openwork photos on Flickr

Singer featherweight faux hemstitch attachment foot by wondertrading

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I'm posting a few examples of some of the attachments compatible with the singer featherweight and how they worked out for me.

This is a vintage faux hemstitch attachment Simanco 120687 compatible with the singer featherweight sewing machine. It is a pretty easy foot to use, creating a nice openwork effect.

Eccleshall, Staffordshire, Holy Trinity Church, organ façade, detail by groenling

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The organ case, of 1931, was designed by W. D. Caroe and made by Bridgemans of Lichfield.

{en.wikipedia.org/wiki/Holy_Trinity_Church,_Eccleshall}

Of course it's not an organ case but simply a façade. But the woodcarving is excellent.

Parkaden, Stockholm by Anders Bengtsson

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Architect: Hans Asplund

Built in: 1963

Client:

Parkaden is a parking garage in downtown Stockholm with a capacity of 800 cars. The whole house is built of concrete, where the facade elements have been designed with an openwork pattern of numbers indicating the floor. The numbers are right side up and flip on one another and form an ornamental pattern that has become typical for Parkaden.

The property was classified in 2007 as one of the most valuable properties in the district, and that the building meets the criteria for historic buildings in the Cultural Heritage Act.

More of Hans Asplund’s work

Coventry Cathedral - sign by Elliott Brown

Heading to the ruins of the destroyed Coventry Cathedral. This is it's replacement from the 1950s and '60s!

It is Grade I listed.

Cathedral of St Michael, Coventry

COVENTRY

Priory Street

SP 3379 SE

Cathedral of St Michael

833/2/411

GV. I

Cathedral. 1951-62. Designed by Sir Basil Spence. Red sandstone ashlar with

green slate cladding to chapels; concrete roof. Lofty space of 7 bays with nave; full height aisles; no clerestorey; full height Lady Chapel and Western (liturgical) porch; circular chapels to north-west (lit) and south-east (lit). Cathedral aligns east-west. Built at right angles to the ruins of the old cathedral, formerly Parish Church (q.v.) and attached to its north-east corner. Nave and chancel walls of new cathedral canted outwards in vertical bands, producing a 'saw-toothed' plan, with vertical 4-light stained glass windows facing north-west (lit) and south-west (lit).

Porch with tall circular sandstone piers and 3 flat topped concrete vaults. Baptistry to south west (lit) with convex wall, partly solid and partly glazed with closely spaced vertical stone mullions; Epstein's sculpture of St.Michael and Lucifer attached to baptistry wall by the porch. Chapel of Christ the Servant to south-east (lit) circular with closely spaced vertical mullions. Chapel of Unity to north-west (lit) polygonal with largely solid walls of riven slate, and projecting fins tapering upwards, with vertical strip glazing to ends. East wall blind. West wall fully glazed, from floor to ceiling and wall to wall; 19 lights divided into 8 horizontal bands. Bronze glazing bars, plate glass with engraved figures of saints and angels by John Hutton.

Low roof, crowned by openwork metal fleche crowned by cross designed by sculptor Geoffrey Clarke. Interior with cruciform reinforced concrete piers, tapering to the base and supporting concrete 'ribbed' canopy with panels of timber slats between ribs. This has the appearance of a vault but is structurally and visually separate from the walls.

Interior contains fitments by the most prominent British artists and designers of the period. These include font and choir stalls designed by Spence himself, monumental inscriptions to walls and floor by Ralph Beyer, stained glass to Baptistry by John Piper and Patrick Reyntiens, to aisle walls by Lawrence Lee, Geoffrey Clarke and Keith New, to Lady Chapel by Einar Forseth, to Chapel of Unity by Margaret Traherne; pulpit and lectern by Spence, the latter with an eagle book rest by Elizabeth Frink, in bronze: tapestry to east wall of Lady Chapel, dominating the Cathedral,by Graham Sutherland, altar cross and crown of thorns by Geoffrey Clarke, large ceramic candlesticks by Hans Coper, chairs by Russell, Hodgson, and Leigh: mosaics by Einar Forseth, ceramic panels by Steven Sykes, etc.

Coventry Cathedral was one of the most important architectural commissions of its date in Britain, and was built following an architectural competition in 1951. The scheme was also notable in its period for the degree to which the bomb damaged shell of the Medieval church of St.Michael was preserved.

N.Pevsner and A.Wedgwood, B o E Warwickshire, pp 249-259 B.Spence, Phoenix at Coventry, 1962

Listing NGR: SP3362879067

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

openwork polymer clay by Eugena Topina

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Late Eastern Zhou Chinese Bronze Belt Hook with Inlay by Ancient Art & Numismatics

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Bronze with turquoise, gold foil, and silver foil inlay, late 4th-3rd century B.C.E.

H. 11.6 cm.

Two felines and four snakes in a symmetrical arrangement form the openwork body of this strongly arched belt hook. The felines appear with curved slinky bodies, their heads with pointed muzzles and small pear-shaped ears inlaid with turquoise, and face in opposite directions across the horizontal axis near the center. The body of one feline is inlaid with gold foil, the other with silver. They each grip the sinuous body of a snake--one inlaid with gold, the other with silver--with their mouths, while grabbing with a front paw the tail of the other snake. Two more snakes--also gold- or silver-inlaid, at the top and bottom of the openwork configuration--bite at the hind paw of each feline. Comma-shaped turquoise inlays accent the tail of each snake.

Spots left in reserve on the gold- and silver-inlaid bodies of the felines and snakes form two longitudinal rows flanking the central median of each creature's body. Only one snake at the neck of the hook displays a striated body inlaid with silver. The head of a peculiar beaked creature, unlike the more realistic animal heads commonly found on other belt hooks (cat. nos. 89, 91, 95) forms the hook. Gold and silver inlays also accent its head. At the opposite end of the hook, a hollow lunette-shaped device with a stemmed button projecting in the center projects from the underside to serve as the buckling mechanism.

Two virtually identical belt hooks but inlaid with turquoise only are in the Singer collection. It has been suggested that the Singer belt hooks were cast by the lost-wax process.1 Based on its shape and the absence of any mold lines, it can be concluded that the Shumei example was cast by the lost-wax method.2 The Shumei and Singer belt hooks are related to a group of cast gold garment hooks and harness fittings from the sixth and fifth centuries B.C. that use the same unusual buckling device; similar complex serpentine configurations marked by a textured, pseudo-granulated surface; and comma-shaped turquoise inlays. The majority of these gold objects were recovered from Qin tombs in Shaanxi province.3 However, clay molds and models used for the manufacture of similar fittings displaying similar creatures, recovered from the foundry site at Houma Niucun in neighboring Shanxi province, suggest that they may have been produced there.4 Other related gold fittings are in the Uldry collec

tion5 and the Mengdiexuan collection.6

JFS

1. Chase 1991, no. 34.

2. See technical reports in forthcoming volume.

3. For examples see Kaogu yu wenwu 1981.1, p. 30, figs. 19.2, 19.10, 19.15, 19.20; Kaogu yu wenwu 1986.1, p. 21, figs. 15.1, 15.4.

4. So 1995, pp. 43-44; Bagley 1996, figs. 2-3.

5. Uldry 1994, nos. 8, 12-15.

6. White and Bunker 1994, no. 4.

Text and image from the website of the Miho Museum.

Church of St John the Baptist, - Silver Street, Yeovil by Elliott Brown

A visit to Yeovil in Somerset (near the Dorset border).

We visited a few days after the Queen and Duke of Edinburgh came for the Diamond Jubilee.

Main church in Yeovil near Silver Street.

It is the Church of St John the Baptist in Yeovil.

Grade I listed.

Church of St John the Baptist, Yeovil

ST5516SE YEOVIL CP CHURCH PATH

5/4 Church of St John The Baptist

19.3.51

GV I

Church, late C14. Limestone with Ham stone dressings: lead roofs. Cruciform plan

with South porch and vestry (1915) 1 bay sanctuary, 2-bay choir, crossing, 4-bay

nave and West Tower, with North and South choir and nave aisles and projecting

transepts. Early Perpendicular style, crypt is Decorated but not necessarily

earlier. Three tiered plinth, buttresses with double offsets terminating in

pinnacles between bays, set-back buttresses to corners. Windows to full width of

each bay: 5-light terminating in 2-centre arches, tracery of reticulated

perpendicular transitional design. String course below slender arch-panelled

parapet with roll-mouldings; parapets angled to gable ends. Blank second bays to

choir. To bay 3 of North aisle a pointed arched doorway cut into bottom of

window, opposite on South nave aisle is South porch, a half-height 2-bay

extension, in style of rain building. Doorway probably C19, crocketted label

mould to pointed archway, and swept sculptured panel in niche. Stair turrets to

East outside corners of both transepts. Tower 28 metres high, in 4-stages set

back offset corner buttresses, capped by openwork balustrading eatching the

parapets could be C19. Two-light late C14 windows on all sides at bell-ringing

and bell-chamber levels, the latter having fine pierced stonework grilles. Stair

turret to North-west corner, with windvane termination. Plain West doorway

flanked by triangular shafts, West window having Perpendicular tracery. The iron

latin cross set into the South-east corner of the parapet may be of C15. The

tower has a chiming clock, (no clock face), a Sanctus bell and a peal of 10

bells, the East window similar tracery to the West window, and the parapet is

crowned with a stone cross. Internally the South porch late C19 The Nave and

aisles are lofty, the apexes of the arcades are close to wall plate level: the

columns slender, alternate order hollowed, with small impost capitals on outer

and riddle of the five orders. Wall shafts to aisle/chapel walls; Tower and

crossing arches unpanelled and set higher. The trussed ribbed rafters of the

barrel roofs and nearly all the bosses said to be original: West bay of the

North aisle has sore ancient timbers. Colouring applied to bosses and principal

timber members throughout. The Crypt, under the choir, has four Quadripartite

vaults of early/mid C14 style, central octagonal pier, and moulded corbels to

walls. The entrance doorway (North wall of chancel) has a croketted ogee arch,

double cusps, and pinnacled side pilasters. Fittings of note: late Ill font, an

outstanding brass lectern, English c1450, inscription figure of monk on stand;

on North and South chancel walls sculptured lenton veil brackets. Memorial

brasses to Penne 1519 and Hawker 1696. Many C18 memorial, notably to Revd. J

Phelips Died l766. Newman of Barwick Died 1790, and Harbin Died 1704. Earliest

church in Yeovil, dating from c950. Rebuilt 1380-1400 probably by William

Wynford, master mason of Wells: major restoration 1851-60.

Listing NGR: ST5567016058

St Mary's Church, (Church of St Mary) Church Rd, Yatton, Bristol BS49 4HH by The Shaldives

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St Mary's Church, (Church of St Mary) Church Rd, Yatton, Bristol BS49 4HH

Overview

Heritage Category: Listed Building

Grade: I

List Entry Number: 1137349

Date first listed: 11-Oct-1961

District: North Somerset (Unitary Authority)

Parish: Yatton

The Diocese of Bath and Wells

National Grid Reference: ST 43131 65416

Details

YATTON C.P. CHURCH ROAD (south side) ST 46 NW 5/147 Church of St. Mary G.V. I 11.10.61 Parish church. Late C13, nave, aisles and chancel remodelled C15 with later C15 south porch and chancel chapel; extensive restoration 1872 by G. Street (box pews and west gallery removed) and late C20 chapter house. Dundry stone, rubble with freestone dressings, nave, aisles, porch and chapel in coursed freestone, lead roofs. Nave, north and south aisles, south porch, north chapter house, crossing tower, north and south transept, chancel and north chancel chapel. Mostly Perpendicular style, some earlier work as in south window of south aisle. Nave has west elevation with large 6-light window with sub-arches, pointed arch, hood mould and angel stops, image niche above with seated figure, probably the Trinity, coped verge with fleurons and finial, window has moulded cill above pointed arched west door, surround of 3 hollow moulded orders, figure in niche in central order to each side, carved hood, finial and pinnacles to sides; 3-stage hexagonal turret left and right with string courses continued over heads of aisle windows, with lancets, cornice, pyramidal ribbed stone roofs, carved finial to north, missing to south, plinth. West elevation of each aisle has 4-light window, polygonal buttress to each side with similar top to stair turrets, pitched roofs with cornice and parapet with frieze of cusped triangles. North and south elevations of nave haves-bay clerestorey, all pointed arched 2-light windows with cusped lights and quatrefoil, hood mould and mask stops, turrets have small pointed arched door to aisle roof and upper door to nave roof behind similar parapet with crocketed pinnacles and gargoyles between bays. 5-bay north aisle has four 4-light windows with Y-tracery in upper sections, hood mould, weathered buttresses between with triangular shafts rising to crocketed pinnacles above similar parapet, large gargoyles, 3 fully remaining, 3 1/2 bays of parapet of C20 replacement; central bay has north door with pointed arch, fleurons on hollow-moulded surround, ogee hood with large finial and pinnacles, concealed by passage to C20 chapter house, door removed. South aisle as north, with fine carved demonic figure as gargoyle to west, scratch dial to west of porch; central bay has 2-storey south porch, highly decorated, 4-centred arched entrance, frieze of small leaves running up the jambs and along the arch, ogee gable with more foliage and naturalistic crockets, to left and right blank panelling sending up an ogee-curved crocketed feeler towards the gable, more panelling above; angel under parapet as on aisles, central image niche, lancets to west wall, clasping buttresses, scratch dial on south east buttress, gnomon missing, with figures 7, 8 and 9. Tower of 3 stages has diagonal weathered buttresses with crocketed pinnacles, south east hexagonal stair turret rising above parapet with panelled sides to top, open cusped parapet, tower has parapet with similar frieze, gargoyles, octagonal spire, truncated and ribbed with pinnacles above ribs, WH and IW in lead, weathercock of 1822, string courses; at 2nd stage all sides a single lancet and double lancet with Y-tracery under string course, 3rd stage has clock to east and 2-light cusped windows with pierced stone tracery. North transept has large north window of 5 lights, hood mould, stonework extended below window (tomb recesses inside) weathered angle buttresses, raised coped verges to gable with cross finial, parapet continued from aisle to west. South transept has 5-light south window with intersected tracery and 4 quatrefoiled circles above, hood mould with mask stops and relieving arch, buttresses to sides, upper east window of 3 cusped lights with flat head and hood mould, 4-centred arched door below. 3-bay chancel has 5-light east window with continuous hood mould, raised coped verges and cross finial, plinth, weathered angle buttresses and buttresses, one similar 2-light north window, 3 similar 2-light south windows, central one smaller with pointed arched priest's door below with moulded surround and hood mould. North chapel has pitched roof, 2 north windows, 4-centred arched, 3-light with fine upper tracery, hood moulds, similar parapet with gargoyles, north east octagonal angle turret with string course and cusped lancet, crocketed pinnacles, spire and finial; 4-light east window with pointed arch and continuous hood mould. Interior: nave has 10-bay wagon roof, demi-figures of angels on wall-plate, principals moulded and painted; to east, tall pointed C19 chancel arch, line of lower nave roof visible above and formerly external tower window (as on other sides); to west, window has 4-centred arched door with foliate hood and crocketed pinnacles to left and right at base (possibly access for former gallery); 5-bay pointed arched arcade to north and south, section of piers a Greek cross with concave quadrants in the diagonals, demi-shafts attached to the ends of the cross-arms, thin attached shafts set in the hollows, shafts have small capitals with bits of leaf, east responds have heads instead, north east capital with green man; demi-shafts on nave side rise to roof, through cill-course of clerestory, decorated with fleurons, and ending in little heads which carry the roof-principals. North and south aisles have 5-bay C19 ceiled roofs with moulded ribs and bosses, also wall-shafts with mask tops carrying depressed pointed trefoiled arches of wood with closely panelled tracery under wall-plate; nook-shafts to windows. North aisle has north door with pointed segmental head with fleurons, stone with quatrefoil piscina re-set in wall to right of door, north east window has remains of shaft and carved figure on cill, possibly from former rood support, pointed arch of 2 chamfered orders to north transept and stonework remaining at upper level, possibly remains of buttress to earlier nave. South aisle has west door to nave stair turret with 2 convex mouldings and pointed arch, south wall shaft curtailed above pointed arched door to parvise, moulded pointed arch to south transept. Porch has thin-ribbed lierne vault, carved bosses including a green man, paired shafts to corners, 4-centred arched door with fleuron frieze, image niche above. Tower rests on arches with 2-wave moulding, round shafts at corners supporting ribs of tierceron vault with C19 painted flowers. North transept has 3-bay wagon roof with moulded ridge purlin and one row of purlins, bosses, pointed arched chamfered west doorway, studded door with raised fillets, to former rood stair, squint to south east with cinquefoil head, north east image stand, pointed arch to chapel has hollow-moulded surround with cusped panels, slender shafts with leaf capitals and similar panelled soffit. South transept has similar roof, east door to tower, inner side of arch to tower has 2 broad wave and hollow mouldings, arch to aisle has 3 jamb shafts with leaf capitals. Chancel has 4-bay C19 wagon roof, brattished wall-plate, windows have moulded nook-shafts rising from lower cill, continuous hood mould and cill string on south wall, piscina to south, north wall has cill string and hood mould to window, 4-centred arched skew doorway to chapel, arch to chapel as between transept and chapel, outer shaft of arch continued through middle of squint, south priest's door has flat inner head. Chapel has framed ceiling in 9 panels of C19, stone angel corbels remaining from former roof, east window has tall elaborate image niche to left and right with clustered pinnacles to tops, pillar piscina to right, 4-centred arched north door to stair turret. Fittings: 2 carved oak figures of St. Peter and St. Paul in nave, in Baroque attitudes, made for the organ of Bath Abbey 1708; C19 stone octagonal font in south aisle; C18 panelled chest in north transept; 2 Jacobean sanctuary chairs in chancel. Mediaeval monuments in north transept (De Wyck Chapel) 2 effigies in recesses with broad cusped ogee gables, a knight and lady c.1325, possibly Sir Robert de Gyene and his wife Egelina de Wyck; alabaster monument to Sir Richard Newton, 1449 and his wife, 1475, good recumbent effigies on tomb chest with ogee niches filled by figures of angels carrying shields; in chapel, monument to Sir John Newton, 1488 and Isobel of Cheddar, 1498, recumbent effigies on tomb chest with quatrefoils in recess, broad buttresses and pinnacles left and right, low Tudor arch with openwork cusps, tracery in spandrels and crocketing, relief of the Annunciation on back wall, frieze of 10 niches for figures, half a figure left, upper fleuron frieze and cornice. In north transept, marble tablet to Edward Day, 1802; marble tablet to Henry Hawes, 1809, by Wood of Bristol; marble tablet to John Norman, 1837; marble tablet with pediment to Sarah Battiscombe, 1736; in south transept, marble tablet with draped urn, to John Cam, 1795; in north chapel, marble monument with broken pediment and shield, to Henry Grimsteed, 1714, by M. Sidnell of Bristol; marble monument with draped urn, to Hannah Markham, 1768; in chancel, marble monument to Thomas Wickham, 1829. (Sources: Pevsner, N. : Buildings of England : North Somerset and Bristol 1958. Peart, M.C. : History of Yatton Parish Church 1931. Keily, G. : Guide to the Parish Church of St. Mary The Virgin, Yatton 1982. Somerset Record Society, Proceedings, vol. IV, 1890, containing extracts from Yatton churchwardens' accounts, 1446-1602, full accounts in Somerset Record Office).

Kraków, Poland, Kościół Mariacki (Marienkirche), Chiesa di Santa Maria, Iglesia de Santa María, Eglise de Sainte Marie, St. Mary's Church (gotisch) - Plac Mariacki (Marienplatz) by alfred lex

History

According to John Dlugosz first brick Romanesque church was founded by Bishop Iwo Odrowąż of Cracow in the years 1221-1222 on the site of the original wooden temple. Soon, however, the building was destroyed during the Mongol invasions.

In the years 1290-1300 was built partly on the previous foundations an early Gothic hall church, which was consecrated around the year 1320-1321. The work, however, continued even in the third decade of the fourteenth century.

In the period 1355-1365, through the foundation of Nicholas Wierzynka (citizen of Krakow and Sandomierz esquire carver), built the current sanctuary.

On the other hand, in the years 1392-1397 were instructed master Nicholas Werner better illumination of the church. The builder has lowered the walls of the aisles and, of main introduced the large window openings. In this way the indoor arrangement of the temple has changed over the basilica.

In 1443 (or 1442) he was a strong earthquake that caused the collapse of the ceiling of the temple.

In the first half of the fifteenth century the side chapels were added. Most of them were the work of a master Francis Wiechonia of Kleparz. At the same time it was increased north tower, designed to act as guardians of the city. In 1478 the carpenter Matias Heringkan covered the tower helmet. On it, in 1666, was placed a gilded crown.

At the end of the fifteenth century, the temple of Mary was enriched with sculptural masterpiece of the late Gothic Altar - Great - a work of Veit Stoss.

At the beginning of the sixteenth Polish begin the Paradise demand spolszczenia church belonging to the municipality German. In opposition are mayors of German cities Cipsar, Morsztyn, Ajchler and Shilling, who wanted to defend his possessions. The dispute also enters the Parliament, which in 1537 and under pressure from the nobility found edict of Sigismund I, to the morning worship German confined to after-dinner.

In the eighteenth century, at the behest of Archpriest Jack Augusta Łopackiego, interior thoroughly converted in the late Baroque style. The author of this work was Francesco Placidi. Then listed 26 altars, equipment, furniture, benches, paintings, and the walls are decorated with polychrome brush Andrzej Radwanski. From this period comes too the late Baroque porch.

At the beginning of the nineteenth century, in the framework of reorganizing the city closed down the churchyard. This is how the Marienplatz St. Mary's square arose.

In the years 1887-1891, under the direction of Tadeusz Stryjeński introduced into the interior of the neo-Gothic decor. Temple has a new design and murals by Jan Matejko, which collaborated Stanislaw Wyspianski and Mehoffer - authors of the stained glass windows in the chancel and the main organ.

Since the early 90s of the twentieth century were carried out a comprehensive restoration work, which resulted in the church regained its brilliance. The last element of repair was the replacement of roof in 2003.

April 18, 2010 year at St. Mary's Church held a funeral ceremony tragically deceased President Lech Kaczynski and his wife Maria, whose coffins then buried in a crypt of the Wawel Cathedral.

External architecture

The church from the south-west

View from the west

Church on the south side; on the facade visible sundial

View of St. Mary's Church from Wawel

View of St. Mary's Church mound of Krak

The present shape of the church gave reconstruction system basilica, which took place in the years 1392-1397.

Towers

The facade of the temple is included in two towers:

The tower higher, called the Bugle, it is 82 meters high. It is built on a square plan, which at a height of nine stories goes octagon, opened up lancet niches, falling two stories of windows. Gothic towers covers the helmet, which is the work of a master Matias Heringkana of 1478 helmet consists of an octagonal, sharpened spire, surrounded by a ring of eight lower turrets. On the needle was placed in 1666 gilded crown with a diameter of 2.4 m. And a height of 1.3 m. From the tower, with a height of 54 meters, it is played hourly bugle Mary. It is one of the symbols of Krakow. At the foot, from the north, is a rectangular annex, located a stone staircase leading to the interior of the tower. The entrance to the tower draws attention to a large, cast in bronze plaque depicting the entrance of King Jan III Sobieski. It was made on the basis of the draft sculptor Pius Weloński 1883 to celebrate the 200th anniversary of the siege of Vienna. On the tower there is a bell clock back to 1530 (tons Impact d ', diameter 165 cm).

In 2013. due to the poor technical condition of the tower was closed to the public. Re-making is expected in April 2015, after completion of the work related to the installation of new electrical, heating and plumbing, and the installation of a new - metal - staircase.

Lower tower, with a height of 69 meters, is for the church bell tower. Built on a square plan, it has clearly marked on the entire height of the cornices and windows division storey. On the first floor there is the Renaissance chapel of the Conversion of St. Paul (Kaufman). Outside, next to the window of the chapel, the trójspadowym roof is suspended bell "for the dying", cast by Kacper Koerber from Wroclaw in 1736. Tower covers the late Renaissance helmet, constructed in 1592, consisting of an elliptical dome, mounted on octagonal drum and topped with openwork lantern. In the corners are set four smaller domes on low, hexagonal bases. Suspended bell in the clock back to 1530 (diameter 135 cm), now unused.

Facade

The slender walls of the sanctuary are elongated, arched windows are decorated with floral motifs, and the keys figural sculptures of symbolic. Equally rich sculptural decoration presents 21 figures, placed on consoles, supporting the cornice crowning the walls of the main building. On the wall of the chapel. St. John of Nepomuk is a sundial made in sgraffito technique by Tadeusz Przypkowski in 1954.

Porch

For the interior of the temple, from the front, leading Baroque porch. It was built between 1750-1753, designed by Francesco Placidi. The shape of it is modeled on the architectural form of the Holy Sepulchre. Wooden door decorated with carved heads of Polish saints, prophets and apostles. It made in 1929 by Karol Hukan.

Above the porch is a large, arched window with stained glass windows, projected by Joseph Mehoffer and Wyspiański. Decorative division of windows made in 1891 according to the concept of Jan Matejko.

Kuna

At the entrance to the basilica, from the Saint Mary's square, is mounted kuna (ie. the rim penitents), which was formerly assumed on the heads of particular sinners. Rim penitents was mounted at such a height that convicted her could neither sit up nor kneel, what was all the more a nuisance punishment. For centuries the level of the square plate lifted in and out of the rim is a little above the ground.

Interior

Presbytery

The nave

Choir and organ

The chancel with altar by Veit Stoss

The presbytery is covered with a stellar vault, made by master Czipsera in 1442. The keystones ribs appear coats of arms: Polish, Cracow and the bishop Iwo Odrowąż - founder of the first church of St. Mary. The perimeter niches set statues of prophets, Jeremiah, Daniel, David, Ezekiel, Isaiah and Jonah. He made it in 1891, the Krakow sculptor Zygmunt Langman.

The walls adorned with wall paintings made in the years 1890-1892 by Jan Matejko. With its implementation cooperated with the master many of his students, later famous and prominent painters, m.in .: Anthony Grammar, Edward Better, Stanislaw Bankiewicz, Mehoffer, Stanislaw Wyspianski. Technical drawings made by Tomasz Lisiewicz and gilding work is the work of Michael Stojakowski. Stained glass windows in this part of the church are by Joseph Mehoffer, Stanislaw Wyspianski and Tadeusz Dmochowskiego.

On both sides of the presbytery covered with a canopy set up stalls. They were made in 1586 and then in 1635 supplemented by zapleckami that Fabian Möller decorated with bas-reliefs with scenes from the life of Christ and Mary. At the stalls right to present: Jesse Tree, Nativity of Mary, the Presentation of Mary, Marriage of St. Joseph, the Annunciation, the Visitation of St. Elizabeth and Christmas. At the stalls northern (left) are sculptures: Circumcision, Adoration of the Magi, The Presentation of Jesus in the temple, Farewell to the Mother, the Risen Christ appears to Mary, Our Lady of the Assumption, and the Coronation of the Madonna and Child surrounded by symbols of the Litany of Loreto. On the chorus authorities 12-voice.

The chancel is completed apse, which separates from the rest of the church, made in bronze, openwork balustrade with two goals. Hinged door decorated with the coats of arms of Krakow and archiprezbiterów church - Kłośnik and Prawdzic. Stained glass windows in the apse from the years 1370-1400, and made them master Nicholas called vitreator de Cracowia. They include two thematic cycles: the Book of Genesis in the Old and New Testaments and scenes from the life of Jesus and Mary.

The main altar

Main article: Altarpiece of Veit Stoss.

The main altar dedicated to Mary adorned with the great late Gothic altarpiece made in the years 1477 to 1489 by Veit Stoss what is the chef d'oeuvre of the artist of Krakow and Nuremberg. Numbering approx. 13 × 13 m. Polyptych consists of a main body of the cabinet-pełnoplastycznymi sculptures forming two scenes - the Dormition and Assumption of the Virgin Mary, two pairs of wings, movable and immovable. The continuation of the main thread is placed at the final Coronation of the Virgin in the company of two major Polish patrons - saints Stanislaw and Wojciech. On the side wings deployed bas-relief presenting forming two cycles of the life of Mary and Jesus Christ. The basis creates a predella with a plot Tree of Jesse.

The body of the aisle

The body creates nave nave with a pair of aisles are adjacent chapels. The body consists of four spans, the inside is covered with cross-ribbed vault built with the exception of later chapels, whose vaults are a diverse system of ribs.

The nave

The vault of the nave

The nave with a height of 28 meters is covered with a cross-ribbed vault. Murals done in the years 1890-1892 by Jan Matejko, Mehoffer and Wyspiański, who also designed the stained glass windows.

Above the cornice running around the nave are placed wooden statues: St. Stefan St. Kinga, Saint. Stanislaus Kostka, St.. Casimir, St. Jadwiga of Anjou, St. Ursula, St. Jack St. Adalbert, Bl. Salome and Bl. Bronisława. The sculptures are the work of Zygmunt Langman from the early twentieth century.

With the pillars separating the nave from the side, there are the eighteenth-century, late baroque altars. They have placed in them images: Giovanni Battista Pittoniego, Jacob Martens, Hans Suess Kulmbach, Luke Orlowski and others.

At the main entrance, next to the altar are covered with a canopy stalls councilors, aldermen, trustees and powerful families of Krakow from the seventeenth century. Nave and chancel is divided, placed on a rainbow (designed by Jan Matejko), a crucifix - the work of students Veit Stoss.

The eastern part of the main body houses several works of art, including ciborium of Giovanni Maria Padovano and several altars. Above the entrance to the choir authorities 56-voice bearing a decorative cover.

Northern nave

On the north side (left) is a Baroque church altar. St. Stanislaus (closing the left aisle) from the second half of the seventeenth century with a carved scene of the Resurrection Piotrowin. Mounted here is the Gothic mensa of approx. 1400 płaskorzeźbną decoration.

Second baroque altar was made in 1725 by the architect of Krakow Casper Bazanka. In it is a picture of the Annunciation, painted in 1740 by Giovanni Battista Pittoniego. At the gate railings bears decorative coat of arms Polish.

In front of the altar is a family tomb Celarich made in 1616. In niches set busts of the founders: Paul Celariego and his wife Margaret of Khodorkovsky and Andrew Celariego with his wife Margaret of Mączyńskich. At the top of the allegorical sculptures symbolize Faith and Hope.

Southern nave

Ciborium, on the right - a crucifix by Veit Stoss

Crucifix Veit Stoss

Main article: Crucifix Veit Stoss.

On the south (right) side there is a late Baroque altar (closing the right aisle) 1735, which is a stone crucifix, a work of Veit Stoss. Same crucifix was built in the late 80s and early 90s the fifteenth century at the request of the royal minter John Albert - Henryk Slacker. The image of Christ is characterized by naturalism and doloryzmem. The artist strongly stressed suffering martyrdom, but also its saving, triumphant aspect. Jesus has opened the eyes directed toward the person praying what may certify a devotional character of the dzieła.Tło cross is silver plate with views of Jerusalem, made in 1723 by Joseph Ceyplera.

Other equipment

Next to the altar is a Renaissance ciborium, designed in 1552 by Italian sculptor and architect Jan Maria Padovano, founded by Krakow goldsmiths Andrew Mastelli and Jerzy Pipan. Richly developed architecturally, the building is made of sand stone with the addition of multi-colored marble. From the aisles separating ciborium balustrade railings, and openwork gate, cast in bronze in 1595 by Michael Otto, who decorated them emblems of Polish and Lithuanian. There is also a chorus of historic organs.

Opposite the ciborium is a family tomb Montelupi (Wilczogórskich), whose origin should be attributed to the workshop of postgucciowskim (1600-1603). In the middle of the tombstone are carved in marble busts of the founders: Sebastian Montelupi and his wife Ursula of the base and Valery Montelupi with his wife Helena with Moreckich. In the top there heraldic cartouches and allegorical figures: Fortitude, Temperance and Prudence.

pl.wikipedia.org/wiki/Ko%C5%9Bci%C3%B3%C5%82_Mariacki_w_K...

Milan Cathedral 4 by Andrea Costa

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View on top of the Milan's Chathedral

Milan Cathedral (Italian: Duomo di Milano) is the cathedral church of Milan, Italy. Dedicated to Santa Maria Nascente (Saint Mary Nascent), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola.

The Gothic cathedral took nearly six centuries to complete. It is the fourth largest cathedral in the world[ and the largest in the Italian state territory.

Architecture and art

The plan consists of a nave with four side-aisles, crossed by a transept and then followed by choir and apse. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral, which was never completed).

The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.

The cathedral's five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.

Milan’s cathedral has recently developed a new lighting system, based on LED lights.

The Dellota Comoda with Kneeler and Altar by Leo Cloma

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The Dellota Comoda with Kneeler and Altar

1880s

Balayong and Narra

H: 57 1/2” x L : 31” x W: 26 1/2” (146 cm x 79 cm x 67 cm)

Estimate: P 40,000

Provenance: Lourdes Dellota

Lot 70 of the Leon Gallery auction on 29 November 2014. See leon-gallery.com/v2/gallery/home

This unusual piece of furniture is the only one of its kind in the country. It is a small, low and narrow comoda combined with a prie dieu or kneeler with a built-in altar in the form of a tabernacle. The two doors of the cabinet are surmounted by a pair of drawers topped by an altar tabernacle on a stepped platform. At first glance, the piece imparts a primitive look which is belied by a closer inspection of the carvings and the wealth of decoration lavished on the piece.

Four turned feet, the upper turnings of which are carved with acanthus leaves, bear the lower frame of the cabinet that juts forward to form the kneeler. Flanking it sideways are graceful, elegantly fluid S-scrolls that extend all the way up to seemingly support the drawer frame that also serves as an elbow-rest when at prayer. The scrolls, carved like the side flanges of colonial altars, make the kneeler look like an elaborate church bench.

The recessed doors of the comoda are made up of two panels. The lower, horizontal one, decorated with quarter sunbursts at the corners, has a central flower and a trefoil leaf on either side imposed on a reeded background. The almost-square upper plank has a corbel-arched panel, repeated in a beaded molding at the inner edge of the door frame. The upper corners of the frame are carved with a bunch of leafy scrolls.

The drawer faces have turned pulls and incised carving that mimic the border on the lower door panel. On each side of the comoda is a vertical central panel carved with a stylized vase sprouting leafy scrolls. The platform atop the cabinet opens to reveal secret drawers with brass rings for drawer pulls. At the back a tabernacle with a pair of carved twisted columns support an openwork pediment that is carved with a double-headed eagle flanked by scrolls that terminate in buds, open flowers and thistles. On either side of the tabernacle are vertical openwork panels with similar interlacing scrolls that resemble the carved, reticulated panels that support stair balustrades of late 19th-century houses in Iloilo and Negros.

Tash-Hauli (Tosh-Hovli) Palace, Itchan Kala (Ichon Qala), Khiva (Xiva, Хива, خیوه), Uzbekistan (O‘zbekiston, Ўзбекистон) by Loïc Brohard

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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.

شمایل by persian painting

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حضرت علی، حسنین (ع) و ذوالفقار ، ميانه سده 19 ترسایی، نگاره مینایی بر روي طلا لعابی و مجموعه الماس، 5.8 در 7.5 سانتيمتر، مجموعه خصوصی

A rare diamond-set enamelled gold Miniature Portrait depicting Imam 'Ali kneeling with his sons Hassan and Hussain, and holding dhu'l-faqar

Persia, mid 19th Century

in the form of a cusped medallion with fine openwork inscription above, the centre in polychrome enamel; verso openwork with inscriptions, and chased with birds and a scrolling foliate vine

7.5 x 5.8 cm. max.

Provenance: Swiss private collection.

Church of St Mary - Sudeley Castle & Gardens by Elliott Brown

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 Wills Memorial Building, Bristol University by Elliott Brown

I saw the Clifton Suspension Bridge, and SS Great Britain (from the car) but was unable to get them from foot.

Instead I only got the Museum and University.

A red brick University in Bristol. It is next door to the Museum and Art Gallery

a memorial building part of Bristol Uni, in memory of Henry Overton Wills III designed by Sir George Oatley.

The University tower is a Grade II* listed building.

University building. 1914-25. By Sir George Oatley. Extended c1950 by Ralph Bretnall. Limestone ashlar with ashlar cross axial stacks and slate roofs. Tower, 3 sided quadrangle to the right, left-hand block, and rear hall; double-depth plan. Perpendicular Gothic Revival style. Plinth, windows with Perpendicular panel tracery, cornices with grotesques and stepped crenellated parapets. Very large 2-stage square tower and octagonal belfry has massive clasping buttresses with ashlar corners; central doorway has a splayed Tudor arch with octagonal buttresses, a frieze above with 9 carved figures in niches, and half-glazed traceried 2-leaf doors. Large 2-centred arched window above has 3 transoms and 2 king mullions, to blind traceried panels with pairs of painted shields. Second stage has a Tudor arch between the buttresses beneath a panelled wall, over 3 ogee-headed windows separated by pinnacle buttresses. Octagonal tops to the buttresses with corner pinnacles and swept caps. Belfry has tripartite windows to each side, flanking ones blind, and panel tracery above. To the left is a single-storey screen with parapet, 4 bays with mullion windows, and a canted left-of-centre bay with a Tudor-arched door; behind is a 2 storey symmetrical block with a tall canted bay, and Tudor-arched window above set back between wide ashlar buttresses. The quadrangle has a rear 3 storey, 7-bay range, with buttresses between full-height Tudor-arched 4-light windows, and a central 3-window canted bay with 3-light windows, all with Tudor-arched heads, and ogee-headed upper ones. To the right is a squat square 3-bay tower with octagonal clasping turrets, and a forward projecting 5-bay wing with similar windows to the rear of the quad, a gabled end elevation with large clasping octagonal turrets and a central full-height canted bay. To the right set back is a mid C20 extension in a similar style. The Great Hall to the rear has 6 bays separated by flying buttresses, and aisles with shallow segmental-arched 5-light mullion windows between the buttresses to a parapet. To rear of E courtyard projects the Council Room, polygonal with 9 bays divided by buttresses, 3-light windows with panel tracery, the inner windows blind. INTERIOR: a fine and consistent late Gothic style interior with good blind-tracery stone panelling, joinery and plasterwork. A very large 3-bay entrance hall has panelled tracery walls and fan vaulting; in the belfry is Britain's 4th largest bell 'Great George'. A long stair to each side of the hall rises to three 2-centre arches below an enriched wall divided into 3 by buttresses, and a 7-bay cross passage with fan vaulting, and Tudor-arched doors to the Great Hall. This has 6 bays with large trilobate stone arches at each end, to a 5-bay N apse containing the organ, and a S balcony on timber fan vaults. Linenfold panelling all round. Hammer beam roof on large corbels, tracery panels over the bracing and large openwork pendents. In the left-hand block is the Reception Room, 3 fully-panelled bays with elliptical arches at each end, 2 Tudor-arched fireplaces, and panelled plaster ceiling with pendents. Council Room has attached piers to a vaulted roof with intersecting ribs, forming a 14-sided ceiling light with tracery glazing bars. The inner wall has a wide segmental arch over 5 blind windows with tracery panels and shields. Linenfold panelling. SUBSIDIARY FEATURES: attached dwarf walls extend approx 20m W and 40m E of the tower, with 4 tall cast-iron lamps. HISTORICAL NOTE: The university started as the College of Science and Literature in 1876 and received its charter in 1909. The tower is "up to the boldest Gothic displays of Yale" (Pevsner), and "...a masterpiece, monumental in scale and the dominating landmark of the city." (Crick) The Great Hall was gutted in the Second World War, and subsequently rebuilt. (Gomme A, Jenner M and Little B: Bristol, An Architectural History: Bristol: 1979-: 323; Crick C: Victorian Buildings in Bristol: Bristol: 1975-: 70; The Buildings of England: Pevsner N: North Somerset and Bristol: London: 1958-: 417).

University Tower and Wills Memorial Building - Heritage Gateway

Arbury Hall by Elliott Brown

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

Arbury Hall

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.

St Mary, Morchard Bishop by The Shaldives

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Official list entry

Heritage Category: Listed Building

Grade: I

List Entry Number: 1263283

Date first listed: 26-Aug-1965

Location

Statutory Address: Church of St Mary, Church Street, Morchard Bishop

County: Devon

District: Mid Devon (District Authority)

Parish: Morchard Bishop

National Grid Reference: SS 77311 07485

Details

Large parish church. Medieval origins; rebuilt in mid C15 (Bishop Lacey granted indulgences for church repairs in 1451); chancel refurbished in late C17, very extensive restoration of 1887-91 included rebuilding of north and south aisles, reroofing and reslating, scraping aisle piers and replacing windows. Roughly coursed ashlar, predominantly volcanic trap, some mudstone, some granite quoins and plinth; original granite and Beerstone detail, Bathstone restoration detail; slate roofs. High west tower, nave, chancel, north and south aisles, south porch. Perependicular. Imposing 30m high west tower mostly C15 fabric. It has 2 stages, setback buttresses and an embattled parapet with granite obelisk pinnacles on the corners. Chamfered granite plinth. On north side a semi-octagonal stair turret projects and rises above tower with its own embattled parapet. It includes series of tiny Beerstone or volcanic lights, some with trefoil heads. Original granite 2- light belfry windows with round-headed arches and sunken spandrels on each side. West side of tower has C15 2-centred granite arch with moulded surround and restored hoodmoulds; 4-light Bathstone window above is restored with Decorated-style tracery; moulded granite string course is C15; small C15 arch-headed volcanic window to ringing loft (another on north side and round-headed granite window on south side); and late C19 circular clockface with brass Roman numerals below belfry window. South aisle and porch were completely rebuilt 1887-91 and feature Bathstone arch- headed windows. Decorated-style tracery and hoodmoulds with plain square labels. Embattled parapet and offset buttresses on each corner. C19 2-light window in west end. On south side C19 gable ended porch with low diagonal buttresses. Its outer 2-centred arch has reused moulded volcanic sides and C19 Bathstone head. Bathstone kneelers and coping with a fleuree cross on apex. Small Bathstone niche under gable has cinquefoil head. Small Bathstone trefoil-headed lancets in each side contain C19 stained, glass representations of St George and St Catherine. Porch roof has black ridge tiles with crests cut through with small quatrefoils. C19 3-light window to left of porch. Immediately to right a volcanic stone chimney shaft with exaggerated cap, soffit-moulded and with low crenellated top, rises from parapet. Two 3-light windows right of porch separated by buttress. Left window has Perpendicular Beerstone tracery and hoodmould with carved face labels, probably reset original C15 work. 3-light window in east end of aisle also has C15 Perpendicular Beerstone tracery but not hoodmould. Chancel is roughcast and apparently not restored in late C19. South side includes small volcanic stone segmental-headed priests door at left end and late C17 round-headed window containing rectangular panes of leaded glass. East gable end has larger late C17 round-headed window. Late C19 vestry on north side of chancel. North aisle also rebuilt 1887-91 with embattled parapet but no buttresses. Of north-facing windows 3 have apparently C15 Perpendicular Beerstone tracery with C19 hoodmoulds. Window right of centre is entirely late C19 with Bathstone Decorated-style tracery. Late C19 2-light version in west end. Interior: porch has reused C15 unceiled wagon roof with moulded ribs and purlins and includes 2 bosses, both carved with IHS monograms; late C19 crenellated wallplate. Late C19 encaustic tile floor. Late C19 Bathstone arch to south door. Nave has high 6 bay hammer beam roof of late C19 work but may be including some older moulded timbers. Aisles have simple late C19 low pitch lean-to roofs. Plastered vault of chancel may hide medieval roof. Very high tower arch has double chamfered surround with late C19 painted text over featuring the Lamb and Flag motif. Inside tower has high late C19 ringing floor and comtemporary bas relief plaster strapwork frieze featuring moulded emblems of the Trinity, different crosses and sacred monograms etc. Original granite arched doorway with hollow chamfered surround to stairs. The 4 bay arcades to north and south aisles both have 1 bay overlapping to chancel. Built of volcanic and sandstone the moulded piers (Pevsner's Type B) have capitals only to main shafts. They are largely original but were scraped and some stone renewed 1887-91. Plastered arch to lower and slightly narrower chancel, which was refurbished in late C17 with new round-headed windows, plastered ceiling, moulded plaster cornice and the walls panelled with large field plaster bolection mouldings above oak fielded panel wainscotting. East window contains C18 stained glass in Peckham style with geometric patterns and orange predominating. Fine late C17 oak reredos with flanking fluted Ionic pilasters, moulded cornice and central oval panel painted with the legend 'This do in Remembrance of me'. The mahogany altar rail on turned balusters was made by W. Stribling in 1768. Restored late C15 oak rood screen is very fine and sumptuously decorated example similar to screen at Church of St Thomas of Canterbury, Lapford (q.v.). Extending across both aisles and the chancel it has Pevsners B Type Perpendicular tracery over wainscotting with applied tracery with ogival heads and lower quatrefoils. Above the arches the ribbed coving is enriched with Renaissance motifs and above this the cornice covered by friezes of densely carved openwork foliage. The screen was apparently removed to nearby Beech Hill House in the Commonwealth and in 1840 set in tiers as a tower screen. It required extensive restoration work in 1930 by Herbert Reed & Sons before it resumed its original position. The original work retains traces of ancient colour. North aisle includes blocked flat-arched doorway to now-demolished stair to rood loft. Nave and aisles have C19 tile floors and include some old worn gaveslabs, notably one of 1690 in north aisle in memory of Julia Wheeler with an heraldic achievement. Aisles have late C19 ceramic dado and south aisle incorporates reset C15 Beerstone aumbry with cusped cinquefoil head. Choir stalls and pews are late C19, but seem to include much earlier oakwork. Beerstone font of 1848. C20 timber pulpit and lactern. 2 C15 recumbent figures in south aisle were originally in south aisle chapel with an ogee sepulchral arch below the window. They are thought to represent Gabriel Green (died 1485) and his wife Dorothy (died 1480) of Easton Barton. He is in a civilian gown with burgher's cap and short sword, she with a close fitting bodice, pyramid head dress and low girdle with rosary beads. Chancel includes 2 good late C17 mural monuments. On north side the William Tuckfield memorial (died 1688), comprising a black marble rectangular plaque flanked by Beerstone pilasters enriched by bas relief garlands and outside strapwork; panelled head with dentil cornice and moulded entablature surmounted by heraldic achievement in cartouche, the whole on moulded sill with strapwork below around a heater. On south side the Edward Pridham memorial (died 1687), comprising a black marble rectangular plaque with bolection-moulded frame flanked by Ionic columns which support a moulded entablature with broken pediment and central heraldic achievement in cartouche, the whole on moulded sill on scroll-shaped brackets with bifurcated swag between. Another good mural monument in tower, memorial to John (surname illegible) of Southcott (died 1704) comprising a rectangular black marble plaque set in Beerstone; flanking panels enriched with bas relief garlands between moulded entablature surmounted by an heraldic achievement in cartouche with flaring horns, the whole on moulded sill on brackets carved as skulls with folded wings and with an empty cartouche between. All these memorials have traces of ancient colour but the arms of Edward Pridham have been retouched. Tower memorial is flanked by C19 benefaction boards. C17 oak chest in north aisle with chip-carved arcaded front. The church has immense landscape value, the tower being visible for miles around. It also includes a very rare late C17 chancel. Sourcest Devon SMR, Church Guide, Devon C19 Churches Project

Gloucester, Gloucestershire, cathedral, quire, organ case, east face, Great Organ, detail by groenling

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1662

Delahaye 135M Cabriolet - 1937 by Perico001

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Coachwork by Henri Chapron

At the paris Motor Show 1933, Delahaye broke totally with their traditional productions by presenting two modern chassis with independent front wheels : the four-cylinder Type 134 and the six-cylinder, 3,2-litre Type 138. The latter would lead to the celebrated Type 135, characterized by a lower chassis frame of even more modern design, with side-frames of with tubular struts, the ensemble being electrically welded.

In June 1934 Delahaye obtained approval from the Service des Mines (French vehicle-testing service) for a chassis with a 3,5-litre engine known as the 135M (for modified). The engine entered production in 1935 after being tested in competition.

This 135M with bodywork by Henri Chapron, belonged for many years to the well-known collector Jacques Dumontant, who inherited it from his father and often used it on his travels in search of vintage cars. Although that 135M usually came with openwork sheet-metal wheels, this one has more elegant wire wheels, always available as an option at the time.

Zoute Concours d'Elegance

The Royal Zoute Golf Club

Zoute Grand Prix 2016

Knokke - Belgium

Oktober 2016

St Peter's Collegiate Church - Wulfruna Street, Wolverhampton by Elliott Brown

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.

View of the church from Wulfruna Street. Opposite the University of Wolverhampton.

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.

IMG_8604 by James Glazier

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Decorative openwork shield boss for parade armor, with cocks, spears and floral ornaments. Copper alloy. Irish, Medieval, 12th Century AD. Special exhibit on the battle of Clontarf (April 23rd, 1014 AD). National Museum. Dublin, Ireland. Copyright 2016, James A. Glazier

IMG_6577 by James Glazier

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Bronze openwork applique plaque of deer in animal style. Gothic. Germanic, 5th Century AD - 6th Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.

Bandstand - Lightwoods Park, Bearwood by Elliott Brown

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I thought about getting the bus to Bearwood (on the Outer Circle) and wasn't sure what was there to take. After I arrived I headed towards the Bus Station, and behind that was this park - Lightwoods Park.

I always thought that Bearwood was within Birmingham, but now it appears to be in the district of Sandwell.

The park was run by Birmingham until November 2010, when Sandwell took over running it.

There is signs here of it's Birmingham past.

This is the bandstand in Lightwoods Park. It is Grade II listed.

It appears that it wa made for the City of Birmingham (back when the park was run by the city).

Bandstand. Late C19. Cast iron on brick base with sheet iron roof.

Octagonal plan. Columns have pedestals and foliated capitals and are linked

by low railings on four sides. Shallow elliptical arches spring from the

capitals, with openwork decoration below oversailing eaves. The roof is a

facetted ogee dome with central cupola. The columns are inscribed: 'LION

FOUNDRY CO KIRKINTILLOCK".

Bandstand, Lightwoods Park, Bearwood - Heritage Gateway

Full view of the bandstand

The bandstand was presented to the City of Birmingham by Rowland Mason - West Mount, Edgbaston in April 1903.

Handmade wedding ring bearer pillow. Gorgeus and unique, ivory-grey, with orange and green flower by PassionArte

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This beautiful ring bearer pillow is made of linen fabric. Top side is covered by an embroidered openwork cotton fabric. A rich floral green decoration is attached on a linen fabric belt, that across the pillow front side along its diagonal. Bright orange wide ribbons, fastening rings, gives a clashing touch as opposed to general light smooth color af the whole. A mother-of-pearl shell pin is a nice and usefull detail.

The linen fabric is not simply applied on a standard pillow, as many others ring bearer you can see for sale, but sewn on the edges of an original and creative pillow.

Ideal for own wedding or to give an unique wedding gift. It’s handmade in Italy.

Measurements: 20 x 12 cm – 7,8” x 4,7”

This item is featured here: theperfectpalette.blogspot.com/2009/08/its-etsy-wednesday...

~✿ For orders and more informations about my shop, please visit my profile www.flickr.com/people/passionarte or send me a mail to passionarte.handmade@yahoo.it