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Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1269316
Date first listed: 18-Jan-1949
Location
Statutory Address: Abbey Church of St Mary & St Aldhelm, Malmesbury, Wiltshire SN16 0AA
District: Wiltshire (Unitary Authority)
Parish: Malmesbury
National Grid Reference: ST 93280 87320
Details
Benedictine Abbey church, now parish church. Church founded c637 by Irish hermit Mailduib, monastery founded during abbacy of Aldhelm (c675-705), though no pre-C12 work survives; church probably begun under Bishop Roger (c1118-1139), and mostly dates from c1160-80 with a 9-bay aisled nave, transepts with E chapels, chancel, ambulatory with 3 radiating chapels, and S porch, rebuilt 1350-1450 above gallery level with clerestory, vault, crossing spire and W towers, a lengthened chancel and Lady Chapel; spire fell 1479. After Dissolution nave altered by William Stumpe of Abbey House (qv) and damaged W parts walled for the parish church, W tower fell c1662, W window by Goodridge 1830, restored W end 1903. MATERIALS: limestone ashlar with stone tiles. STYLE: late Romanesque style C12 work, Decorated Gothic style C14 extensions. PLAN: reduced since the Dissolution to 6 E bays of nave, with short lengths of transept walls and S corner of W end. EXTERIOR: the E end has a single N chancel bay and matching chancel arch with paired half shafts set in square piers with quarter round capitals, beneath the 2-centre arched line of the vault, and tas-de-charges with sunken mouchettes; the jambs of next E bay has matching aisle and triforium semi-circular jambs with chevron mouldings. Inner wall of N transept has blocked 2-centred aisle arch containing a C16 doorway and 3-light mullion window, and a blind round-arched doorway to the right; 6-bay N elevation has a blind former cloister wall along the aisle divided by buttresses, with a roll-top coping, and round-arched windows above a cill band containing C14 tracery, with a steep gable in the fourth bay containing a 3-light Decorated tracery window; at the left end is a blocked, round-arched C12 doorway with an archivolt of relief palmettes, and a cusped cinquefoil arch set within. The C14 clerestory has flying buttresses with tall pyramidal pinnacles between 3-light 2-centre arched windows, 2-light at the E end, with paterae to each side of the three E windows. S transept as N, 2 bays after the aisle arch, an incomplete arcade of interlacing round arches with a chevron moulding
beneath 2 storeys of round-arched windows with splayed reveals, the lower windows flanked by narrow round-arched recesses containing inner arches open to a passage through the walls. The arcade continues along the former external side of the S transept and to the 9-bay S elevation, otherwise as the N side with a Decorated cusped openwork parapet to aisle and nave, and with second and third bays from E containing C14 2-centre windows with Decorated tracery. C12 porch rebuilt externally in C14 with angle buttresses, has a very fine splayed round-arched entrance of 3 orders, without capitals, richly carved with iconographic Biblical scenes set in oval panels, and separated by richly carved mouldings, and a hood with dog head stops. Inside is a similarly-moulded doorway and C14 door, beneath a tympanum of Christ in Glory supported by 2 angels, with along both sides the round-arched arcade above a bench, beneath finely-carved lunettes each of 6 Apostles with a horizontal flying angel above. In the E re-entrant is a square stair turret with a pyramidal roof. The incomplete W end has a massive clasping buttress stair turret to the S corner in 4 stages separated by moulded strings, blank from the ground, a pair of blind round-arched panels containing lower arched panels to the second stage, an arcade of narrow interlacing round-arches to the third, and a taller arcade to the fourth stage with square section mouldings; the bay to the left as the S aisle, with a pair of round arches with flanking half arches at the second stage enriched with chevron moulding, containing pairs of round-arches; above is an arcade of 5 round-arches, and a blind wall topped with a C20 parapet. The S side of the central entrance bay has the jamb of a round-arched entrance with 2 orders carved as the S porch and plain capitals, beneath the jamb of a large C14 W window with the springers of 4 cusped transoms. INTERIOR: nave arcade has round shafts with scallop capitals to sharply moulded 2-centre arches, with billet mouldings to the 2 E arches, and billet hoods with dog head stops; the triforium has blind round arches with attached shafts to cushion capitals, a chevron moulding, with an arcade of 4 similar arches within; splayed clerestory windows have rere arches. An attached shaft extends up from the piers to C14 tas-de-charges, and a lierne vault with carved bosses. A 'Watching Loft' is corbelled out above the fourth pier on the S side of the nave, with plain openings and billet moulded cornice. The C12 aisles have pointed quadripartite vaults and benches,
the blind arcade of the outside beneath the windows, on the S side without the middle columns; the E end bays have C15 stone screens with Perpendicular tracery. To the left of the entrance is a winder stair to the C14 parvis over the porch, which has C20 panelling. MEMORIALS: running counter-clockwise from the entrance, a wall monument to Joseph Cullerne, d1764, a marble panel with raised bracketed top section; wall monument to Robert Greenway, d1751, a marble shield; wall monument to Bartholomew Hiren, d1703, a panel with a broken pediment; at the W end, a wall monument to Dame Cyscely Marshal, d 162?, with a slate panel in a carved alabaster frame; to the left a late C17 cartouche with drapes; in the N aisle, a dresser tomb of King Athelston, d939, with narrow buttresses to the sides, with a recumbent figure of the King with his feet on a lion, and a vaulted canopy behind his head; wall monument to Elizabeth Warneford, d1631, a slate plaque set in a moulded alabaster frame with shields along the sides, a cartouche, and a segmental cornice over; wall tablet to Isaac Watts, d 1789, an oval marble panel set in slate; wall tablet to Johannes Willis, mid C18, a marble panel with gadroon beneath and a cornice; wall tablet to GI Saunders, d1806, with a round-arched top and moulded frame; wall tablet to Elizabeth George, d1806, a well-carved cartouche with putti below; wall tablet to Edward Cullerne, d1765, marble with yellow marble inserts and a pediment; wall tablet to Mary Thomson, d1723, a stone panel with draped surround including an hour glass; wall tablet facing the entrance to Willima Robernce (?), d1799, a stone frame including a small inscribed pointing hand in the corner. Set in the chancel floor are a group of 8 brasses from late C17 to mid C18. FITTINGS: include a round C15 font from St Mary Westport (qv), with a turned base and fluted sides; at the W end of the nave, is the font used since the C17; in the S aisle, a glass case containing a verge of 1615, carved with features of the Abbey; at the E end the S aisle is the parish chest dated 1638, panelled with 3 locks; communion rail of c1700 with twisted balusters. In the parvis are kept 4 volumes of an illustrated manuscript Bible of 1407. GLASS: mostly C14 glass in the N aisle; the Luce window in the S aisle designed by Burne Jones and made by William Morris. HISTORICAL NOTE: the use of pointed arches and vaults in the aisles is structurally advanced and transitional with Early Gothic, and links Malmesbury with subsequent West Country churches, but the carving is Anglo Saxon in character, and probably borrowed from manuscript illustrations. The conventual buildings stood on the N side of the church; for the reredorter and sections of the precinct wall, see
Abbey House, Market Cross (qv), and for the guest house, see Old Bell Hotel, Gloucester Street (qv). (Victoria History of the Counties of England: Crowley DA: Wiltshire: 1991-: 157; Archaeologia: Brakspear H: Malmesbury Abbey: 1912-; Smith MQ: The Sculptures of the S Porch of Malmesbury Abbey: Malmesbury: 1973-; The Buildings of England: Pevsner N: Wiltshire: London: 1963-: 321-327; Midmer R: English Medieval Monasteries 1066-1540: London: 1976-: 212).
© Historic England 2021
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.
Salamis "royal" Tombs, at Tuzla, outskirts of Salamis
................
The royal tombs (sometimes called the kings tombs) are located in an area between Tuzla and Salamis. The entrance to the complex is close to St Barnabas' Monastery.
Tomb 3 at the Royal Tombs, Salamis near Famagusta, North Cyprus
Tomb 3
This site became famous in the 1950s because of the rich finds here. Until the end of the 19th century, however there was almost a "free for all" for treasure hunters. At the start of the 20th century, however, more scientific excavation was started. Unfortunately, the methods used in those days also caused some damage. However, in every case, the entrance way (dromos) had been undisturbed, and it was in this area that the richest discoveries were made.
The tombs date to the 8th and 7th centuries BC. Some go back to the 11th century BC, suggesting that for some time, Salamis coexisted with Enkomi.
The funerary rites of the tombs are very similar. In all, at least one pair of yoked horses has been sacrificed in the dromos, with or without a chariot. The wooden parts of these chariots had decayed, but left impressions in the soil with the metal parts still in place. In tomb 3, excavated in 1964, one chariot was accompanied by the deceased's armour, a silver studied sword, some bronze and iron-headed arrows, a bronze shield and an iron-headed spear. Offerings of food and honey, placed in amphora, were also found here.
Tomb 1, excavated in 1957, contained two burials from different periods. The first consisted of a bronze cauldron containing the cremated bones of a dead woman wrapped in cloth, with a necklace of gold, rock crystal beads and several thin sheets of gold. It is thought because of the shape of the tomb and the richness of the material, the burial belonged to a noble lady or princess. The skeletons of two horses were found on the floor of the dromos, with traces of the wooden parts of a chariot. These date to middle of the 8th century BC. The second burial, around 100 years later was disturbed badly, but four horses' skeletons, traces of a two-poled chariot, as well as some metal parts of horses' gear and a chariot's metal parts were found.
Tomb 47 with Tomb 3 in the background at the Royal Tombs, Salamis, near Famagusta, North Cyprus
Tomb 47 (Tomb 3 in the Background)
Tombs 79 and 47 provided the richest finds, with evidence of several elaborate royal burials. Tomb 47 is the largest, and is alongside the Royal Tombs Museum. It was excavated in 1964. It has a spacious cemented dromos leading to a monumental temple in front of a chamber built of enormous well-dressed stones.
This tomb was used twice for burials. In the first, two horses of a hearse were sacrificed. One of the horses had tried to escape when its companion was killed, but had twisted round the chariot pole and was found with its neck broken. The iron bits of the horses were still in their mouths, and the remains of leather frontlets and blinkers covered with sheets of gold on their heads. There was no trace of the chariot in this burial, and it was probably used as a hearse and placed with the body.
At a later burial, six horses were sacrificed, yoked in pairs, with ornamental coverings, iron bits and blinkers and frontlets of ivory and bronze with relief decorations of lotus flowers.
The best finds, however, are from tomb 79, just south of tomb 47. Evidence shows that it received two burials in a short space of time towards the end of the 8th century BC. A four-horse chariot had its wheels held by magnificent lynch pins nearly 2 ft long, with a bronze sphinx head at one end, and a hollow bronze figure of a warrior at the other, wearing a crested helmet, body armour inlaid with blue glass, and a long sword hanging from a baldric.
Tomb 79 att the Royal Tombs, Salamis, near Famagusta, North Cyprus
Tomb 79
A two-horse hearse had bronze lion heads on the corners and on the front The bronze gear of the horses lay piled in a corner, including breast plates with embossed designs of oriental animals and myths, and two side pendants showing the goddess Ishtar as mistress of the wild beasts. |Also of oriental design was a bronze tripod cauldron decorated with illustrations of griffins and bird-men round the rim.
The principal find at this tomb was a number of ivories, including a gold and ivory throne and an ivory-veneered bed. Of the ornaments discovered, the finest was probably an openwork, two-sided plaque of a winged sphinx wearing the crowns of Egypt.
Some of the horse skeletons have been left in situ, and there is a small museum on site showing some of the finds, although most are now elsewhere, the bed for example being in the Cyprus Museum in south Nicosia.
There is no evidence to show that these Royal Tombs belonged to the kings of Salamis, but with the precious death gifts, and the monumental architecture of the tombs, there is no doubt that they belonged to noble or rich persons.
And the less noble or rich? They were buried at the Necropolis of Cellarka, which is to be found within this complex, as is Tomb 50, commonly known as St Catherine's prison.
Kohl pot with openwork decoration.
In the early decades of Dynasty 18, Egyptian stone carvers began to incise pot surfaces with openwork scenes. In the middle register on this pot, pairs of confronting falcons spread their wings to shield hes-vases, vessels associated with protection against evil.
18th dynasty, no provenance.
37.642E
Brooklyn Museum
Tutankhamun, Egyptological pronunciation Tutankhamen, was an ancient Egyptian pharaoh who was the last of his royal family to rule during the end of the 18th dynasty during the New Kingdom of Egyptian history. His father was the pharaoh Akhenaten, believed to be the mummy found in the tomb KV55. Wikipedia
Born: Amarna
Died: Ancient Egypt
Spouse: Ankhesenamun (half-sister)
Place of burial: KV62, Egypt, Valley of the Kings, Egypt
Parents: Akhenaten, The Younger Lady
Children: 317a and 317b mummies
wikipedia
tutankhamun-london.com/tickets/?gclid=CjwKCAiA1L_xBRA2Eiw...
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.
Church archiprezbiterialny P. W. 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.
Late Classical period, mid-4th c. BCE
Found at Oliveto Citra (see on Pleiades)
A repaired ancient break is visible along the line between the rear of the two clasps.
Photographed on display in the Museo Archeologico Nazionale di Eboli e della Media Valle del Sele
Gold, Ptolemaic, ca. 200-150 B.C.E.
This hairnet, with its combination of delicate filigree, carefully hammered decorative bust, and spool-shaped beads, is a superb example of the Hellenistic goldsmith's skill. The medallion represents the head of a maenad wearing spiral earrings, a wreath of vine leaves and grapes, and a panther skin.
Also, please see the example in the Getty Villa in my Photostream:
www.flickr.com/photos/antiquitiesproject/5034851788/
(1987.220)
Text from the Metropolitan Museum card.
Isabelo Tampinco (1850-1933)
Bed
dated 1909
Narra, Lanite and Rattan
H:103” x L:88 1/2” x W:48 1/2”
(262 cm x 225 cm x 123 cm)
Opening bid: P 1,400,000
Provenance:
Dr. Maximo Viola, thence by descent
Lot 63 of the Leon Gallery Auction on 10 June 2017. Please see www.leon-gallery.com for more information.
IsabeloTampinco y Lacandola, while taking courses at the Academia de Dibujo y Pintura, Manila’s art academy, drew the admiration of Jose Rizal for his work in a Modeling Class, wherein they were classmates. Later hailed as one of the most outstanding sculptors of his time, Tampinco garnered many awards and prizes in local and international exhibitions in Philadelphia, St. Louis, Madrid and Barcelona.
Tampinco 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. He also did decorative carvings for private homes like transoms, picture frames and even furniture. Later, he made statues of saints and angels in wood, plaster of Paris, concrete and marble. At the turn-of-the-20th century, when Art Noveau became fashionable, he created a uniquely Filipino style by incorporating native flora and fauna designs in his calado or pierced transoms. His sinuous openwork and whiplash outlines in woodcarving abounded with the anahaw, areca palm, gabi or taro leaves and bamboo. It came to a point that any frame or piece furniture decorated with these was instantly labeled as by ‘Tampinco’.
In the early 20th century, Tampinco often worked in conjuction with Emilio Alvero, an architect who was the most popular interior designer of the day and the foremost exponent of Art Nouveau in the Philippines. The two artists collaborated on many major works, the Bautista-Tanjosoy House in Malolos and the Villavicencio-Marella House in Taal, among them. In both these houses, Alvero designed the furniture and Tampinco executed them. On the other hand, Máximo 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 sent by his brother, Paciano, not only enabled him to repay Viola, but also invite him on a tour across Germany, Austria-Hungary, and Switzerland from May to June 1887. Soon after, Viola returned to the Philippines to practice his profession as a doctor.
Viola met Rizal briefly in Manila in 1892 and returned home to find that his home had been searched by the Spaniards who suspected him of having links with the secessionist movement. When the Philippine Revolution broke out, he joined the Katipuneros in Biak-na-Bato. After the Philippine-American War, he was imprisoned in a military prison in Manila by the Americans and later transferred to Olongapo. There, Viola was freed by Dr. Fresnell, an American doctor who asked for Viola's assistance in treating American soldiers who had tropical diseases, which he did not know how to treat.
Viola’s hobby of making furniture from kamagong in his later years garnered him an award in an exposition in Manila in 1920. This bed is a collaborative work between IsabeloTampinco and Emilio Alvero, who undoubtedly designed the footboard and the diamond-shaped cartouche incised with the date ‘1909’ on its reverse side. The bed stands on feet carved in the shape of an inverted and truncated trunk of an arecaor bonga palm emanating from a quadrant at each corner carved with a spray of anahaw leaves.
The bed frame, in the form of a corona of an entablature, is carved 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 a cymatium molding decorates the upper edge of the bedframe. The mattress support is caned in one piece. The footposts, carved in the shape of a short 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. The posts flank a wide narra plank forming the footboard that is carved with a central design of a diamond-shaped frame consisting of four bamboo canes tied together with rattan strips. A garland of sampaguitas and ylang-ylang is entwined and hangs from the upper canes. Surrounding the bamboo frame are whiplash vines bearing camote leaves and flowers, while small anahaw leaf quadrants are carved at the corners.
The entire ground of the footboard is stippled. An entablature above the posts and footboard is carved with a small anahaw leaf with a thorny stalk on the block above the post 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.
The tall bedpost supporting the headboard and the tester is shaped like a full-grown areca palm trunk supporting a stylized ionic capital like that on the bedpost at the foot. The headboard, consisting of an extremely wide narra plank, is framed by a pilaster with molded vertical edges and a capital in the form of an inverted anahaw leaf. The former is carved with a central cartouche in the form of a scroll following the outline of a gabi or taro leaf enclosing an inverted clump of miniature traveler’s palm leaves emanating from an anahaw leaf at the top.
At the bottom of the panel, beneath the cartouche, is carved a bird’s nest with a pair of eggs. Leafy, intertwined branches abloom with Chinese roses meander on either side of the cartouche to fill the headboard. A pair of doves are perched on the vines, that on the left holding a ribbon tied in a lover’s knot in its beak, while the one on the right has a wide band inscribed with ‘Felicidades’ or ‘Congratulations’. These symbols indicate that the bed was most probably a gift to Maximo Viola on the occasion of a wedding anniversary.
An entablature similar to that at the foot 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. Above the pilaster at either end is an acroterion in the form of a palmette carved with a small anahaw leaf with a thorny stalk inside its scrolled outline. At the top of the headpost is a half-tester supported by a carved console in the shape of a banana leaf. The frame of the tester is in the form of an entablature running around three sides, all carved with like those of the head and footboards with a frieze of a coconut frond, a banana leaf and bamboo twigs tied at the center with a ribbon on an entirely stippled ground. The latticed tester or canopy is carved with an anahaw leaf at each intersection. Instead of the usual fabric covering the top of the tester, rattan caning is used, an unusual and unique innovation.
-Martin I. Tinio, Jr.
清 19th Century
One amethyst pendant is carved as a larger and smaller double-gourd borne on a flowering leafy branch, with a bat alighted on one side. The other amethyst pendant is carved in openwork as a squirrel between two melons borne on a leafy vine and a large leaf at the bottom. The flattened rock crystal pendant is carved in openwork as a peach, a pomegranate and a finger citron, the sanduo, borne on leafy branches.
5.7 cm long
www.christies.com/lotfinder/lot/two-amethyst-pendants-and...
Estimate : $ 6,000 - $ 8,000
Price Realized : $ 5,000
Christie's
Fine Chinese Ceramics & Works of Art
New York, 17-18 Mar 2016
The west facade of Burgos Cathedral spans three centuries, begun in the 13th century. The openwork spires, by Juan de Colonia and begun in 1442 are particularly beautiful. Sadly, a badly deteriorated Gothic west door had to be replaced in 1790/1, and a rather ugly neo-Classical doorway took its place.
Dated 1879 (on east gable end of School Room). By Foster and Wood of Bristol. Squared and coursed rockfaced rubble with flush ashlar quoins and dressings, stone copings, plain tile roofs and brick stacks. 3-bay church at right-angles to road to left-hand linked to 4-bay School Room by 4-bay corridor with service rooms. School Room further linked by loggia to porte cochere and Coach House. The complex forms an irregular L-shaped plan. Free-form Gothic style. Church with south-east porch and south apsidal ending with cusped openwork panelled parapets and crocketted pinnacles. Windows are 2 and 3-cusped lights of florid Perpendicular style. North-east staircase turret with pyramidal cap for gallery access. Interior. South gallery, barrel roof in nave, canted barrel roof in chancel. Contemporary fittings and stained glass in all windows.
School Room with cross-mullion windows under gabled heads. Some applied half-timbering with brick infil to east and west gable ends. Good dentil coursed bargeboards. Similar details to Coach House complex. Tall panelled brick stacks. Spear railings fence between buildings and graveyard. Boundary walls, 1 metre high, with gate entrances to east and west ends with fine cast iron gas lamp standards. Further walls and railings to Coach House courtyard.
The complex, built for Sidney Hill of Langford House, makes a fine group with the Clock Tower.
[originally uploaded to the flickr group Guess Where UK]
A legend attributes Kraków's founding to the mythical ruler Krakus, who built it above a cave occupied by a dragon, Smok Wawelski. The first written record dates to 965, when Kraków was described as a notable commercial center captured by a Bohemian duke Boleslaus I in 955. The first ruler of Poland, Mieszko I, took Kraków from the Bohemians.
In 1038, Kraków became the seat of the Polish government. By the end of the 10th century, the city was a center of trade. Brick buildings were constructed, including the Royal Wawel Castle. The city was sacked and burned during the Mongol invasion of 1241. It was rebuilt and incorporated in 1257 by Bolesław V the Chaste who introduced city rights. In 1259, the city was again ravaged by the Mongols. The third attack in 1287 was repelled thanks in part to the newly built fortifications.
The city rose to prominence in 1364, when Casimir III founded the University of Kraków, the second oldest university in central Europe. But after Casimir´s death in 1370 the campus did not get completed.
As the capital of the Kingdom of Poland and a member of the Hanseatic League, the city attracted craftsmen from abroad, guilds as science and the arts began to flourish. The 15th and 16th centuries are known as Poland's "Złoty Wiek" (Golden Age).
After childless King Sigismund II had died in 1572, the Polish throne passed to Henry III of France and then to other foreign-based rulers in rapid succession, causing a decline in the city's importance that was worsened by pillaging during the Swedish invasion and by an outbreak of bubonic plague that left 20,000 of the city's residents dead. In 1596, Sigismund III of the House of Vasa moved the capital of the Polish–Lithuanian Commonwealth from Kraków to Warsaw.
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"Pod Globusem" ("Under the Globe") was erected in the years 1904–1906 according to the design of Franciszek Mączyński and Tadeusz Stryjeński as the seat of the Chamber of Industry and Commerce. It is an interesting example of Art Nouveau architecture, two-story, brick, with a corner clock tower, which is covered with a pyramid helmet topped with an openwork, metal globe.
After WW II, the Chamber of Commerce and Industry got liquidated and the building was occupied by the district committee of the Polish United Workers' Party.
In the years 1986–1990, the house was thoroughly restored and its original furnishings were restored and only partially reconstructed.
Description
THE ESPLANADE
1.
1633
Beach House
SY 1287 1/72 12.10.51.
II*
2. GV
Circa 1820 villa with interesting Gothicised details. 3 storeys stucco
faced, flanking Ionic pilasters. 2 storey bow to right of entrance.
Low pitch slate roof with scalloped openwork eaves board. 3 casement
windows 2nd floor, 2 on 1st and ground floors, tripartite on bow. The
centre light of the tripartite windows and the other 1st floor window
all French casements. All have 4-centred heads, marginal Gothic glazing
and hood moulds over. Delicate iron balconies on elaborate brackets to
1st floor windows, that on bow with trellis supports to tent-shaped canopy.
Vaulted open porch with 4-centred heads to openings, clustered shaft supports
fluted pilasters to inner side of those flanking door. Frieze and moulded
cornice projecting at corners, iron balustrade shove. Door of 4 moulded
panels, upper 2 with 4-centred heads. 4-centred arched fanlight. Deep
panelled reveals and soffit. The rear elevation is slate hung. Gothic
windows with marginal glazing. Tuscan porch.
Beach House forms part of a group with Mocha Cafe and Prospect
Place.
Listing NGR: SY1265787247
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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.
I thought about getting the bus to Bearwood (on the Outer Circle) and wasn't sure what was there to take. After I arrived I headed towards the Bus Station, and behind that was this park - Lightwoods Park.
I always thought that Bearwood was within Birmingham, but now it appears to be in the district of Sandwell.
The park was run by Birmingham until November 2010, when Sandwell took over running it.
There is signs here of it's Birmingham past.
This is the bandstand in Lightwoods Park. It is Grade II listed.
It appears that it wa made for the City of Birmingham (back when the park was run by the city).
Bandstand. Late C19. Cast iron on brick base with sheet iron roof.
Octagonal plan. Columns have pedestals and foliated capitals and are linked
by low railings on four sides. Shallow elliptical arches spring from the
capitals, with openwork decoration below oversailing eaves. The roof is a
facetted ogee dome with central cupola. The columns are inscribed: 'LION
FOUNDRY CO KIRKINTILLOCK".
Bandstand, Lightwoods Park, Bearwood - Heritage Gateway
Two flower designs. There were more like this, but didn't want to take them all.
The bandstand was presented to the City of Birmingham by Rowland Mason - West Mount, Edgbaston in April 1903.
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1269316
Date first listed: 18-Jan-1949
Location
Statutory Address: Abbey Church of St Mary & St Aldhelm, Malmesbury, Wiltshire SN16 0AA
District: Wiltshire (Unitary Authority)
Parish: Malmesbury
National Grid Reference: ST 93280 87320
Details
Benedictine Abbey church, now parish church. Church founded c637 by Irish hermit Mailduib, monastery founded during abbacy of Aldhelm (c675-705), though no pre-C12 work survives; church probably begun under Bishop Roger (c1118-1139), and mostly dates from c1160-80 with a 9-bay aisled nave, transepts with E chapels, chancel, ambulatory with 3 radiating chapels, and S porch, rebuilt 1350-1450 above gallery level with clerestory, vault, crossing spire and W towers, a lengthened chancel and Lady Chapel; spire fell 1479. After Dissolution nave altered by William Stumpe of Abbey House (qv) and damaged W parts walled for the parish church, W tower fell c1662, W window by Goodridge 1830, restored W end 1903. MATERIALS: limestone ashlar with stone tiles. STYLE: late Romanesque style C12 work, Decorated Gothic style C14 extensions. PLAN: reduced since the Dissolution to 6 E bays of nave, with short lengths of transept walls and S corner of W end. EXTERIOR: the E end has a single N chancel bay and matching chancel arch with paired half shafts set in square piers with quarter round capitals, beneath the 2-centre arched line of the vault, and tas-de-charges with sunken mouchettes; the jambs of next E bay has matching aisle and triforium semi-circular jambs with chevron mouldings. Inner wall of N transept has blocked 2-centred aisle arch containing a C16 doorway and 3-light mullion window, and a blind round-arched doorway to the right; 6-bay N elevation has a blind former cloister wall along the aisle divided by buttresses, with a roll-top coping, and round-arched windows above a cill band containing C14 tracery, with a steep gable in the fourth bay containing a 3-light Decorated tracery window; at the left end is a blocked, round-arched C12 doorway with an archivolt of relief palmettes, and a cusped cinquefoil arch set within. The C14 clerestory has flying buttresses with tall pyramidal pinnacles between 3-light 2-centre arched windows, 2-light at the E end, with paterae to each side of the three E windows. S transept as N, 2 bays after the aisle arch, an incomplete arcade of interlacing round arches with a chevron moulding
beneath 2 storeys of round-arched windows with splayed reveals, the lower windows flanked by narrow round-arched recesses containing inner arches open to a passage through the walls. The arcade continues along the former external side of the S transept and to the 9-bay S elevation, otherwise as the N side with a Decorated cusped openwork parapet to aisle and nave, and with second and third bays from E containing C14 2-centre windows with Decorated tracery. C12 porch rebuilt externally in C14 with angle buttresses, has a very fine splayed round-arched entrance of 3 orders, without capitals, richly carved with iconographic Biblical scenes set in oval panels, and separated by richly carved mouldings, and a hood with dog head stops. Inside is a similarly-moulded doorway and C14 door, beneath a tympanum of Christ in Glory supported by 2 angels, with along both sides the round-arched arcade above a bench, beneath finely-carved lunettes each of 6 Apostles with a horizontal flying angel above. In the E re-entrant is a square stair turret with a pyramidal roof. The incomplete W end has a massive clasping buttress stair turret to the S corner in 4 stages separated by moulded strings, blank from the ground, a pair of blind round-arched panels containing lower arched panels to the second stage, an arcade of narrow interlacing round-arches to the third, and a taller arcade to the fourth stage with square section mouldings; the bay to the left as the S aisle, with a pair of round arches with flanking half arches at the second stage enriched with chevron moulding, containing pairs of round-arches; above is an arcade of 5 round-arches, and a blind wall topped with a C20 parapet. The S side of the central entrance bay has the jamb of a round-arched entrance with 2 orders carved as the S porch and plain capitals, beneath the jamb of a large C14 W window with the springers of 4 cusped transoms. INTERIOR: nave arcade has round shafts with scallop capitals to sharply moulded 2-centre arches, with billet mouldings to the 2 E arches, and billet hoods with dog head stops; the triforium has blind round arches with attached shafts to cushion capitals, a chevron moulding, with an arcade of 4 similar arches within; splayed clerestory windows have rere arches. An attached shaft extends up from the piers to C14 tas-de-charges, and a lierne vault with carved bosses. A 'Watching Loft' is corbelled out above the fourth pier on the S side of the nave, with plain openings and billet moulded cornice. The C12 aisles have pointed quadripartite vaults and benches,
the blind arcade of the outside beneath the windows, on the S side without the middle columns; the E end bays have C15 stone screens with Perpendicular tracery. To the left of the entrance is a winder stair to the C14 parvis over the porch, which has C20 panelling. MEMORIALS: running counter-clockwise from the entrance, a wall monument to Joseph Cullerne, d1764, a marble panel with raised bracketed top section; wall monument to Robert Greenway, d1751, a marble shield; wall monument to Bartholomew Hiren, d1703, a panel with a broken pediment; at the W end, a wall monument to Dame Cyscely Marshal, d 162?, with a slate panel in a carved alabaster frame; to the left a late C17 cartouche with drapes; in the N aisle, a dresser tomb of King Athelston, d939, with narrow buttresses to the sides, with a recumbent figure of the King with his feet on a lion, and a vaulted canopy behind his head; wall monument to Elizabeth Warneford, d1631, a slate plaque set in a moulded alabaster frame with shields along the sides, a cartouche, and a segmental cornice over; wall tablet to Isaac Watts, d 1789, an oval marble panel set in slate; wall tablet to Johannes Willis, mid C18, a marble panel with gadroon beneath and a cornice; wall tablet to GI Saunders, d1806, with a round-arched top and moulded frame; wall tablet to Elizabeth George, d1806, a well-carved cartouche with putti below; wall tablet to Edward Cullerne, d1765, marble with yellow marble inserts and a pediment; wall tablet to Mary Thomson, d1723, a stone panel with draped surround including an hour glass; wall tablet facing the entrance to Willima Robernce (?), d1799, a stone frame including a small inscribed pointing hand in the corner. Set in the chancel floor are a group of 8 brasses from late C17 to mid C18. FITTINGS: include a round C15 font from St Mary Westport (qv), with a turned base and fluted sides; at the W end of the nave, is the font used since the C17; in the S aisle, a glass case containing a verge of 1615, carved with features of the Abbey; at the E end the S aisle is the parish chest dated 1638, panelled with 3 locks; communion rail of c1700 with twisted balusters. In the parvis are kept 4 volumes of an illustrated manuscript Bible of 1407. GLASS: mostly C14 glass in the N aisle; the Luce window in the S aisle designed by Burne Jones and made by William Morris. HISTORICAL NOTE: the use of pointed arches and vaults in the aisles is structurally advanced and transitional with Early Gothic, and links Malmesbury with subsequent West Country churches, but the carving is Anglo Saxon in character, and probably borrowed from manuscript illustrations. The conventual buildings stood on the N side of the church; for the reredorter and sections of the precinct wall, see
Abbey House, Market Cross (qv), and for the guest house, see Old Bell Hotel, Gloucester Street (qv). (Victoria History of the Counties of England: Crowley DA: Wiltshire: 1991-: 157; Archaeologia: Brakspear H: Malmesbury Abbey: 1912-; Smith MQ: The Sculptures of the S Porch of Malmesbury Abbey: Malmesbury: 1973-; The Buildings of England: Pevsner N: Wiltshire: London: 1963-: 321-327; Midmer R: English Medieval Monasteries 1066-1540: London: 1976-: 212).
© Historic England 2021
Nubian tribute bearer with an oryx, a monkey, and a leopard skin
Mesopotamia, Nimrud (ancient Kalhu), Neo-Assyrian, 8th Century BC
Phoenician ivory carvers were strongly influenced by the themes and style of Egyptian art owing to traditionally close ties between the two cultures. Some Phoenician ivories illustrate purely Egyptian themes, but many use Egyptian motifs in entirely original compositions.
Phoenician-style ivories were used primarily as furniture decoration. Some are solid plaques, while others are carved on one or both sides in a delicate openwork technique. Many originally were covered by gold leaf and inlaid with semiprecious stones or colored glass. Such rich combinations of ivory, gold, and brightly colored stones made the thrones of the Assyrian kings famous for their exquisite beauty. Most ivories carved in the Phoenician style were probably produced during the late eighth and seventh centuries B.C.
This Nubian tribute bearer exhibits traits of the Phoenician style, characterized by the slender, elongated form of the bearer and his animal gifts, the precision of carving and intricacy of detail, and the distinct Egyptian flavor of both pose and feature.
THE BISHOP'S PALACE AND BISHOP'S HOUSE
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1382873
Date first listed: 12-Nov-1953
County: Somerset
District: Mendip (District Authority)
Parish: Wells
Diocese of Bath and Wells
National Grid Reference: ST 55207 45781
Details
WELLS
Bishop's Palace and House. Begun in c1210 by Bishop Jocelyn but principally from c1230, restored, divided and upper storey added by Benjamin Ferrey 1846-54; north wing (now Bishop's residence) added in C15 by Bishop Bekynton, modified C18, and c1810 by Bishop Beadon. Local stone, roughly squared and coursed, with Doulting ashlar dressings, Welsh slate roofs, stone chimney stacks. PALACE EXTERIOR: the main palace now used for public functions and meetings is in 2 storeys with attics, in 7 bays. Plinth, string course between floors, wide buttresses with 2 offsets to bays 2 and 6, coped gables to bays 2, 4 and 6, paired octagonal stacks with openwork cappings to bays 3 and 5. Ground floor has 2-light trefoil-headed plate tracery windows to all but bay 4, similar windows to first floor with added quatrefoil windows with trefoil-arched labels, smaller versions of these windows to attic gables; central porch added c1824, has angled corner buttresses, gable with string and central panel of arms crowned with a mitre, the entrance through a moulded pointed- arched door flanked by two early C19 light fittings. The E wall is in 5 and-a-half bays, with large buttresses to 2 stepped offsets. The first 2 bays have lancets to the ground floor only, but bays 3, 4, and 5 have large 2-light windows with quatrefoil over, and lancets to the ground floor. The last half-bay has a corner stair-turret with stepped offsets. Far right is a deep gabled wing with a large stone-mullioned oriel above a panelled apron with shields of arms, carried on a deep moulded bracket, and with very large buttresses. A tower is set-back from this, adjacent to the moat, with 2 and 3-light cusped casements on 3 floors. PALACE INTERIOR: the original plan was with hall, solar, gallery and undercroft, the long range divided by a spine wall at each level; this remains the layout, with the addition of an upper floor (not inspected). The ground floor is entered through the central porch to a narrow gallery in 6 bays of quadripartite ribbed vaulting, carried on corbel capitals. In the central wall is a large C16 stone fireplace, brought in the late C19 from the former solar. The S wall has a doorway with Y-tracery to its head, and a corner door gives to Bishop Burnell's chapel (qv). The floor is of stone flags. At the N end is a very fine Jacobean open well stair with large square newels, including a double newel at the top landing, supporting carved griffons and with openwork pendants, panelled plaster soffite, painted dado panelling, and a compartmented ceiling with pendants. The undercroft beyond the wall is in 2x5 bays with a central row of Purbeck shafts to quadripartite vaulting, on faceted responds; there is a large stone fireplace of C15 design in the spine wall. The first floor, within Jocelyn's shell, has C19 detailing; Ferrey complained that much of the work to the ceilings was '.... done by an upholsterer from Bath....', but detailing is very rich, and good replica C19 patterned colourful wallpapers were installed c1970. On the E side is a suite of 3 rooms, with compartmental ceilings. The square room at the head of the stairs has a stone basket-arch fireplace with triple cusping, and retains some C18 panelling, and six 6-panel doors. The long central room has a 24-panel ceiling, and three C19 lighting pendants; at its S end a very rich pair of panelled doors opens to the square S room, in which are visible in the E wall remains of the original windows, which have been blocked externally. This room has no fireplace. The long gallery to the W of the spine wall has two fireplaces, dado panelling, and a ribbed panelled ceiling. The windows are in deep embrasures, and there are three 9-panel C19 doors. BISHOP'S HOUSE EXTERIOR: returns at the N end, being backed by the moat wall. It is in 2 parallel ranges, with a very narrow courtyard partly filled by C20 building, a cross wing containing a former hall, and opening to a porch at the S end, and a square tower on the NE corner. The S front is crenellated, and has 4 windows on 2 storeys with attic, all flush 2-light stone mullioned casements with cusped heads to the lights; at first floor 2 of the windows have C19 cast-iron small-paned casements, and there are 4 casement hipped dormers behind the parapet. To the left, in a lower wall with raked head are 2 similar casements, and set forward to the right, fronting the 3-storey N/S hall range is a low square tower with two 2-light plate-traceried windows as those in the adjacent Palace, and a round-arched C16 stone outer doorway with moulded and panelled responds and a large keystone with diamond embellishment. The porch is stone paved, with a stone bench to the left, and the inner doorway is a C15 stone 4-centred moulded arch with rosettes, hood-mould, and small diagonal pinnacles at the springing and key, above a carved angel keystone, containing a fine pair of early doors with panel, muntin and mid-rail, all with nail-heads. At the left end is a wide archway into the courtyard, on the site of the gateway seen in the Buck view. There are various lofty yellow brick stacks, including one very large stack to a coped gable in the rear range. BISHOP'S HOUSE INTERIOR: has been subdivided several times; in the front range are 2 plain rooms, then the inner hall to the porch, with the C15 doorway, a shell niche, and a stone arch matching that to the outer doorway of the porch; this gives to the main stair. N of the hall is a fine C15 oak screen with narrow panels and moulded muntins and mid-rail, and a central round-arched C20 doorway of C16 style. To the right is a large 3-light stone casement with transom, and to the left is a stone-flagged cross passage which runs through to a doorway at the moat end. The inner hall has 3 windows as in the outer hall, and the inner side of the screen has raised and moulded panels, and all members embellished, including small-scale chevron to the bressumer; the central C16 doorway has raised diamond keystone and enrichment. A dining room to the N has a peaked moulded wooden rere-arch, and opens in the NW corner to a small square study in the tower. This has a stone alcove in the N wall with a 3-light C16 casement, and in the corner access to a stone spiral stair rising the full height of the tower. There are many 6-panel doors, with raised mouldings, and with square centre panels. The main staircase is C20 with heavy turned balusters to the first floor, and a C19 straight flight with stick balusters in the upper flight. At first landing level the window contains fragments of mediaeval and C16 stained and painted glass; there is a second straight-flight stair between the ranges to the W. Rooms at first floor are generally plainly detailed; the N range had an extra floor inserted, and one bathroom has the lower part of one of the mediaeval oriels in its N wall. The second floor has a through corridor, and has many early 2-panel doors with raised mouldings. The square end room to the tower has a low relief plastered ceiling to a central rose, the window has early crown glass and a scratched date of 1822. Two of the bedrooms contain the upper parts of the oriels, and these have stone vaulted soffites, one including a carved angel keystone. Over the S range is a 6-bay collar and 2-purlin roof with original rafters, formerly with plaster; the space has 4 dormer windows. HISTORICAL NOTE: the complex building history, coupled with a splendid setting within its walled moat, makes this Palace an outstanding historic and visual document, with one of the most remarkable structures of the mediaeval period which '...represent the grandest aspect of the mediaeval way of life'.(Barley) The first-floor hall represents an outstanding example of its type, contemporary in date with those at St David's, Dyfed, and Southwark, London. (Buildings of England: Pevsner N: North Somerset and Bristol: London: 1958-: 312; Colchester LS: Wells Cathedral: A History: Shepton Mallet: 1982-: 227-244; Wood M: The English Mediaeval House: London: 1965-: 24 (PLAN); Bony J: The English Decorated Style: London: 1979-: PASSIM; Parker JH: Architectural Antiquities of the City of Wells: Oxford: 1866-; Barley M: Houses and History: London: 1986-: 60-63).
Listing NGR: ST5522445760
While preparing for the (grand *lol*)opening of my Etsy store, I went a little bananas, and made 7 of these openwork crocheted hats for SD (8-9") sized heads.
They're all different, and I think they turned out quite well.
Rav (Abio Angel Shi) is modeling, wig by Monique, jewellery by linbjoe, crocheted top by me.
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....
Ivory; 9th-8th century B.C.E.; From Mesopotamia, Nimrud
64.37.7
Text from the Metropolitan Museum card.
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.
METHODIST CHURCH, SCHOOL ROOM, COACH HOUSE AND ATTACHED WALLS
Overview
Heritage Category: Listed Building
Grade: II
List Entry Number: 1157925
Date first listed: 19-Jan-1987
District:
North Somerset (Unitary Authority)
Parish: Churchill
National Grid Reference: ST 44352 59773
Details
Methodist Church, School Room and Coach House. Dated 1879 (on east gable end of School Room). By Foster and Wood of Bristol. Squared and coursed rockfaced rubble with flush ashlar quoins and dressings, stone copings, plain tile roofs and brick stacks. 3-bay church at right-angles to road to left-hand linked to 4-bay School Room by 4-bay corridor with service rooms. School Room further linked by loggia to porte cochere and Coach House. The complex forms an irregular L-shaped plan. Free-form Gothic style. Church with south-east porch and south apsidal ending with cusped openwork panelled parapets and crocketted pinnacles. Windows are 2 and 3-cusped lights of florid Perpendicular style. North-east staircase turret with pyramidal cap for gallery access. Interior. South gallery, barrel roof in nave, canted barrel roof in chancel. Contemporary fittings and stained glass in all windows. School Room with cross-mullion windows under gabled heads. Some applied half-timbering with brick infil to east and west gable ends. Good dentil coursed bargeboards. Similar details to Coach House complex. Tall panelled brick stacks. Spear railings fence between buildings and graveyard. Boundary walls, 1 metre high, with gate entrances to east and west ends with fine cast iron gas lamp standards. Further walls and railings to Coach House courtyard. The complex, built for Sidney Hill of Langford House , makes a fine group with the Clock Tower.
Very feminine and romantic accessories made from black cotton yarn. Their pattern is openwork and makes a pretty and interesting texture.
from the Dominican church of Bergues ; depictions of Aaron, except with the brazen serpent, are rather rare, I believe.
The altar was made between 1470 & 1485; these prophets are on the left side of the altar.
the blind Jacob
These are the most westerly 3 ; they date from the 14th century ;
left, a grotesque monster ; center, a pelican in her piety ; right, a bird siren.
Carved in 1752 by Emmanuel Wallyn of Poperinge, the wainscotting is said to illustrate the 148th & 150th psalms.
I thought about getting the bus to Bearwood (on the Outer Circle) and wasn't sure what was there to take. After I arrived I headed towards the Bus Station, and behind that was this park - Lightwoods Park.
I always thought that Bearwood was within Birmingham, but now it appears to be in the district of Sandwell.
The park was run by Birmingham until November 2010, when Sandwell took over running it.
There is signs here of it's Birmingham past.
This is the bandstand in Lightwoods Park. It is Grade II listed.
It appears that it wa made for the City of Birmingham (back when the park was run by the city).
Bandstand. Late C19. Cast iron on brick base with sheet iron roof.
Octagonal plan. Columns have pedestals and foliated capitals and are linked
by low railings on four sides. Shallow elliptical arches spring from the
capitals, with openwork decoration below oversailing eaves. The roof is a
facetted ogee dome with central cupola. The columns are inscribed: 'LION
FOUNDRY CO KIRKINTILLOCK".
Bandstand, Lightwoods Park, Bearwood - Heritage Gateway
Full view of the bandstand
The bandstand was presented to the City of Birmingham by Rowland Mason - West Mount, Edgbaston in April 1903.
The altar was made between 1470 & 1485; these prophets are on the left side of the altar.
Tiburtine sibyl
I thought about getting the bus to Bearwood (on the Outer Circle) and wasn't sure what was there to take. After I arrived I headed towards the Bus Station, and behind that was this park - Lightwoods Park.
I always thought that Bearwood was within Birmingham, but now it appears to be in the district of Sandwell.
The park was run by Birmingham until November 2010, when Sandwell took over running it.
There is signs here of it's Birmingham past.
This is the bandstand in Lightwoods Park. It is Grade II listed.
It appears that it wa made for the City of Birmingham (back when the park was run by the city).
Bandstand. Late C19. Cast iron on brick base with sheet iron roof.
Octagonal plan. Columns have pedestals and foliated capitals and are linked
by low railings on four sides. Shallow elliptical arches spring from the
capitals, with openwork decoration below oversailing eaves. The roof is a
facetted ogee dome with central cupola. The columns are inscribed: 'LION
FOUNDRY CO KIRKINTILLOCK".
Bandstand, Lightwoods Park, Bearwood - Heritage Gateway
Two flower designs. There were more like this, but didn't want to take them all.
The bandstand was presented to the City of Birmingham by Rowland Mason - West Mount, Edgbaston in April 1903.
By eminent architect Sir George Gilbert Scott (London), 1865-7; central section approximately following Scott's design externally, David Mackenzie, 1873; E wing William Alexander, 1887. Large 2-storey museum and art gallery in Early Decorated Gothic style with Scots Baronial embellishments, built as a memorial to Prince Albert. Stugged cream sandstone coursers with lighter ashlar dressings. Openwork parapet, crowstepped gables with finials. Finialled, pyramidal-roofed angle turrets with arrowslit ventilators; ornate octagonal flèches with gablets and finialled. Various window designs, mainly 2-light pointed windows with hoodmoulds.
Scott's design was based upon his unexecuted design for the Hamburg Rathaus. The Institute was built by a private company and is the grandest memorial to Prince Albert outside London. There was formerly a porch to the principal door at the north elevation, and a fountain to the west on an axis with the staircase, demolished c. 1940.
Bronze statue of Queen Victoria by Harry Bates, 1899. Enthroned and crowned figure of Queen Victoria holding orb, with frieze depicting various scenes from her life. Statue set on Peterhead granite pedestal inscribed 'Victoria R I, 1897, Diamond Jubilee'.
Coachwork by Henri Chapron
At the paris Motor Show 1933, Delahaye broke totally with their traditional productions by presenting two modern chassis with independent front wheels : the four-cylinder Type 134 and the six-cylinder, 3,2-litre Type 138. The latter would lead to the celebrated Type 135, characterized by a lower chassis frame of even more modern design, with side-frames of with tubular struts, the ensemble being electrically welded.
In June 1934 Delahaye obtained approval from the Service des Mines (French vehicle-testing service) for a chassis with a 3,5-litre engine known as the 135M (for modified). The engine entered production in 1935 after being tested in competition.
This 135M with bodywork by Henri Chapron, belonged for many years to the well-known collector Jacques Dumontant, who inherited it from his father and often used it on his travels in search of vintage cars. Although that 135M usually came with openwork sheet-metal wheels, this one has more elegant wire wheels, always available as an option at the time.
Zoute Concours d'Elegance
The Royal Zoute Golf Club
Zoute Grand Prix 2016
Knokke - Belgium
Oktober 2016
Fontana del Nettuno (Napoli)
detail of coat of arms
"Circular in shape, the fountain is surrounded by a balustrade with four diametrically opposed steps, decorated with elegant openwork tendrils on which are placed four lions from which water gushes, bearing between their paws the shield of the city of Naples and of the Duke of Medina and di Carafa, the results of a remodeling and expansion by Cosimo Fanzago.
"
IMG_2813
Bucharest '23
National Museum of Romanian History
Spearhead
Sâncrai (Alba), 7th-5th Century BC
Akinakes Type Mirror
Sâncrai (Alba), 7th-5th Century BC
Bone Arrowheads
Sâncrai (Alba), 7th-5th Century BC
Arrowheads
Sâncrai (Alba), 7th-5th Century BC
Openwork Applique
Sâncrai (Alba), 7th-5th Century BC
Trilobate Arrowheads
Sâncrai (Alba), 7th-5th Century BC
Quiver Applique
Sâncrai (Alba), 7th-5th Century BC
Mirror
Sâncrai (Alba), 7th-5th Century BC
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The Türkmen (Türkmen: Türkmen, Түркмен, توركمن) are an Oğuz Turkic speaking ethnic group that inhabit Türkmenistan (Turkmenistan) but also have sizeable populations in Afğanistan (Afghanistan), Türkiye (Turkey), and other Central-Asian countries. They are famous for their masterfully made jewelry. Their jewelry is typically made of high-quality silver and carnelian stones. Openwork designs, granulation, and gilding are common traits of their work.
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Use in any type of AI application is prohibited. I do not consent to such use in any way and under any circumstance. AI use is by nature derivative; so, I will treat violators as nothing more than thieves.
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Queen Anne’s Lace
The weft and weave of leaf and shade
is a brocade pillow, the lace spun
out of air and sunlight, with unseen
bobbins. The May Queen must be
their maker, twisting each flower
into a lopsided perfection
of five petals, with patience
infinite, repeating her making
till the guipure of each umbel
webs the world in gossamer,
and she turns, hands dew-moist,
the sex-smell upon them,
to unfurl Thorn blossom
into an openwork of May.
Poem by Giles Watson, 2011. Queen Anne’s Lace – a name which is probably of North American origin – is more prosaically known in this country as cow parsley, and is the ubiquitous umbel flower of late spring and early summer. It often covers uncultivated areas in waist-high swathes of blossom, each petal not much bigger than the head of a pin. Like the hawthorn, or Mayflower, it contains trimethylamine, which makes the flowers smell faintly of sex.