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Isabelo Tampinco (1850-1933)
Three-Seater Settee
1909
Narra and Rattan
H:55” x L:56” x W:23 1/2” (139 cm x 142 cm x 60 cm)
Opening bid: P 1,200,000
Provenance:
Workshop of Isabelo Tampinco, Manila
Don Maximo Sison Viola
Heirs of Maximo Viola
Lot 125 of the Leon Gallery auction on 2 December 2017. Please see www.leon-gallery.com for more information.
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 Nouveau became fashionable, he created a uniquely Filipino style by incorporating native flora and fauna designs in his calado or pierced transoms. His sinuous openwork and whiplash outlines in woodcarving abounded with the anahaw, areca palm, gabi or taro leaves and bamboo. It came to a point that any frame or piece furniture decorated with these was instantly labeled as “made by Tampinco”.
On the other hand, Maximo Sison Viola of San Miguel, Bulacan was studying medicine in the University of Barcelona, when he met Jose Rizal and became his best friend in Europe. They both became involved in the Propaganda Movement and, when Viola learned that Rizal was having difficulty in publishing the ‘Noli Me Tangere’ due to the delay of his allowance. Viola sought Rizal and offered to lend him the money needed to have the book published.
When Rizal finally received his allowance from Manila, the P1,000 (P666,666 today) sent by his brother, Paciano, not only enabled him to repay Viola, but also invite him on a two-month tour across Germany, Austria-Hungary, and Switzerland. Soon after Viola returned to the Philippines to practice his profession as a doctor. In his later years, he also indulged in his hobby of making furniture from kamagong and was so skilled in the craft, that he garnered an award in an exposition in Manila in 1920.
The similarity in the designs of this 3-seater narra settee and the half-tester bed that was auctioned at Leon last June, 2017 indicates that they were made to be companion pieces. Most probably, the settee was part of a small sala set that was meant to be used in the sitting room of the bedroom.
The settee stands on four feet carved in the shape of an inverted and truncated trunk of an areca or bonga palm emanating from a quadrant at each corner carved with a section of an anahaw leaf. The seat frame is edged with a cymatium molding and has an apron carved in front and at the sides with a serrated frieze of joined, upended triangles incised with diamond-shaped depressions that give an impression of stylized anahaw leaves. A boss is carved below the junction of each triangle, while three semicircular appendages equidistantly attached to the bottom of the front apron are carved with an anahaw leaf.
The seat is caned in one piece.
On either side of the settee are realistically carved bamboo arms resting on an arm support consisting of a short, truncated areca palm with a quadrant support on the inner angle carved with part of an anahaw leaf. The S shaped arm, carved like a bamboo trunk, curves forward and tapers as it curves upwards to connect to the upright back stiles.
The stiles, carved in the shape of an attenuated areca palm, has a crownshaft terminating in a stylized ionic capital consisting of a small anahaw leaf on a thorny stem at the center flanked by an ionic scroll. Between the back stiles is a wide solid narra plank with a tripartite partition, separated by stylized pilasters with molded vertical edges and a capital in the form of an inverted anahaw leaf. The backgrounds of the panels are carved with horizontal lines that give the impression of window persianas. The side panels have a narrow vertical slat in the middle with a small anahaw leaf carved at the top and tiny quadrants at the upper corners carved with tiny anahaw leaves. The central panel, divided into three by two vertical slats, is overlaid with a shield-shaped reserve carved with an inverted clump of traveler’s palm leaves emanating from an anahaw leaf.
An entablature above the posts and backrest is carved with a small anahaw leaf with a thorny stalk on the block above the pilasters and a frieze of a coconut frond, a banana leaf and bamboo twigs tied at the center with a ribbon, both on an entirely stippled ground. The cymatium molding above the corona is topped with a beveled edge. This is surmounted by a wide crest consisting of a large spray of roses realistically carved in the round and topped by an acroterion superimposed with an anahaw leaf. Symmetrically arranged on either side are realistically carved jungle ferns, coconut fronds and banana leaves. The settee seems to be entirely the work of Isabelo Tampinco and was completed in 1909, as attested to by the date carved at the rear of the backrest.
- Martin I. Tinio, Jr.
Brass celestial and terrestial globes with instruction manual. German, 17h Century AD. Zwinger, Mathematisch-Physikalischer Salon. Dresden, Germany. Copyright 2019, James A. Glazier.
St Mary's Church, (Church of St Mary) Church Rd, Yatton, Bristol BS49 4HH
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1137349
Date first listed: 11-Oct-1961
District: North Somerset (Unitary Authority)
Parish: Yatton
The Diocese of Bath and Wells
National Grid Reference: ST 43131 65416
Details
YATTON C.P. CHURCH ROAD (south side) ST 46 NW 5/147 Church of St. Mary G.V. I 11.10.61 Parish church. Late C13, nave, aisles and chancel remodelled C15 with later C15 south porch and chancel chapel; extensive restoration 1872 by G. Street (box pews and west gallery removed) and late C20 chapter house. Dundry stone, rubble with freestone dressings, nave, aisles, porch and chapel in coursed freestone, lead roofs. Nave, north and south aisles, south porch, north chapter house, crossing tower, north and south transept, chancel and north chancel chapel. Mostly Perpendicular style, some earlier work as in south window of south aisle. Nave has west elevation with large 6-light window with sub-arches, pointed arch, hood mould and angel stops, image niche above with seated figure, probably the Trinity, coped verge with fleurons and finial, window has moulded cill above pointed arched west door, surround of 3 hollow moulded orders, figure in niche in central order to each side, carved hood, finial and pinnacles to sides; 3-stage hexagonal turret left and right with string courses continued over heads of aisle windows, with lancets, cornice, pyramidal ribbed stone roofs, carved finial to north, missing to south, plinth. West elevation of each aisle has 4-light window, polygonal buttress to each side with similar top to stair turrets, pitched roofs with cornice and parapet with frieze of cusped triangles. North and south elevations of nave haves-bay clerestorey, all pointed arched 2-light windows with cusped lights and quatrefoil, hood mould and mask stops, turrets have small pointed arched door to aisle roof and upper door to nave roof behind similar parapet with crocketed pinnacles and gargoyles between bays. 5-bay north aisle has four 4-light windows with Y-tracery in upper sections, hood mould, weathered buttresses between with triangular shafts rising to crocketed pinnacles above similar parapet, large gargoyles, 3 fully remaining, 3 1/2 bays of parapet of C20 replacement; central bay has north door with pointed arch, fleurons on hollow-moulded surround, ogee hood with large finial and pinnacles, concealed by passage to C20 chapter house, door removed. South aisle as north, with fine carved demonic figure as gargoyle to west, scratch dial to west of porch; central bay has 2-storey south porch, highly decorated, 4-centred arched entrance, frieze of small leaves running up the jambs and along the arch, ogee gable with more foliage and naturalistic crockets, to left and right blank panelling sending up an ogee-curved crocketed feeler towards the gable, more panelling above; angel under parapet as on aisles, central image niche, lancets to west wall, clasping buttresses, scratch dial on south east buttress, gnomon missing, with figures 7, 8 and 9. Tower of 3 stages has diagonal weathered buttresses with crocketed pinnacles, south east hexagonal stair turret rising above parapet with panelled sides to top, open cusped parapet, tower has parapet with similar frieze, gargoyles, octagonal spire, truncated and ribbed with pinnacles above ribs, WH and IW in lead, weathercock of 1822, string courses; at 2nd stage all sides a single lancet and double lancet with Y-tracery under string course, 3rd stage has clock to east and 2-light cusped windows with pierced stone tracery. North transept has large north window of 5 lights, hood mould, stonework extended below window (tomb recesses inside) weathered angle buttresses, raised coped verges to gable with cross finial, parapet continued from aisle to west. South transept has 5-light south window with intersected tracery and 4 quatrefoiled circles above, hood mould with mask stops and relieving arch, buttresses to sides, upper east window of 3 cusped lights with flat head and hood mould, 4-centred arched door below. 3-bay chancel has 5-light east window with continuous hood mould, raised coped verges and cross finial, plinth, weathered angle buttresses and buttresses, one similar 2-light north window, 3 similar 2-light south windows, central one smaller with pointed arched priest's door below with moulded surround and hood mould. North chapel has pitched roof, 2 north windows, 4-centred arched, 3-light with fine upper tracery, hood moulds, similar parapet with gargoyles, north east octagonal angle turret with string course and cusped lancet, crocketed pinnacles, spire and finial; 4-light east window with pointed arch and continuous hood mould. Interior: nave has 10-bay wagon roof, demi-figures of angels on wall-plate, principals moulded and painted; to east, tall pointed C19 chancel arch, line of lower nave roof visible above and formerly external tower window (as on other sides); to west, window has 4-centred arched door with foliate hood and crocketed pinnacles to left and right at base (possibly access for former gallery); 5-bay pointed arched arcade to north and south, section of piers a Greek cross with concave quadrants in the diagonals, demi-shafts attached to the ends of the cross-arms, thin attached shafts set in the hollows, shafts have small capitals with bits of leaf, east responds have heads instead, north east capital with green man; demi-shafts on nave side rise to roof, through cill-course of clerestory, decorated with fleurons, and ending in little heads which carry the roof-principals. North and south aisles have 5-bay C19 ceiled roofs with moulded ribs and bosses, also wall-shafts with mask tops carrying depressed pointed trefoiled arches of wood with closely panelled tracery under wall-plate; nook-shafts to windows. North aisle has north door with pointed segmental head with fleurons, stone with quatrefoil piscina re-set in wall to right of door, north east window has remains of shaft and carved figure on cill, possibly from former rood support, pointed arch of 2 chamfered orders to north transept and stonework remaining at upper level, possibly remains of buttress to earlier nave. South aisle has west door to nave stair turret with 2 convex mouldings and pointed arch, south wall shaft curtailed above pointed arched door to parvise, moulded pointed arch to south transept. Porch has thin-ribbed lierne vault, carved bosses including a green man, paired shafts to corners, 4-centred arched door with fleuron frieze, image niche above. Tower rests on arches with 2-wave moulding, round shafts at corners supporting ribs of tierceron vault with C19 painted flowers. North transept has 3-bay wagon roof with moulded ridge purlin and one row of purlins, bosses, pointed arched chamfered west doorway, studded door with raised fillets, to former rood stair, squint to south east with cinquefoil head, north east image stand, pointed arch to chapel has hollow-moulded surround with cusped panels, slender shafts with leaf capitals and similar panelled soffit. South transept has similar roof, east door to tower, inner side of arch to tower has 2 broad wave and hollow mouldings, arch to aisle has 3 jamb shafts with leaf capitals. Chancel has 4-bay C19 wagon roof, brattished wall-plate, windows have moulded nook-shafts rising from lower cill, continuous hood mould and cill string on south wall, piscina to south, north wall has cill string and hood mould to window, 4-centred arched skew doorway to chapel, arch to chapel as between transept and chapel, outer shaft of arch continued through middle of squint, south priest's door has flat inner head. Chapel has framed ceiling in 9 panels of C19, stone angel corbels remaining from former roof, east window has tall elaborate image niche to left and right with clustered pinnacles to tops, pillar piscina to right, 4-centred arched north door to stair turret. Fittings: 2 carved oak figures of St. Peter and St. Paul in nave, in Baroque attitudes, made for the organ of Bath Abbey 1708; C19 stone octagonal font in south aisle; C18 panelled chest in north transept; 2 Jacobean sanctuary chairs in chancel. Mediaeval monuments in north transept (De Wyck Chapel) 2 effigies in recesses with broad cusped ogee gables, a knight and lady c.1325, possibly Sir Robert de Gyene and his wife Egelina de Wyck; alabaster monument to Sir Richard Newton, 1449 and his wife, 1475, good recumbent effigies on tomb chest with ogee niches filled by figures of angels carrying shields; in chapel, monument to Sir John Newton, 1488 and Isobel of Cheddar, 1498, recumbent effigies on tomb chest with quatrefoils in recess, broad buttresses and pinnacles left and right, low Tudor arch with openwork cusps, tracery in spandrels and crocketing, relief of the Annunciation on back wall, frieze of 10 niches for figures, half a figure left, upper fleuron frieze and cornice. In north transept, marble tablet to Edward Day, 1802; marble tablet to Henry Hawes, 1809, by Wood of Bristol; marble tablet to John Norman, 1837; marble tablet with pediment to Sarah Battiscombe, 1736; in south transept, marble tablet with draped urn, to John Cam, 1795; in north chapel, marble monument with broken pediment and shield, to Henry Grimsteed, 1714, by M. Sidnell of Bristol; marble monument with draped urn, to Hannah Markham, 1768; in chancel, marble monument to Thomas Wickham, 1829. (Sources: Pevsner, N. : Buildings of England : North Somerset and Bristol 1958. Peart, M.C. : History of Yatton Parish Church 1931. Keily, G. : Guide to the Parish Church of St. Mary The Virgin, Yatton 1982. Somerset Record Society, Proceedings, vol. IV, 1890, containing extracts from Yatton churchwardens' accounts, 1446-1602, full accounts in Somerset Record Office).
© Historic England 2020
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.
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.
One of the fellows at the international governance/policy think tank where I work is an expert on the whole plastic shopping bag issue -- so we can't be seen with plastic bags in the office! But we're right across the street from the grocery store, which is where most of us usually buy our lunches, not to mention where we run our errands while on lunch breaks. I whipped up an improvised shopping bag out of some worsted-weight linen.
View on top of the Milan's Chathedral
Milan Cathedral (Italian: Duomo di Milano) is the cathedral church of Milan, Italy. Dedicated to Santa Maria Nascente (Saint Mary Nascent), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola.
The Gothic cathedral took nearly six centuries to complete. It is the fourth largest cathedral in the world[ and the largest in the Italian state territory.
Architecture and art
The plan consists of a nave with four side-aisles, crossed by a transept and then followed by choir and apse. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral, which was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
The cathedral's five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
Milan’s cathedral has recently developed a new lighting system, based on LED lights.
Unesco World Heritage Site City of Toledo
Wikipedia, The Primatial Cathedral of Saint Mary of Toledo (Spanish: Catedral Primada Santa María de Toledo), otherwise known as Toledo Cathedral, is a Catholic church in Toledo, Spain. It is the seat of the Metropolitan Archdiocese of Toledo.
The cathedral of Toledo is one of the three 13th-century High Gothic cathedrals in Spain and is considered, in the opinion of some authorities, to be the magnum opus[1][3] of the Gothic style in Spain. It was begun in 1226 under the rule of Ferdinand III, and the last Gothic contributions were made in the 15th century when, in 1493, the vaults of the central nave were finished during the time of the Catholic Monarchs. It was modeled after the Bourges Cathedral, although its five naves plan is a consequence of the constructors' intention to cover all of the sacred space of the former city mosque with the cathedral, and of the former sahn with the cloister. It also combines some characteristics of the Mudéjar style, mainly in the cloister, with the presence of multifoiled arches in the triforium. The spectacular incorporation of light and the structural achievements of the ambulatory vaults are some of its more remarkable aspects. It is built with white limestone from the quarries of Olihuelas, near Toledo.
It is popularly known as Dives Toletana (meaning The Rich Toledan in Latin).[4] The Mozarabic Chapel in the Cathedral of Toledo still uses the Hispano-Mozarabic Rite and music.[5][6]
History
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Origins
The main façade, from the Plaza del Ayuntamiento.
For many years, an unwritten popular tradition has held that there was originally a church from the era of the first Archbishop Eugene (Saint Eugene of Toledo) located in the same place as the present cathedral. This church was consecrated for a second time in the year 587, after having undergone some alterations, as testified by a 16th-century inscription preserved on a pillar in the rear of the nave of the church which states:
In the name of the Lord the Church of Saint Mary was consecrated as Catholic, the first day of the ides of April, in the joyful first year of the reign of our most glorious king Flavius Reccared, Era 625 [13 of April of 587].
The city had been the episcopal seat of Visigothic Spain. The numerous Councils of Toledo attest to its important ecclesiastical past. Also, the abjuration of Arianism on the part of Reccared occurred there. The Muslim invasion did not immediately eliminate the Christian presence and the bishopric remained established in the church of Saint Mary of Alfizén.
The Visigothic church was torn down and the main mosque of the city of Toledo was erected in its place. Some investigators point out that the prayer hall of the mosque corresponds with the layout of the five naves of the current cathedral; the sahn would coincide with part of the current cloister and the chapel of Saint Peter and the minaret with the belltower. Using certain archeological data it is possible to discern an Islamic column mounted inside the chapel of Saint Lucy; the marble shafts that decorate the exterior of the choir are an improvement of an old Muslim construction, and the intertwined arches of caliphate style in the triforium of the main chapel and of the ambulatory coincide with the Muslim construction tradition of Cordova.
The Cathedral of Alfonso VI
Alfonso VI of León and Castile.
The city of Toledo was reconquered by Alfonso VI, King of León and Castile, in 1085. One of the points of the Muslim capitulation that made possible the transfer of the city without bloodshed was the king's promise to conserve and respect their institutions of higher learning, as well as the customs and religion of the Muslim population which had coexisted with the larger Mozarabic population. Naturally, the preservation of the main mosque was integral to this compromise. Shortly thereafter, the king had to depart on matters of state, leaving the city in charge of his wife Constance and the abbot of the monastery of Sahagún, Bernard of Sedirac (or Bernard of Cluny), who had been elevated to the rank of archbishop of Toledo. These two, in mutual accord and taking advantage of the absence of the king, undertook an unfortunate action which, as told by the priest Mariana in his General History of Spain, almost provoked a Muslim uprising and consequent ruin of the recently conquered city.
On 25 October 1087, the archbishop in cooperation with Queen Constance sent an armed contingent to seize the mosque by force. They proceeded to install a provisional altar and hung a bell in the minaret, following Christian custom to 'cast out the filthiness of the law of Mohammed'.[7] The priest Mariana writes that king Alfonso VI was so irritated by these events that neither the archbishop nor the queen were able to prevent him from ordering the execution of all the active participants. Legend tells that the local Muslim populace itself helped restore peace, with its chief negotiator, faqih Abu Walid, requesting the king to show mercy, and imploring his fellow townsmen to accept the Christian usurpation as legitimate. In gratitude for this gesture, the Cathedral Chapter dedicated a homage to Walid and ordered his effigy to be placed on one of the pillars in the main chapel, in this way perpetuating his memory.[8] Thus the conversion of the Toledan mosque was upheld and it remained consecrated as a Christian cathedral.
The building plans of the former mosque have not been preserved nor is the appearance of the structure known, but taking into account the preserved vestiges of mosques in other Spanish cities (in Seville, Jaén, Granada, Málaga, and the Mosque-Cathedral of Córdoba), it may be supposed that it was a columnary building, with horseshoe arcades on top of columns in revision of earlier Roman and Visigothic construction. It is possible that it appeared very much like the Church of the Savior of Toledo, previously a mosque.
King Alfonso VI made important donations to the new church. On 18 December 1086, the cathedral was placed under the advocacy of María and it was granted villas, hamlets, mills and one third of the revenues of all the rest of the churches of the city. The first royal privilege that is preserved is a prayer in Latin, beginning:
Ego Disponente Deo Adefonsus, Esperie imperator, condeco sedi metropolitane, scilicet, Sancte Marie urbis Toletane honorem integrum ut decent abere pontificalem sedem secundum quod preteritis fuit constitutum a sanctis patribus...
In English:
I, Alfonsus, Emperor of Hesperia by the disposition of God, grant to the metropolitan See, that is, the church of Saint Mary in the city of Toledo, the complete honour that she should have the pontifical see according to what before was constituted by the holy fathers…
Pope Urban II recognised this church in 1088 as the primatial cathedral over the rest of the kingdom. The mosque-cathedral remained intact until the 13th century, when in the year 1222 a Papal bull issued by the Pope authorised the construction of a new cathedral which was begun in 1224 (or 1225). The official ceremony of the laying of the foundation stone took place in 1226 (other sources say 1227), with the presence of King Ferdinand the Saint. Throughout the 13th century the cathedral's income tax was raised through the previous incorporation of Alcalá de Henares into its archiepiscopal territories in 1129.
The Cathedral of the Archbishop Ximénez de Rada
The layout of the cathedral as now seen was set in the 13th century, while Rodrigo Ximénez de Rada was archbishop of Toledo and during the reign of a young Ferdinand III of Castile. Commencement of the work was delayed until the king could be present at the official ceremonial cornerstone-laying (1227). Ximénez de Rada was elected bishop of Toledo in 1209, and thenceforth he defended the primacy of the Toledan See before the Papal authority. He aimed to build a grand cathedral, worthy of the city he governed. When he came to office, the mosque-cathedral had ample space, but with a low roof, making the interior noisy. The cathedral was aged; some sections had been demolished by his predecessor, and the structure lacked the slenderness and height of other religious edifices of similar importance. Ximénez de Rada became the enthusiastic promoter for a new cathedral, to be built in contemporary Gothic style. He was so enthusiastic about the project and involved himself so much in it that it was later falsely rumoured that he was the designer-architect of the cathedral. The archbishop spent a few years maintaining and reinforcing the old structure in hopes that his dream would be realised.
The building
Plan of the cathedral.
The structure of the building is greatly influenced by the French Gothic style of the 13th century, but adapted to Spanish taste. It measures 120 metres (390 ft) in length by 59 metres (194 ft) in width and 44.5 metres (146 ft) high. It consists of five naves with transept and double ambulatory. The outer naves present an odd anomaly in being a little wider than the other two. The oldest part of the building is the sanctuary, which maintains in its architecture the original triforia that extended along the length of the naves and were removed in one of the many alterations that the cathedral underwent. Still in the Gothic period, these triforia were replaced with large stained-glass windows. Those triforia that survive in the sanctuary are of Mudéjar influence. The lowest section is made of cusped arches that rest on paired columns and the upper section presents interlaced arches typical of Mudéjar. It is not known if these Mudéjar themes existed in the previous mosque and were copied as a reminder or if they were added in one of the improvements of the stonework, as something original and tasteful.
In the sanctuary, one encounters the double ambulatory, which is doubled as would correspond to a ground plan of five naves. This double ambulatory is of grand proportions and is enriched with architectural elements and an original vaulting. The new sections of the chapels were resolved with alternate plans of rectangles and triangles, which allowed for each chapel to be of a different size, rectangular plans being larger and triangular plans smaller. This method of distributing the sanctuary can be seen in the French cathedrals of Paris, Bourges and Le Mans, the last cathedral being the most similar in appearance, although the three are more slender in aspect than the Spanish cathedral. The various reforms that were made over time altered the arrangement of some of the chapels; for example, in one case just one chapel was reconstructed in the former space of three.
The vaults of the naves are quadripartite except for those of the transept and the chancel which are reinforced with tiercerons.
The master builders and their patrons
The cathedral seen from the Church of San Ildefonso
For centuries it was held with complete certainty that the first master architect of the cathedral of Toledo was Petrus Petri (Spanish: Pedro Pérez). Such certainty was based on the only existing testimony regarding the authorship, a legend inscribed in vulgar Latin still visible on a tombstone:
English translation: Petrus Petri, deceased in 1291, master of the church of Saint Mary of Toledo, whose fame was propagated by his good examples and customs, who constructed this temple and rests here, for what an admirable building he made, he will not feel the wrath of God.
Towards the middle of the 20th century, the bishop of Ciudad Real thoroughly investigated this claim and brought to light a series of documents which demonstrated the existence of a first master prior to Petrus Petri called Master Martín, married to María Gómez and certainly of French origin, who had been summoned by Ximénez de Rada. One of the documents is dated to 1227 and names "a master Martín of the work of Saint Mary of Toledo". Another document lists income collected by the cathedral in 1234 and records again the name of "Master Martín of the work", of whom it is also written that he was a tenant of a house associated with the cathedral. In later writings there appear the names of Martín (stonemason) and Juan Martín (master of stonemasons), who are believed to be relatives of each other. No new documents have appeared, so at present this master Martín is accredited as the first architect. To this argument it must be added that the date of the beginning of construction does not correlate with the age of Petrus Petri who during those years must have been too young to be an architect.[9]
Studies released after this discovery indicate that the master Martín would be the designer of the chapels of the ambulatory and upon his departure by death or by absence the supervision of the work was taken up by master Petrus who finished the ambulatories and constructed the triforia in Toledan style. Towards the end of the 20th century, the sanctuary and two sections of the naves of the south side were completed.
Near the end of the 14th century the existence of a master Rodrigo Alfonso is apparently documented; he laid the first stone of the cloister in 1389, under the patronage of Archbishop Pedro Tenorio, who died ten years later. The archbishop occupied himself with many works of the cathedral, such as the chapel of Saint Blaise in the cloister which is famous for the artistic richness of its frescos from the school of Siena.
The next master of whom there is information was Alvar Martínez (in some sources called González), who was quantity surveyor of the Olihuelas limestone quarries at the boundary of Olías del Rey. He is the designer of the west façade whose construction was begun in 1418. Changes made in 1787 obscure the original appearance of this façade. He was also the designer of the only tower of the cathedral, which was built during the office of Archbishop Juan Martínez de Contreras, whose coat of arms appears in the frieze that crowns the first section. The crowning of the tower was done by another great master sculptor, the Fleming Hanequin de Bruselas, who moulded the coat of arms of the succeeding archbishop Juan de Cerezuela. With Hanequin came a group of illustrious masters: Egas Cueman (de Bruselas' brother) [citation needed], Enrique Egas, and Juan Guas; these worked on façades, chapels, and sumptuary works, completing the work done in the Gothic idiom with their labor. The vaults at the footing of the central nave were closed in 1493, under the direction of Juan Guas and Enrique Egas, with the patronage and supervision of Cardinal Mendoza.
Great patrons of the 16th century: works and artists
Cardinal Ximénes de Cisneros
During the 16th, 17th and 18th centuries, various modifications were made to the cathedral according to the new styles: architectural works including magnificent portals and chapels, and sumptuous works of sculpture and painting. The 16th century was the golden age of Toledo, which consequently came to be called the Imperial City. The best informed and most active patrons lived during this century. It was the archbishop-governors who, in the absence of the kings, attended to the city and added to its magnificence. In 1493, at the end of the 15th century, Cardinal Mendoza supervised the closing of the last vault of the cathedral and expressed in his will his desire to be buried in the presbytery. In the first decade of the 16th century, the cenotaph was built in Renaissance style. This work is attributed to a team working under the leadership of Domenico Fancelli,[10] although some authorities attribute it to Andrea Sansovino.[11][12]
Cardinal Cisneros occupied the cardinalate office for twenty-two years; under his influence and sponsorship important works were done (perhaps the most important was the Mozarabic chapel), realised by masters of the stature of Juan Francés (reja, or the ironwork screen, of the Mozarabic chapel), Enrique Egas, Juan de Borgoña (paintings of the Mozarabic chapel) and its grandmaster Pedro de Gumiel. Cisneros also ordered the magnificent main altarpiece to be built (the work of Diego Copín de Holanda) and the high cloister for the canonical community, plus the library. He was followed by Guillermo de Croy, the Chief of the Spanish treasury (contador mayor), who never resided in Toledo. Alfonso de Fonseca y Acevedo (who had been archbishop of Santiago de Compostela) was the promoter of the New Kings chapel, which was planned by the architect Alonso de Covarrubias. Paintings by Mariano Salvador Maella were added in the 18th century.
With the ascent of Bishop Juan Tavera, the Toledan Renaissance reached its height of splendor. Under his governance, the choir of Alonso Berruguete and Felipe Vigarny, the interior façades of the transept, the chapel of Saint John or of the Treasure and other façades and adornments were constructed. During Archbishop Juan Martínez Siliceo's time in office, the cathedral was adorned with the screen of the main chapel, the work of Francisco de Villalpando.
Cardinal Gaspar de Quiroga was responsible for the architectural complex of the chapel of the Tabernacle, the Reliquary and the courtyard and house of the treasurer. The renderings and plans were drawn by the grandmaster Nicolás de Vergara el Mozo. To construct this complex, the Hospital of the King was torn down and rebuilt on its former site; these works were carried out under the supervision of Cardinal Bernardo de Sandoval y Rojas and the architect Nicolás de Vergara in the 17th century.
Exterior
Main façade and the great portals
Puerta del Perdón (Portal of Forgiveness)
The main façade faces an irregular square containing the town hall and the Archbishop's Palace. To the left is the bell tower and to the right the projecting Mozarabic chapel that occupies the place where the second tower was to be built.
To the left of the main façade rises the only tower of the cathedral. The dome that is seen to the right belongs to the Mozarabic chapel which was commissioned by Cardinal Cisneros. The tower has two parts: the lower part, of square cross-section, was designed by Alvar Martínez; the upper, octagonal part was designed by Hanequin de Bruselas. It is topped by a spire.
The main façade has three portals, known as, respectively, Puerta del Perdón (Portal of Forgiveness, in the centre), Puerta del Juicio Final (Portal of the Last Judgment, to the right) and Puerta del Infierno (Portal of Hell, to the left). The Portal of Forgiveness belongs to the 15th century—it was begun under the direction of Alvar Martínez in 1418. It is so called because indulgences were granted to penitents who entered through it. These days it is always closed and is used only on special occasions and upon the investiture of new archbishops of the primatial cathedral. It has one great arch with six Gothic archivolts. The decoration consists of typical Gothic iconography, with the figure of the Saviour in the mullion and an apostolates in the jambs. In the tympanum, the Virgin gives the chasuble to Saint Ildephonsus, a particularly special theme for the cathedral which is repeated in the interior in the chapels and paintings. The leaves of the doors measure more than five meters in height and are covered by elaborately fashioned bronze plates, which date to the 14th century. The Portal of the Last Judgement is the oldest of the three, and represents, as its name suggests, the Last Judgment.
The Portal of Hell, in contrast, does not contain figurative motifs, only floral decoration. It is also known as the Portal of the Tower or of the Palms as it used to be reserved as an entrance for the procession of the palms on Palm Sunday.
Puerta del reloj (Portal of the Clock)
The façade was modified in 1787 by the architect Eugenio Durango under the orders of Cardinal Lorenzana. The sculptor was Mariano Salvatierra. The work was necessary because of the deterioration of the stone, which was not of good quality. It is possible that the portals were to be moved forward between buttresses instead of their current position, but this is not known for certain.
Portal of the Clock
The Portal of the Clock is the oldest of the portals, begun in the 14th century and located in the façade of the north side. In addition, it is also known as:
Portal of the Fair, because it opened to the street where the fair was celebrated.
Portal of the Chapinería (shoe-maker shop), because it fronts the street which bears that name, the place where clogs were made and sold.
Portal of the Ollas, because in its decoration some ollas can be seen.
Portal of the Monarchs, alluding to the iconography of its sculpture.
Portal of the Lost Boy, also because of the iconography.
The tympanum is divided into four horizontal panels, in which there are scenes from the life of Christ: the Annunciation, the Nativity, the Adoration of the Magi, the Massacre of the Innocents, the Flight into Egypt, the Circumcision of Jesus, the Finding in the Temple, the Presentation of Jesus at the Temple, the Baptism and the Marriage at Cana. In the upper part of the tympanum, the Death of the Virgin is depicted. The column-mullion is decorated with an image of the Virgin and Child. In the jambs are images of kings and saints, all of which are the work of the sculptor Juan Alemán who also worked on the Portal of the Lions.
Above this portal is found the later sculpting of Gregorio López Durango, whose work is also seen on the main façade. It is consolidation work that was needed because of the deteriorated state of the stone. The central intercolumniation above the portal is occupied by the face of the clock that gives it its name. The portal and its surrounding stonework form an appealing space with the entranceway enclosed by a Gothic screen; this is the work of Juan Francés, with very plain crosspieces, a small, carved frieze with a separation in the center, and a simple and harmonious design.
Interior
Inside are diverse medallions; the best are those of the Virgin of the Annunciation by Nicolás de Vergara el Mozo and of the Archangel Saint Gabriel by Juan Bautista Vázquez. It is also adorned with paintings and coats of arms. Above is the rose window of the 13th century that contains the oldest stained glass of the cathedral.
Portal of the Lions
Puerta de los Leones (Portal of the Lions)
The Portal of the Lions was built in the 15th and 16th centuries. It is the most modern of the great portals. It is so named because of the lions that surmount the columns of the gate that encloses the small entranceway. In addition, it has two other names:
New Portal, for being the last that was built.
Portal of Joy, in allusion to the celebration of the Assumption of the Virgin that is represented in the face of the back wall, over the archivolts.
It was constructed between the years 1460 and 1466, under the mandate of Archbishop Alfonso Carrillo de Acuña, with designs from Hanequin of Brussels, also known as Anequín de Egas Cueman,[13] and Enrique de Egas Cueman, his son,[14] in collaboration with the Flemish sculptors Pedro and Juan Guas and Juan Alemán, designer of the Apostolate. These artists supervised a large workshop that included prestigious stonemasons and carvers.
The statuary of this portal is one of the best Hispano-Flemish assemblages of the 15th century, above all the Virgin of the column-mullion and the statues of the jambs. The cherubim and musical angels that accompany the ascension of Mary to the sky are works of art executed with great delicacy. The façade was altered by Durango and Salvatierra, the same as in the other portals, to enhance the appearance of the building. The bronze leaves of the doors are the work of Francisco de Villalpando, who created a masterpiece on the 35 panels or plates. They are hidden from view, protected with wood panels. On top is the great Rose Window of polychromatic stained glass.
The interior of the portal corresponds to the great façade of the transept on its southern side, on top of which rests the small balcony with balustrade that corresponds to the tribune where the organ of the Emperor is located. Higher up is the rose window, surrounded by a frame with its pendentives decorated with rosettes.
In the lower part of the great façade is the portal divided by a column-mullion. Above the doors are the tympanum sculpted with themes of the genealogy of the Virgin whose designers were the same who worked on the exterior of this portal. On top of the tympanum is the plateresque carving with a great medallion of the Coronation of the Virgin in the center, the work of Gregorio Pardo (eldest son of Felipe Vigarny). On both sides are the statues of David and Solomon, attributed to Esteban Jamete.
To the right and left of this front are two sepulchres. The one on the right is empty (it is believed that it was prepared to receive the remains of Brother Bartolomé Carranza); that of the left holds the remains of Canon Alfonso de Rojas, represented in a praying statue.
The bronze reja (metalwork screen) was made a century after the great screens of the main chapel and of the choir, in a style completely different from these, valuing solidity and utility more than the taste for ornamentation of the previous century. Its designer was Juan Álvarez de Molina, a native of Úbeda (Jaén), who made the screen in the city of Toledo in 1647. The documents preserved in regard to this say that the master metalsmith received 8,504 reales and 12 maravedís, in addition to the 27,000 reales that had been given to him earlier. The document gives account of the cost of the metal employed, which was nearly as much as the total payment he received for the work.
Other portals and façades of the cathedral
Level Portal
The Level Portal is of Neo-Classical style, built in 1800. It is the only entrance to the cathedral that is level with the ground, without steps, so giving it its name. It was customary for processions to exit through this portal.
Façade of Saint Katherine
The Façade of Saint Katherine is of late Gothic style. Its archivolts are carved with vegetal motifs of leaves and foliage. The pillar that makes the mullion is splendidly carved on its side faces, with castles and lions. In its interior, it has two sections. The higher section is ornamented with a series of statues with small dossals.
Portal of the Presentation
The Portal of the Presentation is from the time of Cardinal Tavera; it is richly carved with imagery of miniatures in good quality, very white stone.
Tower
Tower of the Cathedral
The original plan was to build two symmetric towers on each side of the west façade, but when the one at the northern corner was raised, it was discovered that the ground beneath the site planned for the southern tower was unstable due to an underground water stream. Even so, the Mozarabic chapel was later built there.
The tower was designed and built mostly by Alvar Martínez; it is Gothic, with some decorative Mudéjar influence and reaches a height of 92 m (301 ft). Four levels and a fifth of lesser height rise on a square elevated base which houses the chapel of the Treasury. Between the first and the second level a frieze of black marble unfolds horizontally, with the coat of arms of Archbishop Juan Martínez de Contreras (whose mandate was from 1422 until 1438) inlaid in white marble. Master Martínez completed this part of the work in 1422, but left no plans or drawings for construction of the pinnacle and its spire. This top level of the tower with its octagonal body was designed by the architect Hanequin de Bruselas, who was summoned to finish its construction with a group of accomplished masters: Egas Cueman, Enrique Egas and Juan Guas among others. The pinnacle with its buttressed arches rests on the octagonal barrel of the fifth level and is topped with a spire that supports three crowns imitating a papal tiara.
Interior
Looking down the main chapel.
Main Chapel
Interior of the cathedral
The main chapel of the cathedral brings together a wealth of artwork, starting with the architecture of the enclosure itself. In its original state, the enclosure was separated into two parts with two independent vaults. The polygonal vault pertained to the chapel of the Old Monarchs, which was somewhat separated. With this arbitrary division, the presbytery was improperly narrow for such a grand cathedral. Cardinal Cisneros insisted that he wanted this part of the cathedral to be rebuilt and despite some resistance from the Chapel Chapter, he finally received its consent to demolish the old chapel and build one with a wider presbytery and sufficient space for the great Gothic retable which he himself had commissioned.
Also, in its original state, the chapel had been enclosed laterally by two magnificent screens of stone, which were like enormous gates. The Pulpit, or Gospel side of the church, with its screen, was demolished to make room for the sepulchre of Cardinal Mendoza. The lectern, or Epistle side, remains as it was and by this it can be deduced that it was part of a larger work. Some art critics[15] assure us that this stone screen is the most beautiful part of the cathedral. It is possible that its construction was completed during the tenure of Archbishop Pedro de Luna whose polychromatic shield and coat of arms of Castile and León are displayed here. It is adorned with abundant statuary including a sculpted choir of angels that appear to be flying. The two pillars that form the passage to the interior of the chapel were built to harmonize with this work of fretted stone. On the left pillar is a statue of Martín Alhaja, the famous shepherd who (according to legend) led King Alfonso VIII of Castile through the Despeñaperros Pass in the Battle of Las Navas de Tolosa; the other pillar is called Faqih's Pillar after its statue of Abu Walid who brought King Alfonso VI a message of tolerance (see this section).
The whole sanctuary is covered with carved and chiselled mythological figures of all sizes. On the Pulpit side are the beautifully decorated sepulchres of Alfonso VII and Doña Berenguela with their recumbent statues, while on the Lectern side are the tombs of Sancho III of Castile (The Desired) and Sancho IV (The Brave). The images of the monarchs were carved in wood by Copín de Holanda and polychromed by Francisco de Amberes.
Chapel of the Sepulchre
Below the main altar is the Chapel of the Sepulchre in the form of a crypt. It is entered from outside the presbytery, through a screen and the Portal, and down a staircase. It is a vaulted chapel which contains three altars. The center altar is dedicated to the Holy Sepulchre and has a sculptural grouping carved by Copín de Holanda. The altar on the right has important paintings by Luis Medina and Francisco Ricci. The altar on the left is dedicated to Saint Julian and presents a carving of the archbishop and two Italian panels with the theme of Saint Peter and Saint Paul.
Retable
Retable of the cathedral
The retable of the Cathedral of Toledo is an extremely florid Gothic altarpiece; it is one of the last examples of this artistic style, which was disappearing as the Renaissance began to take hold in Spain. Commissioned by Cardinal Cisneros, the work was begun in 1497 and finished in 1504. Among the architects, painters and sculptors who collaborated in this collective masterwork were: Enrique Egas and Pedro Gumiel (design), Francisco de Amberes and Juan de Borgoña (estofado: the technique of finishing sculpture of wood with gilding and punched patterns, and polychromy), Rodrigo Alemán, Felipe Vigarny, Diego Copín de Holanda y Sebastián de Almonacid (religious images), and Joan Peti (carving and filigree).[16]
The retable rises to a great height above the altar; it includes an important statuary and a magnificent, delicate filigree of balusters, spires, small dossals, and chambranles, all done by Joan Peti. It consists of five continuous panels, the center panel being the widest; it is five storeys tall, and the lines of separation are stair-stepped. The themes of the central panel from bottom to top are: the figure of a seated Virgin and Child plated in silver on the predella, above this the tabernacle and a Gothic monstrance carved in wood, then a depiction of the Nativity, and above that, the Ascension. The whole culminates in a monumental scene of Christ's crucifixion at Calvary. Further themes of the life and passion of Jesus are represented on the other panels.
Sepulchre of Cardinal Mendoza
The sepulchre of Cardinal Mendoza was located in the cathedral as he himself had decreed in 1493; the Chapel Chapter had been opposed from the beginning to its being situated in the Presbytery, this space was reserved as the privileged prerogative of the monarchs. Nevertheless, in the end the structure of the choir had to be altered and the royal tombs moved to accommodate the sepulchre. In its final decision the Chapter deferred to the personal intervention in favor of the Cardinal by the Catholic Monarchs, who cited the invaluable services performed by those whom Isabel the Catholic called 'the three beautiful sins of the cardinal' (his children). When he died, on 11 January 1495 in Guadalajara, it was said those present had seen a sparkling white cross, perhaps in an effort to invest his posthumous reputation with an aura of sanctity.
The sepulchre of Cardinal Mendoza was the first Castilian Renaissance sepulchre. The structure consists of an open central arch and two smaller arches, carved on two façades and through which the tomb can be seen from inside and outside, following the model of a Roman triumphal arch, which was shocking to those who assisted in its construction, as much for its spectacular form as for abandoning the Gothic style, which until that moment was the established convention. The authorship of the work is not clear, though it is attributed to the Florentine Jacopo d'Antonio Sansovino who later worked in the Portuguese court with a similar style.
The impact on other later works was enormous: the sepulchres of Fadrique of Portugal, Pedro López de Ayala or Fernando de Arce,[17] among others, were partial imitations of this new model.
The interior chapels: overview
Vaulted ceiling, high altar, and reja of the main chapel
The main and minor chapels, conceived in the project of Rodrigo Ximénez de Rada, in their original state surrounded the sanctuary of the cathedral. Some were removed and others were widened or re-ordered. Of the minor chapels only the chapels of Saint Ann and Saint Giles remain. Of the main chapels those of Saint John the Baptist and Saint Leocadia remain with elements from the first era. The chapels of the Old Monarchs and of Saint Lucy remain with alterations only to their ornamentation.
The rest were drastically modified or removed, even though in some the entrance can still be recognized: six small chapels of the ambulatory gave way in the 14th and 15th centuries to the burial chapels of Saint Ildephonsus and Saint James; that of the Christ of the Column (also called of Saint Bartholomew) was transformed at the beginning of the 17th century to give way to that of the Christ of the Students; those of Saint Barbara, of Saint Nicholas, of Saint Elizabeth and of the Holy Trinity were integrated into other structures although some details permit their earlier appearance to be discerned.
After the various modifications, there now can be found the aforementioned Chapels of the Old Monarchs, Saint John the Baptist, Saint Leocadia and Saint Lucy, including that of Saint Eugene, of Saint Blaise (incorporated into the cloister), of Saint Peter and of the New Monarchs.
In the subsequent remodeling and construction, the architects almost always followed the criterion of advancing from the sanctuary of the cathedral towards the wall, which explains the sometimes chaotic current layout, with respect to the early designs. The first name of the chapel of the Old Monarchs is unknown. The current name had its origin in 1498 when Cardinal Cisneros wanted to transfer the royal tombs from the main chapel, which in the end was never done. In the 13th century, this served as a sepulchre to house the remains of Archbishop González Díaz Palomeque. The chapel of Saint Lucy is one of the few places in the cathedral where some remains of the old mosque can still be seen—in particular, a column and its capital.
The chapel of Saint Eugene (also called of Saint Peter the Old or of the Corpus Christi), is located on the south side, and retains the architectural style of the 13th century in contrast to the rest of the cathedral. The chapel of Saint Peter is the largest of all and serves as a parochial chapel. The cathedral has a heptagonal sanctuary, with two rows, and tierceron vaults; it was built at the beginning of the 15th century to serve as a burial chamber for Archbishop Sancho de Rojas.
Mozarabic chapel
Capilla Mozárabe
The Mozarabic chapel is located at the southeast corner, and incorporates the foundations of an unbuilt second tower. The chapel was named originally the Chapel of the Corpus Christi in 1500 by Cardinal Cisneros. Its purpose was to provide a worship place for followers of the Hispano-Mozarabic rites. Centuries earlier, on 20 March 1101, King Alfonso VI had given certain privileges to the Mozarabes of Toledo in exchange for tribute. In 1371, King Henry II confirmed these privileges. Having founded this chapel, Cisneros encouraged the restoration and republishing of the codices, breviaries and missals of their rites; he seems to have aimed to conciliate that subset of the faithful. This supposition is reinforced by notice of the large sum he had to pay the Cathedral Chapter in order to do the work of joining the old chapter house and the minor chapels. The huge sum of 3800 gold florins was raised, suggesting there were sufficient local patrons in town to support the effort. Services in the Mozarabic Rite are still performed in this chapel.
The chapel design encompasses a square floor plan under an octagonal dome. A coffered ceiling of Mozarabic style has been lost (perhaps in the fire in 1620, or by later remodeling). The current dome was designed in the 17th century by the son of El Greco, Jorge Manuel Theotocópuli; it displays eight sections and a large roof lantern cupola. In the interior, Cardinal Cisneros commissioned Juan de Borgoña to depict highlights of the conquest of Oran.
The Gothic ironwork screen was fashioned by Juan Francés (1524), and incorporates among its ornamental elements the coat of arms of Cardinal Cisneros. The mosaic crucifix dates to the 18th century. It is said that it was brought from Rome and that the ship was shipwrecked in transit, leaving the image for a time at the bottom of the sea until it was recovered. The crucifix proper is made of a single piece, carved in Mexican fennel root. Another Gothic rood screen, the work of the Toledan Julio Pascual, separates the choir from the rest of the chapel.
Chapel of the New Monarchs
The name Chapel of the New Monarchs is in reference to the new lineage of the Trastámara. The current chapel is located on the north side of the chapels of Saint James and of Leocadia, in the sanctuary, on the north side. It has an odd and difficult entrance designed by the architect Alonso de Covarrubias. Before being moved to this space, it was called the Royal Chapel and was located at the foot of the cathedral, on the side nave of the north side (the Gospel Pulpit side), encompassing the last section, which cut off and impeded passage to the end of the nave. The Chapel Chapter wanted to change the location of this chapel to clear the nave, and Archbishop Alonso de Fonseca y Acevedo asked for permission to change its position in his correspondence with the King. The difficulty was finding a suitable site, which was finally resolved through the efforts of its architect, Alonso de Covarrubias.
Tomb of John I of Castile
More than a chapel, it can be considered as a small church, of one nave with two sections and a polygonal apse, including a sacristy and an entrance vestibule, the original design of Covarrubias. It was built between 1531 and 1534. It is the first great work done by Covarrubias in Toledo.
The two sections of the nave have Gothic Cross vaults but all of the ornamentation and carving of the sepulchres is in Renaissance style. They are separated by a screen, the work of Domingo de Céspedes. The first section forms the body of the small church with some altars and in the second section is where the relocated royal sepulchres were placed in Renaissance vaulted tombs, the work of Covarrubias. On one side are Henry II and his wife Juana Manuel; in front of them, lying in sarcophagi, are Henry III the Infirm and Catherine of Lancaster.
Through the arch that gives access to the presbytery are two small altars in neoclassical style. The main altar is by Mateo Medina. It has a painting by Maella with the theme of the Descension, framed by two Corinthian columns. On both sides of this altar are tombs with the respective praying statues of John I of Castile and his wife Eleanor of Aragon.
As a historical memorial, the armor of the second lieutenant Duarte de Almeida, who fought in the Battle de Toro (where he lost both arms, and was taken prisoner by the troops of the Catholic Monarchs in 1476), is kept in this chapel.
Chapels of the south wall
Chapel of the Epiphany: is a continuation of the Mozarabic chapel. The painting of the altarpiece, attributed to Juan de Borgoña (died c. 1438), on the theme of the Adoration of the Magi, inspired the name of this chapel. It was endowed in 1397 by Pedro Fernández de Burgos and his wife Maria Fernandez, who are buried on the Epistle side of the wall. It was later restored by Luis Daza (died 1504) who was chaplain to Henry IV. It has a well-executed screen enclosing it, in the style of the rejero (screen-maker) Juan Francés. A portrait of the chaplain is seen in the figure of the donor in the predella of the altarpiece. On one side of this chapel is his sepulchre, in a Gothic arcosolium. The frescos in the Chapter Room, also by Juan de Borgona, representing the life of the Virgin, Christ's Passion, and the Last Judgment set within a trompe l'oeil gallery of columns, have long been understood to be the first introduction of a Renaissance painting style to Castile.[18]
Chapel of the Conception: is accessed through a screen of much artistic value which incorporates the coat of arms of the Salcedo family, as construction of the chapel was financed in 1502 by Juan de Salcedo, apostolic protonotary and Toledan canon. On its altarpiece are paintings by Francisco de Amberes and to the left side is the sepulchre of its patron.
Chapel of Saint Martin: is also enclosed by a large screen, signed by Juan Francés with the following signature: "Juan Francés, grandmaster reja-maker".
The chapel has a well-regarded altarpiece, believed to have been worked on by the masters Juan de Borgoña and Francisco de Amberes. It is divided into three panels and five vertical sections. The central panel represents the namesake of the chapel, Saint Martin of Tours; it is believed to be the work of Andrés Florentino. On the sides of the altar are arcosolia containing the sepulchres of the canons Tomás González de Villanueva and Juan López de León; their sarcophagi are covered by their recumbent statues.
Chapel of Saint Eugene: is unique in retaining the original architecture from the 13th century. Previously called the Chapel of Saint Peter, its name was changed during the time of the Archbishop Sancho de Rojas. It is enclosed by a screen very similar to the others signed by Juan Francés. On the altarpiece is the image of its namesake saint, the archbishop of Toledo, by Copín de Holanda. This chapel contains a work distinguished by its early date and its art, i.e., the sepulchre of the Bailiff of Toledo called Fernán Gudiel, who died in 1278. It is in Mudéjar style, with neither architecture nor sculpture, decorated simply with plasterwork in which geometric themes predominate. The arcosolium is delimited by two double columns that protrude from the upper frieze or cornice, which is adorned with decorative corbels called muqarnas. Lining this cornice is a repetitive inscription in the Arabic language which says: "The Mother of God. To the Virgin Mary".
Toledo - St. Christopher carrying the Christ Child
The other tomb is the burial place of the canon and bishop Ferdinand of Castillo, who died in 1521, the work wholly done by Alonso de Covarrubias. On the wall of the aisle between the chapel and the Portal of the Lions is the monumental painting of Saint Christopher (San Cristobalón) carrying the Christ child, painted in an earlier period and restored in 1638 by the painter Gabriel de Rueda.[19]
Chapels of the ambulatory
The original chapels were small and were designed to alternate in size, according to how the vaults were aligned. With time, reforms were made that completely changed the placement and size of some of these.
The original chapels
Chapel of Saint Lucy (Patron saint of the blind): also called Chapel of Saint Joseph. Its original architecture from the 13th century is preserved; it contains some paintings and epitaphs.
Chapel of the Old Monarchs: the previous chapel with this name, founded by Sancho IV, was located in the high part of the presbytery, where the sepulchres of the monarchs are paid respect. Cardinal Cisneros had it dismantled and ordered it relocated to the place it now occupies. It is enclosed with a well-worked screen by Domingo de Céspedes. The chapel contains three interesting retables: the center retable has eleven good Hispano-Flemish panels and a relic of the Holy Face of Jesus, a present from Pope Innocent X, which King Philip IV commanded to be placed here.
Chapel of Saint Ann: has a fine Plateresque screen and contains the tomb of its sponsor, Juan de Mariana. It is one of the smallest chapels.
Chapel of Saint John the Baptist: is enclosed with a Gothic screen. Its sponsor was the archdeacon of Niebla and canon of Toledo, Fernando Díaz de Toledo, whose tomb suffered damage in 1790, sparing only the recumbent figure which was placed on one side of the chapel. A relic with a valuable ivory statue of Christ is also preserved in a shrine within this space. The chapel has a sacristy, corresponding to what had been the chapel of Saint Britus or Saint Bricius.
Chapel of Saint Giles: is considered a jewel amongst the chapels, although it is very small. Its sponsor was Miguel Díaz, canon and apostolic notary, a man of refined artistic taste who commissioned the entire interior to be painted with decoration in Pompeiian style, a style which at the time was fashionable in the Escorial. The screenwork was also executed in good taste. The chapel has a small altar of various marblework.
The Chapterhouse (Sala Capitular)
Beyond the chapels of the ambulatory stands the Chapterhouse. First one passes through a fine portal by Diego Copin (1510) to the Antesala, an old chapel of small size which serves as a kind of vestibule through which the Chapterhouse is entered; it has a marble floor, an artesonado (a coffered wooden ceiling with lacery of interlaced laths), by Francisco de Lara (1517), and a plateresque frieze by Juan de Borgoña. The Antesala is furnished with wardrobes or cabinets; the finer work on the left with Hellenistic decoration is by Gregorio Pardo (1551), and that on the right is by Gregorio López Durango (1780). The square portal leading from here to the Chapterhouse proper was executed in the so-called Cisneros style by Master Pablo and Bernardino Bonifacio de Tovar, combining Mudéjar features with Plateresque decoration, in 1510.
Chapterhouse of the Cathedral of Toledo
The Chapterhouse was commissioned by Cardinal Cisneros to be built abutting the apse on its south side, in 1504. The drawing of the plans was assigned to the architect Enrique Egas. It is a rectangular unvaulted room, with a beautiful artesonado coffered ceiling done by Diego López de Arenas and Francisco de Lara between 1508 and 1510 in the Cisneros style. It is painted red, blue and gold; the frieze (alicer) has a very rich plateresque ornamentation. The painting and frieze were the work of Luis de Medina and Alfonso Sanchez (1510). The entire room is traversed by a wood pew which functions as the seat of honuor for the prelates, save the archbishopric chair at the end of the room, centre of the wall, carved by Copín de Holanda and finished in 1514. Above the seats of honor, in two rows and lining the walls are the portraits of all the archbishops from Saint Eugene to the last. Juan de Borgoña painted the series of portraits from Saint Eugene to Cardinal Cisneros. Those of Sandoval and Rojas were done by Tristán; of Moscoso, by Ricci; of Iguanzo, by Vicente López.
Between the gallery of portraits and the frieze of the coffering, the walls are adorned with a celebrated series of frescoes by Juan de Borgoña. This constitutes one of the great collections of Spanish wall paintings. Trompe l'oeil columns divide the panels where scenes of the life of the Virgin and of the Passion of Christ are depicted.
Chapel of Saint Ildephonsus: is situated in the centre of the ambulatory and faces El Transparente, a Baroque altarpiece created in 1729-1732 by Narciso Tomé and his four sons. The chapel is consecrated under the protection of Saint Ildephonsus; its construction dates from the end of the 14th century by the expressed desire of Cardinal Gil Carrillo of Albornoz as a burial chapel for himself and his family,[20] which he did not see completed. Cardinal Albornoz[21] died in Viterbo, Italy, in 1367; his remains were later transferred to Toledo where Henry of Castile had them entombed with almost royal honours.
The chapel occupies the space of three earlier chapels: one large central chapel[22] and two smaller side chapels. It is of octagonal plan, being one of the first chapels in which the model of an octagon was used for a burial chapel.
On the keystone of the central arch of the entranceway is a portrait painting of Esteban Illán, who proclaimed Alfonso VIII as king of Castile, doing so from the height of the tower of Saint Roman.[23] The chapel is built in three styles of different periods: Gothic in the arches, vaults and a sepulchre; Plateresque in the sepulchre of the bishop of Ávila; and Neo-Classical in the central altar. This 18th-century altar was made of marble, jasper and bronze, and was designed by Ventura Rodríguez; the large relief in its centre, with its theme of the gift of the chasuble to Saint Ildephonsus, is the work of Manuel Francisco Álvarez (1783), completed during the time of Cardinal Lorenzana.
The Sepulchres of the Chapel of Saint Ildephonsus
The sepulchre of Cardinal Gil Carrillo de Albornoz is in the center of the chapel, with Gothic decoration of small arches and lamenting figures on its four faces. To the right of the altar is the sepulchre of the bishop of Ávila, Alonso Carrillo of Albornoz, who died in 1514. This, the work of Vasco de la Zarza, Castilian Renaissance sculptor, is considered the best work of the chapel. The remaining sepulchres are other tombs of the Albornoz family.
Chapel of Saint James
Álvaro de Luna y Jarana wearing the cope (cloak) of the Order of Santiago, and its cross on his chest. Grand Master of the order from 1445 to 1453, he prays before the altarpiece of the chapel of St. James in the cathedral of Toledo.
Also called the Chapel of Álvaro de Luna for the historical figure who commissioned the chapel as a burial place for himself and his family. This is one of the largest of the ambulatory, occupying the space of three of the old chapels: one large chapel and two small chapels; its floor plan is laid out in octagonal shape. The Chapel of Saint James is of a very pure and select Flamboyant style, one of the best examples that exist in Spain.[24] This most elaborate Gothic style is reflected in the entrance arches with their openwork traceries and in the skylight of the blind arches of the interior, in the gables, the ornaments (openwork and hanging festoon), and the structural ribs rising from the floor that cross the vault forming a star. Nevertheless, the exterior features are austere, and completely Hispanic. Granite was used for the cladding, in contrast with the pleasing whiteness of the stone of the interior; the dome is crested in the manner of a battlemented castle with turrets.
History
In 1435, High Constable of Castile Álvaro de Luna[25] had reached the height of his political power. He wanted his own chapel in the primatial cathedral as a sepulchre for himself and his family, so he bought the earlier chapel of Saint Thomas of Canterbury which had been commissioned in the 12th century by Queen Eleanor Plantagenet, this being the first chapel dedicated to the saint outside England. It is known that Álvaro commissioned the sepulchre while he was still alive; a three-dimensional figure of his person was made that consisted in a somewhat strange device—the bronze figure raised up and knelt down by means of a special mechanism activated at the moment the mass started. When he was executed under orders of King John II, the chapel was still under construction so its completion was placed in care of his wife, Juana de Pimentel, and later of his daughter, María de Luna, who commissioned the sculpting of her parents' sarcophagi in 1498. This was the probable year of the chapel's completion by the great company of masters who were the associates of Hanequin de Bruselas.
Retable
The retable is a Gothic altarpiece, the work of Pedro de Gumiel with fourteen panels painted by Sancho de Zamora. He was contracted by María de Luna in 1488. In the center is an equestrian figure of Saint James, the work of Juan de Segovia. In the center of the predella is represented the scene of the Weeping Before a Dead Christ, and on its sides the Count Álvaro and his wife are portrayed as patrons accompanied by Saint Francis and Saint Anthony.
Burials
The two sepulchres in the center of the chapel belong to Álvaro and his wife Juana de Pimentel. The reclining figures are Hispano-Flemish sculptures by Pablo Ortiz. The praying figures in the corners are of high quality: a Knight of Santiago kneels at each corner of Álvaro's tomb, in the corners of his wife's tomb are four Franciscan friars.
In recesses in the left wall are the tombs of Juan de Luna (the son of Álvaro), Álvaro de Luna (father), the archbishop Juan of Cerezuela (brother) and Archbishop Pedro de Luna (uncle). The Dukes Infante have their own burial crypt beneath the chapel.
Chapel of Saint Leocadia: has a lattice of stone worked in Flamboyant style. It served as a burial chapel for the canon Juan Ruiz Ribera who commissioned its restoration in 1536; his ashes are in an urn located inside a niche. His uncle Juan Ruiz the Elder is buried in the front wall . In the retable may be found the namesake image of Saint Leocadia, a painting of the 18th century by Ramón Seyro (student of Mariano Salvador Maella), framed in white and black marblework.
Chapel of the Christ of the Column: is a very small space. The most significant feature is the altar attributed to Diego Copín de Holanda, with well-done carvings of Christ on the column between Saint Peter and Saint John, in an attitude of prayer.
Chapels of the north wall
Chapel of Saint Peter: is situated between the Portal of the Clock and the Chapel of Saint Catherine (which leads to the cloister). Its patron was Sancho de Rojas who is buried here; more than a chapel, it sometimes serves as a parish church. The entrance, delimited by an iron screen, is through a Gothic portal decorated by archivolts with vegetal and heraldic themes in which are replicated the five-star motif found on the coat of arms of the Rojas. The interior wall has fresco paintings attributed to Pedro Berruguete or to Íñigo Comontes. A bust image of the archbishop decorates the vertex of the last archivolt, and to the right and left are small busts of the fourteen ranking bishops of the Chapter. In the centre and over the statuette of the archbishop is another Gothic image of Saint Peter on his throne.
Chapel of Mercy: founded by the canon treasurer Alfonso Martínez for his burial. The altar is dedicated to Saint Teresa whose image is attributed to Pedro de Mena or to his studio.
Chapel of the Baptismal Font: The most notable feature is the ironwork screen by Domingo of Céspedes. The bronze baptismal font is highly decorated with Gothic-Renaissance elements.
Chapel of Our Lady of La Antigua: has a decorated ironwork screen. It is consecrated to the Virgen de la Antigua, an icon which tradition claims predates the Muslim conquest of Toledo.
Chapel of Doña Teresa de Haro: also known as of the Christ of the Spoons in reference to the ladles on the coat of arms of the López de Padilla family. It was founded by Teresa de Haro, widow of Marshal Diego López de Padilla.
Composite unity of the Herrerian spaces
This section pertains to the comprehensive architectural composition of the spaces of the Sacristy (including the vestuary and other rooms), the courtyard and house of the Treasurer, the Chapel of the Tabernacle and Chapel of the Eighths or of the Reliquary, situated at the north side of the cathedral.[26]
Sacristy
Ceiling fresco by Luca Giordano
The sacristy exhibits treasures from the cathedral's collection, including many major works of art. It is a large space that includes the apartments of the ante-sacristy and the vestuary with its collection of garments. The ante-sacristy is a rectangular room decorated with paintings by the Italian artists Vincenzo Carducci and Eugenio Caxés, as well as Francisco Ricci and the Neapolitan Luca Giordano.
Ceiling fresco in Toledo Cathedral
The sacristy was designed by Francisco Vergara the Greater and Juan Bautista Monegro, in Herrerian style. The barrel vault, inset with lunettes accommodating the windows, is lavishly decorated with frescos by Luca Giordano. The principal theme is the Clothing of Saint Ildephonsus with the Chasuble, a theme that is repeated throughout the cathedral in paintings and sculpture. The walls display a variety of elaborately framed paintings, forming a gallery of works by several great masters. The most renowned are the fifteen by El Greco, including his El Expolio (The Disrobing of Christ) on the high altar, framed by marblework and a pair of Corinthian columns. This painting underwent cleaning and conservation at the Prado in Madrid, returning in 2014. There are also works by Luis de Morales, Pedro de Orrente, Juan Pantoja de la Cruz, Juan de Borgoña, Luis Tristán, Anthony van Dyck, Francisco Goya (The Arrest of Christ), Bassano the Younger and others. In addition to the paintings, there is a collection of valuable objects, most especially the Rich Bible of Saint Louis, which belonged to the king of France and dates from 1250; it has 750 miniatures on the cover and 5,000 more distributed in the manuscript pages of its three volumes. This was an acquisition of Alfonso X of Castile.
The Disrobing of Christ, 1579, by El Greco
In the next room is the vestuary with the ceiling groins painted by Claudio Coello and José Donoso. In this space are found several paintings: Titian's portrait Pope Paul III, Velázquez's Cardinal Gaspar de Borja, Caravaggio's John the Baptist and Giovanni Bellini's Burial of Christ.
One of the apartments contains a collection of garments that includes many valuable pieces. There are a total of 70 suits here; these include vestments of the 16th and 17th centuries, some embroidered by the father of Alonso de Covarrubias, who held the office of the vestuary. The cope of archbishop Sancho of Aragón, son of James I of Aragon, is noteworthy; it is embroidered with heraldic emblems. Another good example is the cope of Cardinal Gil de Albornoz, with Gothic embroidery of scenes from the Bible and lives of the Saints, principally English. The collection also contains the zucchetto and an embroidered lappet of the great tiara that Charles I of Spain wore at his coronation in Aachen.
There is an Arab standard on display here as well, won in the Battle of Rio Salado, and a collection of tapestry with more than seventy exemplary pieces. There are sketches by Rubens, the gift of Archbishop Fernández Portocorracero, which he commissioned expressly for the cathedral. Some of these are hung on the walls of the cathedral during the feast days of Corpus Christi.
Chapel of the Virgin of the Tabernacle
Along with the adjacent chapel called the Chapel of the Eighths, this chapel is the best example of the Herrerian building style in the cathedral. The grandeur of its new structure and ornamentation in the stark Herrerian style of the latter 16th century is owed to Cardinal Bernardo de Rojas y Sandoval. These works were begun by Nicolás de Vergara el Mozo and finished around 1616. Juan Bautista Monegro and Jorge Manuel Theotocópuli (son of the painter El Greco) participated in the project as well.
The chapel is under the protection of the Virgin of the Tabernacle, a Roman-style carving which was plated in silver in the 13th century and later dressed with a mantle studded in pearls. This image has always been called by the name 'Saint Mary'. Tradition holds that it belonged to the Apostles and was brought to Toledo by Saint Eugene. Also entering into the legend is the fact that it was hidden during the period of Muslim rule and restored later by King Alfonso VI.
The walls are clad in marblework and the great dome is supported by pendentives. On the north wall is the altar with an image of the Virgin and in one of the side walls, the sepulchre of Cardinal Sandoval y Rojas.
Chapel of the Eighths
This chapel is so named because of its octagonal plan, though it is sometimes called the Chapel of the Reliquary for the many relics kept there. The entrance to this chapel is by two doors flanking the altar of the chapel of the Tabernacle. The walls are decorated with marblework. The chapel is crowned by a dome with a roof lantern cupola, the work of Jorge Manuel Theotocópuli, while the interior of the dome itself was decorated by the painters Francisco Ricci and Juan Carreño. In the altars semi-detached to the walls are historically and artistically interesting reliquaries.[27] The relics include a piece of the veil of Saint Leocadia (the Hispano-Roman Toledan virgin) which, according to the legend, was cut by Saint Ildephonsus off the saint's person when she appeared in the year 666. It is said that Recceswinth lent his knife to the saint to perform this act; the knife is also kept as a relic.
Stained glass windows
Stained glass windows
The stained glass windows together constitute a very beautiful and important collection of artworks. The Cathedral of Saint Mary of Toledo is one of the Castilian buildings that preserves the most medieval stained glass windows. They were produced from the 14th to the 17th centuries; restorations were done in the 18th century, according to changes in style that had evolved with the passing of the years.
The oldest, and also the most appreciated for the beauty of their stained glass, are those of the Rose Window of the transept (over the Portal of the Clock) and some of those of the ambulatory, even though these have a softer color. Then there are those of the main chapel and those of the north aisle of the transept on the east side that display enormous figures of saints and apostles.
The makers of many of the 15th-century windows are documented. It is known that those of the main chapel and some of the transept were created by the glass-maker Jacobo Dolfin and his servant Luis, and those of the southern transept and some large windows of the main nave on the Epistle side, by the masters Pedro Bonifacio, Cristóbal, and the German monk Pedro. Later, works by the Toledan master Enrique appear.
The stained glass windows of the 16th century are adorned with figures done in Renaissance style. On these worked such renowned masters as Vasco de Troya (in 1502), Juan de Cuesta (1506) and Alejo Ximénez (1509–1513), who worked on those of the side naves and of the west façade. The stained glass windows of the Rose Window and of the Portal of the Lions are by Nicolás de Vergara el Mozo.
At the beginning of the 18th century, new stained glass was made to replace that which had been damaged. The artist Francisco Sánchez Martínez (one of the last glass-makers of the cathedral) was one of the better restorers, even though no new designs were produced and the old motifs were repeated. During the Spanish Civil War the glass deteriorated badly, but in the latter years of the 20th century a great restoration effort was undertaken and some of the brilliance of former periods was revived.
El Transparente
El Transparente of the cathedral
El Transparente of Toledo Cathedral
One of the most outstanding features o
This muzzle is composed of a basket made of several pierced iron panels riveted together, with two kidney-shaped openings at the front for the horse’s nostrils. It hung on the horse’s head by means of a leather headstall.
It is decorated with rosettes in openwork, while the iron is shaped to ressemble ragged staves and bramble rods. The crown (the upper part of the basket) is inscribed with a motto in Latin, SI DEUS NOBISCUBM CANTRO, a misspelled and abbreviated version of the popular statement Si Deus Nobiscum Quis Contra Nos (If God is with us who is against us?). Below, a cartouche bears the date 1552.
Horse muzzles were used to preventing stallions from biting. Such pieces, however, seem to have above all been used as lavish equestrian ornaments, particularly in fashion in eastern Germany in the second half of the 16th and the early 17th century. Dated 1552, this example is one of the very first muzzles of this type produced.
This pierced decoration is typical of the work of the spur makers living in the southeast of Germany and Saxony in the 16th and 17th centuries. Despite their name, spur makers not only made spurs, but also small equestrian hardware like bits, stirrups, muzzles, cavessons or curry-combs, sometimes adorned with the same intricate decoration.
Jaisalmer (Rajasthani: जैसलमेर), nicknamed "The Golden city", is a city in the Indian state of Rajasthan, located 575 kilometres (357 mi) west of the state capital Jaipur. Once known as Jaisalmer state it is a World Heritage Site. The town stands on a ridge of yellowish sandstone, crowned by a fort, which contains the palace and several ornate Jain temples. Many of the houses and temples are finely sculptured. It lies in the heart of the Thar Desert (the Great Indian Desert) and has a population of about 78,000. It is the administrative headquarters of Jaisalmer District.
en.wikipedia.org/wiki/Jaisalmer
Located adjacent to the famous Amar Sagar Lake and south of Lodurva, there is a Jain Temple dedicated to Lord Parshwanath, called Adeshwar Nath Jain temple. It was built by Patwa Bafna Himmat Ram in 1928. Amar Sagar once was a water reservoir (particularly an artificial lake) but now it is mostly dry.
Beautifully crafted and designed, the temple looks astonishing with its intricate hand carvings and small domes. The golden architecture adorned with Jaisalmeri stones shines gorgeously during the day and is a key attraction of the place. The structure is a masterpiece in itself and one of its sections on outside looks unique with its ivory marble exteriors. Inside the temple, there are various figurines of animals and Lord Tirthankara.
from the abbey of St. Winoc @ Bergues ; Style of Louis xv ; "Iesus woort hier gehêrt" =~ Jesus is exalted here
This famous Buddhist temple, dating from the 8th and 9th centuries, is located in central Java. It was built in three tiers: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa. The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,500 m2. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha. The monument was restored with UNESCO's help in the 1970s.
Roman Late Republican period, 1st c. BCE
Found at Tusculum
Photographed on display in the Museo Tuscolano, Scuderie Aldobrandini, Frascati (RM), Italy
Cat. N. 511637
At background - The Diana Temple (1783) viewing from its back, Park in Arkadia, Central Poland.
The Diana Temple was designed and raised by Szymon Bogumił Zug in 1783. The construction of classical proportions decorated with the openwork ornamentation is based on four lonic columns. Under the tympanum facing the pond you can see Latin inscription: "Dove pace trovai d'ogni mia guerra" (it was here that I found peace after each of the battles).
The interior of the temple constitute: the Vestibule, the Etruscan Cabinet, the oval Bedroom abd the Presence Chamber called Pantheon decorated with the stucco columns, ornamented mould and the plafond depicting Aurora pained by Jan Piotr Norblin.
The park was founded in 1778 by Princess Helena Radziwiłł, who lived in Nieborow. For designing and decorating its numerous pavilions she employed the most outstanding Polish architects and painters of the time. She also gathered one of the first antique art collections in Poland in the park. Owing to her, Arkadia enjoyed the status of one of the greatest cultural centers of the turn of the 18th and 19th centuries. In the park, nature and art are in harmony: the complex is composed of buildings imitating ancient ruins or the English Gothic style (Murgrabia House, Little Gothic House, Stone Arch, Diana's Temple with a Pantheon and Etruscan Room, the Sanctuary of the High Priest, the Cave of Sybil, the Tomb of Illusions, Circus and Amphitheatre). Arkadia is the only such classical-romantic historical complex in Europe, and the Museum received the European Award for the Protection of Historic Sites in 1994 for its restoration.
After sketching and debate, an openwork pattern was chosen. The design was penned on the flesh side of the leather. In Shoes and Pattens it is speculated that openwork patterns were often done freehand, but I was not about to trust my judgment to do that. The holes were punched with a shaped punch and hammer.
The vamp and quarters had their top edges turned down and sewn for strength with a binding or overstitch, as per Shoes and Pattens. They were then sewn flesh edges together with an edge/flesh butt seam(pick.). The latchet bands were attached in the same way, and the edges of the latchet band reinforced with some shallow overstitching over a braided linen cord.
For sewing the upper, a single waxed strand of 3-ply linen was used, with two steel needles. In period practice, boar’s bristle was used in place of needles . However, it’s often difficult to find such supplies in Japan, and the needles were convenient.
To attach the upper to the sole, the upper and rand were slipped over the sole, and the edges aligned. The toe and heel were tacked into place and any fullness eased onto the sides and tacked down. The awl was waxed and punched through the pre-punched sole and into the rand and uppers. A doubled length of waxed linen thread was used to attach the pieces with a double thread butt stich through the flesh/edge of the sole, through the rand and the upper.
After the sole was attached, the finished shoes were soaked in water and turned through right sides out. The shoes were stiffed with some rags and set aside to dry.
The Town Hall of Oudenaarde, Belgium was built by architect Hendrik van Pede in 1526–1537 to replace the medieval Schepenhuis (Aldermen's House) that occupied the same site. Another older structure, the 14th-century Cloth Hall, was retained and now forms a sort of extension at the back of the Town Hall proper.
Kermesse of Oudenarde, 1617, by Bartholomeus Grondonck
The Oudenaarde Town Hall was a late flowering of secular Brabantine Gothic architecture, carrying on the stylistic tradition of the town halls at Leuven, Brussels, and Middelburg. Above the ground-story arcade with vaulted ceiling, the building displays typical features of its regional forerunners: a richly decorated facade with pointed-arch windows separated by canopied niches, and a steep, dormered roof surrounded by an openwork parapet. The niches, although designed to contain statues, stand empty.
Atop the central belfry tower of six stories with three terraces, a stone crown supports a gilded brass figure of Hanske de Krijger (Hans the Warrior), mythical guardian of the city. The crown on the tower and the double-headed eagles over the attic windows pay homage to a famous visitor to Oudenaarde, Emperor Charles V, who fathered Margaret of Parma here a few years before construction of the Town Hall began.
The organ was built on the 18th-century choir screen by J.J. van der Haeghen. [from Gids voor Vlaanderen, 1985]
or:
The organ (1743-1745) is the work of Jean-Godfroid Gobert and Joseph Bosquet from Lille. Between 1809 and 1814 the French [occupiers] stole many organ pipes. In 1849 Pieter Van Peteghem restored the instrument. The firm of Loncke, from Esen, restored it in 1966-1967. [from info posted in the church]
In the early 20th century the screen & the organ were moved to the west end. I suspect that the organ originally had a front & a back façade.
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.
View on top of the Milan's Chathedral
Milan Cathedral (Italian: Duomo di Milano) is the cathedral church of Milan, Italy. Dedicated to Santa Maria Nascente (Saint Mary Nascent), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola.
The Gothic cathedral took nearly six centuries to complete. It is the fourth largest cathedral in the world[ and the largest in the Italian state territory.
Architecture and art
The plan consists of a nave with four side-aisles, crossed by a transept and then followed by choir and apse. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral, which was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
The cathedral's five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
Milan’s cathedral has recently developed a new lighting system, based on LED lights.
Moscow. Gorky Park. «Openwork arbor»
Peeped scenes (street photo)
Photo from a series: «Lomography».
Variations on a theme «...with a film across Moscow»
Camera: «Diana F+ 35mm Back»
Film: Fujifilm Superia X-Tra 400 ISO (expired film, the shelf life is ended 11.2006)
Scanned copy of the original negative + minimal changes in the level and contrast (photo editor LightRoom 5). Color correction, noise filtering (grain) and other manipulation of the image is not carried out. In the «as-is»
Scanner: Epson perfection 4870 (4800 dpi; 3,8 D; 48 bit), function Digital Ice when scanning is disabled.
carved in 1752 by Emmanuel Wallyn of Poperinge ; the dragons are said to refer to psalm 148, verse 7: Praise the Lord from the earth, ye dragons....
Information on the church of Plouguin
Date : 17th century – 1867-1868
Architect : Joseph Bigot
Material : Granite
Department : Finistère
District : Brest
Canton : Plabennec
Town : Plouguin
Address : Place Eugène Forest – Plouguin
Position: 48.525131, -4.599319
The Saint-Pierre de Plouguin church in Finistère.
St. Peter's Church
This church, built with the help of stonemasons from Locronan, has a built-in bell tower, with one floor of bells and a single gallery, dating from 1662, and a 17th century chapel built above the tomb of Saint Pirric, on the plasterboard. It also includes a five-bay nave with aisles, a transept and a Beaumanoir-style multi-valley choir.
Description of the church of Plouguin
Latin cross plan with three vessels. Outer south porch at the level of the third bay. Multiple chevet flanked by two sacristies to the north and south of a rectangular plan. Off-work bell tower with a gallery and openwork bell chamber cushioned by an octagonal spire decorated with hooks and framed at its base by four openwork gables and four pinnacles. Carcass work in granite rubble stone coated with cement, with the exception of the frames of the openings and the corner chains, in granite cut stone. Five-bay nave covered with paneling painted blue with red veins, ties painted green. Pointed arch arcades resting on the capitals of the octagonal pillars. Floor covered with granite slabs.
Source: heritage.bzh
A visit to Bangor Pier also known as the Garth Pier in Bangor, North Wales. The pier was undergoing another restoration at the time of our visit. To get on the pier, it's 50p each (goes to the renovation funds I think).
The pier has views to Anglesey and either side of the Menai Strait.
The pier is quite long, seems like it goes over half of the water between Gwynedd and Anglesey!
Garth Pier in Bangor.
Garth Pier is a Grade II listed structure in Bangor, Gwynedd, North Wales. At 1,500 feet (460 m) in length, it is the second-longest pier in Wales, and the ninth longest in the British Isles.
Designed by J.J. Webster of Westminster, London, the 1,550 feet (470 m) pier has cast iron columns, with the rest of the metal structure made in steel, including the handrails. The wooden deck has a series of octagonal kiosks with roofs, plus street lighting, which lead to a pontoon landing stage for pleasure steamers on the Menai Strait.
Opened to the public on 14 May 1896, the ceremony performed by George Douglas-Pennant, 2nd Baron Penrhyn. A 3 ft (914 mm) railway for handling baggage which had been included in the design, was removed in 1914.
The pontoon handled the pleasure steamers of the Liverpool and North Wales Steamship Company to/from Blackpool, Liverpool and Douglas, Isle of Man. In 1914, the cargo steamer SS Christiana broke free from the pontoon overnight,[1] and caused considerable damage to the neck of the pier. A resulting gap to the pontoon was temporarily bridged by the Royal Engineers, that remained until place until 1921 due to the onset of World War I. By this time, additional damage had occurred, and repairs took a few months over the originally envisaged few weeks.
Grade II* Listed Building
History
Built 1896 by Mr J J Webster of London, contractors Mr Alfred Thorne of London; cost £17,000. It is considered to be the best in Britain of the older type of pier without a large pavilion at the landward end. Damaged by a ship in 1914; closed in 1971 and currently undergoing restoration (Autumn 1987).
Exterior
1550ft long; the longest surviving in Wales. Largely original steel girders and cast iron columns carrying an extensively rebuilt 24ft wide timber planked deck, kiosks, and pavilions. The pier is entered through ornate wrought iron gates enriched with fleurons and barley twist uprights; square openwork gate piers carrying lanterns. These are flanked by octagonal kiosks with onion domed roofs and Indian style trefoil headed openings; beyond these are similar smaller gates. Cast iron lampstandards and fill length seating to each side of deck. The pier projects at various intervals beyond with polygonal timber kiosks with mostly tent-like roofs. Splayed out at NW end containing 14 sided timber pavilion with 2-stage pyramidal roof. The iron staircase at the end with 6 levels of platforms led to the former floating pontoon.
Tea Rooms
The Pier Pavillion Tea Room - we popped in for a drink. Think I only had a cold drink as they didn't have a hot drink that I wanted.
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.
East Oliver Street at Greenmount Avenue in Baltimore, Maryland on Saturday afternoon, 18 February 2017 by Elvert Barnes Photography
Street Photography
Station North Walk
Finished shoes.
A pair of hand sewn purple leather turn-shoes, decorated in openwork. Based on extant examples from the battle of Visby, the effigy of William of Hatfield, and the London excavations.
Historical Context
In the early 14th century, the most popular footwear was a low boot, but by the late 14th century low shoes that fastened across the ankle with a latchet strap or buckle had become the most popular style (S and P time line, and shoe points). The pointy-toed poulaines were fashionable, and the decoration of shoes took the form of engraving, embroidering the vamp, or punching holes in the leather . (Fig...)
Shoes of open work leather were more fragile and susceptible to tearing. People of fashion and means would have been the most likely owners of such shoes – one can see that similar styles were worn by courtiers and kings in the nural from St Stephen's chapel. Shoes during this period were made by shoe makers and cobblers, who purchased tanned hides from tanners and crafted their shoes on wooden lasts (wooden foot forms).
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.
Copy of one of the monumental brasses housed in the Gwydir Chapel
Gold openwork earrings with rosettes and pendant garnets and pearls. Roman Imperial jewelry, 3rd Century AD - 4th Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
I have been traveling to Leuven once a month for some 17 months now, and have not, until yesterday, visited the church of St Peter.
It stands in the centre of the town, opposite the ornate Town Hall, and around most of it is a wide pedestrianised area, so it doesn't feel hemmed in.
It is undergoing renovation, and a large plastic sheet separates the chancel from the rest of the church, and in the chancel, called the treasury, are many wonderful items of art. And maybe due to the €3 entrance fee, I had the chancel to myself, and just my colleagues with me when I photographed the rest.
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Saint Peter's Church (Dutch: Sint-Pieterskerk) of Leuven, Belgium, is situated on the city's Grote Markt (main market square), right across the ornate Town Hall. Built mainly in the 15th century in Brabantine Gothic style, the church has a cruciform floor plan and a low bell tower that has never been completed. It is 93 meters long.
The first church on the site, made of wood and presumably founded in 986, burned down in 1176.[1] It was replaced by a Romanesque church, made of stone, featuring a West End flanked by two round towers like at Our Lady's Basilica in Maastricht. Of the Romanesque building only part of the crypt remains, underneath the chancel of the actual church.
Construction of the present Gothic edifice, significantly larger than its predecessor, was begun approximately in 1425, and was continued for more than half a century in a remarkably uniform style, replacing the older church progressively from east (chancel) to west. Its construction period overlapped with that of the Town Hall across the Markt, and in the earlier decades of construction shared the same succession of architects as its civic neighbor: Sulpitius van Vorst to start with, followed by Jan II Keldermans and later on Matheus de Layens. In 1497 the building was practically complete,[1] although modifications, especially at the West End, continued.
In 1458, a fire struck the old Romanesque towers that still flanked the West End of the uncompleted building. The first arrangements for a new tower complex followed quickly, but were never realized. Then, in 1505, Joost Matsys (brother of painter Quentin Matsys) forged an ambitious plan to erect three colossal towers of freestone surmounted by openwork spires, which would have had a grand effect, as the central spire would rise up to about 170 m,[2] making it the world's tallest structure at the time. Insufficient ground stability and funds proved this plan impracticable, as the central tower reached less than a third of its intended height before the project was abandoned in 1541. After the height was further reduced by partial collapses from 1570 to 1604, the main tower now rises barely above the church roof; at its sides are mere stubs. The architect had, however, made a maquette of the original design, which is preserved in the southern transept.
Despite their incomplete status, the towers are mentioned on the UNESCO World Heritage List, as part of the Belfries of Belgium and France.
The church suffered severe damage in both World Wars. In 1914 a fire caused the collapse of the roof and in 1944 a bomb destroyed part of the northern side.
The reconstructed roof is surmounted at the crossing by a flèche, which, unlike the 18th-century cupola that preceded it, blends stylistically with the rest of the church.
A very late (1998) addition is the jacquemart, or golden automaton, which periodically rings a bell near the clock on the gable of the southern transept, above the main southern entrance door.
Despite the devastation during the World Wars, the church remains rich in works of art. The chancel and ambulatory were turned into a museum in 1998, where visitors can view a collection of sculptures, paintings and metalwork.
The church has two paintings by the Flemish Primitive Dirk Bouts on display, the Last Supper (1464-1468) and the Martyrdom of St Erasmus (1465). The street leading towards the West End of the church is named after the artist. The Nazis seized The Last Supper in 1942.[3] Panels from the painting had been sold legitimately to German museums in the 1800s, and Germany was forced to return all the panels as part of the required reparations of the Versailles Treaty after World War I.[3]
An elaborate stone tabernacle (1450), in the form of a hexagonal tower, soars amidst a bunch of crocketed pinnacles to a height of 12.5 meters. A creation of the architect de Layens (1450), it is an example of what is called in Dutch a sacramentstoren, or in German a Sakramentshaus, on which artists lavished more pains than on almost any other artwork.
In side chapels are the tombs of Duke Henry I of Brabant (d. 1235), his wife Matilda (d. 1211) and their daughter Marie (d. 1260). Godfrey II of Leuven is also buried in the church.
A large and elaborate oak pulpit, which is transferred from the abbey church of Ninove, is carved with a life-size representation of Norbert of Xanten falling from a horse.
One of the oldest objects in the art collection is a 12th-century wooden head, being the only remainder of a crucifix burnt in World War I.
There is also Nicolaas de Bruyne's 1442 sculpture of the Madonna and Child enthroned on the seat of wisdom (Sedes Sapientiae). The theme is still used today as the emblem of Katholieke Universiteit Leuven.
The walk around Cambridge City Centre. Next we headed up Market Hill and St Mary's Street, before turning down Senate House Hill towards King's Parade. Which would take us past King's College.
King's Parade, Cambridge
Great St Mary's Church
Grade I Listed Building
Listing Text
667/6/9 ST MARY'S STREET
26-APR-50 (South side)
CHURCH OF ST MARY THE GREAT
MARKET HILL
(West side)
CHURCH OF ST MARY THE GREAT
ST MARY'S PASSAGE
(North side)
CHURCH OF ST MARY THE GREAT
GV I
Early C14 chancel. Nave and aisles begun 1478 but not completed until c.1520. W tower begun 1491 but not completed until 1606. Aisle galleries added 1735. Restored by James Essex 1766, and again in 1850-1 by Gilbert Scott with further work by Anthony Salvin in 1857. S porch rebuilt 1888. Some C20 restoration.
MATERIALS
Rubble with some ashlar, and dressings of oolitic limestone. Interior faced largely in clunch. Some of the stone comes from the ruins of Ramsey and Thorney abbeys. Lead roofs.
PLAN
Chancel, nave, W tower, N and S aisles extending alongside the tower and the western part of the chancel, S porch.
EXTERIOR
A very large and impressive church that forms an important landmark in the centre of Cambridge. The exterior is wholly perpendicular in appearance, and is embattled throughout with low pitched roofs. The windows are late perpendicular in style and have vertical tracery, with transoms in the aisle windows and chancel E window. Tall four stage W tower, with a very large W window and polygonal corner turrets. It is c.1490-1550 to the top of the W window, with the upper part added in 1593-1608. The W door is C19 and replaces a late C16 Elizabethan door. Clerestoried nave, the clerestory windows unusually tall. The aisles extend across the western bay of the chancel to form chapels, and there is a polygonal rood stair turret on the S side at the junction of aisle and chapel. Gabled S porch, added in 1888 to replace a porch demolished in 1783. The chancel was refaced externally in 1857 by Salvin.
INTERIOR
A lofty interior, particularly notable for the rich decoration on the arcades and the survival of the C18 aisle galleries. the chancel E window is C14 internally and there is also evidence for former C14 N and S doors and windows. There is an early C14 tomb recess in the chancel, and C14 two ogee-headed statute niches flanking the E window. The arches to the chancel chapels are late C15. The tall, slender nave arcades, the N and S tower arches and the chancel arch have richly panelled spandrels with blind tracery and a moulded frieze of quatrefoils. The internal string courses in the aisles and chapels are also decorated with paterae, flowers, masks and heraldic devices. The nave roof stands alternately on slender shafts that descend to the piers and corbels between the clerestory windows. The tower arch rises through two stories to the head of the clerestory windows; it is partially closed by the organ gallery. The lower part, with a Perpendicular-style doorway in artificial stone, is probably part of the former W gallery of 1819. The aisle galleries were installed in 1735. Screens closing the entrance to the chancels from the aisles were made up in the C19 from parts of the C18 pulpit.
Very fine late medieval roofs in the nave, aisles and chapels with carved bosses and openwork tracery in the spandrels of the braces; the bosses in the nave are very fine. There is a further C18 roof designed by James Essex above the medieval nave roof. N and S aisle doors are early C16; those in the chapels are late C16, as is that to the rood stair. The N tower screen wall door is C17; that on the S is C15.
PRINCIPAL FIXTURES
Remains of a C14 double piscina and sedilia in the chancel, and two C14 statue niches flanking the E window. Late C15 piscina in the S aisle. Excellent and very unusual font of 1632, polygonal, with strapwork cartouches on the bowl and Renaissance foliage carving on the stem. The cover is also C17. Late medieval chest, much restored in the C19. Some C16 or C17 poppyheads survive on the C17 benches at the back of the galleries. The other gallery seating is C18. Good nave benches of 1863 with finely carved poppyheads, and C19 choir stalls, also with poppyheads. Organ of 1698, rebuilt in 1870, in a fine late C17 case. Very good C19 pulpit of 1872, with openwork tracery; it is mounted on rails in the floor allowing it to slide to the centre of the church when needed. Wooden eagle lectern of 1867. Some late C19 and early C20 glass. E window of 1872 by William Chance. The clerestory windows, installed 1902-4, use portraits of noted Victorian clergymen for the faces of the apostles. Clock face of 1679 on the tower.
Many monuments, mostly wall and floor tablets. Notable monuments include an early C14 tomb recess in the chancel, probably for John of Cambridge, d. 1335, and William Butler, d.1617/8, an alabaster wall tablet with a half-figure flanked by putti. Also many good C18 wall tablets, and a number of palimpsest ledger slabs made from former brass indents. A small brass plaque marks the former burial place of Martin Bucer, d.1551. There is a good set of C18 and early C19 bequest boards under the W tower and in the galleries.
SUBSIDIARY FEATURES
Good cast iron churchyard railings with floral finials including lilies.
The datum point for road mileage from Cambridge, established in 1732, is cut into the SW tower buttress.
HISTORY
There may have been a church on this site, adjacent to the marketplace, before the Conquest, and it was certainly in existence by the late C12 or early C13, when it was known as St Mary-by-the-market. It was used by scholars of the nascent university from their arrival in 1209. There was a fire in 1290, and the chancel was rebuilt in the early C14 and consecrated in 1351. The rest of the church was entirely rebuilt from the late C15. The work began in 1478, but carried on into the early C16. The nave roof was being framed in 1506, the altar in the Lady chapel was set up in 1518, the nave seats were made in 1519. Craftsmen associated with the work include the masons William Burdon, John Bell and William Rotherham, and the carpenter William Buxton. The W tower was begun in 1491, but by 1550 it had only reached the height of the W window. The bell chamber was complete by 1596, and the top of the tower was finished in 1608. The medieval pulpit was replaced by a new one (now in Orton Waterville church) in 1618. A projected spire was never built. The galleries in the aisles were added in 1735, and a chancel gallery, subsequently removed, was installed in 1754. A three decker pulpit and box pews were also installed in the mid C18. James Essex carried out restorations to the nave roof and altered some of the windows in 1766. A W gallery, also later removed, was installed in 1837 to designs by Edward Blore. Blore also intended to add a spire to the tower, but this was never carried out. The Elizabethan W door of 1576 was replaced by a Gothic-style door in 1850-1 by Gilbert Scott, and the old vestry was demolished and the chancel re-clad in 1857 by Anthony Salvin. The S porch was rebuilt along its original lines in 1888, and the tower was restored in 1892. There was also some refurnishing and restoration in the C20, including reordering in the chancel in 1958.
SOURCES
RCHME City of Cambridge: II (1959) , 275-80
Buildings of England: Cambridgeshire (1970), 219-20
Hall, R. Great St Mary's: The University Church, Cambridge, Guidebook and History (20060
REASONS FOR DESIGNATION
The church of St Mary the Great, Cambridge is designated at Grade I for the following principal reasons:
* Outstanding late Perpendicular church, with well documented construction dates.
* Excellent font of 1632
* Unusual survival of C18 nave galleries
* Interesting restoration by James Essex in the mid C18, including the installation of a new roof over the medieval roof.
* High quality surviving furnishings.
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Was sculptures in the garden to the right of the church. Near St Mary's Passage.
Tiara
C. 300-250 BC
Canosa, hypogeum Lagrasta
Gold, glass and enamel
The necropolis in Canosa has provided splendid examples of the refinement of women's jewelry in the Hellenistic period. This diadem features exuberant, richly inventive decoration typical of the floral style developed by Greek goldsmiths in southern Italy, especially Taranto, in the 3rd century BC. Palmettes, rosettes, and intertwining foliage form a tracery in gold and enamel, worthy of the finest lace. The piece is dotted with tiny colored glass beads.
A piece of women's jewelry -
The diadem is one of the oldest and most characteristic items of women's jewelry in the Greek world. Unlike coronets or wreaths, which were used by men as signs of political or social status, and as funerary objects, the diadem was worn by women only, often serving a purely decorative purpose. Numerous examples in gold have been found in necropolises in southern Italy, Macedonia, and on the Black Sea coast, testifying to the great refinement of Greek jewelry-making during the Hellenistic period, and to the widespread diffusion of decorative motifs throughout the Mediterranean basin. This example is from Canosa, in Apulia (southern Italy), where it was probably found in one of the Lacrasta tombs. It entered the Louvre in 1863 after Napoleon III purchased the collection of the marquis of Campana.
Exuberant flowers and foliage -
The diadem's decoration is extraordinarily inventive and technically accomplished, comprising an openwork tracery of luxuriant stems dotted with palmettes, rosettes, foliage, and a variety of flowers. The motifs are intertwined like fine lace, highlighted with gold filigree work, blue enamel, and berries made from green, white, and blue pâte de verre. The piece is clearly the work of a Greek goldsmith influenced by Oriental styles and jewelry created for the royal court of Macedonia in the 4th century BC. The diadem is typical of the naturalistic decorative style seen in northern Greek jewelry and precious metalwork from 375-350 BC.
Hellenistic jewelry and metalwork in southern Italy -
The diadem was made during the Hellenistic period, in the 3rd century BC, by a goldsmith active at Canosa in southern Italy, or possibly a workshop in Taranto. Greek metalworking flourished in Apulia during this period; women's jewelry based on northern Greek designs using abundant flowers and foliage was especially popular. Items made in Taranto were exported throughout the surrounding region, as well as to Campania and Etruria. The innovative workshops of Taranto pioneered the reduction of the base plate to a plain background, focusing our attention solely on the scrolling, openwork design.
Milan Cathedral is the cathedral church of Milan, Italy. Dedicated to Santa Maria Nascente (Saint Mary Nascent), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola.
The Gothic cathedral took nearly six centuries to complete. It is the fourth largest cathedral in the world and the largest in the Italian state territory.
The plan consists of a nave with four side-aisles, crossed by a transept and then followed by choir and apse. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral, which was never completed).
The roof is open to tourists , which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
The cathedral's five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter.
MILAN SEPTEMBER 2012
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.
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Itchan Kala is the walled inner town of the city of Khiva, Uzbekistan. Since 1990, it has been protected as the World Heritage Site.
The old town retains more than 50 historic monuments and 250 old houses, dating primarily from the eighteenth or nineteenth centuries. Djuma Mosque, for instance, was established in the tenth century and rebuilt from 1788 to 1789, although its celebrated hypostyle hall still retains 112 columns taken from ancient structures.
The most spectacular features of Itchan Kala are its crenellated brick walls and four gates at each side of the rectangular fortress. Although the foundations are believed to have been laid in the tenth century, present-day 10-meters-high walls were erected mostly in the late seventeenth century and later repaired.
Tash-Hauli Palace
In the period of Allakuli-khan (1825-1842), the political, public and trading center of Khiva had moved to the eastern part of Ichan-Qala. A new complex formed at the gates of Palvan-darvaza: a new palace, madrassah, caravanserai and shopping mall (tim). The palace of Allakuli-khan was named Tash-Hauli ("Stone courtyard"). It looks like a fortress with high battlements, towers and fortified gates. Its architecture is based on the traditions of Khorezm houses and country villas ("hauli") with enclosed courtyards, shady column aivans and loggias.
Tash-Hauli consists of three parts, grouped around inner courtyards. The northern part was occupied by the Khan's harem. The formal reception room-ishrat-hauli adjoins the last one on the southeast; court office (arz-khana) - in the southwest. In the center of Ishrat-hauli there is a round platform for the Khan's yurt. Long labyrinths of dark corridors and rooms connected the different parts of the palace. Refined majolica on walls, colored paintings on the ceiling, carved columns and doors are distinctive features of Tash-Hauli decor.
A corridor separated the family courtyard of Tash-Hauli (harem or haram) from the official part. Its southern side is occupied by five main rooms: apartments for the Khan and his four wives. The two-storied structure along the perimeter of the courtyard was intended for servants, relatives and concubines. Each aivan of the harem represents a masterpiece of Khivan applied arts. Their walls, ceilings and columns display unique ornamental patterns. Majolica wall panels were performed in traditional blue and white color. Red-brown paintings cover the ceilings. Copper openwork lattices decorate the windows.
The morning walking tour of Beaune. At first it was dry, but it started to rain a bit as we went around the town.
Beaune (French pronunciation: [bon]) is the wine capital of Burgundy in the Côte d'Or department in eastern France. It is located between Paris and Geneva.
Beaune is one of the key wine centres in France and the annual wine auction of the Hospices de Beaune is the primary wine auction in France. The town is surrounded by some of the world's most famous wine villages, while the facilities and cellars of many producers, large and small, are situated in Beaune itself. With a rich historical and architectural heritage, Beaune is considered the "Capital of Burgundy wines".
It is an ancient and historic town on a plain by the hills of the Côte d'Or, with features remaining from the pre-Roman and Roman eras, through the medieval and renaissance periods and up to recent history and modern times.
Beaune is a walled city, with about half of the battlements, ramparts, and the moat, having survived and in good condition, and the central "old town" is extensive. Historically Beaune is intimately connected with the Dukes of Burgundy.
Landmarks in Beaune include the old market (les Halles), the 15th-century Hospices, the Beffroi (clock tower), and the collegiate church of Notre Dame.
Place Monge
Tour de l'horloge de Beaune
The belfry , known as the clock tower , of Beaune is a tower built in the 13th and 14th centuries, located rue Marey, Beaune , Côte-d'Or .
The clock tower of Beaune , which belongs to the city of Beaune, was classified historical monument by decree of the 27 August 1885.
In 1395 , following a dispute between the town of Beaune and the Abbey of Maizières , Duke Philip III the Bold ordered the monks to yield to the city, for 200 gold francs, a tower and house located in the rue du Coal market. In November, 1397 , the Duke granted a portion of the money raised on the salt for the establishment of a clock on the tower; The oldest bell is dated 1407 .
A deliberation of the 8 April 1575 Mentions a contract with Jehan de Curtil , a roofer in Beaune to cover the clock with lead tiles, slates and others.
In 1681 , a report of the visit described the building as a six-storey tower, the only one of which could be inhabited, the others having no floor (the weights of the clock then descended to the second floor). The tower, judged to be in poor condition, will have to be raised by 12 feet ( 3.90 m ) so that the clock can be heard throughout the city. At that date, the large dormer East contains a dial surmounted by a moon; At the end of the eighteenth century , Bredeault reported that a globe half black, half gilded, marked the phases of the moon; Two inscriptions on paper found in the globe in 1800 indicate that it was made in 1620 and redoured in 1780 .
A new clock was bought in Paris in 1860 and the dial replaced in 1880 . In the 17th century , the other skylight was adorned with a leaded Mercury.
The tower of the clock was repaired many times over the centuries; Following an estimate of the repairs made in June 1749 by the contractors Bellevault and Rouge, the municipality decided, 20 December 1750 , To make demolish the tower judged in too bad state. In the face of the general disapproval, the project of destruction was abandoned, and the building was consolidated by ties according to the estimate of 1749 . A memorial of reparation was established in 1785 by Pourcher.
The tower includes a vaulted cellar with well, a ground floor that housed a shop, and five floors covered with beamed floors. The cellar is reached by a stone staircase, the first floor by a staircase in stone screw and the others by straight staircases in wood.
The five floors are pierced on the street side with cushion windows, the sixth of a rectangular day on each side. On the second floor, a fireplace has retained a raven and ancient piers.
The tower is covered with a roof of slate in pavilion surmounted by a campanile openwork in framework covered with lead; Its gargoyle spire is adorned with a ducal crown in the upper third and a spike of ridge.
Since 2009, in the evening there is a video animation specially designed for the architecture of the building. It stages cogs and gears of the clocks, inside the building, and a cat playing with the lights that could come out of the windows.
In 1893 the timber-frame, roof and plumbing of the campanile were restored, and the walled or partly destroyed bays restored according to the Selmersheim estimate.
weather vane
St Paul at Athens.
In memory of Walter Scott Evans for more than 30 yrs Churchwarden of this Parish Jan 10th 1908.
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.