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The Cathedral Church of St Andrew, Wells by The Shaldives

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.

Milano 6 by Andrea Costa

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View on top of the Milan's Chathedral

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

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

Architecture and art

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

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

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

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

Abbey Church of St Mary & St Aldhelm, Malmesbury by The Shaldives

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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).

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

History

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

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

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

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

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

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

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

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

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

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

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

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

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

External architecture

The church from the south-west

View from the west

Church on the south side; on the facade visible sundial

View of St. Mary's Church from Wawel

View of St. Mary's Church mound of Krak

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

Towers

The facade of the temple is included in two towers:

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

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

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

Facade

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

Porch

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

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

Kuna

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

Interior

Presbytery

The nave

Choir and organ

The chancel with altar by Veit Stoss

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

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

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

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

The main altar

Main article: Altarpiece of Veit Stoss.

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

The body of the aisle

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

The nave

The vault of the nave

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

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

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

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

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

Northern nave

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

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

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

Southern nave

Ciborium, on the right - a crucifix by Veit Stoss

Crucifix Veit Stoss

Main article: Crucifix Veit Stoss.

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

Other equipment

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

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

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

Upwell, Norfolk, parish church of Upwell St. Peter, organ case, carved panel by groenling

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organ built in 1874 by G.M. Holdich

Crocheted open work decorated mittens fingerless gloves by hypericumfragile

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Stadthagen, Niedersachsen, St.-Martinikirche, organ, detail by groenling

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The case was made for an organ completed by Christian Vater of Hannover in 1731. The present instrument was made by Alfred Kern & Fils.

Helmet Mask (Cap Mask), 20th century by Doris Bowling

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Unattributed Bamum artist

Cameroon

Medium: Wood

This gigantic mask is known as nkem or "basket mask" because of its openwork crown, which suggests the form and decoration of a royal cap. Owned and performed exclusively by members of kwifon, a society of political and social enforcers who counsel and oversee the fon (king), this mask's puffy cheeks may suggest old age, dignity and wisdom. The lacy pattern of the cap is based upon the spider, a symbol used exclusively on art objects produced by members of the nobility. The spider design may signify knowledge both earthly and otherworldly as gained through the rituals of divination.

Cincinnati Art Museum

DSCF4447

52 Weeks of Color Challenge - Week 38 / Papaya Whip by Xaqueline Seda

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I literally acted on my craving this time and went to get a papaya smoothie when I saw this color. Combining the vanilla-like shade with an orangey coral and green seemed like a natural thing to do; like a ripe papaya growing on the tree.

And here you thought it was just a color ;)

On to the deets:

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Skin___ *Leafy - Sapphire (Group Gift Skin, makeup layers added)

Hair___ Magika Tendency 03 Pack

Necklace___ Maxi Gossamer - Tilly Ethnic Necklace, Short #1 in Bleached

Tank___ Hucci - Penelope Tank in Toffee Creme

Bracelets___ Sweet Leonard-Needful Things - Luna Bangles (VIP Group Gift)

Jeans___ paper.doll - SkinnyJeans in WhiteWash

Shoes___ {mon tissu} Openwork Wedges in Coral

Pose___ aDORKable Poses Poofy Dork #9

Torah finials by Center for Jewish History, NYC

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Title: Torah finials

Description: The finials consist of three sections: a tubular shaft topped by an openwork crown surmounted by a rampant lion supporting a shield inscribed. floral motifs above and below. Single bell inside each crown.

Artist: unknown

Medium: silver

Date: possibly 18th Century

Persistent URL: digital.cjh.org/R/?func=dbin-jump-full&object_id=411057

Repository: Yeshiva University Museum

Accession number: 1994.045

Rights Information: No known copyright restrictions; may be subject to third party rights. For more copyright information, click here.

See more information about this image and others at CJH Digital Collections.

Poperinge, West-Vlaanderen, parochiekerk Onze-Lieve-Vrouw, choir, woodwork: violin & dragons by groenling

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carved in 1752 by Emmanuel Wallyn of Poperinge ; the dragons are said to refer to psalm 148, verse 7: Praise the Lord from the earth, ye dragons....

Cross Keys public house and St Mary's Church on Kirkgate, Thirsk, North Yorkshire by North Yorkshire Cameraman

The Cross Keys public house is one of the oldest buildings in Kirkgate, Thirsk, North Yorkshire, England and it still shows remnants of the original medieval timber frame that would have supported panels of wattle and daub.

The steeply-pitched roof was once thatched. Like all yards in Thirsk, the space behind the pub was lined with cottages, stables and outbuildings including a smithy, the landlord being both blacksmith and publican.

The Cross Keys is on the Thirsk Blue Plaque trail.

St Mary's is over 500 years old, having been built on the site of a previous Norman Church. As the following description from Arthur Mee's Yorkshire North Riding indicates it is worth a visit:

"Thirsk has nothing to compare with its splendid church of St Mary, which has probably no equal for its time in the North Riding. Set on the green bank of one of the willow-bordered streams, it is a magnificent tribute to those who built it in the first half of the 15th century. Nobly yet simply planned, it has a lofty clerestoried nave with aisles, a lower chancel built over a crypt, a west tower, and a two-storeyed porch. A lovely feature of the exterior is the openwork parapet of traceried battlements edging all the walls, as well as the tower and the porch, as with delicate embroidery. There are slender and leafy pinnacles, weird gargoyles, and a glorious array of windows which make the interior a veritable lantern of light.

The tower has unusual buttresses, stepped and sloping, and a niche with a battered sculpture, probably a Madonna. The porch has an oak roof with bosses, but we still see the springers which were meant to support a vault. The richly moulded inner doorway has its worn 15th century door, still magnificent with its studs, tracery, and wicket. It is an introduction to much beautiful old woodwork within. The finest of the 500-year-old roofs is that of the nave, a barrel of open timbering with rich beams and bosses, and spandrels with tracery. In the carving of the one or two bench-ends that remain we see the asses of Askwith and the lion of Mowbray. There are 15th century screens in the aisles, a medieval door in the chancel, an old chest, and an exceptionally fine altar table said to have come from Byland Abbey; it has a border enriched with heads of men and women, and is supported by seated lions. Some old wood is worked into the pinnacled cover of the font.

Beautiful arcades soar to the great clerestory, where, between the windows, are traces of 17th century paintings of saints. The chancel has a trefoiled niche at each side of the east window, and three handsome sedilia. An oil painting of Doubting Thomas is thought to be 16th century, and one of the bells is believed to have been ringing at Fountains Abbey 500 years ago. In the 15th century glass filling the east window of the south aisle with a rich medley of red, blue, and silver light are many little heads and many complete figures, among them Anna, Cleopas, St Leonard, St Giles kneeling, and angels with shields. On two of the shields are three asses and the lion to match those carved in wood. St Catherine and angels are recognisable in glass fragments in the other aisle. The window above Sir Robert Lister Bower's bronze portrait plaque has rich glass in his memory. He had a thrilling adventure in his army days, for as a young man he was in the regiment which went up the Nile to try to relieve Gordon at Khartoum; in his window are nurses, an African native, and a knight riding a horse in splendid trappings, hounds following.”

Kraków, Poland, Kościół Mariacki (Marienkirche), Chiesa di Santa Maria, Iglesia de Santa María, Eglise de Sainte Marie, St. Mary's Church (gotisch) - Plac Mariacki (Marienplatz) by Josef Lex (El buen soldado Švejk)

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Church Church of Our Lady Assumed into Heaven (Assumption of the Blessed Virgin Mary), St. Mary's Church - one of the largest and most important, the Wawel Cathedral, Krakow church, Basilica since 1963 . It belongs to the most famous sights of Krakow and Polish. It is located at the northeast corner of the main square, the Marienplatz .

According to John Dlugosz Parish Church on the Market of Krakow was founded by the Bishop of Cracow Iwona Odrowąż between 1221-1222. In the years 1290-1300 was built partly on the foundations, new early Gothic style church, consecrated in 1320.

It was then completely rebuilt. In the years around 1355-1365 with the significant participation of Nicholas Wierzynka older (patrician Cracow and Sandomierz esquire carver ) was built on one level elongated presbytery opened up tall windows, which were filled with stained glass windows in the years around 1360 to 1400. With the construction of the sanctuary began work on a new main body, which had initially taken the form of a three-aisled hall. These works, however, delayed, and the original concept has changed, and finally at the end of the fourteenth century the body of the basilica was modeled on the western part of the Wawel Cathedral. Przekryty he was in the 1395-1397 cross-ribbed vault by Master Nicholas Werhnera from Prague. In the years 1435-1446 at the outer walls of the aisles were built chapels. Most of them were the work of a master of Kleparz Francis Wiechonia. At the same time the north tower was raised, designed to act as guardians of the city. In 1478, carpenter Maciej Heringk nabbed a characteristic polygonal tower cupola. The helmet is decorated with gilded crown Marian in 1666 .

In the years 1477 - 1489 Mary century, the temple has been enriched by a masterpiece of late Gothic sculpture - a new high altar by Veit Stoss, funded by the city councilors .

In the sixteenth and seventeenth century St. Mary's Church gained new chapels, tombs and altars, in later centuries replaced. Mannerist altar of St . Agnes and Saints Catherine and Dorothy found recently in Iwanowice, Baroque altars St . And St. Joseph's. Anne's parish church in Brzeszczach near Auschwitz . At the end of the seventeenth century, the church replaced the floor and built two magnificent portals made of black Debnik limestone. In the eighteenth century at the behest of Archpriest Jack Łopackiego, the interior of the church was thoroughly modernized in the late Baroque style. When the big altars, equipment, furniture and the walls were imposed pilasters and entablature, illusionist ceiling are covered with murals by Andrzej Radwanski. From this period has also been set in the late Baroque façade porch.

In 1795 the churchyard was abolished. This is how the Marienplatz square came into existence. Some survivors of the epitaphs was transferred to the walls of the temple. In the 90s of the nineteenth century, the architect Tadeusz Stryjeński conducted a comprehensive restaurant church, during which zregotycyzowano interior. Temple gained a new decorative painting design by Jan Matejko. By executing murals collaborated, among others Stanislaw Wyspianski and Mehoffer .

Facade of the temple is enclosed in two towers:

Higher tower, known as the Watchtower " Excubiarum ", is 82 meters high. It is built on a square plan, the individual stories separate stone cornices. On the ninth floor of the octagon passes, opened up lancet arches, falling two stories of windows. Gothic towers covers the helmet , which is the work of a master Matthias Heringka of the year 1478. The helmet consists of an octagonal, sharpened needle, surrounded by a ring of eight lower turrets. From the tower, from a height of 54 meters, is played every hour bugle Mary. At the bottom, on the north side, there is a rectangular annex, located a stone staircase leading to the interior of the tower. On the left side of the entrance to the tower draws attention turned, cast in bronze plaque depicting King Jan III Sobieski. It was made based on the design by the sculptor Pius Weloński in 1883 to commemorate the 200th anniversary of the Battle of Vienna. The higher the tower 's bell clock to 1530 (tons Impact d ', diameter 165 cm).

Lower tower with a height of 69 meters, is the church bells. It was built on a square plan, as higher is clearly marked on the entire height of the cornices and windows, floors division. On the floor of the bell tower is a Renaissance chapel dedicated to St Paul's. Paul ( Family Kauffmannów ), which can be accessed through the Renaissance balcony, a work of Italian masters from the workshop of Bartholomew Berecciego working on Wawel Hill. Outside, above the window of the chapel, the roof is suspended trójspadowym bell " for the dying ", cast by Kacper Koerber of Wroclaw in 1736 . Helmet covers the late Renaissance Tower, constructed in 1592, consisting of an elliptical dome, mounted on an octagonal drum and lantern topped with openwork. In the corners are set four smaller domes at low , hexagonal bases. In the tower are suspended five bells :

- The oldest (gis Impact tons, diameter 105 cm, weight 11.65 kN) at the turn of the thirteenth and fourteenth centuries ,

- Two more, called Misjonałem (attributable to FIS 00 tons, diameter 136 cm, weight 22.2 kN) and Tenebratem (attributable to dis tons, diameter 175 cm, weight 48.5 kN) were filed between 1386 and 1390 by John Weygela the New Village at Spis ,

- And also the fourth largest, called Półzygmuntem (attributable to cis 40 tons, diameter 180 cm, weight 60 kN, heart weight 1.95 kN), is the work of John Freudental of 1438, the foundation was established through collective magnate, as evidenced by adorning it crests knights. Półzygmunt and Tenebrat are accompanied by inscriptions on the content of Marian.

- Fifth, cymbal clock, made in 1564, once cooperated with located on the taller tower clock. Activated manually by the bugle call player was using rods .

Four bells liturgy is one of the largest and oldest medieval bells teams in Poland.

www.mariacki.com/index.php/historia

The Cathedral Church of St Andrew Wells by The Shaldives