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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.
Made from soft, thin acrylic yarn. Special decoration are leyered laces in two colours: thulian pink and lavender. They are wrist-shaped. The arm warmers are fastened with buttons.
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
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.
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.
The font
The woodwork was made in 1778 by Jean Elshoecht of Sint Winoksbergen, called Bergues in French. He was paid 350 French crowns.
Detail from the gilded wooden shield with Tutankhamun wearing an Antef crown and slaying lions.
The inscription identifies Tutankhamun with Montu. The delicacy of the openwork suggests that the shield was ceremonial and not intended for the use in battle.
Tutankhamun treasures of the golden pharaoh. Saatchi Gallery, London.
GEM325
Tabernacle of Cherves, detail Sun & Moon of the crucifixion [1220-30]
Enamel from Limoges
NYC MET
New York Metropolitan Museum of Art
Original photo by courtesy of wallyg, color-modified by p.a.
The tabernacle is the most celebrated of the objects found at Cherves in 1896, near the site of a ruined priory of the Grandmont order at Gandory. The accomplished openwork medallions depict events following the Crucifixion, including the Holy Women at the tomb on Easter Sunday (center left) and the Doubting of Thomas (upper right). With their strong emphasis on the physical Christ, these scenes are most appropriate for this cupboard for storing the bread of the Eucharist. It is one of only two tabernacles of Limoges work to survive.
Source:
www.metmuseum.org/Collections/search-the-collections/1700...
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
Plaque on the bandstand.
The bandstand was presented to the City of Birmingham by Rowland Mason - West Mount, Edgbaston in April 1903.
Assembly – The cardboard sole outline was traced onto the thick brown leather with pencil and cut the pieces with metal shears. In the 1300’s a knife would have been used, but I lack the dexterity and strength to use one. A line was traced on the sole about 0.7 cm in from the outer edge. The sole was wet down and holes were punched through the top and out the side of the leather, following the lined traced earlier. Holes on late 14th century latchet with rands were approximately 6 mm apart, and I tried to do the same freehand. The tool used was a diamond cross-section awl, rather than the round ones more commonly found from the time period . The soles were set aside to dry.
The uppers were cut from the purple leather with a seam allowance only on the bottom edge where the upper meets the sole. As shoes were usually sewn with (edge to flesh) seams at this time, no seam allowance was needed. The heel stiffener was sewn onto the heel area using an overstitch that did not penetrate the leather.
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.
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.
The Sacred Heart Church or Sacred Heart Parish church Graz is a brick building in neo-Gothic style, a Roman Catholic church in Graz St. Leonhard . The building was built in 1881-1887 and has the third highest spire in Austria and is one of the most important buildings of historicism in Styria.
Architectural History
Facade
In 1875, called a native of South Tyrol Prince Bishop Johann Baptist Zwerger, a great admirer of the Sacred Heart, for the first time to build a Sacred Heart Church for Graz. The church should be a parish center for the then rapidly growing Gründerzeitviertel now in the district of St. Leonhard and at the same time representing an important monument of the Sacred Heart devotion .
After long discussions about the architecture ( the building of a church of the nature of the Votive Church (in Vienna) had to be rejected for cost reasons) eventually a native of Graz George of Hauberrisser, architect of the Munich town hall, was commissioned with the establishment of the church in neo-Gothic brick style by way of the north German churches in the style of Brick Gothic . The groundbreaking ceremony took place in 1881, in 1885 the same roof was completed in 1887 and celebrated the high tower. On 5 June 1891 the church was consecrated , but only on 10 October 1902 the parish church. In the years 2004 and 2005, a comprehensive foreign restoration was carried out.
Outside
Herz-Jesu- Kirche Graz , north -west side
The church and parsonage are built in the same style surrounded by a park and visibly influenced by the ideals of Romanticism. To achieve a monumental appearance , despite the low-lying building site , the church was built in the form of a two-storey lower church , which opens in arcades to the park, and an overlying upper church. The southwest tower of the church is not exactly geostet (eastern-oriented) with 109.6 meters the third highest church tower in Austria , according to the towers of St. Stephen's Cathedral and St. Mary's Cathedral in Linz.
Upper Church
The church was to as many people on the sanctuary to provide a view built as a directed road church with side chapels , support free interior and integrated into the nave wall piers. The stern look of great free interior is enlivened by colorful windows and wall frescoes. The prevailing inside single overall impression is due to the fact that Hauberrisser has designed every little detail and even the original equipment is still intact .
Altar area
The new altar designed by Gustav Troger
Look through the nave to the front
Looking back through the nave
Through a wide steps of plant base of a large pointed arch at the transition is made to the presbytery. A higher floor level than the ship and a little different material choice the altar area is highlighted.
As part of the preparation for the Centenary of the Church in 1991 led to a redesign of the altar area of the church. In the spirit of the liturgy reforms of the Second Vatican Council , a smaller additional altar was to maintain the original high altar still can , built on an upstream , designed by the architect Henry Tritthart podium. This so-called people's altar was made according to a design by the Styrian artist Gustav Troger , as well as a new ambo and glass chandeliers.
The original altar consecrated to the Sacred Heart is designed as altar canopy . In the front pediment of the altar canopy wound of a crown of thorns heart is to see, and an openwork roof attachment holds the statue of the risen, the Redeemer pointing to his open heart.
Side chapels
There are small chapels with Retabelaltären and murals on both sides of the nave.
Left Right
Joseph's Chapel Lady Chapel
Francis Xavier Chapel Aloisiuskapelle
Barbara Chapel Nepomukkapelle
Annakapelle Antoniuskapelle
Cross Chapel Baptistry
Mural
At the request of the architect Hauberrisser Viennese genre and historical painter Karl Karger was entrusted with the production of the mural. Karger then created boxes, after which his pupils Johann Lukesch and Max Goldfeld ran the paintings from 1886 to 1906. The 12 murals on the sides of the nave and chancel on the north wall form a closed cycle, which begins with the worship of Christ front right by shepherds and kings and ends with the crucifixion of Christ. Each image is accompanied by an explanatory quotation from the Bible .
Stations of the Cross
The 14 Stations of the Cross painted on copper plates , which are located on the outer walls of the side chapels were designed by the Viennese painter Josef Kastner .
Pulpit
The octagonal pulpit rests on a stronger central column and seven slender columns, which also take the stairs. In the fields the pulpit railing relief busts of the four evangelists are seen at the six corners of the sound cover are angel with a banner ( Discite a me, uia mitis sum et humilis corde - Learn from me , for I am meek and humble of heart ' , Matthew 11:29 ) , and on the underside of the lid, the sound is represented as a dove symbolizing the Holy Spirit.
Window
The glass windows of the Sacred Heart Church provide one of the few completely preserved ensemble neo-Gothic glass art in Austria. From the according to the design of Haubenrisser designed windows came the figural art glass in stained glass of the Institution Neuhauser in Innsbruck, the simpler glazing partially in Graz. In the figural windows main content Christian doctrine is presented, such as the Trinity and the saints and the risen Christ.
Organ
1889 a large two-manual organ with 36 registers and pneumatic action was built by the Walcker firm. 1941, the plant was then a third manual, a positive return, extended and converted the pneumatic action of electro-pneumatic operation . An overhaul of the builders firm was completed in 1991. Now there are 52 registers.
Bell
In the first World War II were dismantled all bronze bells as war material. In the 2nd World War II again. Only the smallest was then obtained. As a result of it steel bells were installed, for cost reasons and because it is to be expected that they remain safe. Only the largest (about 3000 kg) is currently at 7 , 12 and 19 clock ( electric motor ) rung (2009). The small bronze bell serves as Totenglöcklein (death knell).
Crypt
The lower church is dedicated to the poor souls. This three-nave system can be achieved through a wide staircase and a hall through the unspoilt natural brick structure of the pier produces a strong impression. Closing windows on three figualen choir Christ , Mary and John the Baptist are seen. The original altar of the lower church is located directly beneath the high altar of the upper church and is a simple Retabelaltar with relief representations of the " poor souls ". Even in the lower church, a new altar area was built to celebrate the winter here in worship. The redesign of the altar area was designed by architect Henry Tritthart.
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
Khachkars in stenen kantwerk.
Famous khachkar at Goshavank
The khachkars created by the carver Pavgos in Goshavank stand out among the rest. The best of them is a 1291 khachkar with the maker’s name carved in the bottom left star, which is one of the most intricate examples in existence. The finely carved lacy ornaments are arranged in layers in which the basic elements of the composition — a cross on a shield-shaped rosette and eight-pointed Starr filling the corners of the middle-cross section—show clearly. The intricate openwork ornaments vary — a clear-cut geometrical pattern constitutes the background, and the accentuating elements form a complicated combination of a floral and geometrical ornament which never repeats itself.
De geschiedenis van dit bloeiende klooster kan u vinden:
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
The bandstand was presented to the City of Birmingham by Rowland Mason - West Mount, Edgbaston in April 1903.
View of the roof inside the bandstand.
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
Brass compass with zodiac. 17th Century AD Zwinger, Mathematisch-Physikalischer Salon. Dresden, Germany. Copyright 2019, James A. Glazier.
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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 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.
Evesham Abbey - Abbot Lichfield's Bell Tower, completed c1525-30. Evesham, Worcestershire
THE BELL TOWER, MARKET PLACE
Grade I listed
List Entry Number: 1081353
Details
MARKET PLACE 1. (South Side) 5249The Bell Tower SP 0343 NE 1/4 7.5.52. I GV 2. Early C16. Built by Abbot Lichfield. Rises in 3 stages to 110 ft. Pierced by an archway with unfinished vaulting and is surmounted by openwork battlements, and pinnacles. Fine and very late example of Perpendicular style.
Church of All Saints, Church of St Lawrence, The Bell Tower, Abbot Reginald's Wall and the Porter's Lodge, Remains of west wall of North Transept of Abbey, Archway to south of the Remains of west wall of the North Transept of Abbey, Abbot Reginald's Gateway and The Old Vicarage, the Public Library, Nos 6 and 6A, Nos 7 and 8 and Walker Hall, Market Place form a group with Nos 53 and 54 incorporating Remains of Abbey Gate; Gate and railings of No 53, Remains of Abbey Stables, The Almonry and The Stocks, Merstow Green together with Nos 1 and 3 and Remains of south wall of Abbey Precinct, Little Abbey Lane.
Listing NGR: SP0375043662