels. The west end has a trefoil-headed blank arcade on blue Lias shafts and a central stilted depressed-arch doorway, beneath the three west windows; the aisles end with a lateral rib from the vault to the west arcade. Chapels beneath the towers have sexpartite vaults with an enriched hole for the bell ropes; the south-west chapel has a shallow arch to the cloister beneath three cusped arched panels. The parvise over the north chapel contains a rare drawing floor. Two chantry chapels set between the east nave piers have fine openwork Perpendicular tracery and cresting, the south chapel of St Edmund c 1490 has a fan-vaulted canopy over the altar and two statue niches with canopies, and an ogee-arched doorway, the North Holy Cross Chapel c 1420 has quatrefoil panelling to the east canopy, distressed statue niches, and four-centre arched doorways.
FITTINGS: Lady Chapel: Brass lectern 1661 has a moulded stand and foliate crest.
Retroquire, North-East Chapel: fine oak C13 Cope Chest with a two-leaf top doors; panelled C17/C18 chest; north transept chapel: C17 oak screen with columns, formerly part of cow stalls, with artisan Ionic capitals and cornice, set forward over chest tomb of John Godilee; C14 floor tiles; south-east chapel: Bound oak C14 chest for Chapter Seal.
North Transept: Very fine c 1390 clock, considered the second oldest in the world after Salisbury Cathedral (qv), the face with heavenly bodies represented and four knights riding round above, and a quarter jack in the corner striking bells with a hammer and his heels; pine chest with bowed top.
Choir: Very fine stalls with misericords, c 1335; Bishop's Throne, c 1340, restored by Salvin c 1850, wide with panelled, canted front and stone doorway, deep nodding cusped ogee canopy over, with three stepped statue niches and pinnacles; C19 pulpit opposite, octagonal on a coved base with panelled sides, and steps up from the North aisle; organ within the chancel arch rebuilt and new case 1974.
South Transept: Round font from the former Saxon cathedral, with an arcade of round-headed arches, on a round plinth, with a c 1635 cover with heads of putti round sides.
Nave: Pulpit and tomb of William Knight, mid C16, built out from the Sugar chantry, with panelled buttresses, curved sides and a cornice.
Library: Good shelves and desks with panelled ends, cornices and scroll crests, and benches with ogee ends with ball finials of 1686.
MONUMENTS: Quire Corpus Christi North Transept Chapel: marble chest tomb of Robert Creyghton d 1672, an alabaster effigy on a sarcophagus with bowed sides; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Godelee, d 1333, effigy on a chest with open ogee arcade.
North Quire aisle: chest tombs of Bishop Giso, d 1088, Ralph of Salisby, d 1463, alabaster, and two further c 1230 effigies of Saxon Bishops, on mid C20 plinths; panelled chest tomb with three heraldic panels and moulded top; South-East Chapel of St John the Baptist: chest tomb encloses north side, with arcaded sides, thin mullions to a good openwork top with cusped gables and a canopy to east end.
St Katherine's Transept Chapel: Chest tomb of John Drokensford, d 1329, a painted effigy on a chest with open ogee arcade, as that for John Godelee; chest tomb of John Gunthorpe, d 1498 with five heraldic panels and moulded top. South chancel aisle: effigy of John Bernard, d 1459 on a mid C20 plinth; fine chest tomb of Bishop Bekynton, d 1464 but made c 1450, a cadaver within the open lower section with enriched shafts and angel capitals, with a painted marble figure on top, surrounded by a fine C15 wrought-iron screen with buttress stanchions; raised, incised coffin slab of Bishop Bytton d 1274, blue Lias; large chest tomb of Bishop Harvey d 1894 with five trefoil panels and an effigy with putti to the head; three c 1230 effigies of Saxon Bishops on mid C20 plinths; chest tomb of Bishop Harewell d 1386, a marble effigy on a C20 plinth.
North Transept, east aisle: Enriched marble chest tomb of John Still d 1607 with black Corinthian columns to entablature, sarcophagus with alabaster effigy; chest tomb to Bishop Kidder, d 1703 marble with an enriched naturalistic reclining figure of his daughter in front of two urns of her parents.
South Transept: Chapel of St Calixtus, fine un-named chest tomb of c 1450, with carved alabaster panels and effigy; Chapel of St Martin, chest tomb of William Bykonyll c 1448 with an arcaded front, cusped shallow arch over the effigy, panelled ceiling and a rich crested top; C15 wrought-iron gates to both chapels; in the south wall, good monument to Bishop William de Marchia, d 1302, three cusped cinquefoil-headed arches on moulded shafts, ogee hoods and pinnacles to a crenellated top, with an effigy within, with a three-bay segmental vaulted canopy, and decorated with six carved heads beneath.
STAINED GLASS: Original early glass is mainly in the choir and Lady Chapel; the Parliamentarians caused extensive damage generally in August 1642 and May 1643. Earliest fragments are in two windows on the west side of the Chapter House staircase (c 1280-90), and in two windows in the south choir aisle (c 1310-20), but of principal interest is the Lady Chapel range, c 1325-30, the east window including extensive repairs by Willement, 1845, and the others with substantial complete canopy-work, otherwise much in fragments. The choir east window is a fine Jesse Tree, including much silver stain, flanked by two windows each side in the clerestory, with large figures of saints, all these of c 1340-45; a further window each side is late C19. The chapel of St Katherine has interesting panels of c 1520, attributed to Arnold of Nijmegen; these, in the south and east windows were acquired from the destroyed church of St John, Rouen, the last panel was bought in 1953. The large triple lancet to the nave west end was glazed at the expense of Dean Creyghton at a cost of £140 in c 1664: repaired in 1813, but the central light largely replaced to a design by A K Nicholson between 1925-31. The main north and south transept end windows are by Powell, 1903-05, and the nave south aisle has four paired lights of 1881-1904, with a similar window at the west end of each aisle.
In the form of a Master of the Animals between two griffins/demons
From Iran, Luristan
ca. 1000-650 BCE
bronze
On display at the San Diego Museum of Art
On loan from the Los Angeles County Museum of Art (The Nasli M. Heeramaneck Collection of Near Eastern and Central Asian Art, gift of The Ahmanson Foundation, M.76.97.102)
The structure was covered with white and pink marble from the Candoglia quarry in Val D’Ossola. The Cathedral’s roof is covered in openwork pinnacles and spires crowned with sculptures that overlook the city.
Фасад здания, его шпили и внутренние помещения, украшены невообразимым числом статуй – 3400. В это число входят изображения исторических личностей, святых, мучеников, пророков и прочих библейских персонажей. Не обошлось и без верных символов средневековья – горгулий и химер. Они, как верные атрибуты готики, угнездились на стенах здания, отгоняя нечисть. Среди наружной отделки здания попадаются весьма любопытные экземпляры, например, изображение Муссолини или же древний прототип статуи Свободы, что ныне стоит в США.
The cista foot takes the form of a feline paw surmounted by an attachment plate in openwork relief. The paw is surmounted by an Ionic capital with an incised triangle and a beaded abacus. Atop the capital and extending over both edges is a row of symmetrically opposed cut-out waves. Running to the right over their crests is a nude winged youth, who represents Usil, the Etruscan sun god. His knees are bent in a position known as the "Knielauf," a schema for rapid movement in the art of the Archaic period. His legs are shown in profile to the right, his body and head frontal, and his torso is slightly twisted. Usil wears soft pointed boots with wings attached at the heels. His arms are stretched out sideways in front of his upswept, sickle-shaped wings, the feathers of which are incised. His hair is crowned by a beaded fillet. Originally one of a set of three, this foot belonged to an Etruscan cista, a cylindrical bronze box used to hold cosmetics. The cista itself rested on a projecting shelf on the back of the foot and the back surface of which is slightly curved. From the curvature of the relief, the cista would have been about twenty centimeters in diameter.
Etruscan, about 490 BCE, Bronze.
Getty Villa Museum (inv. 96.AC.127)
The Belfry on the south side of the Grote Markt, Bruges, Belgium
Some background information:
The Belfry or Belfort, is a medieval bell tower in the historical centre of Bruges. It is also known as the Halletoren (meaning "the tower of the halls"), because it towers above the former market hall.
The Belfry, which is one of the city’s most prominent landmarks, is 83 metres high and can be climbed by 366 steps. It was built on the market square around 1240, when Bruges was prospering as an important centre of the Flemish cloth industry. At that time it housed a treasury and the municipal archives, but it also served as an observation post for spotting fires and other danger.
After a devastating fire in 1280, the tower was largely rebuilt. The city archives, however, were forever lost to the flames.
The octagonal upper stage of the belfry was added between 1483 and 1487, and capped with a wooden spire bearing an image of Saint Michael, banner in hand and dragon underfoot. The spire did not last long: A lightning strike in 1493 reduced it to ashes, and destroyed the bells as well. A wooden spire crowned the summit again for some two-and-a-half centuries, before it also fell victim to flames in 1741. The spire was never replaced again, thus making the current height of the building somewhat lower than in the past. But an openwork stone parapet in Gothic style was added to the rooftop in 1822.
A poem by Henry Wadsworth Longfellow, titled "The Belfry of Bruges", refers to the building's checkered history:
"In the market-place of Bruges stands the belfry old and brown.
Thrice consumed and thrice rebuilded, still it watches o'er the town. "
With a population of more than 117,000 Bruges is the capital and largest city of the province of West Flanders in the Flemish Region of Belgium. It is located in the northwest of the country. The historic city centre is a UNESCO World Heritage Site.
In fact the Belfry of Bruges, which you can see on this picture, is even a part of two UNESCO World Heritage Sites: "The historic city of Bruges" on the one hand and "The belfries of Belgium and France" on the other hand.
Along with a few other canal-based northern cities, such as Amsterdam, Bruges is sometimes referred to as "The Venice of the North" due to its many canals. The town still has a significant economic importance thanks to its port Zeebrugge. At one time, it was the "chief commercial city" of the world.
Bruges has its origins in the Pre-Roman Gaul era. However the first fortifications were built after Julius Caesar's conquest of the Menapii, to protect the coastal area against pirates. The Franks took over the whole region from the Gallo-Romans around the 4th century and administered it as the Pagus Flandrensis. In the 9th century the Viking incursions prompted Baldwin I, Count of Flanders, to reinforce the Roman fortifications. Shortly afterwards trade resumed with England and Scandinavia.
In 1128 Bruges received its city charter. New walls and canals were built. After gradual silting had caused the city to lose its direct access to the sea since about 1050, a storm in 1134 re-established this access through the creation of a natural channel at the Zwin. The new sea arm stretched all the way to Damme, a city that became the commercial outpost for Bruges.
The golden age of Bruges was the period of time between the 12th and the 15th century. Not only did Bruges have a strategic location at the crossroads of the northern Hanseatic League trade and the southern trade routes, but became also included in the circuit of the Flemish and French cloth fairs at the beginning of the 13th century.
With the reawakening of town life in the twelfth century, a wool market, a woolens weaving industry and the market for cloth all profited from the shelter of city walls, where surpluses could be safely accumulated under the patronage of the counts of Flanders. The city's entrepreneurs reached out to make economic colonies of England and Scotland's wool-producing districts. English contacts brought Normandy grain and Gascon wines. Hanseatic ships filled the harbor, which had to be expanded beyond Damme to Sluys to accommodate the new cog-ships. In 1277 the first merchant fleet from Genoa appeared in the port. These Genoese merchants were the pioneers of the merchant colony that made Bruges the main link to the trade of the Mediterranean. In 1309 the Bourse opened, which was most likely the first stock exchange in the world.
Bruges became very wealthy, but the growing wealth gave rise to social upheavals, which were for the most part harshly contained by the militia. After a nocturnal massacre of the French garrison in Bruges by the members of the local Flemish militia in 1302, the population joined forces with the Count of Flanders against the French, culminating in the victory at the Battle of the Golden Spurs, fought near Kortrijk on 11th July. The statues of Jan Breydel and Pieter de Coninck, the leaders of the uprising, can still be seen on the market square.
In the 15th century, Philip the Good, duke of Burgundy, set up court in Bruges, as well as Brussels and Lille, attracting a number of artists, bankers, and other prominent personalities from all over Europe. The weavers and spinners of Bruges were thought to be the best in the world and the population of Bruges grew to 200,000 inhabitants at this time. In the sequel the new Flemish-school oil-painting techniques gained world renown.
But the decline followed on the advancement. Around 1500, the Zwin channel, which had given the city its prosperity, started silting. The city soon fell behind Antwerp as the economic flagship of the Low Countries. During the 17th century, the lace industry took off, and various efforts to bring back the glorious past were made. The maritime infrastructure was modernized, and new connections with the sea were built, but without much success, as Antwerp became increasingly dominant. Bruges became impoverished and gradually faded in importance. Bit by bit its population dwindled from 200,000 to 50,000 by 1900.
The revival started in 1909, when the association "Bruges Forward: Society to Improve Tourism" was founded. Subsequently the original medieval city has experienced a renaissance. Restorations of residential and commercial structures, historic monuments, and churches have generated a surge in tourism and economic activity in the ancient downtown area. International tourism has boomed, and new efforts have resulted in Bruges being designated "European Capital of Culture" in 2002. Nowadays the city attracts some two million tourists annually.
But Bruges is not only popular for its historic appearance and high-quality lace, but also for its delicacies, such as beer, waffles, chocolate, seafood and chips. Therefore a visit to Bruges can always be not only a cultural, but also a gastronomic experience.
Le buffet est le fruit du travail collectif d’une famille de sculpteurs et de menuisiers audomarois, les Piette.
La famille des Piette comprenait le père, Jean, les fils, Antoine-Joseph et Jean-Henri, ainsi que le gendre, Jacques-Joseph Baligand.
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The case is the work of a family of regional sculptors & wood carvers, the Piettes.
The family consisted of the father, Jean ; the sons, Antoine-Joseph & Jean-Henri ; & the son-in-law, Jacques-Joseph Baligand.
This famous Buddhist temple, dating from the 8th and 9th centuries, is located in central Java. It was built in three tiers: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa. The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,500 m2. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha. The monument was restored with UNESCO's help in the 1970s.
For more information see whc.unesco.org/en/list/592
Left: Triptych; elephant ivory, silver hinges; patina not original.The centre leaf in two registers, damage and losses to each register at the left side. The upper register with the Crucifixion, the mourning Virgin now lost. The lower register with the figures of the Virgin and Child embracing cheek to cheek, below foliated ogee arch, the Grandisson arms within the right spandrel. The left leaf in two registers: the upper with the figure of St Peter below arch with trefoil spandrels; the lower with the figure of St John the Baptist below arch with foliated spandrels. The right leaf in two registers; the upper with the figure of St Paul below arch with trefoil spandrels; the lower with the figure of St Thomas a Becket below arch with foliated spandrels. 12254-1250, England.
Right: Panel from a diptych, right leaf; ivory; openwork; three registers beneath arcading with pinnacles between gables; eight scenes from New Testament: Judas receiving price of betrayal; Christ mocked; Christ bearing cross; Crucifixion; Descent from cross; Ascension; Incredulity of St Thomas; Pentecost; traces of gilding and paint remain. 1270-1300, France.
Those of you who possess a copy of Kathryn A. Morrison's English Shops and Shopping will be familiar with the photograph, included in the chapter entitled "Big Box Retailing: Supermarkets and Superstores", of a small-scale Tesco Supermarket opened in 1969 by the impressively mustachioed comedian Jimmy Edwards. As soon as I saw the photograph I admired the building for its hooliganism. It was one of those things that was so bad it went through a kind of sound barrier and became good. Miss Morrison avers that the building "has not been identified".
Until now, that is, because I think I've identified it. Mrs B and I had just started back from our traditional (well, for the last three years) Christmas Day cruise around a comparatively deserted central London. Driving away after a late Christmas Lunch at an Indian restaurant in Brick Lane, I turned right into Bethnal Green Road and saw this structure on the left-hand side. I was immediately reminded of the photo in the book. On Christmas Day you can park wherever the hell you like. I pulled up at the kerb a few yards along the road and walked back. Could it be? Could it be? Positive identification (or otherwise) would have to wait until I got home and could look again at the book. The only doubt was prompted by Miss Morrison's statement that, "Quite a number of new Tesco supermarkets were built in this style in the late 1960s". If this was a standard design, there'd be no way of identifying a particular example. But I'm pretty sure this is the one. In 1969 there was a recessed triangular entrance lobby, now boxed in, but the pillar separating the present entrance from the "red" window was there, as was that bit of horizontal ribbed cladding just right of the street name. There was also a pedestrian crossing in exactly the same position. The clincher is that, at the front, those ghastly openwork cement blocks that form the facing of the entire upper floor, are the same in number, 29 across by 13 down. I jolly well think it ought to be "listed" as an example of 60s/70s awfulness, and a kind of "warning from History". By the way ...what's in the upper floor? Store room and electrical plant I suppose.
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.
Keble Chapel
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.
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.
Key
Bronze
The key shaft with openwork decoration in the centre depicts a stag.
Unknown find spot, Sweden. SHM 7871:153
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.
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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.
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-...
BACK 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-...