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A visit to Coughton Court in Warwickshire, on the Spring Bank Holiday Weekend in late May 2018. A National Trust property, it was the home of the Throckmorton family.
Coughton Court is an English Tudor country house, situated on the main road between Studley and Alcester in Warwickshire. It is a Grade I listed building.
The house has a long crenelated façade directly facing the main road, at the centre of which is the Tudor Gatehouse, dating from 1530; this has hexagonal turrets and oriel windows in the English Renaissance style. The gatehouse is the oldest part of the house and is flanked by later wings, in the Strawberry Hill Gothic style, popularised by Horace Walpole.
The Coughton estate has been owned by the Throckmorton family since 1409. The estate was acquired through marriage to the De Spinney family. Coughton was rebuilt by Sir George Throckmorton, the first son of Sir Robert Throckmorton of Coughton Court by Catherine Marrow, daughter of William Marrow of London. The great gatehouse at Coughton was dedicated to King Henry VIII by Throckmorton, a favorite of the King. Throckmorton would become notorious due to his almost fatal involvement in the divorce between King Henry and his first wife Catherine of Aragon. Throckmorton favoured the queen and was against the Reformation. Throckmorton spent most of his life rebuilding Coughton. In 1549, when he was planning the windows in the great hall, he asked his son Nicholas to obtain from the heralds the correct tricking (colour abbreviations) of the arms of his ancestors' wives and his own cousin and niece by marriage Queen Catherine Parr. The costly recusancy (refusal to attend Anglican Church services) of Robert Throckmorton and his heirs restricted later rebuilding, so that much of the house still stands largely as he left it.
After Throckmorton's death in 1552, Coughton passed to his eldest son, Robert. Robert Throckmorton and his family were practicing Catholics therefore the house at one time contained a priest hole, a hiding place for priests during the period when Catholics were persecuted by law in England, from the beginning of the reign of Queen Elizabeth I. The Hall also holds a place in English history for its roles in both the Throckmorton Plot of 1583 to murder Queen Elizabeth I of England, and the Gunpowder Plot of 1605, although the Throckmorton family were themselves only indirectly implicated in the latter, when some of the Gunpowder conspirators rode directly there after its discovery.
The house has been in the ownership of the National Trust since 1946. The family, however, hold a 300-year lease and previously managed the property on behalf of the Trust. In 2007, however, the house reverted to management by the National Trust. The management of the property is renewed every 10 years. The family tenant until recently was Clare McLaren-Throckmorton, known professionally as Clare Tritton QC, until she died on 31 October 2017.
The house, which is open to the public all year round, is set in extensive grounds including a walled formal garden, a river and a lake.
The gatehouse at Coughton was built at the earliest in 1536, as it is built of stones which came from Bordesley Abbey and Evesham Abbey after the Dissolution of the Monasteries Act in 1536. As with other Tudor houses, it was built around a courtyard, with the gatehouse used for deliveries and coaches to travel through to the courtyard. The courtyard was closed on all four sides until 1651, when Parliamentary soldiers burnt the fourth (east) wing, along with many of the Throckmorton's family papers, during the English Civil War.
After the Roman Catholic Relief Act was passed in 1829, the Throckmorton family were able to afford large-scale building works, allowing them to remodel the west front.
Grade I Listed Building
Listing Text
COUGHTON
SP06SE
1/144 Coughton Court
10/02/56
GV I
Country house, Gatehouse late C15, and after 1518; early and late C16; late C17
additions; west front remodelled 1780; additions and remodelling of 1835(VCH).
Limestone ashlar gatehouse. Timber framed with lath and plaster infill; brick;
imitation stone render. Tile and lead roofs; brick stacks, U-plan, formerly
courtyard. 2 and 3 storeys; 13-window range. Entrance (west) front symmetrical.
3 storey central gatehouse range has moulded plinth and double string course.
Square ground floor with corner turrets. C19 Gothic panelled part-glazed
double-leaf doors in 4-centred moulded arch with square head, hood mould and
carved spandrels. Stone mullioned and transomed windows with arched lights
throughout. Upper floors of different coloured stone. 2-storey canted oriel with
flanking lights and glazed octagonal turrets; 2 transoms on first floor, one on
second. Shield of arms on each floor. Turrets continued up another floor'; left
turret unglazed. Remainder 2 storeys only. Single 5-light window with transom
and hood mould. Clasping buttresses with quatrefoil panels projecting above
roof. Crenellated parapets with string course throughout. Remainder of front of '
scored imitation ashlar with stucco hood moulds. Ground floor has leaded 2-light
casements, 3 slightly recessed bays have Gothick sashes and moulded surrounds on
first floor. Projecting end bays with clasping buttresses. First floor: leaded
cross windows. String course above first floor. Attic with quatrefoil panels,
some part glazed. String course and crenellated parapet. Right return side of
thin bricks. Two C17 shaped gables with stone coping. Left gable between 2
external brick stacks; right gable has ball finials. 5-window range, mostly C17
stone cross windows. Narrow gabled wing set back. High single-storey range with
early C20 window, and plaster eaves cove. East front of gatehouse has unglazed
turrets and inscription over entrance. Irregular ranges to courtyard. Timber
framed with brick ground floor. Corresponding small 4-centred door. Irregular
fenestration with moulded stone mullioned windows ground floor, wood mullions
and casements above; some with transoms. 2 storey south range has close studding
with middle rail. Left section breaks forward and has 4 framed gables with
brackets. Entrance in recessed bay below third gable has 4-centred moulded
doorway with square head, hood mould and carved spandrels. Paired 6-panelled
doors with Gothick overlight. Right section has 2 large gables, and another
behind and above in roof, with decorative panel framing. Elaborately carved
scrolled bargeboards with finials and openwork pendants. End wall has gable.
Ground floor has 2 stone cross windows with arched lights. Blocked arches above
and in centre. 2-storey and attic north range. Close studding. 3 large framed
gables and smaller end gable all with casements and brackets. Ground floor has
four 3-light mullioned and transomed windows. First floor projects on plaster
cove. Blank gabled end wall. Left return side: range of c.1690. Scored render
with quoins. 3 projecting bays with hipped roofs. 4-centred doorway. Slightly
projecting first floor. Irregular fenestration with wood mullioned and transomed
windows. Interior: Entrance Hall with plaster fan vault. Late C18 open well
cantilevered staircase with moulded soffit and simple handrail; Gothick
plasterwork cornice. Drawing Room has simple early Cl6 stone fireplace. Windows
with C16,C17 and C19 armorial glass. Gothick plasterwork cornice. 6-panelled
doors. Little Drawing Room has C18 style carved wooden fireplace. Newel
staircase to roof. Tower Room has moulded 4-centred fireplace with carved
spandrels and projecting top. Two 4-centred doorways. North east turret has 2
hiding places. Dining Room and Tribune have fine C16 panelling possibly with
later work, turned balusters, grotesques and medallions with heads. Fine marble
chimneypiece with paired Ionic and Corinthian columns, cartouche and coat of
arms, Saloon, formed 1910, has arcaded panelled screen c.1660 (VCH) to Tribune.
C16 double-flight staircase from Harvington hall with heavy turned balusters and
square newel posts with finials. Study has fine C17 panelling with pilasters.
Ground floor with broad-chamfered ceiling beams. North range has part of a fine
C16 panelled timber cieling with moulded ribs and carved bosses. Dog-leg
staircase with C17 turned balusters. The Throckmortons were Catholics, and were
deeply involved in the Throckmorton plot of 1583. In 1605 the wives of the
Gunpowder Plotters awaited news at Coughton. In 1688 the east wing was destroyed
by a Protestant mob, and was finally cleared away in 1780.
(V.C.H.: Warwickshire, Vol.III, pp.75-78; Buldings of England: Warwickshire,
pp.245-6; Coughton Court; The National Trust 1984).
Listing NGR: SP0831160624
This text is from the original listing, and may not necessarily reflect the current setting of the building.
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.
Tampinco Settee and Armchairs
1st Quarter of the 20th-Century
Narra and Rattan
Settee: H: 56” x L: 54” x W: 21” (142 cm x 137 cm x 53 cm) Armchair: H: 55 1/2” x L: 21” x W: 23” (141 cm x 53 cm x 58 cm)
Starting Bid : Php 300,000
Provenance:
Manila Workshop of Isabelo and Vidal Tampinco
Isabelo Tampinco y Lacandola, acknowledged to be one of the most outstanding sculptors of his time, garnered many awards and prizes in local and international exhibitions in Philadelphia, St. Louis, Madrid and Barcelona. He was principally known as a laborista, a carver of ornament, because of the doors, altars, ceilings and other decorations he made for the Manila Cathedral and the churches of Sto. Domingo and San Ignacio in Intramuros. However, he also did decorative carvings for private homes, like transoms, picture frames and even furniture. Later, he made statues of saints and angels in wood, plaster of Paris, concrete and marble. At the turn-of-the-20th century, when Art Noveau became fashionable, he created a uniquely Filipino style by incorporating native flora and fauna designs in his calado or pierced transoms. His sinuous openwork and whiplash outlines in woodcarving abounded with the anahaw, areca palm, gabi or taro leaves and bamboo. It came to a point that any frame or piece of furniture decorated with these was instantly labeled as “made by Tampinco”.
This narra settee and a pair of armchairs with caned seats and backs are of the Carlos Trece type that has always been popular in Philippine homes. How the style came to be called thus is a mystery, as there was no Spanish king of that name. There was, however, a Carlos Tercero, Charles III, under whose reign this type of furniture flourished.
This particular set differs from the run-o-the-mill Carlos Trece in its height and bulk which endows it with an air of grandeur worthy of a mansion or even a palace, (The Tampinco father and son, in fact, made a lot of furniture for Malacanang Palace.)
The armchairs stand on four delicate cabriole-type legs, two in front and two behind, joined together by an X-stretcher. The settee, on the other hand, has four legs in front and the same behind. The legs, actually slimmed down and attenuated Flemish foot, consists of a volute behind the shoulder that forms a graceful scrollto end with an upturned scroll terminating with an acanthus leaf. The stretchers, in the form of S-scrolls with concave sides, have a turned finial decorating their junction.
Connecting the legs in front and at the sides are pierced aprons carved with graceful foliate scrolls on either side of an inverted squash-like flower. The bow-fronted seat frame is edged in front and at the sides with a prominent gadroon border. The seats of the armchairs are caned.
Upright and graceful S-scroll carved with an acanthus leaf in front support S-scrolled arms with acanthus-decorated volutes turning inward in front and diminishing in size to form a small volute at the back. The back stiles, slim turned balusters carved with reeds and surmounted by an acanthus bud, support a crest rail profusely carved with a pierced design of symmetrical foliate scrolls. An elaborately turned finials tops each back stile.
The high backs of the chairs have narrow caned backrests with rounded tops and bottoms, their bottom rails and splats crisply carved with symmetrical pierced foliar scrolls.
-Martin I. Tinio, Jr.
Lot 107 of the Leon Gallery auction on 1 December 2018. Please see www.leon-gallery.com for more details.
Attributed provenance: Changnyeong, Korea. Three Kingdoms Period, 6th Century. Toyko National Museum (東京国立博物館) Ueno Park, Tokyo, Japan.
The Chair of Saint Peter (Latin: Cathedra Petri), also known as the Throne of Saint Peter, is a relic conserved in St. Peter's Basilica, enclosed in a sculpted gilt bronze casing that was designed by Gian Lorenzo Bernini and executed between 1647 and 1653. The name derives from the Latin cathedra meaning chair or throne, which is used to denote the chair or seat of a bishop. The cathedra in St. Peter's Basilica was once used by the popes. Inside the Chair is a wooden throne, which, according to tradition, was used by Saint Peter. It was, however, actually a gift from Charles the Bald to Pope John VIII in 875.
Description
Like many medieval reliquaries it takes the form of the relic it protects, in this case a chair. Symbolically, the chair Bernini designed had no earthly counterpart in actual contemporary furnishings. It is formed entirely of scrolling members, enclosing a coved panel where the upholstery pattern is rendered as a low relief of Christ giving the keys to Peter. Large angelic figures flank an openwork panel beneath a highly realistic bronze seat cushion, vividly empty: the relic is encased within.
The cathedra is lofted on splayed scrolling bars that appear to be effortlessly supported by four over-lifesize bronze Doctors of the Church: Western doctors St. Ambrose and St. Augustine of Hippo on the outsides, wearing miters, and Eastern doctors St. John Chrysostom and St. Athanasius on the insides, both bare-headed. The cathedra appears to hover over the altar in the basilica's apse, lit by a central tinted window through which light streams, illuminating the gilded glory of sunrays and sculpted clouds that surrounds the window. Like Bernini's Ecstasy of St Theresa, this is a definitive fusion of the Baroque arts, unifying sculpture and richly polychrome architecture and manipulating effects of light.
Above, on the golden background of the frieze, is the Latin inscription: "O Pastor Ecclesiae, tu omnes Christi pascis agnos et oves" (O pastor of the Church, you feed all Christ's lambs and sheep). On the right is the same writing in Greek. Behind the altar is placed Bernini's monument enclosing the wooden chair, both of which are seen as symbolic of the authority of the Bishop of Rome as Vicar of Christ and successor of Saint Peter.
Early martyrologies indicate that two liturgical feasts were celebrated in Rome, centuries before the time of Charles the Bald, in honour of earlier chairs associated with Saint Peter, one of which was kept in the baptismal chapel of Saint Peter's Basilica, the other at the catacomb of Priscilla. The dates of these celebrations were January 18 and February 22. No surviving chair has been identified with either of these chairs. The feasts thus became associated with an abstract understanding of the "Chair of Peter", which by synecdoche signifies the episcopal office of the Pope as Bishop of Rome, an office considered to have been first held by Saint Peter, and thus extended to the diocese, the See of Rome. Though both feasts were originally associated with Saint Peter's stay in Rome, the ninth-century form of the Martyrologium Hieronymianum associated the January 18 feast with his stay in Rome, and the February 22 feast with his stay at Antioch.
The two feasts were included in the Tridentine Calendar with the rank of Double, which Pope Clement VIII raised in 1604 to the newly invented rank of Greater Double. In 1960 Pope John XXIII removed from the General Roman Calendar eight feast days that were second feasts of a single saint or mystery: one of them was the January 18 feast of the Chair of Peter. The February 22 celebration became a Second-Class Feast. This calendar was incorporated in the 1962 Roman Missal of Pope John XXIII, whose continued use Pope Benedict XVI authorized under the conditions indicated in his motu proprio Summorum Pontificum. In the new classification introduced in 1969 the February 22 celebration appears in the Roman Calendar with the rank of Feast. Those traditionalist Catholics who do not accept the changes made by Pope John XXIII continue to celebrate both feast days: "Saint Peter's Chair at Rome" on January 18 and the "Chair of Saint Peter at Antioch" on February 22.
Vatican City, officially Vatican City State, a walled enclave within the city of Rome, with an area of approximately 44 hectares (110 acres), and a population of 842, is the smallest internationally recognized independent state in the world by both area and population.
It is an ecclesiastical or sacerdotal-monarchical state ruled by the Bishop of Rome—the Pope. The highest state functionaries are all Catholic clergy of various national origins. Since the return of the Popes from Avignon in 1377, they have generally resided at the Apostolic Palace within what is now Vatican City, although at times residing instead in the Quirinal Palace in Rome or elsewhere.
Vatican City is distinct from the Holy See (Latin: Sancta Sedes),which dates back to early Christianity and is the main episcopal see of 1.2 billion Latin and Eastern Catholic adherents around the globe. The independent city-state, on the other hand, came into existence in 1929 by the Lateran Treaty between the Holy See and Italy, which spoke of it as a new creation, not as a vestige of the much larger Papal States (756–1870), which had previously encompassed much of central Italy. According to the terms of the treaty, the Holy See has "full ownership, exclusive dominion, and sovereign authority and jurisdiction" over the city-state.
Within Vatican City are cultural sites such as St. Peter's Basilica, the Sistine Chapel and the Vatican Museums. They feature some of the world's most famous paintings and sculptures. The unique economy of Vatican City is supported financially by the sale of postage stamps and tourist mementos, fees for admission to museums, and the sale of publications.
The name "Vatican" predates Christianity and comes from the Latin Mons Vaticanus, meaning Vatican Mount. The territory of Vatican City is part of the Mons Vaticanus, and of the adjacent former Vatican Fields. It is in this territory that St. Peter's Basilica, the Apostolic Palace, the Sistine Chapel, and museums were built, along with various other buildings. The area was part of the Roman rione of Borgo until 1929. Being separated from the city, on the west bank of the Tiber river, the area was an outcrop of the city that was protected by being included within the walls of Leo IV (847–55), and later expanded by the current fortification walls, built under Paul III (1534–49), Pius IV (1559–65) and Urban VIII (1623–44).
Map of Vatican City, highlighting notable buildings and the Vatican gardens
When the Lateran Treaty of 1929 that gave the state its form was being prepared, the boundaries of the proposed territory were influenced by the fact that much of it was all but enclosed by this loop. For some tracts of the frontier, there was no wall, but the line of certain buildings supplied part of the boundary, and for a small part of the frontier a modern wall was constructed.
The territory includes St. Peter's Square, distinguished from the territory of Italy only by a white line along the limit of the square, where it touches Piazza Pio XII. St. Peter's Square is reached through the Via della Conciliazione which runs from close to the Tiber River to St. Peter's. This grand approach was constructed by Benito Mussolini after the conclusion of the Lateran Treaty.
According to the Lateran Treaty, certain properties of the Holy See that are located in Italian territory, most notably the Papal Palace of Castel Gandolfo and the major basilicas, enjoy extraterritorial status similar to that of foreign embassies. These properties, scattered all over Rome and Italy, house essential offices and institutions necessary to the character and mission of the Holy See.
Castel Gandolfo and the named basilicas are patrolled internally by police agents of Vatican City State and not by Italian police. According to the Lateran Treaty (Art. 3) St. Peter's Square, up to but not including the steps leading to the basilica, is normally patrolled by the Italian police.
There are no passport controls for visitors entering Vatican City from the surrounding Italian territory. There is free public access to Saint Peter's Square and Basilica and, on the occasion of papal general audiences, to the hall in which they are held. For these audiences and for major ceremonies in Saint Peter's Basilica and Square, tickets free of charge must be obtained beforehand. The Vatican Museums, incorporating the Sistine Chapel, usually charge an entrance fee. There is no general public access to the gardens, but guided tours for small groups can be arranged to the gardens and excavations under the basilica. Other places are open only to individuals who have business to transact there.
From Wikipedia
Ode to Alfred Stevens’ 19th century painted poem Girl in a White Dress Resting on a Couch. Spring’s glorious white trend comes to life with cutouts on this sheer shift – laser openwork designs on refined blanc cotton voile. Delicate gold jewels from last weekend’s estate sale, including short gold chains, cut glass flower pendant, sapphire ring… Fashionshesays.com.
Nubian tribute bearer with an oryx, a monkey, and a leopard skin
Mesopotamia, Nimrud (ancient Kalhu), Neo-Assyrian, 8th Century BC
Phoenician ivory carvers were strongly influenced by the themes and style of Egyptian art owing to traditionally close ties between the two cultures. Some Phoenician ivories illustrate purely Egyptian themes, but many use Egyptian motifs in entirely original compositions.
Phoenician-style ivories were used primarily as furniture decoration. Some are solid plaques, while others are carved on one or both sides in a delicate openwork technique. Many originally were covered by gold leaf and inlaid with semiprecious stones or colored glass. Such rich combinations of ivory, gold, and brightly colored stones made the thrones of the Assyrian kings famous for their exquisite beauty. Most ivories carved in the Phoenician style were probably produced during the late eighth and seventh centuries B.C.
This Nubian tribute bearer exhibits traits of the Phoenician style, characterized by the slender, elongated form of the bearer and his animal gifts, the precision of carving and intricacy of detail, and the distinct Egyptian flavor of both pose and feature.
La buvette de la source Cachat (ancienne fontaine Sainte-Catherine) fut achevée en 1903. Le maître d’œuvre : Jean Albert Hébrard fut également l’architecte de l’hôtel Royal et du Casino.
Conçu comme un “temple de l’eau” ce pavillon de bois et de verre est couvert d’une coupole à tuiles vernissées ajourée de grands vitraux semi-circulaires à motifs végétaux. Une grille en fer forgé et un portique monumental marquent l’entrée principale de la buvette, située rue Nationale.
Le rez-de-chaussée, situé rue Nationale, abritait les bureaux de la Société des Eaux, les services de contrôle de la buvette ainsi que les bureaux de renseignements du train PLM et de la Compagnie de Navigation.
Partant du rez-de-chaussée, un escalier conduisait au hall de la buvette situé à l’étage.
Cet édifice est un chef d’œuvre de l’architecture thermale.
La Buvette of the Cachat Spring (old fountain Sainte-Catherine) was completed in 1903. The master work of Jean Albert Hebrard was also the architect of the Royal Hotel and Casino.
Designed as a "water temple" this house of wood and glass is covered with a cupola glazed tiles openwork large semicircular windows has vegetal motifs. A wrought iron gate and a monumental portico marks the main entrance of the bar, located rue Nationale.
The ground-floor, located rue Nationale, housed the offices of the League of Waters, the inspection services of the bar and the information offices of the train PLM and Navigation Company.
Starting from the ground floor, a staircase led to the lobby is the bar upstairs.
This building is a masterpiece of thermal architecture.
Ce petit autel-retable a été dressé dans le deuxième moitié de XVIIe siècle par la confrérie des Archers en l'honneur de leur saint patron, Sébastien. Il a été restauré en 1991. Il est exécuté en sapin et porte des décorations en tilleul. Le bois a reçu une polychromie variée relevée de doreurs. Le tableau d'autel représentait à l'origine le martyre de saint Sébastien. En complète dégradation, il a été remplacé a la fin du XIXe siècle par une icône de Notre-Dame du Perpétuel Secours.
D'autres transformations ont eu lieu, entrainant la disparition du tabernacle. L'"antependium" (devant de l'autel) mobile est en bois sculpté ajouré, plaqué sur un massif maçonné de briques.
{info available in the church}
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This small altarpiece was erected in the 2nd ½ of the 17th century by the brotherhood of Archers in honor of their patron saint, Sebastien. It was restored in 1991. It is executed in fir with decorations in linden. The wood has been painted and gilt. The painting originally depicted the martyrdom of St. Sebastian. In an act of total degradation, it was replaced at the end of the 19th century by an icon of Our Lady of Perpetual Help.
Other transformations have taken place, causing the disappearance of the tabernacle. The antependium is open carved woodwork, on a face of bricks.
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.
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
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.
The naive is dominated by a huge wooden pulpit. If that were just it, a large wooden font that would enough. But the font is a carved scene an oak tree, complete with squirrels and cherubs, above a huge sounding board, and above that two palm trees.
I am sure that it wasn't carved from a single piece of wood, if not, the joins are well hidden.
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Saint Peter's Church (Dutch: Sint-Pieterskerk) of Leuven, Belgium, is situated on the city's Grote Markt (main market square), right across the ornate Town Hall. Built mainly in the 15th century in Brabantine Gothic style, the church has a cruciform floor plan and a low bell tower that has never been completed. It is 93 meters long.
The first church on the site, made of wood and presumably founded in 986, burned down in 1176.[1] It was replaced by a Romanesque church, made of stone, featuring a West End flanked by two round towers like at Our Lady's Basilica in Maastricht. Of the Romanesque building only part of the crypt remains, underneath the chancel of the actual church.
Construction of the present Gothic edifice, significantly larger than its predecessor, was begun approximately in 1425, and was continued for more than half a century in a remarkably uniform style, replacing the older church progressively from east (chancel) to west. Its construction period overlapped with that of the Town Hall across the Markt, and in the earlier decades of construction shared the same succession of architects as its civic neighbor: Sulpitius van Vorst to start with, followed by Jan II Keldermans and later on Matheus de Layens. In 1497 the building was practically complete,[1] although modifications, especially at the West End, continued.
In 1458, a fire struck the old Romanesque towers that still flanked the West End of the uncompleted building. The first arrangements for a new tower complex followed quickly, but were never realized. Then, in 1505, Joost Matsys (brother of painter Quentin Matsys) forged an ambitious plan to erect three colossal towers of freestone surmounted by openwork spires, which would have had a grand effect, as the central spire would rise up to about 170 m,[2] making it the world's tallest structure at the time. Insufficient ground stability and funds proved this plan impracticable, as the central tower reached less than a third of its intended height before the project was abandoned in 1541. After the height was further reduced by partial collapses from 1570 to 1604, the main tower now rises barely above the church roof; at its sides are mere stubs. The architect had, however, made a maquette of the original design, which is preserved in the southern transept.
Despite their incomplete status, the towers are mentioned on the UNESCO World Heritage List, as part of the Belfries of Belgium and France.
The church suffered severe damage in both World Wars. In 1914 a fire caused the collapse of the roof and in 1944 a bomb destroyed part of the northern side.
The reconstructed roof is surmounted at the crossing by a flèche, which, unlike the 18th-century cupola that preceded it, blends stylistically with the rest of the church.
A very late (1998) addition is the jacquemart, or golden automaton, which periodically rings a bell near the clock on the gable of the southern transept, above the main southern entrance door.
Despite the devastation during the World Wars, the church remains rich in works of art. The chancel and ambulatory were turned into a museum in 1998, where visitors can view a collection of sculptures, paintings and metalwork.
The church has two paintings by the Flemish Primitive Dirk Bouts on display, the Last Supper (1464-1468) and the Martyrdom of St Erasmus (1465). The street leading towards the West End of the church is named after the artist. The Nazis seized The Last Supper in 1942.[3] Panels from the painting had been sold legitimately to German museums in the 1800s, and Germany was forced to return all the panels as part of the required reparations of the Versailles Treaty after World War I.[3]
An elaborate stone tabernacle (1450), in the form of a hexagonal tower, soars amidst a bunch of crocketed pinnacles to a height of 12.5 meters. A creation of the architect de Layens (1450), it is an example of what is called in Dutch a sacramentstoren, or in German a Sakramentshaus, on which artists lavished more pains than on almost any other artwork.
In side chapels are the tombs of Duke Henry I of Brabant (d. 1235), his wife Matilda (d. 1211) and their daughter Marie (d. 1260). Godfrey II of Leuven is also buried in the church.
A large and elaborate oak pulpit, which is transferred from the abbey church of Ninove, is carved with a life-size representation of Norbert of Xanten falling from a horse.
One of the oldest objects in the art collection is a 12th-century wooden head, being the only remainder of a crucifix burnt in World War I.
There is also Nicolaas de Bruyne's 1442 sculpture of the Madonna and Child enthroned on the seat of wisdom (Sedes Sapientiae). The theme is still used today as the emblem of Katholieke Universiteit Leuven.
A look around Castle Park in Colchester, close to Colchester Castle. Did briefly pop into the entrance of the castle before we decided instead to go to the free Hollytrees Museum.
Colchester War Memorial and railings on Cowdray Crescent.
Grade II* Listed Building
Colchester War Memorial (including lamp columns, walls, gates, piers, railings and posts)
Summary
War memorial including lamp columns, walls, gates, piers, railings and posts. Erected 1923 by the Borough of Colchester. Architect Duncan W Clark of Colchester. Memorial and bronze sculpture by Henry Fehr.
Description
The war memorial and associated structures in Cowdray Crescent form a symmetrical composition at the entrance to Castle Park in Colchester High Street. The short paved approach to the memorial is flanked by a pair of Portland stone Ionic columns with iron lanterns.
The memorial stands at the centre of the crescent and consists of a tall classical Portland stone pedestal on three-tier granite base, surmounted by a bronze statue of winged Victory standing on a globe, holding an inverted sword and a laurel wreath. Curved projections on the east and west sides of the pedestal support, respectively, bronze statues of St George with sword and shield, and Peace holding a dove. The upper angles of the pedestal are carved with festoons and cherub heads with elongated wings.
On the front (south) face of the pedestal a raised bronze plaque with a wreathed head bearing the City arms is inscribed in Roman lettering: TO THE / GLORIOUS / MEMORY / OF THE MEN / OF / COLCHESTER WHO FELL IN / THE GREAT WAR / 1914 – 18 / THEY STROVE FOR PEACE / THEY SERVED / FOR FREEDOM / THEY DIED TO LIVE.
Beneath, a further plaque is inscribed: THE NAMES OF 1263 MEN OF COLCHESTER / HERE COMMEMORATED ARE INSCRIBED / ON VELLUM AND DISPLAYED INSIDE THE / PRINCIPAL ENTRANCE AT THE TOWN HALL. On the north face, a bronze plaque is inscribed with: TO THE / HONOUR / OF THE / MEN & WOMEN / OF / COLCHESTER / WHO STOOD FOR / KING & COUNTRY / & BEARING ARMS / OR BY THEIR WORK / HELPED TO WIN / THE WAR / 1914 – 18. / THANKS BE TO GOD / WHO GAVE US / THE VICTORY. Beneath is a plaque inscribed: AND TO HONOUR ALSO / THOSE WHO WORKED, SERVED / AND DIED IN THE FURTHER WAR OF / 1939 – 1945. A third plaque is inscribed: TO MEMBERS OF THE ARMED FORCES FROM COLCHESTER / KILLED ON DUTY OR AS A RESULT OF TERRORIST ACTION / SINCE THE END OF THE SECOND WORLD WAR.
The entrance to Castle Park comprises a fine set of wrought-iron gates flanked by quadrant walls terminating at each end with a shallow scrolled return. The walls are built in multi-coloured brick with stone copings. The central pair of gates has an elaborate scrolled overthrow bearing a relief of the Cowdray coat of arms and motto ‘DO WITH THY MIGHT’; the lower gates to either side have openwork piers; the left gate has a roundel with the Colchester City arms, the right a cartouche with a raven, the emblem of the Portreeve of Colchester. The railings have scrolled wrought-iron panels with fleurs-de-lys finials. At each of the quadrant ends of the wall, aligning with the memorial, is a tall stone pier with sunken panelled sides and festoon ornament at the head, surmounted by a bronze lion and shield. The terminal pier at the wall’s west end is surmounted by a stone urn; at the east end the wall abuts the garden walls of Hollytrees Mansion. Either side of the memorial is a fence of low granite posts and chain links.
This List entry has been amended to add the source for War Memorials Online. This source was not used in the compilation of this List entry but is added here as a guide for further reading, 12 January 2017.
History
The site chosen to commemorate the fallen of the First World War formed part of a scheme by Colchester Borough Council for a southern extension to Castle Park, entailing the clearance of buildings in the High Street in order to open up the approach to Colchester Castle. The memorial, designed by Henry Fehr, was conceived as the centrepiece of a new main entrance to the park laid out in the form of a crescent to the design of the Colchester architect Duncan W Clark. The castle was purchased by the Council with funds donated by Lord Cowdray, who also paid for the park entrance gates. The war memorial was paid for by public subscription, and unveiled on 24 May 1923.
Henry Charles Fehr (1867-1940) was a distinguished and prolific sculptor whose work was stylistically close to the ‘New Sculpture’ movement - the late-C19 renaissance in British sculpture which rejected the stylised neo-classicism of conventional figure sculpture in favour of naturalistic, often allegorical, forms. Fehr produced many fine public sculptures and war memorials and some exceptional work for civic buildings, notably Middlesex Guildhall, Westminster, West Riding County Hall, Wakefield, and Cardiff City Hall. Models for the statuary featuring on the Colchester memorial were shown at the Royal Academy War Memorials Exhibition in October 1919, and were used in Fehr’s identical design at Burton-upon-Trent, Staffordshire. His Peace and Victory figures were used at Leeds War Memorial, and the Victory figure at Graaf Reinet, South Africa. The decorative carving on the pedestal was carried out by the Italian sculptor Carlo Magnoni (1871-1961) who worked in Fehr’s London studio, contributing to several of Fehr’s commissions. Messrs L J Watts of Colchester were the stonemasons and the ironwork was by H H Martyn and Co, Cheltenham.
Conservation work was undertaken to the war memorial in 2010 and again including the gates and railings in 2014.
Reasons for Listing
Colchester War Memorial, including lamp columns, walls, gates, piers, railings and posts at the entrance to Castle Park, is listed at Grade II* for the following principal reasons:
* Historic interest: as an eloquent testament to the tragic impact of world events on the local community, and the sacrifices it made in the conflicts of the C20;
* Sculptural interest: a notable example of the work of the distinguished sculptor Henry Fehr with finely modelled and detailed bronze statuary;
* Architectural interest: the ensemble as a whole is of considerable merit in terms of its composition, craftsmanship and high-quality materials;
* Group value: with Colchester Castle, a scheduled monument, and with several listed buildings in the High Street, notably Hollytrees Mansion to the east (Grade I), and with Castle Park, a Grade II registered landscape.
AUDEMARS PIGUET – Royal Oak Tourbillon Extra-Thin Openworked Pink Gold Limited Edition (version in 2017)
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]
Sankt Katharinen ist ein herausragendes Meisterwerk norddeutscher Backsteinbaukunst. Anstelle einer 1395 abgerissenen Feldsteinkirche entstand bis 1401 die Katharinenkirche als die größte Kirche der Stadt.
Beachtlich ihre Ausmaße; die Höhe des Dachfirstes beträgt 38 m und die des Turmes 72,5 m. An den Außenwänden dominieren ein seltener Reichtum an durchbrochenen Maßwerkrosetten und figürlicher Schmuck. Besonders beeindruckend die sogenannte Schöppenkapelle an der Südseite mit ihren reichhaltigen Verzierungen.
St. Catherine's Church is an outstanding masterpiece of North German brick architecture. replacing a fieldstone church demolished in 1395, It is the largest church in the city and was built until 1401. Its dimensions are remarkable; the roof ridge is 38 m high and the tower 72.5 m high. The outer walls are dominated by a rare abundance of openwork tracery rosettes and figural decoration. The so-called Schöppenkapelle on the south side with its rich exterior decorations is particularly impressive.
Brandenburg an der Havel is a town in Brandenburg, Germany, which served as the capital of the Margraviate of Brandenburg until replaced by Berlin in 1417.
With a population of 71,886 (as of 2017), it is located on the banks of the River Havel. The town of Brandenburg provided the name for the medieval Bishopric of Brandenburg, the Margraviate of Brandenburg, and the current state of Brandenburg. In the late 19th century Brandenburg an der Havel became a very important industrial center in the German Empire. Steel industries settled there, and several world-famous bicycle brands were manufactured in the city. A world-famous toy industry was also established. After German reunification the city's population declined from around 100,000 in 1989 to roughly 75,000 in 2005 through emigration. The migration was mainly by young people. (en.Wikipedia)
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
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.
Each of the four Fallingwater bedrooms has a wardrobe, with sliding rattan openwork caning, as suggested by Edgar Kaufmann Jr., allowing for maxim mildew protection.
The Fallingwater master bedroom, at the center of the second floor, was Liliane Kaufmann's bedroom. The balcony from the master bedroom forms the external highlight of the house.
Fallingwater, sometimes referred to as the Edgar J. Kaufmann Sr. Residence or just the Kaufmann Residence, located within a 5,100-acre nature reserve 50 miles southeast of Pittsburgh, was designed by Frank Lloyd Wright and built between 1936 and 1939. Built over a 30-foot flowing waterfall on Bear Run in the Mill Run section of Stewart Township, Fayette County, Pennsylvania, the house served as a vacation retreat for the Kaufmann family including patriarch, Edgar Kaufmann Sr., was a successful Pittsburgh businessman and president of Kaufmann's Department Store, and his son, Edgar Kaufmann, Jr., who studied architecture briefly under Wright. Wright collaborated with staff engineers Mendel Glickman and William Wesley Peters on the structural design, and assigned his apprentice, Robert Mosher, as his permanent on-site representative throughout construction. Despite frequent conflicts between Wright, Kaufmann, and the construction contractor, the home and guesthouse were finally constructed at a cost of $155,000.
Fallingwater was designated a National Historic Landmark in 1966. It was listed among the Smithsonian's 28 Places to See Before You Die. In a 1991 poll of members of the American Institute of Architects (AIA), it was voted "the best all-time work of American architecture." In 2007, Fallingwater was ranked #29 on the AIA 150 America's Favorite Architecture list.
National Register #74001781 (1974)
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
North wall, north aisle: The Risen Christ with the Symbols of the Four Evangelists [detail] (1939), artist William Aikman. Formerly in the church at Capel Garmon until it was closed.
La buvette de la source Cachat (ancienne fontaine Sainte-Catherine) fut achevée en 1903. Le maître d’œuvre : Jean Albert Hébrard fut également l’architecte de l’hôtel Royal et du Casino.
Conçu comme un “temple de l’eau” ce pavillon de bois et de verre est couvert d’une coupole à tuiles vernissées ajourée de grands vitraux semi-circulaires à motifs végétaux. Une grille en fer forgé et un portique monumental marquent l’entrée principale de la buvette, située rue Nationale.
Le rez-de-chaussée, situé rue Nationale, abritait les bureaux de la Société des Eaux, les services de contrôle de la buvette ainsi que les bureaux de renseignements du train PLM et de la Compagnie de Navigation.
Partant du rez-de-chaussée, un escalier conduisait au hall de la buvette situé à l’étage.
Cet édifice est un chef d’œuvre de l’architecture thermale.
La Buvette of the Cachat Spring (old fountain Sainte-Catherine) was completed in 1903. The master work of Jean Albert Hebrard was also the architect of the Royal Hotel and Casino.
Designed as a "water temple" this house of wood and glass is covered with a cupola glazed tiles openwork large semicircular windows has vegetal motifs. A wrought iron gate and a monumental portico marks the main entrance of the bar, located rue Nationale.
The ground-floor, located rue Nationale, housed the offices of the League of Waters, the inspection services of the bar and the information offices of the train PLM and Navigation Company.
Starting from the ground floor, a staircase led to the lobby is the bar upstairs.
This building is a masterpiece of thermal architecture.
A visit to Coughton Court in Warwickshire, on the Spring Bank Holiday Weekend in late May 2018. A National Trust property, it was the home of the Throckmorton family.
Coughton Court is an English Tudor country house, situated on the main road between Studley and Alcester in Warwickshire. It is a Grade I listed building.
The house has a long crenelated façade directly facing the main road, at the centre of which is the Tudor Gatehouse, dating from 1530; this has hexagonal turrets and oriel windows in the English Renaissance style. The gatehouse is the oldest part of the house and is flanked by later wings, in the Strawberry Hill Gothic style, popularised by Horace Walpole.
The Coughton estate has been owned by the Throckmorton family since 1409. The estate was acquired through marriage to the De Spinney family. Coughton was rebuilt by Sir George Throckmorton, the first son of Sir Robert Throckmorton of Coughton Court by Catherine Marrow, daughter of William Marrow of London. The great gatehouse at Coughton was dedicated to King Henry VIII by Throckmorton, a favorite of the King. Throckmorton would become notorious due to his almost fatal involvement in the divorce between King Henry and his first wife Catherine of Aragon. Throckmorton favoured the queen and was against the Reformation. Throckmorton spent most of his life rebuilding Coughton. In 1549, when he was planning the windows in the great hall, he asked his son Nicholas to obtain from the heralds the correct tricking (colour abbreviations) of the arms of his ancestors' wives and his own cousin and niece by marriage Queen Catherine Parr. The costly recusancy (refusal to attend Anglican Church services) of Robert Throckmorton and his heirs restricted later rebuilding, so that much of the house still stands largely as he left it.
After Throckmorton's death in 1552, Coughton passed to his eldest son, Robert. Robert Throckmorton and his family were practicing Catholics therefore the house at one time contained a priest hole, a hiding place for priests during the period when Catholics were persecuted by law in England, from the beginning of the reign of Queen Elizabeth I. The Hall also holds a place in English history for its roles in both the Throckmorton Plot of 1583 to murder Queen Elizabeth I of England, and the Gunpowder Plot of 1605, although the Throckmorton family were themselves only indirectly implicated in the latter, when some of the Gunpowder conspirators rode directly there after its discovery.
The house has been in the ownership of the National Trust since 1946. The family, however, hold a 300-year lease and previously managed the property on behalf of the Trust. In 2007, however, the house reverted to management by the National Trust. The management of the property is renewed every 10 years. The family tenant until recently was Clare McLaren-Throckmorton, known professionally as Clare Tritton QC, until she died on 31 October 2017.
The house, which is open to the public all year round, is set in extensive grounds including a walled formal garden, a river and a lake.
The gatehouse at Coughton was built at the earliest in 1536, as it is built of stones which came from Bordesley Abbey and Evesham Abbey after the Dissolution of the Monasteries Act in 1536. As with other Tudor houses, it was built around a courtyard, with the gatehouse used for deliveries and coaches to travel through to the courtyard. The courtyard was closed on all four sides until 1651, when Parliamentary soldiers burnt the fourth (east) wing, along with many of the Throckmorton's family papers, during the English Civil War.
After the Roman Catholic Relief Act was passed in 1829, the Throckmorton family were able to afford large-scale building works, allowing them to remodel the west front.
Grade I Listed Building
Listing Text
COUGHTON
SP06SE
1/144 Coughton Court
10/02/56
GV I
Country house, Gatehouse late C15, and after 1518; early and late C16; late C17
additions; west front remodelled 1780; additions and remodelling of 1835(VCH).
Limestone ashlar gatehouse. Timber framed with lath and plaster infill; brick;
imitation stone render. Tile and lead roofs; brick stacks, U-plan, formerly
courtyard. 2 and 3 storeys; 13-window range. Entrance (west) front symmetrical.
3 storey central gatehouse range has moulded plinth and double string course.
Square ground floor with corner turrets. C19 Gothic panelled part-glazed
double-leaf doors in 4-centred moulded arch with square head, hood mould and
carved spandrels. Stone mullioned and transomed windows with arched lights
throughout. Upper floors of different coloured stone. 2-storey canted oriel with
flanking lights and glazed octagonal turrets; 2 transoms on first floor, one on
second. Shield of arms on each floor. Turrets continued up another floor'; left
turret unglazed. Remainder 2 storeys only. Single 5-light window with transom
and hood mould. Clasping buttresses with quatrefoil panels projecting above
roof. Crenellated parapets with string course throughout. Remainder of front of '
scored imitation ashlar with stucco hood moulds. Ground floor has leaded 2-light
casements, 3 slightly recessed bays have Gothick sashes and moulded surrounds on
first floor. Projecting end bays with clasping buttresses. First floor: leaded
cross windows. String course above first floor. Attic with quatrefoil panels,
some part glazed. String course and crenellated parapet. Right return side of
thin bricks. Two C17 shaped gables with stone coping. Left gable between 2
external brick stacks; right gable has ball finials. 5-window range, mostly C17
stone cross windows. Narrow gabled wing set back. High single-storey range with
early C20 window, and plaster eaves cove. East front of gatehouse has unglazed
turrets and inscription over entrance. Irregular ranges to courtyard. Timber
framed with brick ground floor. Corresponding small 4-centred door. Irregular
fenestration with moulded stone mullioned windows ground floor, wood mullions
and casements above; some with transoms. 2 storey south range has close studding
with middle rail. Left section breaks forward and has 4 framed gables with
brackets. Entrance in recessed bay below third gable has 4-centred moulded
doorway with square head, hood mould and carved spandrels. Paired 6-panelled
doors with Gothick overlight. Right section has 2 large gables, and another
behind and above in roof, with decorative panel framing. Elaborately carved
scrolled bargeboards with finials and openwork pendants. End wall has gable.
Ground floor has 2 stone cross windows with arched lights. Blocked arches above
and in centre. 2-storey and attic north range. Close studding. 3 large framed
gables and smaller end gable all with casements and brackets. Ground floor has
four 3-light mullioned and transomed windows. First floor projects on plaster
cove. Blank gabled end wall. Left return side: range of c.1690. Scored render
with quoins. 3 projecting bays with hipped roofs. 4-centred doorway. Slightly
projecting first floor. Irregular fenestration with wood mullioned and transomed
windows. Interior: Entrance Hall with plaster fan vault. Late C18 open well
cantilevered staircase with moulded soffit and simple handrail; Gothick
plasterwork cornice. Drawing Room has simple early Cl6 stone fireplace. Windows
with C16,C17 and C19 armorial glass. Gothick plasterwork cornice. 6-panelled
doors. Little Drawing Room has C18 style carved wooden fireplace. Newel
staircase to roof. Tower Room has moulded 4-centred fireplace with carved
spandrels and projecting top. Two 4-centred doorways. North east turret has 2
hiding places. Dining Room and Tribune have fine C16 panelling possibly with
later work, turned balusters, grotesques and medallions with heads. Fine marble
chimneypiece with paired Ionic and Corinthian columns, cartouche and coat of
arms, Saloon, formed 1910, has arcaded panelled screen c.1660 (VCH) to Tribune.
C16 double-flight staircase from Harvington hall with heavy turned balusters and
square newel posts with finials. Study has fine C17 panelling with pilasters.
Ground floor with broad-chamfered ceiling beams. North range has part of a fine
C16 panelled timber cieling with moulded ribs and carved bosses. Dog-leg
staircase with C17 turned balusters. The Throckmortons were Catholics, and were
deeply involved in the Throckmorton plot of 1583. In 1605 the wives of the
Gunpowder Plotters awaited news at Coughton. In 1688 the east wing was destroyed
by a Protestant mob, and was finally cleared away in 1780.
(V.C.H.: Warwickshire, Vol.III, pp.75-78; Buldings of England: Warwickshire,
pp.245-6; Coughton Court; The National Trust 1984).
Listing NGR: SP0831160624
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The Courtyard. There used to be an East Wing, but it was burnt down in 1688 and it was later demolished in the 1780s leaving one side exposed to the countryside.
The Courtyard as seen from the Riverside and the lawns beyond the Formal Garden.
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.
Standing amid a well established garden, "North View Villa" is a late Victorian villa of red brick that may be found in the provincial Victorian city of Ballarat.
Erected in 1883 for local businessman Mr. Joseph Stout, "North View Villa" is a single storey residence that has been built in Victorian Free Classical style. It has many ornamental features of the architectural movement including; a deliberately symmetrical facade with two burgeoning bay windows to either side of the central front door and excellent stone masonry detailing around the villa's windows. The house is constructed in face brickwork with stucco quoins and it has a hipped slate roof and a wide verandah.
What is perhaps most significant about "North View Villa" is its stylish openwork cast iron verandah columns. Openwork iron columns are uncommon in Victoria and most of the examples in existence are unique to Ballarat.
The other unusual feature of "North View Villa" is its original fire alarm that stands outside the wooden paling front gate. In the days before a centralised fire brigade, insurance companies used to have their own private brigades of fire fighters who would answer only to the bells of their client's fire alarms. If an alternative insurance company's brigade of fire fighters arrived at the scene of the fire, they would not fight the blaze, but instead leave it to those employed by the company with whom the property was insured when they reached the scene. Luckily "North View Villa" never had to suffer such a fate!
Ori Kiri Column Miura Fold and Half Octagon Accordion.
#origami #tessellation #corrugation #PaperStructures #plissage #collapsible
The following 'lifted' text is a tad inaccurate!
'Monument. c1900. Stonemasons said to be Affleck's of Ulverston. Marble. Built as a scale replica of a lighthouse,
with carved rocks and waves around the base, and with the tapered shaft incised to represent ashlar blocks, a doorway, and window openings. A glass lantern (originally enclosing a gas jet) is surrounded by 4 shafts which carry a drum and openwork cap with ball-and-spike finial. The base is carved with an anchor and chain, and has inscriptions (some in verse) which include: 'Thomas Watkins Wilson MD', who 'Fell asleep at 20 minutes to 7 on Friday evening January 15th 1897...', and 'Every year for 15 years we were wont to spend some months at Conishead Priory'.'
It's actually a copy of another monument that overlooks Ulverston on Hoad Hill - a more or less full sized replica of a lighthouse built in honour of Sir John Barrow, as opposed to an actual lighthouse!
Both are impressive monuments to better men than I am, Gunga Din!
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
North wall, north aisle: The Risen Christ with the Symbols of the Four Evangelists [detail] (1939), artist William Aikman. Formerly in the church ar Capel Garmon, until it was closed.
From Calthorpe Road to Church Road in Edgbaston. Old white buildings on a nice sunny late February day!
Church Road in Edgbaston.
This is the former Old Royal School for the Deaf. It closed in 1984. Now a lot of derelict buildings.
I used to think that it was a former hospital. Maybe it was, in it's school form.
Grade II listed at 4 Church Road.
CHURCH ROAD
1.
5104
Edgbaston B15
No 4
SF 0585 SW 44/1
II GV
2.
Part of the Birmingham School for the Deaf. Circa 1815 one of the earliest
Calthorpe Estate villas added to circa 1860. Stucco; slate roof. Two storeys;
3 bays. Rusticated ground floor with 2 window in ball shallow round-arched
recesses and a central porch with coupled Roman Doric columns, triglyph frieze
and modillion cornice. First floor windows plain sashes (the centre one altered)
sitting on a moulded stringcourse. Glazing bars throughout. Moulded eaves
cornice and low parapet. To the left, a 2-storeyed full-height service wing
of circa 1860 with irregular fenestration, the same stringcourse and overhanging
eaves. To the right, a single-storey link to the 2-storeyed former coach
house. Tripartite window in place of the entrance, moulded stringcourse (partly
gone) and Venetian lst floor window in broken pediment. Rear of main house
with two 2-storeyed bow windows on a high basement with continuous cast-iron
verandah of slim shafts with scroll brackets supporting openwork girders and
ogee roof. Modern additions not included in the listing.
Listing NGR: SP0545185412
Citation by Samantha Westbrooke Pty Ltd
A manufacturing plant complex built in the International Modern style, consisting of rectangular
blocks with flat steel deck roofs, salmon and red brick, steel framed windows and cement sheet
cladding. There are entire curtain walls of concrete breeze blocks. There are lighting standards
with conical luminaries with dish caps. Signage is supported on a rolled hollow section steel
frame. The buildings are set within lawns with native planting at the entrance, a rock garden,
pool, and possible sculpture remnant.
The factory is centred on a 250-metre long main processing building flanked by various
storage and administration buildings. The whole complex demonstrates a unity of design in its
use of a low brick wall surmounted by corrugated cement sheeting or steel framed glazing.
Most south facing walls are completely glazed from the brick dado to the roof, while the north
facing walls and some south facing ones have a single strip of glazing along the top of the wall.
The brick dado is evidently designed to prevent damage to the fragile cement sheeting and so
is used only at the lower level. However, as a stylistic feature, this has also been employed in
the administrative buildings.
The production line is expressed by the long low main production building, with the tall milling
and mixing structure at the eastern end, where raw materials are prepared for processing, a
small tower housing the steam accumulator a short distance along, and the large storage and
dispatch buildings extending across the western end.
The administration block lies between the production building and Rowsley Station Road, with
a gatehouse and openwork, concrete block wing walls identifying the main entrance.
The brown coal and wood waste fired boiler is a prominent feature at the eastern end of the
site. This fully glazed wall to the north and south broken by strips of louvred venting and with a
probably accidental random checker pattern created by different coloured glass panes. The
steel chimney stands just south of the boiler house.
The elements that contribute to the significance of the site are those features constructed as
part of the original design (as shown in the representative design perspective from 1960) as
follows:
Gatehouse & Administration Block
Amenities Block
Boiler House
Bicycle Shed and Factory sign
Chipper House
Main Factory Building
Warehouse
Workshop and Store
Factory Supervision
The setting of the place including the boundary trees and rock garden at the front of the site
also contribute to its significance.
Comparative Analysis:
The style of the complex is derived from the Bauhaus influenced industrial or institutional
complexes generally in the United States, such as, Illinois Institute of Technology, Chicago,
Illinois (Mies van der Rohe 1939-1956) and General Motors Technical Institute, Warren,
Michigan (Eliel and Eero Saarinen 1946-55). Local comparisons include factories, such as,
ETA Foods, Ballarat Road, Braybrook (Frederick Romberg 1957-60), Australian Paper Mills,
Fairfield, General Motors, Dandenong and various oil refinery complexes. The survival of boiler
houses in factory complexes is rare, as are glazed curtain walls from this period.
Significance:
What is significant?
The CSR Mill designed by T. H. McConnell, which opened in 1960, located at 25 Rowsley
Station Road, Maddingley. The following elements contribute to the significance of the place:
• Gatehouse & Administration Block;
• Amenities Block;
• Boiler House;
• Bicycle Shed and Factory sign;
• Chipper House;
• Main Factory Building;
• Warehouse;
• Workshop and Store;
• Factory Supervision; and
• The setting of the place, including the boundary trees and rock garden at the front of the
site.
How is it significant?
The former CSR Mill, 25 Rowsley Station Road, Maddingley is of local historical and aesthetic
significance to the Shire of Moorabool.
Why is it significant?
The former CSR Mill, 25 Rowsley Station Road, Maddingley is of historical significance as the
embodiment of an industrial process and capital investment in a semi rural location. The
factory officially opened in 1961 by State Premier at the time Mr H. E. Bolte demonstrates the
decentralisation policies of the Liberal Government during the 1950s and 60s. The complex is
of historical significance for its associations with the development of employment and industry
in the former Bacchus Marsh Shire, which demonstrates the utilisation of valuable resources in
the area.
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.
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.
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.
A golden figure of woman holding an emblem of Hathor. (E4954)
Golden, openwork pendants in shape of grenades. (AF2266, AF2265)
A bracelet made of, pearls, gold, carnelian and lapis lazuli. (N1959)
A golden single-chain necklaces, pendants shaped in a form of fish. (N1851, N1852)
Louvre Museum
Sankt Katharinen ist ein herausragendes Meisterwerk norddeutscher Backsteinbaukunst. Anstelle einer 1395 abgerissenen Feldsteinkirche entstand bis 1401 die Katharinenkirche als die größte Kirche der Stadt.
Beachtlich ihre Ausmaße; die Höhe des Dachfirstes beträgt 38 m und die des Turmes 72,5 m. An den Außenwänden dominieren ein seltener Reichtum an durchbrochenen Maßwerkrosetten und figürlicher Schmuck. Besonders beeindruckend die sogenannte Schöppenkapelle an der Südseite mit ihren reichhaltigen Verzierungen.
St. Catherine's Church is an outstanding masterpiece of North German brick architecture. replacing a fieldstone church demolished in 1395, It is the largest church in the city and was built until 1401. Its dimensions are remarkable; the roof ridge is 38 m high and the tower 72.5 m high. The outer walls are dominated by a rare abundance of openwork tracery rosettes and figural decoration. The so-called Schöppenkapelle on the south side with its rich exterior decorations is particularly impressive.
Brandenburg an der Havel is a town in Brandenburg, Germany, which served as the capital of the Margraviate of Brandenburg until replaced by Berlin in 1417.
With a population of 71,886 (as of 2017), it is located on the banks of the River Havel. The town of Brandenburg provided the name for the medieval Bishopric of Brandenburg, the Margraviate of Brandenburg, and the current state of Brandenburg. In the late 19th century Brandenburg an der Havel became a very important industrial center in the German Empire. Steel industries settled there, and several world-famous bicycle brands were manufactured in the city. A world-famous toy industry was also established. After German reunification the city's population declined from around 100,000 in 1989 to roughly 75,000 in 2005 through emigration. The migration was mainly by young people. (en.Wikipedia)
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.
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.
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.
Church Church of Our Lady Assumed into Heaven (Assumption of the Blessed Virgin Mary), St. Mary's Church - one of the largest and most important, the Wawel Cathedral, Krakow church, Basilica since 1963 . It belongs to the most famous sights of Krakow and Polish. It is located at the northeast corner of the main square, the Marienplatz .
According to John Dlugosz Parish Church on the Market of Krakow was founded by the Bishop of Cracow Iwona Odrowąż between 1221-1222. In the years 1290-1300 was built partly on the foundations, new early Gothic style church, consecrated in 1320.
It was then completely rebuilt. In the years around 1355-1365 with the significant participation of Nicholas Wierzynka older (patrician Cracow and Sandomierz esquire carver ) was built on one level elongated presbytery opened up tall windows, which were filled with stained glass windows in the years around 1360 to 1400. With the construction of the sanctuary began work on a new main body, which had initially taken the form of a three-aisled hall. These works, however, delayed, and the original concept has changed, and finally at the end of the fourteenth century the body of the basilica was modeled on the western part of the Wawel Cathedral. Przekryty he was in the 1395-1397 cross-ribbed vault by Master Nicholas Werhnera from Prague. In the years 1435-1446 at the outer walls of the aisles were built chapels. Most of them were the work of a master of Kleparz Francis Wiechonia. At the same time the north tower was raised, designed to act as guardians of the city. In 1478, carpenter Maciej Heringk nabbed a characteristic polygonal tower cupola. The helmet is decorated with gilded crown Marian in 1666 .
In the years 1477 - 1489 Mary century, the temple has been enriched by a masterpiece of late Gothic sculpture - a new high altar by Veit Stoss, funded by the city councilors .
In the sixteenth and seventeenth century St. Mary's Church gained new chapels, tombs and altars, in later centuries replaced. Mannerist altar of St . Agnes and Saints Catherine and Dorothy found recently in Iwanowice, Baroque altars St . And St. Joseph's. Anne's parish church in Brzeszczach near Auschwitz . At the end of the seventeenth century, the church replaced the floor and built two magnificent portals made of black Debnik limestone. In the eighteenth century at the behest of Archpriest Jack Łopackiego, the interior of the church was thoroughly modernized in the late Baroque style. When the big altars, equipment, furniture and the walls were imposed pilasters and entablature, illusionist ceiling are covered with murals by Andrzej Radwanski. From this period has also been set in the late Baroque façade porch.
In 1795 the churchyard was abolished. This is how the Marienplatz square came into existence. Some survivors of the epitaphs was transferred to the walls of the temple. In the 90s of the nineteenth century, the architect Tadeusz Stryjeński conducted a comprehensive restaurant church, during which zregotycyzowano interior. Temple gained a new decorative painting design by Jan Matejko. By executing murals collaborated, among others Stanislaw Wyspianski and Mehoffer .
Facade of the temple is enclosed in two towers:
Higher tower, known as the Watchtower " Excubiarum ", is 82 meters high. It is built on a square plan, the individual stories separate stone cornices. On the ninth floor of the octagon passes, opened up lancet arches, falling two stories of windows. Gothic towers covers the helmet , which is the work of a master Matthias Heringka of the year 1478. The helmet consists of an octagonal, sharpened needle, surrounded by a ring of eight lower turrets. From the tower, from a height of 54 meters, is played every hour bugle Mary. At the bottom, on the north side, there is a rectangular annex, located a stone staircase leading to the interior of the tower. On the left side of the entrance to the tower draws attention turned, cast in bronze plaque depicting King Jan III Sobieski. It was made based on the design by the sculptor Pius Weloński in 1883 to commemorate the 200th anniversary of the Battle of Vienna. The higher the tower 's bell clock to 1530 (tons Impact d ', diameter 165 cm).
Lower tower with a height of 69 meters, is the church bells. It was built on a square plan, as higher is clearly marked on the entire height of the cornices and windows, floors division. On the floor of the bell tower is a Renaissance chapel dedicated to St Paul's. Paul ( Family Kauffmannów ), which can be accessed through the Renaissance balcony, a work of Italian masters from the workshop of Bartholomew Berecciego working on Wawel Hill. Outside, above the window of the chapel, the roof is suspended trójspadowym bell " for the dying ", cast by Kacper Koerber of Wroclaw in 1736 . Helmet covers the late Renaissance Tower, constructed in 1592, consisting of an elliptical dome, mounted on an octagonal drum and lantern topped with openwork. In the corners are set four smaller domes at low , hexagonal bases. In the tower are suspended five bells :
- The oldest (gis Impact tons, diameter 105 cm, weight 11.65 kN) at the turn of the thirteenth and fourteenth centuries ,
- Two more, called Misjonałem (attributable to FIS 00 tons, diameter 136 cm, weight 22.2 kN) and Tenebratem (attributable to dis tons, diameter 175 cm, weight 48.5 kN) were filed between 1386 and 1390 by John Weygela the New Village at Spis ,
- And also the fourth largest, called Półzygmuntem (attributable to cis 40 tons, diameter 180 cm, weight 60 kN, heart weight 1.95 kN), is the work of John Freudental of 1438, the foundation was established through collective magnate, as evidenced by adorning it crests knights. Półzygmunt and Tenebrat are accompanied by inscriptions on the content of Marian.
- Fifth, cymbal clock, made in 1564, once cooperated with located on the taller tower clock. Activated manually by the bugle call player was using rods .
Four bells liturgy is one of the largest and oldest medieval bells teams in Poland.
A walk around The Washlands in Burton upon Trent. Around Andressey Island. The River Trent flows past here.
Bridge and viaduct that was opened to the public in 1898.
View of St Peters Church, Stapenhill.
From here can be seen the tower of St Peters Church, said to have been founded by St Modwen. The original medieval church was replaced by a new church in 1838. The present church with its richly decorated tower, said to have been inspired by Magdalen College, Oxford, was built in 1880-1.
Grade II listed building.
BURTON UPON TRENT
04-FEB-201 STAPENHILL ROAD
944/7/39 STAPENHILL
24-MAR-50 St Peter's Church
(Formerly listed as:
STAPENHILL ROAD
STAPENHILL
Church of St Peter)
II
Large town church of 1881 by Evans & Jolly of Nottingham.
MATERIALS: Coursed, rock-faced Derbyshire sandstone, with Bath and Ancaster stone dressings, ashlar limestone to upper stage of tower, slate roofs except for leaded aisle roofs.
PLAN: Aisled nave with asymmetrically placed south-west tower, south porch, chancel with large and tall transeptal south chapel and north organ chamber.
EXTERIOR: The church is mainly in late Perpendicular style. The 3-stage tower has diagonal buttresses, which on the east side rise from corbels (north-east visible within the nave) above lower angle buttresses. The lower stage has a south doorway with continuous moulding dying into the imposts, and 1-light west window. The second stage has 2 tiers of small square-headed windows. The upper stage, by contrast, is tall and impressive, and of limestone ashlar. It has pairs of tall 2-light openings under gables, the spaces above which are filled with pinnacles and blind trefoils, partly obscured by clock faces. The embattled parapet has open tracery, and pinnacles. Five-bay nave and aisles have square-headed windows with ogee-headed lights. The clerestorey has pairs of 2-light windows, aisles have larger 3-light windows. The west wall has 2 pointed 2-light windows either side of a central buttress, and a blocked west doorway is in the north aisle. The porch has an entrance with continuous moulding. In the chapel and organ chamber the north and south walls have tall pairs of 2-light windows with Y-tracery, and small 1-light east windows. The chancel has a 5-light geometrical east window, and has a high stone plinth where the ground level falls sharply.
INTERIOR: Wide and lofty interior. Arcades of 5 bays on the north side, but only 4 bays on the south on account of the tower, have octagonal piers, with attached shafts to the western responds, and arches with linked hoods. North and east tower arches have continuous chamfers. Nave and chancel have hammerbeam roofs, strengthened by steel rods and with panelled and boarded undersides from collar-beam level. Tall and wide arches to chapel and organ chamber have 2 orders of continuous roll mouldings. The organ chamber and chapel have roofs similar to the nave. Shallow monopitch aisle roofs have moulded beams on corbelled brackets. Walls are plastered and the east window has a shafted rere arch. Floors are plain tiles, with raised parquet floors below seating, and black and white marble floor to the sanctuary.
PRINCIPAL FIXTURES: The alabaster font, with round bowl and stem, is early C20. An older font bowl in the north aisle has a plain round bowl on a modern stem. Other fittings are probably of 1881: The pulpit has open, intricate Gothic tracery. Benches have square ends with stencilled numbers. Choir stalls have ends with arm rests and rich blind tracery, with openwork tracery to frontals. Sanctuary details are early C20. They include a communion rail incorporating a band of quatrefoils, and a reredos with blind Gothic panels, richer and taller in the centre. Screens to organ chamber and chapel incorporate panelled dado, intricate tracery to main lights, vine-trail cornice and brattishing. The Lady Chapel reredos is marble, surmounted by trumpet-bearing angels. The east window shows Christ with saints, probably 1881. Other windows are C20. An incised alabaster slab from an altar tomb to William Dethick (d 1497) is in the tower base. On the south wall of the tower is a monument to Susanna Inge (d 1720) with scrolled sides and scrolled pediment. Other memorial tablets are C18-C20.
HISTORY: The medieval church was replaced in 1881 by the present church, which is by Evans and Jolly, architects of Nottingham, largely at the expense of the Clay family and Burton brewing firms. The chancel was refitted in the early C20. A medieval font was in the old church in 1821, but was later removed and discarded, to be rediscovered and reinstated in the present church in 1973.
SOURCES:
Pevsner, N, The Buildings of England: Staffordshire, (1974) 88
VCH Staffordshire IX, 215-18
REASONS FOR DESIGNATION:
St Peter's Church, Stapenhill Road, Stapenhill, is designated at Grade II for the following principal reasons:
* It is a well-designed large town church retaining late C19 character and interior detail, with a fine tower that forms a prominent landmark on the eastern side of the River Trent
* It has C15 and C18 monuments of special interest
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.
A look at Weymouth Harbour, this part from Old Harbour South, the walk along Nothe Parade towards Nothe Gardens and Nothe Fort.
It's also part of the South West Coast Path.
Deheers Ebike Cafe, Kingfisher Marine and RDYC. On Custom House Quay, Old Harbour North.
Grade II Listed Building
Listing Text
WEYMOUTH
SY6878NW CUSTOM HOUSE QUAY
873-1/24/63 (North side)
18/06/70 No.9
John Deheer's Warehouse
GV II
Warehouse, in use as entertainment centre, formerly Hanneys
Fish Warehouse. Mid to late C19. Broadmayne and other dark
brickwork in Flemish bond, hipped slate roof.
PLAN: a tall warehouse with long return frontage to East
Street.
EXTERIOR: 4 storeys, 3 x 6 bays. The quay front has 3-light
wood mullioned casements to flat segmental heads and stone
sills, in sunk panels to wide segmental heads, and central
pairs of glazed doors with protective railing to former
hauling ways. At ground floor is a wide central opening to
concrete lintel and recessed doors, flanked by smaller plank
doors with plain transom lights. In the upper 3 levels the
ends have broad brick pilasters with a stone capping band, and
there is a stepped brick eaves cornice.
The East Street front has 6 recessed panels to segmental heads
and with brick flat pilasters to a head band; 3-light
casements to flush stone sills at each level, but bay 1 has a
wide square opening with plank door under a saw-tooth brick
head, and bays 2 & 5 have plank loading doors, above wider
ground-floor openings. Above the first floor is a thin string
in saw-tooth brick. The stepped brick cornice returns from the
quay front.
INTERIOR: modified and sub-divided to accommodate current
display material, but original cast-iron columns, in 2 rows,
remain. At the back floors have been removed in 3 bays,
leaving full-width heavy square transverse beams with joist
housings. The roof is exposed queen-post construction with a
central cat-walk, and the upper walls reduce to panels with
piers. The stone stairs are contained within a brick shaft.
A forthright design which is little altered externally, and
with substantial internal remains, it is an important quayside
element.
Listing NGR: SY6806078752
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Description
WEYMOUTH
SY6878NW CUSTOM HOUSE QUAY
873-1/24/656 (North side)
14/06/74 No.10
GV II
Warehouse and office, now commercial premises. Early/mid C19.
Rendered brick, hipped slate roofs.
Main 3-storey warehouse range, at right angles to quay, with
lower and smaller 2-storey range to left of front;
1+3-windowed. Left-hand one-window front has cornice to
parapet, and canted oriel with plate-glass sashes above ground
floor, remodelled C20. 3-window warehouse front has paired
brick headers forming dentils below string course to parapet;
upper floor has C20 window in original opening and plank door
to loading entry, above first-floor horned 4-pane sashes and
left-hand 4-pane casement, the latter above early C19 doorway
with bracketed cornice; arched central opening, blocked by C20
window; mid C20 window to right, probably inserted.
INTERIOR: not fully inspected but noted to have internal
timber construction.
Listing NGR: SY6806878740
Royal Dorset Yacht Club
Listing Text
WEYMOUTH
SY6878NW CUSTOM HOUSE QUAY
873-1/24/64 (North side)
14/06/74 No.11
(Formerly Listed as:
CUSTOMS HOUSE QUAY
Seamen's Institute)
GV II
Shown on OS map as Youth Centre.
Sailors' Bethel (Ricketts), later Seamen's Institute, and
Royal Dorset Yacht Club, now club and restaurant. Opened June
1866. Dark grey brick in Flemish bond, painted stone trim,
slate roof.
PLAN: a long narrow building, with modelled gable to the Quay,
at an angle to the party walls; the gable conceals a roof of
lower pitch behind.
EXTERIOR: 2 storeys, with gabled facade containing stepped
triple blind round-arched opening with small open oculi, under
continuous stepped label course, above 5 vertical deep-set
lights in an arcade with slender three-quarter colonnettes to
plain flush arches under a continuous stepped label, and on a
full-width sill band. Ground floor is triple-arched, with a
pair of glazed doors under plain fanlight to the left, a
central pair of plank doors with fanlight, and a plain light
to the right, all to a flush band and arches with continuous
stepped label and stopped ends. Stone plinth, a deep sill band
to the bottom floor, and the whole front is contained in brick
pilaster quoins carrying a deep moulded gable cornice with
leaf enrichment.
Rear wall is of brick, under a hipped roof, with 2 small
3-light small-pane casements at the eaves, and a large
flat-roofed extension.
INTERIOR: has one large space at the ground floor, with some
later partitions, and with lightweight banded cast-iron
columns with palmette capitals to bracketed heads, in 2 rows.
A straight flight openwork iron stair to the left rises to the
open first floor with a deep coved ceiling containing a series
of central cast-iron vents, plus access hatches.
HISTORICAL NOTE: a 1903 photograph inside refers to it as the
Seamen's Bethel; an advertisement of 1866 states: 'The
Committee of the Weymouth Sailors' Society have long felt the
importance of obtaining a more suitable place for the holding
of Religious Services than that which is at present occupied
as a Bethel. They have at length through the kindness of Sir F
Johnstone Bart., secured, free of cost, a most eligible site
on the Quay, together with the premises at present standing on
it and known as the Old Baths.' The advertisement goes on to
seek the sum of »700, for a '... plain but neat Bethel, with a
Reading Room...'.
In vaguely Venetian mode, this makes a bold statement on the
quayside. Except for some later lightweight partitioning, the
interior appears unaltered.
(Ricketts E: The Buildings of Old Weymouth: Melcombe Regis and
Westham: Weymouth: 1976-: 119).
Listing NGR: SY6808078752
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Oakridge United Church (1949)
305 West 41st Avenue, Vancouver, BC
Demolished March 3-5, 2018.
On our Top10 Watch List for 2015:
heritagevancouver.org/topten/2015/topten2015_03.html
The church originally opened as St. Giles United Church in 1949, to serve the growing postwar residential neighbourhood of Oakridge.
The origins of the congregation date back to 1892, when a Presbyterian Mission was founded in Mount Pleasant. A new church was built on Kingsway in 1910, and in 1925 the church name was changed to St. Giles United Church.
The congregation moved to its current site to build a larger new church in 1949 for the expanding United Church community.
At St. Giles, the prominent architectural firm Twizell & Twizell chose a Gothic Revival style of architecture. This firm was founded in 1908 by two British-born and educated brothers, who continued to practice in Vancouver for close to half a century.
Their early projects were modest, but they soon developed a reputation for designing high-quality residential and institutional buildings. They are best remembered for their churches, most often in the Gothic Revival style. Their first great church commission was for the Canadian Memorial United Church, at Burrard Street and West 16th Avenue. This led to other significant buildings for the United, Anglican and Catholic Churches in Vancouver and other cities across western Canada.
Oakridge United Church is a late representation of the Gothic Revival style, clad in stucco, as opposed to the more traditional but more costly stone. It displays design elements such as Gothic arched doors and windows with coloured glass panels, pointed pilasters and a steeply pitched roof.
The building addresses the prominent corner site on West 41st Avenue with a large bell tower, with an elaborate openwork spire, modeled on the much grander St. Giles Cathedral in Edinburgh.
George IV State Diadem Miniature
Creator:
Rundell Bridge & Rundell (jeweller)
Creation Date:
1820
Materials:
Diamonds, pearls, silver, gold
Dimensions:
7.5 cm
Acquirer:
George IV, King of the United Kingdom (1762-1830)
Provenance:
Made for George IV, 1820 (£8,216, adjusted to £7,126; RA GEO/25994)
Description:
Openwork silver frame lined with gold and set transparent with diamonds; narrow band edged with pearls, surmounted by four crosses-pattée, the front cross set with a pale yellow brilliant, and four sprays representing the national emblems of the United Kingdom.
From its frequent appearance on postage stamps and coins, this exceptionally beautiful head ornament, incorporating the national emblems of England, Scotland and Ireland, is probably the most familiar piece of Her Majesty The Queen's jewellery. Set with 1,333 diamonds, including a four-carat pale yellow brilliant in the centre of the front cross, the diadem has been regularly worn (and slightly modified) by queens regnant and consort from Queen Adelaide onwards. This feminine association belies its origin, since it was made for George IV's use at his famously extravagant coronation in 1821. On that occasion, he wore it over a large velvet 'Spanish' hat at the ceremonies in Westminster Hall and during the walking procession to Westminster Abbey.
The order for the diadem was placed with Rundells in 1820 and work was complete by May of that year. The design, probably by Rundells' chief designer Philip Liebart, reflects something of the discarded plan for George IV's Imperial State Crown, which was drawn up by Liebart in the same period and was to have included the national emblems in place of the traditional fleurs-de-lis.
Together with a diamond-studded loop (which was broken up to help make Queen Victoria's Garter armlet) the bill for the diadem amounted to the large sum of £8,216. This included an £800 hire charge for the diamonds - stones were regularly hired for use at coronations up to 1837 - computed on a percentage of the value of the stones. When the coronation had to be postponed for a year on account of Queen Caroline's trial, a further hire charge was levied. Normally the stones would have been returned to Rundells after the coronation, but in this case there is no sign that the delicately worked diamond sprays and crosses, a masterpiece of the new transparent style of setting, have been disturbed. Equally, there is no evidence that the King purchased the stones outright, so it could be that the bill was met by a discreet barter of old stones from George IV's extensive collection.
Today the diadem is worn by Her Majesty The Queen when travelling to and from the State Opening of Parliament.
Catalogue entry from Royal Treasures, A Golden Jubilee Celebration, London 2002
This information is copyright of the Royal Collections Trust website (well worth a look)
www.royalcollection.org.uk/collection/31702/the-diamond-d...