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.

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...

Drinking horn, copy.

Silver and horn.

The drinking horn is decorated with rim fittings of silver-plated openwork. The original is a grave find.

Björkö, Adelsö, Uppland, Sweden.

SHM 29750:406

See also: kulturarvsdata.se/shm/object/html/372006

Steel sculpture; female figure of a stilt-walker (Moko Jumbie). Figure has articulated limbs, painted black. Wears a loincloth composed of plastic and synthetic fibres, shoulder pieces made from nylon netting and gold-sprayed metal breast ornaments. Openwork copper pipe skirt soldered together and hooked onto waist of figure. Numerous composite objects attached to figure including wooden masks and comb; metal bells, keys and toy aeroplane; plastic ornaments sprayed gold; textile decorations. Figure wears gold-sprayed leather and synthetic trainers with toes exposed. Wooden mask with attached vertical headdress made of strips of sheet metal sprayed gold with multiple small metal objects attached including keys, figures, chains, and bells. Wings secured to back of figure, sprayed black and gold. Figure has spiral copper armlet on right proper arm.

Created by Zak Ové for the British Museum's Celebrating Africa season.

The Museum commissioned these figures to coincide with London’s Notting Hill Carnival at the end of August. Moko Jumbie figures became a key feature of carnival in Trinidad in the early 1900s. Oral traditions describe the Moko Jumbie as a guardian of villages who could foresee danger and protect inhabitants from evil forces. Traditionally, Moko Jumbie figures wore long colourful skirts or trousers over their stilts and masks covering their faces. They were sometimes accompanied by dwarfs – represented in the installation in the Great Court by two ‘lost souls’, on loan to the Museum from Zak Ové – who provided a visual height contrast.

Zak Ové works with sculpture, film and photography. He uses these ‘new-world’ materials to pay tribute to both spiritual and artistic African identity. This Moko Jumbie display is part of a larger body of work that draws inspiration from the Trinidad carnival. The works are born from Ové’s documentation of and interest in the African Diaspora and African history. The artist’s intellectual and creative responses to this history are filtered through his own personal and cultural upbringing in London and Trinidad. The relationship between carnival and Africa derives from the enforced movement of peoples during the Transatlantic Slave Trade. Between around 1500 and 1900, millions of people were transported from West and Central Africa to the Caribbean and North, Central and South America.

Carnival in Trinidad began as a predominantly elite event. In the late 1700s French immigrants arrived on the island to run plantations, bringing with them enslaved Africans. The plantation owners staged elaborate masquerade balls during the carnival season. Africans also brought their own masking traditions of which the Moko Jumbie is but one. Masking for Africans in the Caribbean was a way to connect to ancestors and nature as well as ideas of ‘home’. But traditional masquerades were also used to satirically depict their masters and turn a critical eye on plantation society. After full emancipation in 1838, Africans took over the streets at carnival time, using song, dance and masquerade to re-dress the still existing social inequalities.

[British Museum]

from the abbey of St. Winoc @ Bergues ; Style of Louis xv ; the text commemorates St. Antonius Aris, bishop.

Formerly in service in London, 1019 was one of 50 or so ex-London buses purchased by Lothian in 2018 and rebuilt/refurbished. It is seen in Princes Street, Edinburgh, on its way from Silverknowes to Gorebridge. The building towering above the bus is a former department store ( now occupied by a fashion retailer and Travelodge) called R W Forsyth after the founder of the business. Born in 1843 (possibly at Inveresk near Musselburgh), Robert Wallace Forsyth moved to Glasgow in 1862 and worked for various warehousemen and clothing retailers before opening a shop of his own in 1872 in Renfield Street (hosier, glover and shirtmaker). He opened his Glasgow department store on the corner of Renfield Street and Gordon Street in 1897 and in 1907 opened the Edinburgh store on Princes Street. The six storey building was the first in Scotland to be fully steel-framed and was designed by the architect, John J Burnet. It was extended across Meuse Lane to St. Andrew Square in 1923-5. The business opened a store in London’s Regent Street in 1936, the year before Robert Wallace Forsyth died in Glasgow. He is buried in Glasgow’s Craigton Cemetery. The firm’s Edinburgh store closed in October 1981. The gilded openwork sphere (on top of the tower) which had been removed by Arcadia (the building’s owners) on safety grounds c.2012 was eventually restored and reinstated in June 2016 after pressure from the local authority and a popular campaign.

Built in large granite bati, it has a bell tower with three openwork ceilings, wearing a dome. The main doors are hung on the wall chains and crosses worn by the red penitent on Good Friday. Note the superb Baroque altarpiece, in polychrome marbles exported to the seventeenth century of Liguria and Tuscany.

👑 Senses : 👀 Vision 👆 To Touch 💃 Proprioception 👂 Hearing Equilibrioception 👃 Smell ♨️ Thermoception

⚡ Intelligences : ️ Spatial Intelligence

⛹️ Kinesthetic Body Intelligence

👨‍👩‍👧‍👦 Interpersonal Intelligence

🌲 Ecologicalist Naturalist Intelligence

🔭 Existential Intelligence

📋 WHAT :

️ eXploration (5) Church Santa Maria Assunta {Sartène} (Corsica - Corse)

🌟 Church Santa Maria Assunta {Sartène} (Corsica - Corse)

💫 (Corsica - Corse) France/Europe World

🌌 Monument

✨ eXploration Universe (️)

⛪ Church Santa Maria Assunta {Sartène} (Corsica - Corse)

📝 Type : Ground eXploration

🎨 Style : eXploration of the Church Santa Maria Assunta

🔊 Language : International (🇬🇧 description in English, but comprehensible by the whole world)

️ You can use your playlists as filters, to find what you're looking for exactly : www.youtube.com/channel/UCpvj7oecmX3AsJT6R0JP2pQ/playlists?

⚠ The items are sorted by the most appropriate categories. But can not be completely exhaustive on social networks. You can use our site or our application. If you want total exhaustiveness and much more.

📏 HOW MUCH :

👑 7 Senses

⚡ 5 Intelligences

WHO :

🎥 Filmed by LG

📡 Posted by LG

📼 Video made by LG (Windows Movie Maker 2017)

🎵 Music Used (No Copyright) : Etoile - Theme 1 : youtu.be/_xcfYNqqHQo

© Etoile Copyright

⚠ The description may no longer be up to date. Due to human discoveries and improvements. Pay attention to the date of publication and creation. Even works of art suffer the outrages of time

❓ WHY : To eXplore the Church Santa Maria Assunta

📍 WHERE : Sartène (Corsica - Corse) (🇫🇷France)

🕓 WHEN : 19 July 2017

👉 Follow us :

💥 Facebook : www.facebook.com/EXploration-160662074522859/

💥 Instagram : www.instagram.com/explorationetoile/

💥 Flickr : www.flickr.com/people/explorationetoile/

💥 Dailymotion : www.dailymotion.com/explorationetoile

💥 Youtube : www.youtube.com/channel/UCpvj7oecmX3AsJT6R0JP2pQ?

💥 Tumblr : explorationetoile.tumblr.com/

💥 Pinterest : www.pinterest.fr/eXplorationEtoile/

💥 Google + : plus.google.com/u/0/b/103663921505133236472/1036639215051...

💥 Twitter : twitter.com/eXplorationETL

💌 Contact : contactexploration@gmail.com

A visit to Coughton Court in Warwickshire, on the Spring Bank Holiday Weekend in late May 2018. A National Trust property, it was the home of the Throckmorton family.

Coughton Court is an English Tudor country house, situated on the main road between Studley and Alcester in Warwickshire. It is a Grade I listed building.

The house has a long crenelated façade directly facing the main road, at the centre of which is the Tudor Gatehouse, dating from 1530; this has hexagonal turrets and oriel windows in the English Renaissance style. The gatehouse is the oldest part of the house and is flanked by later wings, in the Strawberry Hill Gothic style, popularised by Horace Walpole.

The Coughton estate has been owned by the Throckmorton family since 1409. The estate was acquired through marriage to the De Spinney family. Coughton was rebuilt by Sir George Throckmorton, the first son of Sir Robert Throckmorton of Coughton Court by Catherine Marrow, daughter of William Marrow of London. The great gatehouse at Coughton was dedicated to King Henry VIII by Throckmorton, a favorite of the King. Throckmorton would become notorious due to his almost fatal involvement in the divorce between King Henry and his first wife Catherine of Aragon. Throckmorton favoured the queen and was against the Reformation. Throckmorton spent most of his life rebuilding Coughton. In 1549, when he was planning the windows in the great hall, he asked his son Nicholas to obtain from the heralds the correct tricking (colour abbreviations) of the arms of his ancestors' wives and his own cousin and niece by marriage Queen Catherine Parr. The costly recusancy (refusal to attend Anglican Church services) of Robert Throckmorton and his heirs restricted later rebuilding, so that much of the house still stands largely as he left it.

After Throckmorton's death in 1552, Coughton passed to his eldest son, Robert. Robert Throckmorton and his family were practicing Catholics therefore the house at one time contained a priest hole, a hiding place for priests during the period when Catholics were persecuted by law in England, from the beginning of the reign of Queen Elizabeth I. The Hall also holds a place in English history for its roles in both the Throckmorton Plot of 1583 to murder Queen Elizabeth I of England, and the Gunpowder Plot of 1605, although the Throckmorton family were themselves only indirectly implicated in the latter, when some of the Gunpowder conspirators rode directly there after its discovery.

The house has been in the ownership of the National Trust since 1946. The family, however, hold a 300-year lease and previously managed the property on behalf of the Trust. In 2007, however, the house reverted to management by the National Trust. The management of the property is renewed every 10 years. The family tenant until recently was Clare McLaren-Throckmorton, known professionally as Clare Tritton QC, until she died on 31 October 2017.

The house, which is open to the public all year round, is set in extensive grounds including a walled formal garden, a river and a lake.

The gatehouse at Coughton was built at the earliest in 1536, as it is built of stones which came from Bordesley Abbey and Evesham Abbey after the Dissolution of the Monasteries Act in 1536. As with other Tudor houses, it was built around a courtyard, with the gatehouse used for deliveries and coaches to travel through to the courtyard. The courtyard was closed on all four sides until 1651, when Parliamentary soldiers burnt the fourth (east) wing, along with many of the Throckmorton's family papers, during the English Civil War.

After the Roman Catholic Relief Act was passed in 1829, the Throckmorton family were able to afford large-scale building works, allowing them to remodel the west front.

Grade I Listed Building

Coughton Court

Listing Text

COUGHTON

SP06SE

1/144 Coughton Court

10/02/56

GV I

Country house, Gatehouse late C15, and after 1518; early and late C16; late C17

additions; west front remodelled 1780; additions and remodelling of 1835(VCH).

Limestone ashlar gatehouse. Timber framed with lath and plaster infill; brick;

imitation stone render. Tile and lead roofs; brick stacks, U-plan, formerly

courtyard. 2 and 3 storeys; 13-window range. Entrance (west) front symmetrical.

3 storey central gatehouse range has moulded plinth and double string course.

Square ground floor with corner turrets. C19 Gothic panelled part-glazed

double-leaf doors in 4-centred moulded arch with square head, hood mould and

carved spandrels. Stone mullioned and transomed windows with arched lights

throughout. Upper floors of different coloured stone. 2-storey canted oriel with

flanking lights and glazed octagonal turrets; 2 transoms on first floor, one on

second. Shield of arms on each floor. Turrets continued up another floor'; left

turret unglazed. Remainder 2 storeys only. Single 5-light window with transom

and hood mould. Clasping buttresses with quatrefoil panels projecting above

roof. Crenellated parapets with string course throughout. Remainder of front of '

scored imitation ashlar with stucco hood moulds. Ground floor has leaded 2-light

casements, 3 slightly recessed bays have Gothick sashes and moulded surrounds on

first floor. Projecting end bays with clasping buttresses. First floor: leaded

cross windows. String course above first floor. Attic with quatrefoil panels,

some part glazed. String course and crenellated parapet. Right return side of

thin bricks. Two C17 shaped gables with stone coping. Left gable between 2

external brick stacks; right gable has ball finials. 5-window range, mostly C17

stone cross windows. Narrow gabled wing set back. High single-storey range with

early C20 window, and plaster eaves cove. East front of gatehouse has unglazed

turrets and inscription over entrance. Irregular ranges to courtyard. Timber

framed with brick ground floor. Corresponding small 4-centred door. Irregular

fenestration with moulded stone mullioned windows ground floor, wood mullions

and casements above; some with transoms. 2 storey south range has close studding

with middle rail. Left section breaks forward and has 4 framed gables with

brackets. Entrance in recessed bay below third gable has 4-centred moulded

doorway with square head, hood mould and carved spandrels. Paired 6-panelled

doors with Gothick overlight. Right section has 2 large gables, and another

behind and above in roof, with decorative panel framing. Elaborately carved

scrolled bargeboards with finials and openwork pendants. End wall has gable.

Ground floor has 2 stone cross windows with arched lights. Blocked arches above

and in centre. 2-storey and attic north range. Close studding. 3 large framed

gables and smaller end gable all with casements and brackets. Ground floor has

four 3-light mullioned and transomed windows. First floor projects on plaster

cove. Blank gabled end wall. Left return side: range of c.1690. Scored render

with quoins. 3 projecting bays with hipped roofs. 4-centred doorway. Slightly

projecting first floor. Irregular fenestration with wood mullioned and transomed

windows. Interior: Entrance Hall with plaster fan vault. Late C18 open well

cantilevered staircase with moulded soffit and simple handrail; Gothick

plasterwork cornice. Drawing Room has simple early Cl6 stone fireplace. Windows

with C16,C17 and C19 armorial glass. Gothick plasterwork cornice. 6-panelled

doors. Little Drawing Room has C18 style carved wooden fireplace. Newel

staircase to roof. Tower Room has moulded 4-centred fireplace with carved

spandrels and projecting top. Two 4-centred doorways. North east turret has 2

hiding places. Dining Room and Tribune have fine C16 panelling possibly with

later work, turned balusters, grotesques and medallions with heads. Fine marble

chimneypiece with paired Ionic and Corinthian columns, cartouche and coat of

arms, Saloon, formed 1910, has arcaded panelled screen c.1660 (VCH) to Tribune.

C16 double-flight staircase from Harvington hall with heavy turned balusters and

square newel posts with finials. Study has fine C17 panelling with pilasters.

Ground floor with broad-chamfered ceiling beams. North range has part of a fine

C16 panelled timber cieling with moulded ribs and carved bosses. Dog-leg

staircase with C17 turned balusters. The Throckmortons were Catholics, and were

deeply involved in the Throckmorton plot of 1583. In 1605 the wives of the

Gunpowder Plotters awaited news at Coughton. In 1688 the east wing was destroyed

by a Protestant mob, and was finally cleared away in 1780.

(V.C.H.: Warwickshire, Vol.III, pp.75-78; Buldings of England: Warwickshire,

pp.245-6; Coughton Court; The National Trust 1984).

Listing NGR: SP0831160624

This text is from the original listing, and may not necessarily reflect the current setting of the building.

First look at the Courtyard. There used to be an East Wing, but it was burnt down in 1688 and it was later demolished in the 1780s leaving one side exposed to the countryside.

The North Wing

Fire steel.

Iron and bronze.

The fire steel has an openwork bronze casting that depicts equestrian figures.

Grave find, Björkö, Adelsö, Uppland, Sweden.

SHM 34000:Bj 776

See also kulturarvsdata.se/shm/object/html/563464

An afternoon in Bath in Somerset.

The Pulteney Cruisers boat trip on board Scenic II The trip takes you up the River Avon towards Bathampton and back.

North Parade Bridge - the boat does not go that way.

Grade II Listed Building

North Parade Bridge

Description

NORTH PARADE

North Parade Bridge

(Formerly Listed as:

NORTH PARADE

North Parade Bridge

including lodges)

05/08/75

GV II

Bridge. 1835-1836 (opened 10th November 1836), arch rebuilt 1936-1937. By William Tierney Clark, built by David Aust, rebuilding by FR Sisson CE. (plaque on bridge parapet). Originally with cast iron arch ribs, deck and parapet, between rusticated ashlar abutments; span entirely rebuilt in ashlar in 1936. Single span bridge with side arches, and approach causeway on east, (qv). Footpath arches with console keystones and main piers up to cornice, supported on console brackets, are original. Heavily rusticated stonework, while 1936 arch smooth ashlar with rustication only to arch itself, and smooth soffit. Parapet balustraded throughout, abutment piers are carried up in further rusticated work and support openwork iron standards with lanterns. All this work of 1936, and continues similar treatment on balustrade of retaining wall to North Parade and Grand Parade (qv).

SOURCES: Lees-Milne J and Ford D: Images of Bath: London: 1982-; Jackson N: Nineteenth Century Bath - Architects and Architecture: Bath: 1991-: 205.

Listing NGR: ST7537164705

FOR THE EAST LODGES ON NORTH PARADE BRIDGE, SEE NORTH PARADE ROAD

THE BISHOP'S PALACE AND BISHOP'S HOUSE

Overview

Heritage Category: Listed Building

Grade: I

List Entry Number: 1382873

Date first listed: 12-Nov-1953

County: Somerset

District: Mendip (District Authority)

Parish: Wells

Diocese of Bath and Wells

National Grid Reference: ST 55207 45781

Details

WELLS

Bishop's Palace and House. Begun in c1210 by Bishop Jocelyn but principally from c1230, restored, divided and upper storey added by Benjamin Ferrey 1846-54; north wing (now Bishop's residence) added in C15 by Bishop Bekynton, modified C18, and c1810 by Bishop Beadon. Local stone, roughly squared and coursed, with Doulting ashlar dressings, Welsh slate roofs, stone chimney stacks. PALACE EXTERIOR: the main palace now used for public functions and meetings is in 2 storeys with attics, in 7 bays. Plinth, string course between floors, wide buttresses with 2 offsets to bays 2 and 6, coped gables to bays 2, 4 and 6, paired octagonal stacks with openwork cappings to bays 3 and 5. Ground floor has 2-light trefoil-headed plate tracery windows to all but bay 4, similar windows to first floor with added quatrefoil windows with trefoil-arched labels, smaller versions of these windows to attic gables; central porch added c1824, has angled corner buttresses, gable with string and central panel of arms crowned with a mitre, the entrance through a moulded pointed- arched door flanked by two early C19 light fittings. The E wall is in 5 and-a-half bays, with large buttresses to 2 stepped offsets. The first 2 bays have lancets to the ground floor only, but bays 3, 4, and 5 have large 2-light windows with quatrefoil over, and lancets to the ground floor. The last half-bay has a corner stair-turret with stepped offsets. Far right is a deep gabled wing with a large stone-mullioned oriel above a panelled apron with shields of arms, carried on a deep moulded bracket, and with very large buttresses. A tower is set-back from this, adjacent to the moat, with 2 and 3-light cusped casements on 3 floors. PALACE INTERIOR: the original plan was with hall, solar, gallery and undercroft, the long range divided by a spine wall at each level; this remains the layout, with the addition of an upper floor (not inspected). The ground floor is entered through the central porch to a narrow gallery in 6 bays of quadripartite ribbed vaulting, carried on corbel capitals. In the central wall is a large C16 stone fireplace, brought in the late C19 from the former solar. The S wall has a doorway with Y-tracery to its head, and a corner door gives to Bishop Burnell's chapel (qv). The floor is of stone flags. At the N end is a very fine Jacobean open well stair with large square newels, including a double newel at the top landing, supporting carved griffons and with openwork pendants, panelled plaster soffite, painted dado panelling, and a compartmented ceiling with pendants. The undercroft beyond the wall is in 2x5 bays with a central row of Purbeck shafts to quadripartite vaulting, on faceted responds; there is a large stone fireplace of C15 design in the spine wall. The first floor, within Jocelyn's shell, has C19 detailing; Ferrey complained that much of the work to the ceilings was '.... done by an upholsterer from Bath....', but detailing is very rich, and good replica C19 patterned colourful wallpapers were installed c1970. On the E side is a suite of 3 rooms, with compartmental ceilings. The square room at the head of the stairs has a stone basket-arch fireplace with triple cusping, and retains some C18 panelling, and six 6-panel doors. The long central room has a 24-panel ceiling, and three C19 lighting pendants; at its S end a very rich pair of panelled doors opens to the square S room, in which are visible in the E wall remains of the original windows, which have been blocked externally. This room has no fireplace. The long gallery to the W of the spine wall has two fireplaces, dado panelling, and a ribbed panelled ceiling. The windows are in deep embrasures, and there are three 9-panel C19 doors. BISHOP'S HOUSE EXTERIOR: returns at the N end, being backed by the moat wall. It is in 2 parallel ranges, with a very narrow courtyard partly filled by C20 building, a cross wing containing a former hall, and opening to a porch at the S end, and a square tower on the NE corner. The S front is crenellated, and has 4 windows on 2 storeys with attic, all flush 2-light stone mullioned casements with cusped heads to the lights; at first floor 2 of the windows have C19 cast-iron small-paned casements, and there are 4 casement hipped dormers behind the parapet. To the left, in a lower wall with raked head are 2 similar casements, and set forward to the right, fronting the 3-storey N/S hall range is a low square tower with two 2-light plate-traceried windows as those in the adjacent Palace, and a round-arched C16 stone outer doorway with moulded and panelled responds and a large keystone with diamond embellishment. The porch is stone paved, with a stone bench to the left, and the inner doorway is a C15 stone 4-centred moulded arch with rosettes, hood-mould, and small diagonal pinnacles at the springing and key, above a carved angel keystone, containing a fine pair of early doors with panel, muntin and mid-rail, all with nail-heads. At the left end is a wide archway into the courtyard, on the site of the gateway seen in the Buck view. There are various lofty yellow brick stacks, including one very large stack to a coped gable in the rear range. BISHOP'S HOUSE INTERIOR: has been subdivided several times; in the front range are 2 plain rooms, then the inner hall to the porch, with the C15 doorway, a shell niche, and a stone arch matching that to the outer doorway of the porch; this gives to the main stair. N of the hall is a fine C15 oak screen with narrow panels and moulded muntins and mid-rail, and a central round-arched C20 doorway of C16 style. To the right is a large 3-light stone casement with transom, and to the left is a stone-flagged cross passage which runs through to a doorway at the moat end. The inner hall has 3 windows as in the outer hall, and the inner side of the screen has raised and moulded panels, and all members embellished, including small-scale chevron to the bressumer; the central C16 doorway has raised diamond keystone and enrichment. A dining room to the N has a peaked moulded wooden rere-arch, and opens in the NW corner to a small square study in the tower. This has a stone alcove in the N wall with a 3-light C16 casement, and in the corner access to a stone spiral stair rising the full height of the tower. There are many 6-panel doors, with raised mouldings, and with square centre panels. The main staircase is C20 with heavy turned balusters to the first floor, and a C19 straight flight with stick balusters in the upper flight. At first landing level the window contains fragments of mediaeval and C16 stained and painted glass; there is a second straight-flight stair between the ranges to the W. Rooms at first floor are generally plainly detailed; the N range had an extra floor inserted, and one bathroom has the lower part of one of the mediaeval oriels in its N wall. The second floor has a through corridor, and has many early 2-panel doors with raised mouldings. The square end room to the tower has a low relief plastered ceiling to a central rose, the window has early crown glass and a scratched date of 1822. Two of the bedrooms contain the upper parts of the oriels, and these have stone vaulted soffites, one including a carved angel keystone. Over the S range is a 6-bay collar and 2-purlin roof with original rafters, formerly with plaster; the space has 4 dormer windows. HISTORICAL NOTE: the complex building history, coupled with a splendid setting within its walled moat, makes this Palace an outstanding historic and visual document, with one of the most remarkable structures of the mediaeval period which '...represent the grandest aspect of the mediaeval way of life'.(Barley) The first-floor hall represents an outstanding example of its type, contemporary in date with those at St David's, Dyfed, and Southwark, London. (Buildings of England: Pevsner N: North Somerset and Bristol: London: 1958-: 312; Colchester LS: Wells Cathedral: A History: Shepton Mallet: 1982-: 227-244; Wood M: The English Mediaeval House: London: 1965-: 24 (PLAN); Bony J: The English Decorated Style: London: 1979-: PASSIM; Parker JH: Architectural Antiquities of the City of Wells: Oxford: 1866-; Barley M: Houses and History: London: 1986-: 60-63).

Listing NGR: ST5522445760

ENGLISH :

To sum up: on the left, fenestration, openwork gables and statues of the fourteenth; on the right, the Butter Tower's statuary of the sixteenth on the buttresses; behind, the arrow of the lantern tower.

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.

~1089-1130

Teaching myself one new knit stitch a week, from the Complete Guide to Needlework book, c. 1979.

I cast on 12 stitches in Yarn Bee Andes Alpaca in Peacock, size 8 needles.

Row 1: K1, *yo, K 2 tog*, K1

Rows 2 and 4: purl

Row 3: K2, *yo, K 2 tog*

Bronze, Late Geometric I-II, ca. 725 B.C.E., From Sparta or Tegea

H. 6.2 cm.

Solid-cast by the lost wax process. Probably a wax block carved out - sculpted and the casting done with the main entry for the metal being the muzzle, with possible traces of a subsidiary entry or air vent at the point of her breast between the shoulders. A burr on the back upper part of right foreleg and beneath tail. The neck and back to the rump striated lengthwise; surface filed and polished in the cold. A very thin sheet of metal added and annealed to the upper part of the base after the original cast to fill the triangular interstices, of which parts remain.

Condition: patina very dark green with traces of metal on end of muzzle and tips of ears. Back left corner and right side of base missing due to imperfect flow or shortage of metal while casting.

Some thirty years ago the writer ascribed the doe to Boeotia, probably on account of its extreme elegance, and in view of the delicacy of certain Boeotian works such as the famous "deer and fawn" from the Cabirion of Thebes [1]. Central Greece is not to be wholly excluded but, if so, Locris is to be preferred (obviously strongly influenced by neighbouring Boeotia).

Sparta or Tegea seem the prime possibilities. In favour of Sparta is the casting technique, the stand [2], the profile of the opening between the fore- and hind legs [3]. There are two comparisons for the outline of the opening between the front legs and a similar plastic feeling in two horses ascribed to Sparta by Zimmermann [4]. A parallel in Baltimore [5] is from the same school as ours, with the same base but without addition of thin sheet metal on top, with identical body stance though less refined and elegant than our doe and with head and neck in less stylized posture.

However, in favour of Tegea is the probably considerable quantity of deer in the Arcadian mountains as well as the historical predilection of the Arcadians towards the doe since she appears in several of their legends [6].

A doe [7] from the sanctuary of Athena Alea, though incomplete, and as far as we can see from the reproduction, conveys a similar mood through a certain fluidity and the bearing of the head. Also, a technical detail is worthy of note: its neck is described by Dugas as not being cylindrical but worked lengthwise in six more or less contrasting planes. This bears a relation with the far more subtle working on the neck of our example. A sort of faceting which would be in keeping with working in hard wax.

From the same sanctuary are several representations of stags [8].

She is vibrant with naturalism though highly stylized and expresses exactly the spirit of her living counterpart in nature: a doe at dawn reaching the edge of a forest and suddenly stopping, her head alert, her ears pricked up, as her inner instincts apprehend the possibility of danger.

Exhibited and Published:

Meisterwerke griechischer Kunst, cat. no. I 62, pp. 131, 129 ill.

1 Boston, Museum of Fine Arts, H.L. Pierce Fund 98.650: Comstock, M., Vermeule, C.: Greek, Etruscan & Roman Bronzes in the Museum of Fine Arts Boston (Boston, 1971), no. 3, p. 5. We named the artist "Master of the Boston Deer and Fawn" and attached a few works to him; this was communicated verbally to Prof. David Gordon Mitten, suggesting that with a little research, the group could be enlarged. This he did, publishing six figurines in BMFA 65, 1967, p. 14 n. 26; taken up by H. Hoffmann (Ten Centuries that shaped the West , p. 148); and now, the subject of an article by J.-L. Zimmermann: Bronziers béotiens et cervidés géométriques, Quad. ticinesi di numismatica e antichità classiche, XIX, 1990, p. 10 ff.

2 Cf. Sparta 2216, identical: Zimmermann, J.-L.: Les chevaux de bronze dans l'art géométrique grec (Mainz, 1989), Lac 106, p. 130; Paris, Cabinet des Médailles B 69311, from Olympia: Zimmermann, J.-L.: op. cit., Lac 124, p. 131, central division different, a wavy line.

3 Sparta 2216, Zimmermann, J.-L.: op. cit., Lac 111, p. 130; Athens, National Museum 6555, Zimmermann, J.-L.: op. cit., Lac 167, p. 135, also for similar front profile line from top of neck to stand.

4 Zimmermann, J.-L.: op. cit., Lac 123, Lac 124, p. 131.

5 Walters Art Gallery 54.2382: Kent Hill, D.: AJA 59, 1955, p. 40 pl. 29 fig. 4-5, here called a fawn but without attribution to a definite school.

6 Dugas, Ch.: Le sanctuaire d'Aléa Athéna à Tégée, BCH 45, 1921, p. 346 ff. for Apollodorus and Pausanias.

7 Dugas, Ch.: op. cit., no. 17, pp. 347, 365 fig. 19.

8 Dugas, Ch.: op. cit., p. 346 ff.

Text from the website of George Ortiz.

The Diana Temple (1783) viewing from its back, Park in Arkadia, Central Poland.

The Diana Temple was designed and raised by Szymon Bogumił Zug in 1783. The construction of classical proportions decorated with the openwork ornamentation is based on four lonic columns. Under the tympanum facing the pond you can see Latin inscription: "Dove pace trovai d'ogni mia guerra" (it was here that I found peace after each of the battles).

The interior of the temple constitute: the Vestibule, the Etruscan Cabinet, the oval Bedroom abd the Presence Chamber called Pantheon decorated with the stucco columns, ornamented mould and the plafond depicting Aurora pained by Jan Piotr Norblin.

The park was founded in 1778 by Princess Helena Radziwiłł, who lived in Nieborow. For designing and decorating its numerous pavilions she employed the most outstanding Polish architects and painters of the time. She also gathered one of the first antique art collections in Poland in the park. Owing to her, Arkadia enjoyed the status of one of the greatest cultural centers of the turn of the 18th and 19th centuries. In the park, nature and art are in harmony: the complex is composed of buildings imitating ancient ruins or the English Gothic style (Murgrabia House, Little Gothic House, Stone Arch, Diana's Temple with a Pantheon and Etruscan Room, the Sanctuary of the High Priest, the Cave of Sybil, the Tomb of Illusions, Circus and Amphitheatre). Arkadia is the only such classical-romantic historical complex in Europe, and the Museum received the European Award for the Protection of Historic Sites in 1994 for its restoration.

It's September and the fashionistas are getting ready for fall. I'm a fan of endless summer, though, so I decided to create a look fit for a warm, sunny day.

And what's better for such a look than green? It's vivid, it's eye-catching and... well... it's my favorite color! And here's one thing that I love about Mon Tissu (ok, except for these shoes that are just perfect): the footwear and accessories that come in the same colors! I know that matching the bag to the shoes is no longer a must, but I'm old-fashioned and I was happy to find this satchel in the same shade of green.

Choosing a dress for the green combo was no easy task. In the end, my love for little black dresses and for the green/black combo won. So I chose the Lacey Dress in black and there it was: a stylish but comfy outfit, perfect for a shopping trip. Finding the right accessories was easy, because there's a lot of green in my inventory. A pair of sunglasses and a delicate jewelry set were the finishing touches needed for my fashionista look.

I took this snapshot on the Mayfair sim, home of Mon Tissu and Celoe, because that's one of the places to be for shopping addicts.

Styling:

Skin: -Belleza- Erika tan

Hair: ::Exile:: Fade Into You:Afterglow

Dress: {mon tissu} Lacey Dress (M) ~ Black

Shoes: {mon tissu} Openwork Wedges ~ Green

Bag: {mon tissu} Sophmore Satchel / Down Strap ~ Matted Green

Jewelry: ((RIPE)) Roll The Dice - Green

Glasses: :: PM :: Coco Sunglasses in Green

Pose: Explorer - Status Poses

SLURLs available @ salamanderslfashion.wordpress.com

The Crown of Queen Mary was the consort crown of Mary of Teck,

Creator:

Garrard & Co (designer/maker)

Creation Date:

1911

Materials:

Silver, gold, diamonds, quartz crystal, velvet and ermine

Dimensions:

25.0 cm

Acquirer:

Queen Mary, consort of King George V, King of the United Kingdom (1867-1953)

Provenance:

Commissioned by Queen Mary, consort of King George V, from the Crown Jewellers, Garrard & Co., for the coronation on 22 June 1911.

Description:

The crown is composed of a silver frame, lined with gold, and set with 2,200 diamonds, mainly brilliant-cut, with some rose-cut. The crown has an openwork band, set at the front with a detachable rock crystal replica of the diamond, Cullinan IV, a large cushion-shaped stone, and a frieze of quatrefoils and rosettes, each with a large brilliant in the centre, surrounded by smaller stones, between borders composed of single rows of brilliants. Above the band are four crosses-pattée and four fleurs-de-lis. The front cross is set with a detachable rock crystal replica of the Koh-i-Nûr diamond, the other three crosses are set in the centre with a large diamond each. The eight detachable half-arches each taper towards the top, and terminate in scrolls, and contain six graduated brilliants, between borders of stones. The monde is pavé-set with diamonds and surmounted by another cross with a rock crystal replica of the pear-shaped diamond Cullinan III in the centre. The crown is fitted with a purple velvet cap with an ermine band.

Queen Mary's crown was designed for the coronation of June 1911. The Daily Telegraph described it saying 'It has no jewels but diamonds, and the diamonds cluster together as if they had no support but their own light.' The design was inspired by Queen Alexandra's crown of 1902 which has similarly elegant arches. Queen Mary also wore the crown without its arches as a circlet, in particular for the coronation of her son, King George VI at the coronation in 1937.

At the 1911 coronation the crown contained the three large diamonds - the Koh-i-Nûr, and Cullinan III and IV, (also known as the Lesser Stars of Africa) which were later replaced with quartz crystal replicas so that the jewels could be used in alternative settings. The Koh-i-Nûr was moved to the crown of Queen Elizabeth the Queen Mother, and Cullinan III and IV were set as a brooch. These two stones are part of the famous Cullinan diamond, the largest diamond ever found. The full stone weighed 3,106 carats and was discovered at the Premier Mine near Pretoria in 1905. It was named after the chairman of the mining company, Thomas Cullinan. In 1907, it was given by government of the Transvaal to Edward VII for his sixty-sixth birthday. The following year it was sent to Asschers of Amsterdam to be cut. The cuts resulted in nine numbered stones - known as the Stars of Africa. The largest of these stones, Cullinan I, was placed in the head of the Sovereign's Sceptre, whilst Cullinan II was set into the Imperial State Crown, although both remained detachable and were worn occasionally by Queen Mary as a brooch. Queen Mary had Cullinan III, a pear-shaped drop of 94.4 carats, and Cullinan IV, a square-cut stone of 63.6 carats set into her crown, but they were also detachable to be worn hooked together as a brooch (known as the Cullianan Brooch) or occasionally as a pendant to a necklace.

This copy has extra stones added at the top of the Monde so is different from the Crowns and regalia listing.

This information is copyright of the Royal Collections Trust. Take a closer look in detail at the crown

www.royalcollection.org.uk/collection/31704/queen-marys-c....

Holy Trinity church is built in the Early English style of the late-13th century. The body of the church consists of a four-bay, clerestoried nave with lean-to aisles abutting it. The aisles have a series of three-light Geometrical windows. At the W end below the five-light W window is a gabled porch. The clerestory windows are quatrefoils punched through the wall of the nave. At the NW corner stands the steeple the tower of which is of two stages culminating in an openwork parapet. The lower stage has a N doorway set underneath a gable. The second stage, of similar height to the stage below, has tall two-light belfry windows. The tower is crowned by a recessed spire with ribs at the angles and a tier of tall spire lights. The chancel is lower than the nave and has a four-light E Geometrical window with a series of trefoils and quatrefoils in the tracery.

The interior is plastered, whitened and is quite plain with little decoration. The arcades have moulded arches and octagonal piers and moulded capitals. Between the nave and chancel is a moulded arch springing from colonettes which in turn stand on corbels: the capitals of these shafts have elaborate stiff-leaf foliage capitals. The nave and chancel roofs are also supported on colonettes with stiff-leaf foliage.

Many of the Victorian furnishings remain in place. The nave seats have the conventional square-headed ends to which are attached umbrella holders. The organ is a large, imposing instrument on the N side of the chancel with three semi-circular towers of pipes and traceried screening at the top. There is a good series of cast-iron radiators by Wright Bros of Sheffield, one with flowered panels. There is quite extensive stained glass: the E window, representing the Resurrection, is of 1913 and this and three chancel S windows of 1917 and 1921 are by H W Bryans. The S aisle E window is of 1875 and is by Hardman while another in the S aisle is by Hardman and Co. A further S aisle window is by Heaton, Butler and Bayne.

Holy Trinity church was built in 1870-1 by subscription but much of the money came from the Rev. Y G Lloyd-Graeme of Sewerby House who also presented the church with a peal of three bells. The total cost was £7,000 and the church could accommodate 900 people (all the sittings were free). It became the centre of a separate parish in 1874. The architects are not well known: Frederick Stead Brodrick (1847-1927) was the nephew of the famous architect, Cuthbert Brodrick, the designer of Leeds Town Hall. He went into partnership with the surveyor to Hull Council, R G Smith (fl 1870-82) who became FRIBA in 1871.

www.aboutbridlington.co.uk/about/history/holy-trinity/

The main shopping streets in Cardiff City Centre. They are pedestrianised, and there was several modern shopping centres in the area.

Seen on St John Street, leading to Working Street in Cardiff.

Church of St John The Baptist

Grade I listed building.

Church of St John The Baptist., Castle

Location

On site bounded by St John Street, Working Street, Trinity Street, and St John's Churchyard.

History

Originally a chapel of ease of St Mary's Church, the present church originates mainly from later C15 with tower of circa 1490 (perhaps by William Hort); S arcade of chancel may be late C13. Tower said to have been commissioned by Anne, wife of Richard III. The medieval plan was a nave of 5 bays with 2-bay clerestoreyed chancel with separately gabled chapels, aisles, and tower. Church restored early C19, again in 1853; between 1889 and 1891 scheme of restoration by Kempson & Fowler replaced wooden gallery by outer aisles, lengthened and heightened the chancel, added vestries, and refaced much of building in Sweldon stone. Victorian and later embellishments include sculpture by Goscombe John and Comper; stained glass by Morris, Ford Madox Brown, Burne-Jones. Uncompromising 2-storey concrete vestry inserted in S aisle by George Pace, architect, 1975.

Interior

Nave has Perpendicular arcade with lozenge-shaped piers and 2-centred arches.

Lower arcades to Victorian outer aisles. High and wide chancel arch. Four bay chancel with clerestorey. Chancel roof on Victorian head-corbels. Chancel S arcade with circular shafts (circa 1300?), N arcade similar to nave; reredos by Kempson & Fowler has sculpture by Goscombe John (1891). To N of chancel, Herbert chapel with wooden screen (part C16, part C17. Herbert Monument (early C17) with effigies of knight and lawyer, and relief of 4 cherubs. Reredos in S chapel by Comper (early C20). Tower arch, stone steps up to platform over porch; C19 iron railings. The church retains good C19 stained glass including N outer aisle windows by Morris & Co (apostles by Morris, Abraham & Noah by Ford Madox Brown, Melchisedek by Burne-Jones). Other glass by Dixon, and Belham & Co (to designs of JP Seddon). Several Neoclassical tablets relocated to tower. Uncompromising 2-storey concrete vestry inserted in S aisle.

Exterior

Older parts of church in blue lias with Dundry stone dressings; Victorian extensions and refacing in Swelldon stone with bathstone dressings. Mainly Perpendicular tracery. Nave of 5 bays, chancel, west tower (tower porch), double aisles to N and S, S porch, shallow N porch. Tower of 4 stages with stepped diagonal buttresses; low ground floor stage is porch open on 3 sides, doorways with multi-moulded arches; rib vault to porch. Above entrance, W side has 5-light Perpendicular window; above this, in middle stage, tall window with pierced diaper and Perpendicular 2-light head; above this, bell stage has 2-lighr window with pierced stonework. Tower crowned by magnificent open work arcaded and battlemented parapet with openwork corner pinnacles and small gargoyles.

Chancel has clerestorey; polygonal turret in angle with N chapel; 5-light Perpendicular E window. South West vestry with tall chimneys. South side has 3 and 4 light square-headed windows with frieze of flowers and animals over; blocked doorway in angle with aisles.

Reason for Listing

Graded I as the historic parish church of Cardiff, the main remains outside the Castle of Medieval Cardiff, with especially fine medieval tower and important monuments and good C19/early C20 fittings and glass.

References

John Newman, Glamorgan (Buildings of Wales Series), Cardiff 1995, pp 187-191.

John Harvey, English Medieval Architects..., Gloucester, 2nd Ed, 1984, p149.

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:

On site bounded by St John Street, Working Street, Trinity Street, and St John's Churchyard.

Source: Cadw

Listed building text is © Crown Copyright. Reproduced under licence.

Polymer clay tutorial Openwork Pendants

Very cosy and warm sweater / coat knitted with an ultrasoft baby-friendly (non-allergenic) acrylic yarn with a pearly thread weaved in it. Details requiring precision and finesse are finished with a crochet to make it look even more special and romantic.

It has a delicate satin ribbon which you can use to tie the sweater up but I can also put buttons on it if you like.

This sweater / coat is my original design, vintage inspired.

It may be a great gift for special occasions like baptism/christening but it will also be great as an addition to a romantic old-style outfit for a girl.

This particular sweater will fit 6-12 month baby and even up*.

© Evelda's Neverland, 2010. All rights reserved.

The lace design is made up from thin pieces of rickrack trim.

Closely associated with the social status and wealth of the owner, there were 5 different types of gate of traditional Courtyard Houses in Beijing. This small entrance belongs to the Golden-Column Gate 金柱大門, which was the second highest ranking gate in general, often adopted by relatively upper class families. In China’s Ming 明 (1368-1644) and Qing northern official style 北方官式 architectural tradition, the second row of columns behind the eave are called ‘golden columns’. The doors of a Golden-Column Gate are fixed between those second row columns on the front façade forming a little porch, hence its name.

Hanging underneath the front lintel, a piece of openwork wood carving depicts a winding vine with hanging grapes. Due to its image of multiple beads, grapes have been long associated with fertility in the Chinese decorative art tradition. The beams above are covered with colourful beam-paintings, each with a specific theme such as bird on peony, Daoist 道教 immortals and imperial garden views. On the lowest part, the garden views were realised with Western style perspective, which was a popular painting skill in Chinese decorative art since mid-late Qing Dynasty.

A Screen Wall 影壁 behind the entrance is a kind of decorative structure in Chinese architectural tradition, keeping the privacy for a more intimate space. Decorative glazed tiles or brick carving works are often embedded in these ritual walls to offer auspicious signs. The most common type of Screen Wall of a Beijing traditional Courtyard House is usually a pseudo-wall attached to the side of an inner building, facing the entrance from inside. This particular wall inside the No.12 Courtyard House in Changxiang 2nd Lane was built with a pseudo-timber roof full of auspicious signs carved on brick components, such as the openwork brick carving of gourds on the ridge ends implying fertility.

The main building inside the courtyard is full of tiny but exquisite wood carving works, such as the little wooden piers and heads of the doorframe decorated with the pattern of five bats implying the auspicious idiom of luckiness and longevity 五福捧壽, and the pattern of crane and pine tree representing the extension of lifespan 松鶴延年.

This photo was taken in 2009.

Official list entry

Heritage Category: Listed Building

Grade: I

List Entry Number: 1250085

Date first listed: 26-Aug-1965

Location

Statutory Address: CHURCH OF ST THOMAS OF CANTERBURY

County: Devon

District: Mid Devon (District Authority)

Parish: Lapford

National Grid Reference: SS 73152 08277

Details

Parish church. Norman origins, rebuilt in C15, north aisle added and nave re-roofed in late C15. Vestry added 1869 according to Cresswell and chancel is complete rebuild of same time. South porch rebuilt 1871. Further renovation of 1888 by Packham, Croote and Stuart included scraping and repointing the masonry, exposing and repairing the roofs, and some window replacement. 1955 restoration by Lt. Col. Bertram Shore. Original fabric of mudstone rubble with granite, red sandstone and volcanic ashlar detail; C19 snecked mudstone masonry and red sandstone, Hamstone and Bathstone detail; slate roofs with crested ridge tiles on north aisle. Nave with smaller and narrower chancel, north aisle and vestry, west tower and south porch. Perpendicular throughout. Tall west tower of 3 stages with diagonal buttresses and embattled parapet. Semi-octagonal stair turret projecting from south-east corner with embattled parapet. The 4 bold drip courses are carried round the stair turret and buttresses and rise as hoodmoulds over doorway and window on west side. Replaced belfry windows of red sandstone, all 2-lights with trefoil heads and a quatrefoil in the arched head. West side of tower has C15 doorway, a 2-centred arch with moulded surround and roll stops, which contains C19 studded plank door with plain heavy hinges. Tall 3-light window above with restored Perpendicular tracery and a drip course at sill level is on this side only. Late C19 carved gargoyle water spout at the top on the north-west corner. South side has an unusual and very weathered sandstone niche in the lower stage which now contains a C19 statue of St Thomas a Becket and, in the middle stage, a 2-light window to the ringing loft similar to the belfry windows but of volcanic stone and original. The stair turret has tiny slit windows and 1 quatrefoil light. The east face of the tower shows evidence of an earlier higher roof than present. South side of nave is much restored. Renewed Bathstone window at left end is square-headed and 2-lights with cinquefoil heads and hoodmould, and towards right end is a much-restored, arch- headed window with Perpendicular tracery. C19 porch has Bathstone quoins, kneelers and coping to gable end, outer flat arch with moulded surround, and lancets either side. At right (east) end of nave is a volcanic and red standstone offset buttress which has been reduced in height, possibly C15 work. Gable end of nave is slate hung above the chancel. Chancel itself is wholly C19. South side has two 2-light Perpendicular windows with a buttress between them. East end has diagonal buttresses each side, kneelers and coping to gable which is surmounted by a fleuree cross and contains large 3-light window with Perpendicular tracery and moulded hoodmould with large labels carved as bishops heads, and, near the apex, a trefoil headed ventilator. Set into the bottom of the wall is a plaque recording the 1955 restoration by Lt. Col. Bertram Shore (Architect), Harry Partridge (master builder) and Michael Tucker (master mason). North side of chancel has 2 lancets. East end of north aisle and gable end of vestry have the same kneelers, coping, cross and ventilator as the chancel. Former contains a 3-light Perpendicular window and latter a 3-light Decorated window. On east side of vestry is an arched door containing a plank door with Gothick cover strips and strap hinges with fleur-de-lis finials and on the north-west corner is a large chimney shaft supported by an offset buttress. Immediately to the right of the vestry the break between the C19 rebuild and C15 north aisle can clearly be seen. The north aisle nevertheless heavily restored 3-window front of tall square-headed 3-light windows with elliptical heads, sunken spandrels and moulded hoodmoulds. Original granite heads and renewed mullions. Restored buttresses between and chamfered granite plinth. West has been restored in the style of C19 rebuild of east end. Exceptional interior. Tiled floor of porch includes a C17 granite gravestone with a sunken border and bold lettering rising from it. 'God rest the soul of John Killan'. C15 south doorway, a granite 2-centred arch with moulded surround and roll stops. It contains an ancient studded oak door thought by some to be Norman. The coverstrips are C19 but the massive plain strap hinges, the other iron fittings and the large oak lock housing are original. Above the south door is a semi-circle of voussoirs, may be a blocked Norman arch. Nave has very fine late C15 wagon roof, now open but formerly ceiled. 8 bays, main trusses with moulded ribs and purlins, large carved bosses, carved vine leaf wall plate and angels bearing heaters stand on shaped corbels under each main truss. The 2 bays nearest chancel have a ceilure; the panels are boarded and there are diagonal cross braces, crestwork around the panels and on the wall plate, the bosses are richer and the whole finished with paint and gold leaf. ll-bay wagon roof to north aisle is similar but not quite as grand as the nave roof. Here too the original ceiling has been removed. Chancel has 4 bay C19 roof with false hammer beam trusses with moulded archbraces and cusped queen struts above collar. Similar roof to vestry. Moulded chancel arch on corbels. High tower arch has triple-chamfered arch ring dying into plain sides. Stair turret projects into south-west corner and includes a granite arch containing a C15 oak studded plank door. Late C15 4-bay granite arcade to north aisle with moulded piers (Pevsner's Type A) with moulded capitals to shafts only and wide low arches. Nave and aisle walls have been stripped of plaster and much restored. Large crank-headed arch to C19 vestry. C19 tile floors throughout with some patterned encaustic tiles in chancel. The late C15 8-bay oak rood screen across both nave and aisle is well-preserved and amongst the finest in the country. It has Pevsner's B Type Perpendicular tracery over panelled wainscotting with applied ogival tracery and lower quatrefoils. The ribbed coving over the arches is enriched with carved Renaissance motifs, and above this the cornice is covered by 4 friezes of densely carved openwork foliage and delicate cresting. Chancel door has been rehung and door to former north chapel is missing. Bay to left of chancel door had mullion removed in C17 to accommodate a reading desk and lintel with lobe decoration inserted. Rear of screen is less decorated. Contemporary oak 3 bay parclose. East bay of wainscotting has an applied strip of chip-carved oak with 4 trefoil heads. 4-light square-headed windows with slender Perpendicular tracery and round headed door. Most of seating is C15 oak benches. 2 distinct types but both are C15. Earlier benches now to south of nave and north of aisle have moulded surrounds to bench ends with boldly carved panels, either tracery or rigidly symmetrical plant motifs. The later C15 benches, mostly in the middle of nave and aisle, include original rear benches and frontal with collonade of flamboyant Perpendicular applied tracery and lower quatrefoils. Bench ends have carved foliage frames and similar tracery to 2-panels. These contain a variety of carved motifs in matching pairs arranged on heaters, sometimes heraldic achievements, plant symbols, human faces and some allegoric, such as symbols of the Passion. One features the initials of the Saint John family who had the manor and advowson from 1430 to circa 1490. Some C19 benches to rear. Other furnishings are all C19. Oak handrail on wrought iron supports with repoussee vine leaf brackets. Gothic-style Beerstone stem pulpit with octangonal drum and marble shafts to arcade and dated 1860, the gift of Henry Kelland. Oak lectern of 1884. Perpendicular Gothic-style Beerstone font. Single plain marble mural monument to James Wills Patridge (died 1836) on south wall. East window and south window have stained glass memorial windows, both to Kelland family and made by Beer and Driffield 1888-9. North windows have attractive late C19 leaded glass in which geometric patterns made up of small panes of coloured translucent glass and with simple flowers in heads. Sources. Devon SMR. Devon C19 Church Project. B Cresswell, Notes on Devon Churches in the Deanery of Chumleigh (1919), pp.96-107

"de style Louis XV"

Overview

Heritage Category: Listed Building

Grade: I

List Entry Number: 1269316

Date first listed: 18-Jan-1949

Location

Statutory Address: Abbey Church of St Mary & St Aldhelm, Malmesbury, Wiltshire SN16 0AA

District: Wiltshire (Unitary Authority)

Parish: Malmesbury

National Grid Reference: ST 93280 87320

Details

Benedictine Abbey church, now parish church. Church founded c637 by Irish hermit Mailduib, monastery founded during abbacy of Aldhelm (c675-705), though no pre-C12 work survives; church probably begun under Bishop Roger (c1118-1139), and mostly dates from c1160-80 with a 9-bay aisled nave, transepts with E chapels, chancel, ambulatory with 3 radiating chapels, and S porch, rebuilt 1350-1450 above gallery level with clerestory, vault, crossing spire and W towers, a lengthened chancel and Lady Chapel; spire fell 1479. After Dissolution nave altered by William Stumpe of Abbey House (qv) and damaged W parts walled for the parish church, W tower fell c1662, W window by Goodridge 1830, restored W end 1903. MATERIALS: limestone ashlar with stone tiles. STYLE: late Romanesque style C12 work, Decorated Gothic style C14 extensions. PLAN: reduced since the Dissolution to 6 E bays of nave, with short lengths of transept walls and S corner of W end. EXTERIOR: the E end has a single N chancel bay and matching chancel arch with paired half shafts set in square piers with quarter round capitals, beneath the 2-centre arched line of the vault, and tas-de-charges with sunken mouchettes; the jambs of next E bay has matching aisle and triforium semi-circular jambs with chevron mouldings. Inner wall of N transept has blocked 2-centred aisle arch containing a C16 doorway and 3-light mullion window, and a blind round-arched doorway to the right; 6-bay N elevation has a blind former cloister wall along the aisle divided by buttresses, with a roll-top coping, and round-arched windows above a cill band containing C14 tracery, with a steep gable in the fourth bay containing a 3-light Decorated tracery window; at the left end is a blocked, round-arched C12 doorway with an archivolt of relief palmettes, and a cusped cinquefoil arch set within. The C14 clerestory has flying buttresses with tall pyramidal pinnacles between 3-light 2-centre arched windows, 2-light at the E end, with paterae to each side of the three E windows. S transept as N, 2 bays after the aisle arch, an incomplete arcade of interlacing round arches with a chevron moulding

beneath 2 storeys of round-arched windows with splayed reveals, the lower windows flanked by narrow round-arched recesses containing inner arches open to a passage through the walls. The arcade continues along the former external side of the S transept and to the 9-bay S elevation, otherwise as the N side with a Decorated cusped openwork parapet to aisle and nave, and with second and third bays from E containing C14 2-centre windows with Decorated tracery. C12 porch rebuilt externally in C14 with angle buttresses, has a very fine splayed round-arched entrance of 3 orders, without capitals, richly carved with iconographic Biblical scenes set in oval panels, and separated by richly carved mouldings, and a hood with dog head stops. Inside is a similarly-moulded doorway and C14 door, beneath a tympanum of Christ in Glory supported by 2 angels, with along both sides the round-arched arcade above a bench, beneath finely-carved lunettes each of 6 Apostles with a horizontal flying angel above. In the E re-entrant is a square stair turret with a pyramidal roof. The incomplete W end has a massive clasping buttress stair turret to the S corner in 4 stages separated by moulded strings, blank from the ground, a pair of blind round-arched panels containing lower arched panels to the second stage, an arcade of narrow interlacing round-arches to the third, and a taller arcade to the fourth stage with square section mouldings; the bay to the left as the S aisle, with a pair of round arches with flanking half arches at the second stage enriched with chevron moulding, containing pairs of round-arches; above is an arcade of 5 round-arches, and a blind wall topped with a C20 parapet. The S side of the central entrance bay has the jamb of a round-arched entrance with 2 orders carved as the S porch and plain capitals, beneath the jamb of a large C14 W window with the springers of 4 cusped transoms. INTERIOR: nave arcade has round shafts with scallop capitals to sharply moulded 2-centre arches, with billet mouldings to the 2 E arches, and billet hoods with dog head stops; the triforium has blind round arches with attached shafts to cushion capitals, a chevron moulding, with an arcade of 4 similar arches within; splayed clerestory windows have rere arches. An attached shaft extends up from the piers to C14 tas-de-charges, and a lierne vault with carved bosses. A 'Watching Loft' is corbelled out above the fourth pier on the S side of the nave, with plain openings and billet moulded cornice. The C12 aisles have pointed quadripartite vaults and benches,

the blind arcade of the outside beneath the windows, on the S side without the middle columns; the E end bays have C15 stone screens with Perpendicular tracery. To the left of the entrance is a winder stair to the C14 parvis over the porch, which has C20 panelling. MEMORIALS: running counter-clockwise from the entrance, a wall monument to Joseph Cullerne, d1764, a marble panel with raised bracketed top section; wall monument to Robert Greenway, d1751, a marble shield; wall monument to Bartholomew Hiren, d1703, a panel with a broken pediment; at the W end, a wall monument to Dame Cyscely Marshal, d 162?, with a slate panel in a carved alabaster frame; to the left a late C17 cartouche with drapes; in the N aisle, a dresser tomb of King Athelston, d939, with narrow buttresses to the sides, with a recumbent figure of the King with his feet on a lion, and a vaulted canopy behind his head; wall monument to Elizabeth Warneford, d1631, a slate plaque set in a moulded alabaster frame with shields along the sides, a cartouche, and a segmental cornice over; wall tablet to Isaac Watts, d 1789, an oval marble panel set in slate; wall tablet to Johannes Willis, mid C18, a marble panel with gadroon beneath and a cornice; wall tablet to GI Saunders, d1806, with a round-arched top and moulded frame; wall tablet to Elizabeth George, d1806, a well-carved cartouche with putti below; wall tablet to Edward Cullerne, d1765, marble with yellow marble inserts and a pediment; wall tablet to Mary Thomson, d1723, a stone panel with draped surround including an hour glass; wall tablet facing the entrance to Willima Robernce (?), d1799, a stone frame including a small inscribed pointing hand in the corner. Set in the chancel floor are a group of 8 brasses from late C17 to mid C18. FITTINGS: include a round C15 font from St Mary Westport (qv), with a turned base and fluted sides; at the W end of the nave, is the font used since the C17; in the S aisle, a glass case containing a verge of 1615, carved with features of the Abbey; at the E end the S aisle is the parish chest dated 1638, panelled with 3 locks; communion rail of c1700 with twisted balusters. In the parvis are kept 4 volumes of an illustrated manuscript Bible of 1407. GLASS: mostly C14 glass in the N aisle; the Luce window in the S aisle designed by Burne Jones and made by William Morris. HISTORICAL NOTE: the use of pointed arches and vaults in the aisles is structurally advanced and transitional with Early Gothic, and links Malmesbury with subsequent West Country churches, but the carving is Anglo Saxon in character, and probably borrowed from manuscript illustrations. The conventual buildings stood on the N side of the church; for the reredorter and sections of the precinct wall, see

Abbey House, Market Cross (qv), and for the guest house, see Old Bell Hotel, Gloucester Street (qv). (Victoria History of the Counties of England: Crowley DA: Wiltshire: 1991-: 157; Archaeologia: Brakspear H: Malmesbury Abbey: 1912-; Smith MQ: The Sculptures of the S Porch of Malmesbury Abbey: Malmesbury: 1973-; The Buildings of England: Pevsner N: Wiltshire: London: 1963-: 321-327; Midmer R: English Medieval Monasteries 1066-1540: London: 1976-: 212).

© Historic England 2021

A visit to Coughton Court in Warwickshire, on the Spring Bank Holiday Weekend in late May 2018. A National Trust property, it was the home of the Throckmorton family.

Coughton Court is an English Tudor country house, situated on the main road between Studley and Alcester in Warwickshire. It is a Grade I listed building.

The house has a long crenelated façade directly facing the main road, at the centre of which is the Tudor Gatehouse, dating from 1530; this has hexagonal turrets and oriel windows in the English Renaissance style. The gatehouse is the oldest part of the house and is flanked by later wings, in the Strawberry Hill Gothic style, popularised by Horace Walpole.

The Coughton estate has been owned by the Throckmorton family since 1409. The estate was acquired through marriage to the De Spinney family. Coughton was rebuilt by Sir George Throckmorton, the first son of Sir Robert Throckmorton of Coughton Court by Catherine Marrow, daughter of William Marrow of London. The great gatehouse at Coughton was dedicated to King Henry VIII by Throckmorton, a favorite of the King. Throckmorton would become notorious due to his almost fatal involvement in the divorce between King Henry and his first wife Catherine of Aragon. Throckmorton favoured the queen and was against the Reformation. Throckmorton spent most of his life rebuilding Coughton. In 1549, when he was planning the windows in the great hall, he asked his son Nicholas to obtain from the heralds the correct tricking (colour abbreviations) of the arms of his ancestors' wives and his own cousin and niece by marriage Queen Catherine Parr. The costly recusancy (refusal to attend Anglican Church services) of Robert Throckmorton and his heirs restricted later rebuilding, so that much of the house still stands largely as he left it.

After Throckmorton's death in 1552, Coughton passed to his eldest son, Robert. Robert Throckmorton and his family were practicing Catholics therefore the house at one time contained a priest hole, a hiding place for priests during the period when Catholics were persecuted by law in England, from the beginning of the reign of Queen Elizabeth I. The Hall also holds a place in English history for its roles in both the Throckmorton Plot of 1583 to murder Queen Elizabeth I of England, and the Gunpowder Plot of 1605, although the Throckmorton family were themselves only indirectly implicated in the latter, when some of the Gunpowder conspirators rode directly there after its discovery.

The house has been in the ownership of the National Trust since 1946. The family, however, hold a 300-year lease and previously managed the property on behalf of the Trust. In 2007, however, the house reverted to management by the National Trust. The management of the property is renewed every 10 years. The family tenant until recently was Clare McLaren-Throckmorton, known professionally as Clare Tritton QC, until she died on 31 October 2017.

The house, which is open to the public all year round, is set in extensive grounds including a walled formal garden, a river and a lake.

The gatehouse at Coughton was built at the earliest in 1536, as it is built of stones which came from Bordesley Abbey and Evesham Abbey after the Dissolution of the Monasteries Act in 1536. As with other Tudor houses, it was built around a courtyard, with the gatehouse used for deliveries and coaches to travel through to the courtyard. The courtyard was closed on all four sides until 1651, when Parliamentary soldiers burnt the fourth (east) wing, along with many of the Throckmorton's family papers, during the English Civil War.

After the Roman Catholic Relief Act was passed in 1829, the Throckmorton family were able to afford large-scale building works, allowing them to remodel the west front.

Grade I Listed Building

Coughton Court

Listing Text

COUGHTON

SP06SE

1/144 Coughton Court

10/02/56

GV I

Country house, Gatehouse late C15, and after 1518; early and late C16; late C17

additions; west front remodelled 1780; additions and remodelling of 1835(VCH).

Limestone ashlar gatehouse. Timber framed with lath and plaster infill; brick;

imitation stone render. Tile and lead roofs; brick stacks, U-plan, formerly

courtyard. 2 and 3 storeys; 13-window range. Entrance (west) front symmetrical.

3 storey central gatehouse range has moulded plinth and double string course.

Square ground floor with corner turrets. C19 Gothic panelled part-glazed

double-leaf doors in 4-centred moulded arch with square head, hood mould and

carved spandrels. Stone mullioned and transomed windows with arched lights

throughout. Upper floors of different coloured stone. 2-storey canted oriel with

flanking lights and glazed octagonal turrets; 2 transoms on first floor, one on

second. Shield of arms on each floor. Turrets continued up another floor'; left

turret unglazed. Remainder 2 storeys only. Single 5-light window with transom

and hood mould. Clasping buttresses with quatrefoil panels projecting above

roof. Crenellated parapets with string course throughout. Remainder of front of '

scored imitation ashlar with stucco hood moulds. Ground floor has leaded 2-light

casements, 3 slightly recessed bays have Gothick sashes and moulded surrounds on

first floor. Projecting end bays with clasping buttresses. First floor: leaded

cross windows. String course above first floor. Attic with quatrefoil panels,

some part glazed. String course and crenellated parapet. Right return side of

thin bricks. Two C17 shaped gables with stone coping. Left gable between 2

external brick stacks; right gable has ball finials. 5-window range, mostly C17

stone cross windows. Narrow gabled wing set back. High single-storey range with

early C20 window, and plaster eaves cove. East front of gatehouse has unglazed

turrets and inscription over entrance. Irregular ranges to courtyard. Timber

framed with brick ground floor. Corresponding small 4-centred door. Irregular

fenestration with moulded stone mullioned windows ground floor, wood mullions

and casements above; some with transoms. 2 storey south range has close studding

with middle rail. Left section breaks forward and has 4 framed gables with

brackets. Entrance in recessed bay below third gable has 4-centred moulded

doorway with square head, hood mould and carved spandrels. Paired 6-panelled

doors with Gothick overlight. Right section has 2 large gables, and another

behind and above in roof, with decorative panel framing. Elaborately carved

scrolled bargeboards with finials and openwork pendants. End wall has gable.

Ground floor has 2 stone cross windows with arched lights. Blocked arches above

and in centre. 2-storey and attic north range. Close studding. 3 large framed

gables and smaller end gable all with casements and brackets. Ground floor has

four 3-light mullioned and transomed windows. First floor projects on plaster

cove. Blank gabled end wall. Left return side: range of c.1690. Scored render

with quoins. 3 projecting bays with hipped roofs. 4-centred doorway. Slightly

projecting first floor. Irregular fenestration with wood mullioned and transomed

windows. Interior: Entrance Hall with plaster fan vault. Late C18 open well

cantilevered staircase with moulded soffit and simple handrail; Gothick

plasterwork cornice. Drawing Room has simple early Cl6 stone fireplace. Windows

with C16,C17 and C19 armorial glass. Gothick plasterwork cornice. 6-panelled

doors. Little Drawing Room has C18 style carved wooden fireplace. Newel

staircase to roof. Tower Room has moulded 4-centred fireplace with carved

spandrels and projecting top. Two 4-centred doorways. North east turret has 2

hiding places. Dining Room and Tribune have fine C16 panelling possibly with

later work, turned balusters, grotesques and medallions with heads. Fine marble

chimneypiece with paired Ionic and Corinthian columns, cartouche and coat of

arms, Saloon, formed 1910, has arcaded panelled screen c.1660 (VCH) to Tribune.

C16 double-flight staircase from Harvington hall with heavy turned balusters and

square newel posts with finials. Study has fine C17 panelling with pilasters.

Ground floor with broad-chamfered ceiling beams. North range has part of a fine

C16 panelled timber cieling with moulded ribs and carved bosses. Dog-leg

staircase with C17 turned balusters. The Throckmortons were Catholics, and were

deeply involved in the Throckmorton plot of 1583. In 1605 the wives of the

Gunpowder Plotters awaited news at Coughton. In 1688 the east wing was destroyed

by a Protestant mob, and was finally cleared away in 1780.

(V.C.H.: Warwickshire, Vol.III, pp.75-78; Buldings of England: Warwickshire,

pp.245-6; Coughton Court; The National Trust 1984).

Listing NGR: SP0831160624

This text is from the original listing, and may not necessarily reflect the current setting of the building.

A look along The West Front with The Gatehouse in the middle, from the road in front of this side of the house.

The road links both churches on the estate.

Flag

Salamis "royal" Tombs, at Tuzla, outskirts of Salamis

...........

St Catherine's Prison

Salamis, Near Famagusta, North Cyprus

St Catherine's prison. Tomb 50 at the Royal Tombs, Salamis, near Famagusta, North Cyprus

St Catherine's Prison

St Catherine's prison is officially tomb 50 within the Royal Tombs complex. So Who was Catherine, and what was her link with here?

St Catherine was a royal princess, the daughter of King Constant of Cyprus, born around 287AD. The Roman emperor at the time was Diocletian, who was known for his cruel persecution of Christians. When Constant was transferred to Alexandria to rule over Egypt, his brother became administrator of Cyprus. King Constant died soon after his arrival in Alexandria, and his daughter was sent back to her uncle in Cyprus.

When her uncle learned that she had become a Christian, he tried to convert her back to the pagan religion. Catherine was unyielding, and proclaimed her faith with such determination, that her uncle was forced to take harsh measures against her. Fearing that the emperor would put him to death for protecting her, her uncle imprisoned her first at Salamis, then at Paphos, before sending her to Alexandria.

Tomb 50 at the Royal tombs, Salamis, near Famagusta, North Cyprus

Tomb 50

The ruler of Alexandria at the time was Maxentius, son of the emperor Diocletian, and he was as ruthless as his father. He also tried to get her to change her faith, without success, torturing her and throwing her into prison. He asked 50 philosophers and orators to convince Catherine to return to the religion of her fathers. She countered their arguments to such an extent that she converted them to Christianity. This infuriated Maxentius, who ordered that the philosophers be burned at the stake.

It is also said that when Maxentius was away from Alexandria, his queen, followed by 200 officers and men visited Catherine in prison to convince her to relent. the soldiers were so impressed by Catherine's convincing defence that they were converted to Christianity and baptised. When Maxentius heard of this, he had them all beheaded.

He finally ordered that Catherine should be severely beaten and tied to a rolling spiked wheel. Ever wondered where the firework got its name? Although she survived this torture, she was beheaded in 307.

The interior of St Catherine's prison, Salamis, near Famagusta, North Cyprus

St Catherine's Prison Interior

Tomb 50 was originally built in the first half of the 7th century BC. Like the other tombs, excavations in 1965 showed that it consisted of a vaulted rectangular burial chamber with a wide dromos to the east. Two sacrificed horse skeletons and traces of a vehicle were found.

Between the 3rd and 4th centuries AD, the present vaulted chamber was constructed. It is thought that during this period it was used as a temple where you could go to remember exalted people.

Between the 4th and 7th centuries, stairs were built at the entrance to the vaulted chamber, and it became a burial ground. In the dromos, amphorae were discovered, which had been used for children's burials.

From the 14th century, the building was used as a Greek Orthodox chapel, a use which continued up until 1950.

There is no proof that St Catherine was ever imprisoned here, but the structure of the building is obviously in the style of a church. As it has been dated to the 4th century, around the time of St Catherine, the obvious conclusion is that there must have been some reason for building it here......

The royal tombs (sometimes called the kings tombs) are located in an area between Tuzla and Salamis. The entrance to the complex is close to St Barnabas' Monastery.

Tomb 3 at the Royal Tombs, Salamis near Famagusta, North Cyprus

Tomb 3

This site became famous in the 1950s because of the rich finds here. Until the end of the 19th century, however there was almost a "free for all" for treasure hunters. At the start of the 20th century, however, more scientific excavation was started. Unfortunately, the methods used in those days also caused some damage. However, in every case, the entrance way (dromos) had been undisturbed, and it was in this area that the richest discoveries were made.

The tombs date to the 8th and 7th centuries BC. Some go back to the 11th century BC, suggesting that for some time, Salamis coexisted with Enkomi.

The funerary rites of the tombs are very similar. In all, at least one pair of yoked horses has been sacrificed in the dromos, with or without a chariot. The wooden parts of these chariots had decayed, but left impressions in the soil with the metal parts still in place. In tomb 3, excavated in 1964, one chariot was accompanied by the deceased's armour, a silver studied sword, some bronze and iron-headed arrows, a bronze shield and an iron-headed spear. Offerings of food and honey, placed in amphora, were also found here.

Tomb 1, excavated in 1957, contained two burials from different periods. The first consisted of a bronze cauldron containing the cremated bones of a dead woman wrapped in cloth, with a necklace of gold, rock crystal beads and several thin sheets of gold. It is thought because of the shape of the tomb and the richness of the material, the burial belonged to a noble lady or princess. The skeletons of two horses were found on the floor of the dromos, with traces of the wooden parts of a chariot. These date to middle of the 8th century BC. The second burial, around 100 years later was disturbed badly, but four horses' skeletons, traces of a two-poled chariot, as well as some metal parts of horses' gear and a chariot's metal parts were found.

Tomb 47 with Tomb 3 in the background at the Royal Tombs, Salamis, near Famagusta, North Cyprus

Tomb 47 (Tomb 3 in the Background)

Tombs 79 and 47 provided the richest finds, with evidence of several elaborate royal burials. Tomb 47 is the largest, and is alongside the Royal Tombs Museum. It was excavated in 1964. It has a spacious cemented dromos leading to a monumental temple in front of a chamber built of enormous well-dressed stones.

This tomb was used twice for burials. In the first, two horses of a hearse were sacrificed. One of the horses had tried to escape when its companion was killed, but had twisted round the chariot pole and was found with its neck broken. The iron bits of the horses were still in their mouths, and the remains of leather frontlets and blinkers covered with sheets of gold on their heads. There was no trace of the chariot in this burial, and it was probably used as a hearse and placed with the body.

At a later burial, six horses were sacrificed, yoked in pairs, with ornamental coverings, iron bits and blinkers and frontlets of ivory and bronze with relief decorations of lotus flowers.

The best finds, however, are from tomb 79, just south of tomb 47. Evidence shows that it received two burials in a short space of time towards the end of the 8th century BC. A four-horse chariot had its wheels held by magnificent lynch pins nearly 2 ft long, with a bronze sphinx head at one end, and a hollow bronze figure of a warrior at the other, wearing a crested helmet, body armour inlaid with blue glass, and a long sword hanging from a baldric.

Tomb 79 att the Royal Tombs, Salamis, near Famagusta, North Cyprus

Tomb 79

A two-horse hearse had bronze lion heads on the corners and on the front The bronze gear of the horses lay piled in a corner, including breast plates with embossed designs of oriental animals and myths, and two side pendants showing the goddess Ishtar as mistress of the wild beasts. |Also of oriental design was a bronze tripod cauldron decorated with illustrations of griffins and bird-men round the rim.

The principal find at this tomb was a number of ivories, including a gold and ivory throne and an ivory-veneered bed. Of the ornaments discovered, the finest was probably an openwork, two-sided plaque of a winged sphinx wearing the crowns of Egypt.

Some of the horse skeletons have been left in situ, and there is a small museum on site showing some of the finds, although most are now elsewhere, the bed for example being in the Cyprus Museum in south Nicosia.

There is no evidence to show that these Royal Tombs belonged to the kings of Salamis, but with the precious death gifts, and the monumental architecture of the tombs, there is no doubt that they belonged to noble or rich persons.

And the less noble or rich? They were buried at the Necropolis of Cellarka, which is to be found within this complex, as is Tomb 50, commonly known as St Catherine's prison.

"Secret swans". The back of the SWANclothing Lattice garters. Also with bonus leaf cutout. {#3dprint #swan #gold #steel #logo} For anyone who doesn't know, the cutouts are decorative but it's also to keep the weight and the volume down. I pay for these by volume, but also the metal is heavy if you don't hollow it out. And these are meant to help keep stuff up, as in your tights, not the opposite. That's also one reason why the generative openwork style of 3d print stuff is very prevalent, less volume. I don't do the generative thing. I'm old-school new-school? {#NeoPoodle}

Carved in 1752 by Emmanuel Wallyn of Poperinge, the wainscotting is said to illustrate the 148th & 150th psalms.

Please also visit my Photoblog at brohardphotography.blogspot.com

Follow me and become Fan at Facebook Loïc Brohard Photography

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.

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...

Omero Stylish openwork pattern tights with cotton Mari www.tights-store-online.com/omero/omero-stylish-openwork-...

Amar, Paul, (1919-2017), Algeria

A French Sephardic Jew and Roman Catholic, Paul Amar was born in Algiers, Algeria. At the age of 17 he went to Paris to learn the trade of hairdressing. In 1945, at the end of the Second World War during which he served as a soldier, he got married, became the father of two children and returned to Algiers to work as a taxi driver. But during the Algerian war, in 1962, he was repatriated to the French capital, where he again worked as a taxi driver. Twelve years later, aged 55, he discovered objects made from shells by chance in a souvenir shop.

Since then, he has embarked on the creation of an initial series of three-dimensional pictures using shells. He eats shellfish in all its forms in order to have sufficient stocks available. In a small room in his apartment used as a studio – he lives in a council flat in Paris – he grinds down and carves mussels, winkles and coral and decorates them with openwork. He subsequently assembles them with glue, then covers them with acrylic paint or nail varnish. Finally, he attaches them to lengths of wire arranged side by side in box-type frames. The pictures are presented in the form of high and low reliefs and are illuminated from within by light bulbs that the artist conceals in sea urchin shells. Ornamentation with vivid, pearly colours saturates the scenes and makes them verge on the sacred.

www.artbrut.ch/en_GB/author/amar-paul

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.

Old buildings on Church Road in Edgbaston.

This is the entrance to Edgbaston Golf Club on Church Road in Edgbaston. It is to the right of Edgbaston Old Church.

The building you see here is the Gatehouse to the former Edgbaston Hall.

The entrance to Edgbaston Hall, today a golf club. Sir Richard Gough bought the Edgbaston Estate in 1717 and employed Warwick architect Francis Smith to rebuild the existing mediaeval hall as a suitable home for him. Smith created a three-storey brick mansion, with a pillared porch leading into an entrance hall, dominated by a magnificent sweeping staircase. The hall contained a library, snooker room and several reception rooms; all the trappings of a gentleman's country house. The hall was extensively redesigned in 1850, at which time the gatehouse lodge was built. Today the hall is the clubhouse of the golf club.

From "Walks Through History Birmingham" by John Wilks

The entrance to Edgbaston Hall, now a golf clubhouse. Wall and brick lodge probably of 1850 by S.S. Teulon. Simple sashes and big door hood on blunt consoles echoed by projecting curved bases.

From Pevsner Architectural Guides: Birmingham by Andy Foster

The Lodge is Grade II listed.

Lodge to Edgbaston Golf Club 25 - British Listed Buildings

C19. Brick with stone lintels and gauged brick segmental heads to the window;

slate roof. Entrance arched and with stone gable projecting on big painted

stone brackets and big painted stone shaped plinths to arch. Elaborately

bracketed eaves cornice. Cluster of 4 chinmey stacks with tiny slit arches

between them. On either side of the drive, quadrant walls. Red brick with

blue brick plinth set off; upper part in openwork pattern of alternating bricks;

stone coping. At the road end, piers with similar plinth, cornice and blocking

course.

THE BISHOP'S PALACE AND BISHOP'S HOUSE

Overview

Heritage Category: Listed Building

Grade: I

List Entry Number: 1382873

Date first listed: 12-Nov-1953

County: Somerset

District: Mendip (District Authority)

Parish: Wells

Diocese of Bath and Wells

National Grid Reference: ST 55207 45781

Details

WELLS

Bishop's Palace and House. Begun in c1210 by Bishop Jocelyn but principally from c1230, restored, divided and upper storey added by Benjamin Ferrey 1846-54; north wing (now Bishop's residence) added in C15 by Bishop Bekynton, modified C18, and c1810 by Bishop Beadon. Local stone, roughly squared and coursed, with Doulting ashlar dressings, Welsh slate roofs, stone chimney stacks. PALACE EXTERIOR: the main palace now used for public functions and meetings is in 2 storeys with attics, in 7 bays. Plinth, string course between floors, wide buttresses with 2 offsets to bays 2 and 6, coped gables to bays 2, 4 and 6, paired octagonal stacks with openwork cappings to bays 3 and 5. Ground floor has 2-light trefoil-headed plate tracery windows to all but bay 4, similar windows to first floor with added quatrefoil windows with trefoil-arched labels, smaller versions of these windows to attic gables; central porch added c1824, has angled corner buttresses, gable with string and central panel of arms crowned with a mitre, the entrance through a moulded pointed- arched door flanked by two early C19 light fittings. The E wall is in 5 and-a-half bays, with large buttresses to 2 stepped offsets. The first 2 bays have lancets to the ground floor only, but bays 3, 4, and 5 have large 2-light windows with quatrefoil over, and lancets to the ground floor. The last half-bay has a corner stair-turret with stepped offsets. Far right is a deep gabled wing with a large stone-mullioned oriel above a panelled apron with shields of arms, carried on a deep moulded bracket, and with very large buttresses. A tower is set-back from this, adjacent to the moat, with 2 and 3-light cusped casements on 3 floors. PALACE INTERIOR: the original plan was with hall, solar, gallery and undercroft, the long range divided by a spine wall at each level; this remains the layout, with the addition of an upper floor (not inspected). The ground floor is entered through the central porch to a narrow gallery in 6 bays of quadripartite ribbed vaulting, carried on corbel capitals. In the central wall is a large C16 stone fireplace, brought in the late C19 from the former solar. The S wall has a doorway with Y-tracery to its head, and a corner door gives to Bishop Burnell's chapel (qv). The floor is of stone flags. At the N end is a very fine Jacobean open well stair with large square newels, including a double newel at the top landing, supporting carved griffons and with openwork pendants, panelled plaster soffite, painted dado panelling, and a compartmented ceiling with pendants. The undercroft beyond the wall is in 2x5 bays with a central row of Purbeck shafts to quadripartite vaulting, on faceted responds; there is a large stone fireplace of C15 design in the spine wall. The first floor, within Jocelyn's shell, has C19 detailing; Ferrey complained that much of the work to the ceilings was '.... done by an upholsterer from Bath....', but detailing is very rich, and good replica C19 patterned colourful wallpapers were installed c1970. On the E side is a suite of 3 rooms, with compartmental ceilings. The square room at the head of the stairs has a stone basket-arch fireplace with triple cusping, and retains some C18 panelling, and six 6-panel doors. The long central room has a 24-panel ceiling, and three C19 lighting pendants; at its S end a very rich pair of panelled doors opens to the square S room, in which are visible in the E wall remains of the original windows, which have been blocked externally. This room has no fireplace. The long gallery to the W of the spine wall has two fireplaces, dado panelling, and a ribbed panelled ceiling. The windows are in deep embrasures, and there are three 9-panel C19 doors. BISHOP'S HOUSE EXTERIOR: returns at the N end, being backed by the moat wall. It is in 2 parallel ranges, with a very narrow courtyard partly filled by C20 building, a cross wing containing a former hall, and opening to a porch at the S end, and a square tower on the NE corner. The S front is crenellated, and has 4 windows on 2 storeys with attic, all flush 2-light stone mullioned casements with cusped heads to the lights; at first floor 2 of the windows have C19 cast-iron small-paned casements, and there are 4 casement hipped dormers behind the parapet. To the left, in a lower wall with raked head are 2 similar casements, and set forward to the right, fronting the 3-storey N/S hall range is a low square tower with two 2-light plate-traceried windows as those in the adjacent Palace, and a round-arched C16 stone outer doorway with moulded and panelled responds and a large keystone with diamond embellishment. The porch is stone paved, with a stone bench to the left, and the inner doorway is a C15 stone 4-centred moulded arch with rosettes, hood-mould, and small diagonal pinnacles at the springing and key, above a carved angel keystone, containing a fine pair of early doors with panel, muntin and mid-rail, all with nail-heads. At the left end is a wide archway into the courtyard, on the site of the gateway seen in the Buck view. There are various lofty yellow brick stacks, including one very large stack to a coped gable in the rear range. BISHOP'S HOUSE INTERIOR: has been subdivided several times; in the front range are 2 plain rooms, then the inner hall to the porch, with the C15 doorway, a shell niche, and a stone arch matching that to the outer doorway of the porch; this gives to the main stair. N of the hall is a fine C15 oak screen with narrow panels and moulded muntins and mid-rail, and a central round-arched C20 doorway of C16 style. To the right is a large 3-light stone casement with transom, and to the left is a stone-flagged cross passage which runs through to a doorway at the moat end. The inner hall has 3 windows as in the outer hall, and the inner side of the screen has raised and moulded panels, and all members embellished, including small-scale chevron to the bressumer; the central C16 doorway has raised diamond keystone and enrichment. A dining room to the N has a peaked moulded wooden rere-arch, and opens in the NW corner to a small square study in the tower. This has a stone alcove in the N wall with a 3-light C16 casement, and in the corner access to a stone spiral stair rising the full height of the tower. There are many 6-panel doors, with raised mouldings, and with square centre panels. The main staircase is C20 with heavy turned balusters to the first floor, and a C19 straight flight with stick balusters in the upper flight. At first landing level the window contains fragments of mediaeval and C16 stained and painted glass; there is a second straight-flight stair between the ranges to the W. Rooms at first floor are generally plainly detailed; the N range had an extra floor inserted, and one bathroom has the lower part of one of the mediaeval oriels in its N wall. The second floor has a through corridor, and has many early 2-panel doors with raised mouldings. The square end room to the tower has a low relief plastered ceiling to a central rose, the window has early crown glass and a scratched date of 1822. Two of the bedrooms contain the upper parts of the oriels, and these have stone vaulted soffites, one including a carved angel keystone. Over the S range is a 6-bay collar and 2-purlin roof with original rafters, formerly with plaster; the space has 4 dormer windows. HISTORICAL NOTE: the complex building history, coupled with a splendid setting within its walled moat, makes this Palace an outstanding historic and visual document, with one of the most remarkable structures of the mediaeval period which '...represent the grandest aspect of the mediaeval way of life'.(Barley) The first-floor hall represents an outstanding example of its type, contemporary in date with those at St David's, Dyfed, and Southwark, London. (Buildings of England: Pevsner N: North Somerset and Bristol: London: 1958-: 312; Colchester LS: Wells Cathedral: A History: Shepton Mallet: 1982-: 227-244; Wood M: The English Mediaeval House: London: 1965-: 24 (PLAN); Bony J: The English Decorated Style: London: 1979-: PASSIM; Parker JH: Architectural Antiquities of the City of Wells: Oxford: 1866-; Barley M: Houses and History: London: 1986-: 60-63).

Listing NGR: ST5522445760

Borobudur Temple Compounds

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.

whc.unesco.org/en/list/592

Borobudur, or Barabudur, is a 9th-century Mahayana Buddhist Temple in Magelang, Central Java, Indonesia. The monument consists of nine stacked platforms, six square and three circular, topped by a central dome. The temple is decorated with 2,672 relief panels and 504 Buddha statues. The central dome is surrounded by 72 Buddha statues, each seated inside a perforated stupa.[1] It is the world's largest Buddhist temple,[2][3] as well as one of the greatest Buddhist monuments in the world.[4]

Built in the 9th century during the reign of the Sailendra Dynasty, the temple was designed in Javanese Buddhist architecture, which blends the Indonesian indigenous cult of ancestor worship and the Buddhist concept of attaining Nirvana.[4] The temple also demonstrates the influences of Gupta art that reflects India's influence on the region, yet there are enough indigenous scenes and elements incorporated to make Borobudur uniquely Indonesian.[5][6] The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path around the monument and ascends to the top through three levels symbolic of Buddhist cosmology: Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). The monument guides pilgrims through an extensive system of stairways and corridors with 1,460 narrative relief panels on the walls and the balustrades. Borobudur has the largest and most complete ensemble of Buddhist reliefs in the world.[4]

en.wikipedia.org/wiki/Borobudur

Stevenage - An openwork concrete Clock Tower designed by Leonard Vincent, forms the focal point of the Town Square. Stevenage was designated as a New Town in 1946, the Clock Tower is believed to date from 1957-9 and is now grade 2 listed.

Stevenage, Hertfordshire, Home Counties, UK - Clock Tower, Town Square

July 2020

Silver annular brooch. Ardagh, County Limerick. Irish, 8th - 9th Century AD, National Museum. Dublin, Ireland. Copyright 2016, James A. Glazier

Andrea Costa Blog

Andrea Costa facebook

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.

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 tomb of Katherine Parr - 6th and final Queen of Henry VIII.

The morning walking tour of Beaune. At first it was dry, but it started to rain a bit as we went around the town.

Beaune (French pronunciation: ​[bon]) is the wine capital of Burgundy in the Côte d'Or department in eastern France. It is located between Paris and Geneva.

Beaune is one of the key wine centres in France and the annual wine auction of the Hospices de Beaune is the primary wine auction in France. The town is surrounded by some of the world's most famous wine villages, while the facilities and cellars of many producers, large and small, are situated in Beaune itself. With a rich historical and architectural heritage, Beaune is considered the "Capital of Burgundy wines".

It is an ancient and historic town on a plain by the hills of the Côte d'Or, with features remaining from the pre-Roman and Roman eras, through the medieval and renaissance periods and up to recent history and modern times.

Beaune is a walled city, with about half of the battlements, ramparts, and the moat, having survived and in good condition, and the central "old town" is extensive. Historically Beaune is intimately connected with the Dukes of Burgundy.

Landmarks in Beaune include the old market (les Halles), the 15th-century Hospices, the Beffroi (clock tower), and the collegiate church of Notre Dame.

Place Monge

Tour de l'horloge de Beaune

Tower of the clock of Beaune

The belfry , known as the clock tower , of Beaune is a tower built in the 13th and 14th centuries, located rue Marey, Beaune , Côte-d'Or .

The clock tower of Beaune , which belongs to the city of Beaune, was classified historical monument by decree of the 27 August 1885.

In 1395 , following a dispute between the town of Beaune and the Abbey of Maizières , Duke Philip III the Bold ordered the monks to yield to the city, for 200 gold francs, a tower and house located in the rue du Coal market. In November, 1397 , the Duke granted a portion of the money raised on the salt for the establishment of a clock on the tower; The oldest bell is dated 1407 .

A deliberation of the 8 April 1575 Mentions a contract with Jehan de Curtil , a roofer in Beaune to cover the clock with lead tiles, slates and others.

In 1681 , a report of the visit described the building as a six-storey tower, the only one of which could be inhabited, the others having no floor (the weights of the clock then descended to the second floor). The tower, judged to be in poor condition, will have to be raised by 12 feet ( 3.90 m ) so that the clock can be heard throughout the city. At that date, the large dormer East contains a dial surmounted by a moon; At the end of the eighteenth century , Bredeault reported that a globe half black, half gilded, marked the phases of the moon; Two inscriptions on paper found in the globe in 1800 indicate that it was made in 1620 and redoured in 1780 .

A new clock was bought in Paris in 1860 and the dial replaced in 1880 . In the 17th century , the other skylight was adorned with a leaded Mercury.

The tower of the clock was repaired many times over the centuries; Following an estimate of the repairs made in June 1749 by the contractors Bellevault and Rouge, the municipality decided, 20 December 1750 , To make demolish the tower judged in too bad state. In the face of the general disapproval, the project of destruction was abandoned, and the building was consolidated by ties according to the estimate of 1749 . A memorial of reparation was established in 1785 by Pourcher.

The tower includes a vaulted cellar with well, a ground floor that housed a shop, and five floors covered with beamed floors. The cellar is reached by a stone staircase, the first floor by a staircase in stone screw and the others by straight staircases in wood.

The five floors are pierced on the street side with cushion windows, the sixth of a rectangular day on each side. On the second floor, a fireplace has retained a raven and ancient piers.

The tower is covered with a roof of slate in pavilion surmounted by a campanile openwork in framework covered with lead; Its gargoyle spire is adorned with a ducal crown in the upper third and a spike of ridge.

Since 2009, in the evening there is a video animation specially designed for the architecture of the building. It stages cogs and gears of the clocks, inside the building, and a cat playing with the lights that could come out of the windows.

In 1893 the timber-frame, roof and plumbing of the campanile were restored, and the walled or partly destroyed bays restored according to the Selmersheim estimate.

clock and weather vane

I have been traveling to Leuven once a month for some 17 months now, and have not, until yesterday, visited the church of St Peter.

It stands in the centre of the town, opposite the ornate Town Hall, and around most of it is a wide pedestrianised area, so it doesn't feel hemmed in.

It is undergoing renovation, and a large plastic sheet separates the chancel from the rest of the church, and in the chancel, called the treasury, are many wonderful items of art. And maybe due to the €3 entrance fee, I had the chancel to myself, and just my colleagues with me when I photographed the rest.

----------------------------------------------

Saint Peter's Church (Dutch: Sint-Pieterskerk) of Leuven, Belgium, is situated on the city's Grote Markt (main market square), right across the ornate Town Hall. Built mainly in the 15th century in Brabantine Gothic style, the church has a cruciform floor plan and a low bell tower that has never been completed. It is 93 meters long.

The first church on the site, made of wood and presumably founded in 986, burned down in 1176.[1] It was replaced by a Romanesque church, made of stone, featuring a West End flanked by two round towers like at Our Lady's Basilica in Maastricht. Of the Romanesque building only part of the crypt remains, underneath the chancel of the actual church.

Construction of the present Gothic edifice, significantly larger than its predecessor, was begun approximately in 1425, and was continued for more than half a century in a remarkably uniform style, replacing the older church progressively from east (chancel) to west. Its construction period overlapped with that of the Town Hall across the Markt, and in the earlier decades of construction shared the same succession of architects as its civic neighbor: Sulpitius van Vorst to start with, followed by Jan II Keldermans and later on Matheus de Layens. In 1497 the building was practically complete,[1] although modifications, especially at the West End, continued.

In 1458, a fire struck the old Romanesque towers that still flanked the West End of the uncompleted building. The first arrangements for a new tower complex followed quickly, but were never realized. Then, in 1505, Joost Matsys (brother of painter Quentin Matsys) forged an ambitious plan to erect three colossal towers of freestone surmounted by openwork spires, which would have had a grand effect, as the central spire would rise up to about 170 m,[2] making it the world's tallest structure at the time. Insufficient ground stability and funds proved this plan impracticable, as the central tower reached less than a third of its intended height before the project was abandoned in 1541. After the height was further reduced by partial collapses from 1570 to 1604, the main tower now rises barely above the church roof; at its sides are mere stubs. The architect had, however, made a maquette of the original design, which is preserved in the southern transept.

Despite their incomplete status, the towers are mentioned on the UNESCO World Heritage List, as part of the Belfries of Belgium and France.

The church suffered severe damage in both World Wars. In 1914 a fire caused the collapse of the roof and in 1944 a bomb destroyed part of the northern side.

The reconstructed roof is surmounted at the crossing by a flèche, which, unlike the 18th-century cupola that preceded it, blends stylistically with the rest of the church.

A very late (1998) addition is the jacquemart, or golden automaton, which periodically rings a bell near the clock on the gable of the southern transept, above the main southern entrance door.

Despite the devastation during the World Wars, the church remains rich in works of art. The chancel and ambulatory were turned into a museum in 1998, where visitors can view a collection of sculptures, paintings and metalwork.

The church has two paintings by the Flemish Primitive Dirk Bouts on display, the Last Supper (1464-1468) and the Martyrdom of St Erasmus (1465). The street leading towards the West End of the church is named after the artist. The Nazis seized The Last Supper in 1942.[3] Panels from the painting had been sold legitimately to German museums in the 1800s, and Germany was forced to return all the panels as part of the required reparations of the Versailles Treaty after World War I.[3]

An elaborate stone tabernacle (1450), in the form of a hexagonal tower, soars amidst a bunch of crocketed pinnacles to a height of 12.5 meters. A creation of the architect de Layens (1450), it is an example of what is called in Dutch a sacramentstoren, or in German a Sakramentshaus, on which artists lavished more pains than on almost any other artwork.

In side chapels are the tombs of Duke Henry I of Brabant (d. 1235), his wife Matilda (d. 1211) and their daughter Marie (d. 1260). Godfrey II of Leuven is also buried in the church.

A large and elaborate oak pulpit, which is transferred from the abbey church of Ninove, is carved with a life-size representation of Norbert of Xanten falling from a horse.

One of the oldest objects in the art collection is a 12th-century wooden head, being the only remainder of a crucifix burnt in World War I.

There is also Nicolaas de Bruyne's 1442 sculpture of the Madonna and Child enthroned on the seat of wisdom (Sedes Sapientiae). The theme is still used today as the emblem of Katholieke Universiteit Leuven.

en.wikipedia.org/wiki/St._Peter%27s_Church,_Leuven

The Sacred Heart Church or Sacred Heart Parish church Graz is a brick building in neo-Gothic style, a Roman Catholic church in Graz St. Leonhard . The building was built in 1881-1887 and has the third highest spire in Austria and is one of the most important buildings of historicism in Styria.

Architectural History

Facade

In 1875, called a native of South Tyrol Prince Bishop Johann Baptist Zwerger, a great admirer of the Sacred Heart, for the first time to build a Sacred Heart Church for Graz. The church should be a parish center for the then rapidly growing Gründerzeitviertel now in the district of St. Leonhard and at the same time representing an important monument of the Sacred Heart devotion .

After long discussions about the architecture ( the building of a church of the nature of the Votive Church (in Vienna) had to be rejected for cost reasons) eventually a native of Graz George of Hauberrisser, architect of the Munich town hall, was commissioned with the establishment of the church in neo-Gothic brick style by way of the north German churches in the style of Brick Gothic . The groundbreaking ceremony took place in 1881, in 1885 the same roof was completed in 1887 and celebrated the high tower. On 5 June 1891 the church was consecrated , but only on 10 October 1902 the parish church. In the years 2004 and 2005, a comprehensive foreign restoration was carried out.

Outside

Herz-Jesu- Kirche Graz , north -west side

The church and parsonage are built in the same style surrounded by a park and visibly influenced by the ideals of Romanticism. To achieve a monumental appearance , despite the low-lying building site , the church was built in the form of a two-storey lower church , which opens in arcades to the park, and an overlying upper church. The southwest tower of the church is not exactly geostet (eastern-oriented) with 109.6 meters the third highest church tower in Austria , according to the towers of St. Stephen's Cathedral and St. Mary's Cathedral in Linz.

Upper Church

The church was to as many people on the sanctuary to provide a view built as a directed road church with side chapels , support free interior and integrated into the nave wall piers. The stern look of great free interior is enlivened by colorful windows and wall frescoes. The prevailing inside single overall impression is due to the fact that Hauberrisser has designed every little detail and even the original equipment is still intact .

Altar area

The new altar designed by Gustav Troger

Look through the nave to the front

Looking back through the nave

Through a wide steps of plant base of a large pointed arch at the transition is made to the presbytery. A higher floor level than the ship and a little different material choice the altar area is highlighted.

As part of the preparation for the Centenary of the Church in 1991 led to a redesign of the altar area of the church. In the spirit of the liturgy reforms of the Second Vatican Council , a smaller additional altar was to maintain the original high altar still can , built on an upstream , designed by the architect Henry Tritthart podium. This so-called people's altar was made ​​according to a design by the Styrian artist Gustav Troger , as well as a new ambo and glass chandeliers.

The original altar consecrated to the Sacred Heart is designed as altar canopy . In the front pediment of the altar canopy wound of a crown of thorns heart is to see, and an openwork roof attachment holds the statue of the risen, the Redeemer pointing to his open heart.

Side chapels

There are small chapels with Retabelaltären and murals on both sides of the nave.

Left Right

Joseph's Chapel Lady Chapel

Francis Xavier Chapel Aloisiuskapelle

Barbara Chapel Nepomukkapelle

Annakapelle Antoniuskapelle

Cross Chapel Baptistry

Mural

At the request of the architect Hauberrisser Viennese genre and historical painter Karl Karger was entrusted with the production of the mural. Karger then created boxes, after which his pupils Johann Lukesch and Max Goldfeld ran the paintings from 1886 to 1906. The 12 murals on the sides of the nave and chancel on the north wall form a closed cycle, which begins with the worship of Christ front right by shepherds and kings and ends with the crucifixion of Christ. Each image is accompanied by an explanatory quotation from the Bible .

Stations of the Cross

The 14 Stations of the Cross painted on copper plates , which are located on the outer walls of the side chapels were designed by the Viennese painter Josef Kastner .

Pulpit

The octagonal pulpit rests on a stronger central column and seven slender columns, which also take the stairs. In the fields the pulpit railing relief busts of the four evangelists are seen at the six corners of the sound cover are angel with a banner ( Discite a me, uia mitis sum et humilis corde - Learn from me , for I am meek and humble of heart ' , Matthew 11:29 ) , and on the underside of the lid, the sound is represented as a dove symbolizing the Holy Spirit.

Window

The glass windows of the Sacred Heart Church provide one of the few completely preserved ensemble neo-Gothic glass art in Austria. From the according to the design of Haubenrisser designed windows came the figural art glass in stained glass of the Institution Neuhauser in Innsbruck, the simpler glazing partially in Graz. In the figural windows main content Christian doctrine is presented, such as the Trinity and the saints and the risen Christ.

Organ

1889 a large two-manual organ with 36 registers and pneumatic action was built by the Walcker firm. 1941, the plant was then a third manual, a positive return, extended and converted the pneumatic action of electro-pneumatic operation . An overhaul of the builders firm was completed in 1991. Now there are 52 registers.

Bell

In the first World War II were dismantled all bronze bells as war material. In the 2nd World War II again. Only the smallest was then obtained. As a result of it steel bells were installed, for cost reasons and because it is to be expected that they remain safe. Only the largest (about 3000 kg) is currently at 7 , 12 and 19 clock ( electric motor ) rung (2009). The small bronze bell serves as Totenglöcklein (death knell).

Crypt

The lower church is dedicated to the poor souls. This three-nave system can be achieved through a wide staircase and a hall through the unspoilt natural brick structure of the pier produces a strong impression. Closing windows on three figualen choir Christ , Mary and John the Baptist are seen. The original altar of the lower church is located directly beneath the high altar of the upper church and is a simple Retabelaltar with relief representations of the " poor souls ". Even in the lower church, a new altar area was built to celebrate the winter here in worship. The redesign of the altar area was designed by architect Henry Tritthart.

de.wikipedia.org/wiki/Herz-Jesu-Kirche_(Graz)

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 panelling is dated 1776.