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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
George IV State Diadem Miniature
Creator:
Rundell Bridge & Rundell (jeweller)
Creation Date:
1820
Materials:
Diamonds, pearls, silver, gold
Dimensions:
7.5 cm
Acquirer:
George IV, King of the United Kingdom (1762-1830)
Provenance:
Made for George IV, 1820 (£8,216, adjusted to £7,126; RA GEO/25994)
Description:
Openwork silver frame lined with gold and set transparent with diamonds; narrow band edged with pearls, surmounted by four crosses-pattée, the front cross set with a pale yellow brilliant, and four sprays representing the national emblems of the United Kingdom.
From its frequent appearance on postage stamps and coins, this exceptionally beautiful head ornament, incorporating the national emblems of England, Scotland and Ireland, is probably the most familiar piece of Her Majesty The Queen's jewellery. Set with 1,333 diamonds, including a four-carat pale yellow brilliant in the centre of the front cross, the diadem has been regularly worn (and slightly modified) by queens regnant and consort from Queen Adelaide onwards. This feminine association belies its origin, since it was made for George IV's use at his famously extravagant coronation in 1821. On that occasion, he wore it over a large velvet 'Spanish' hat at the ceremonies in Westminster Hall and during the walking procession to Westminster Abbey.
The order for the diadem was placed with Rundells in 1820 and work was complete by May of that year. The design, probably by Rundells' chief designer Philip Liebart, reflects something of the discarded plan for George IV's Imperial State Crown, which was drawn up by Liebart in the same period and was to have included the national emblems in place of the traditional fleurs-de-lis.
Together with a diamond-studded loop (which was broken up to help make Queen Victoria's Garter armlet) the bill for the diadem amounted to the large sum of £8,216. This included an £800 hire charge for the diamonds - stones were regularly hired for use at coronations up to 1837 - computed on a percentage of the value of the stones. When the coronation had to be postponed for a year on account of Queen Caroline's trial, a further hire charge was levied. Normally the stones would have been returned to Rundells after the coronation, but in this case there is no sign that the delicately worked diamond sprays and crosses, a masterpiece of the new transparent style of setting, have been disturbed. Equally, there is no evidence that the King purchased the stones outright, so it could be that the bill was met by a discreet barter of old stones from George IV's extensive collection.
Today the diadem is worn by Her Majesty The Queen when travelling to and from the State Opening of Parliament.
Catalogue entry from Royal Treasures, A Golden Jubilee Celebration, London 2002
This information is copyright of the Royal Collections Trust website (well worth a look)
www.royalcollection.org.uk/collection/31702/the-diamond-d...
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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.
Église Saint-Pierre de Plouescat
Historical
The first church was built in the 13th century, since there were, according to Le Guennec, "a few pillars and capitals" from this period in the second church, built from 1763 and whose masonry was entrusted to Guillaume Lazou; in 1764, G. Lazou was awarded the roof. In 1783, François Odern, roofer in Plouescat, repaired the roof "damaged by thunder". The sacristy of this church was built in 1785. Sale of the ruins of the ossuary in 1817.
A third church was built from 1863 by the contractor Tréal, on the plans of the architect Édouard Puyo; it was consecrated in 1865. The spire was built in 1870
Show history detail
Description
Latin cross plan with three vessels. Chevet with canted sides flanked to the south by a sacristy out of work with a through skylight. Bell tower with bell chamber cushioned by an openwork octagonal spire flanked by crossettes and framed at its base by four openwork pediments, four gables and four lanterns.
Carcass work in granite rubble stone partially coated with cement except for the frames of the openings and the angle chaining in granite cut stone.
Six-bay nave, lit by high windows and covered with paneling painted blue with red ribbing and white tie-beams. Pointed arch arcades resting on the capitals of square-core pillars confined by columns. Choir flanked by two chapels open to the transept. Western massif carrying a tribune. Floor covered with granite slabs.
Citation by Samantha Westbrooke Pty Ltd
A manufacturing plant complex built in the International Modern style, consisting of rectangular
blocks with flat steel deck roofs, salmon and red brick, steel framed windows and cement sheet
cladding. There are entire curtain walls of concrete breeze blocks. There are lighting standards
with conical luminaries with dish caps. Signage is supported on a rolled hollow section steel
frame. The buildings are set within lawns with native planting at the entrance, a rock garden,
pool, and possible sculpture remnant.
The factory is centred on a 250-metre long main processing building flanked by various
storage and administration buildings. The whole complex demonstrates a unity of design in its
use of a low brick wall surmounted by corrugated cement sheeting or steel framed glazing.
Most south facing walls are completely glazed from the brick dado to the roof, while the north
facing walls and some south facing ones have a single strip of glazing along the top of the wall.
The brick dado is evidently designed to prevent damage to the fragile cement sheeting and so
is used only at the lower level. However, as a stylistic feature, this has also been employed in
the administrative buildings.
The production line is expressed by the long low main production building, with the tall milling
and mixing structure at the eastern end, where raw materials are prepared for processing, a
small tower housing the steam accumulator a short distance along, and the large storage and
dispatch buildings extending across the western end.
The administration block lies between the production building and Rowsley Station Road, with
a gatehouse and openwork, concrete block wing walls identifying the main entrance.
The brown coal and wood waste fired boiler is a prominent feature at the eastern end of the
site. This fully glazed wall to the north and south broken by strips of louvred venting and with a
probably accidental random checker pattern created by different coloured glass panes. The
steel chimney stands just south of the boiler house.
The elements that contribute to the significance of the site are those features constructed as
part of the original design (as shown in the representative design perspective from 1960) as
follows:
Gatehouse & Administration Block
Amenities Block
Boiler House
Bicycle Shed and Factory sign
Chipper House
Main Factory Building
Warehouse
Workshop and Store
Factory Supervision
The setting of the place including the boundary trees and rock garden at the front of the site
also contribute to its significance.
Comparative Analysis:
The style of the complex is derived from the Bauhaus influenced industrial or institutional
complexes generally in the United States, such as, Illinois Institute of Technology, Chicago,
Illinois (Mies van der Rohe 1939-1956) and General Motors Technical Institute, Warren,
Michigan (Eliel and Eero Saarinen 1946-55). Local comparisons include factories, such as,
ETA Foods, Ballarat Road, Braybrook (Frederick Romberg 1957-60), Australian Paper Mills,
Fairfield, General Motors, Dandenong and various oil refinery complexes. The survival of boiler
houses in factory complexes is rare, as are glazed curtain walls from this period.
Significance:
What is significant?
The CSR Mill designed by T. H. McConnell, which opened in 1960, located at 25 Rowsley
Station Road, Maddingley. The following elements contribute to the significance of the place:
• Gatehouse & Administration Block;
• Amenities Block;
• Boiler House;
• Bicycle Shed and Factory sign;
• Chipper House;
• Main Factory Building;
• Warehouse;
• Workshop and Store;
• Factory Supervision; and
• The setting of the place, including the boundary trees and rock garden at the front of the
site.
How is it significant?
The former CSR Mill, 25 Rowsley Station Road, Maddingley is of local historical and aesthetic
significance to the Shire of Moorabool.
Why is it significant?
The former CSR Mill, 25 Rowsley Station Road, Maddingley is of historical significance as the
embodiment of an industrial process and capital investment in a semi rural location. The
factory officially opened in 1961 by State Premier at the time Mr H. E. Bolte demonstrates the
decentralisation policies of the Liberal Government during the 1950s and 60s. The complex is
of historical significance for its associations with the development of employment and industry
in the former Bacchus Marsh Shire, which demonstrates the utilisation of valuable resources in
the area.
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.
north side aisle, 17th-century enclosure ;
the text "in·mel / svrsvm / adhelo" means something like "I lift my breath {desire?} in melody" ;
in vignettes above the ajour carvings are scenes from the life of the donor, Hermannus Loemellus
The woodwork was made in 1778 by Jean Elshoecht of Sint Winoksbergen, called Bergues in French. He was paid 350 French crowns.
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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.
Khetri Mahal is also known as the Wind Palace, is a classic example of palace architecture in the state of Jhunjhunu. It is now a ruin, attracting tourists and locals alike.
Khetri Mahal was constructed by Bhopal Singh around 1770. Bhopal Singh was the grandson of Sardul Singh. Maharaja Sawai Pratap Singh of Jaipur built his Hawa Mahal, also known as the Wind Palace, on the model of the Khetri Mahal, in 1799. Khetri in itself was considered to be the second wealthiest ‘Thikana’ under Jaipur.
Khetri Mahal is located behind a series of lanes. It is a paragon of Shekhawati art and architecture. It is primarily known for its fine paintings and murals mainly supporting the Raghunath temple and Bhopalgarh fort. The palace is remarkable among buildings of its region because of the flow of wind through its open portals rather than stopped windows or doors.
Wherever structurally possible, the walls have been pierced with arched openings. The levels of the Palace are combined through a series of ramps, installed to facilitate the movement of horseback guests toward the terrace, which gives commanding views.
Two small alcoves contain fragments of older paintings in the private chamber of Thakurs. Most of these paintings were executed in natural earth pigments. The interior rooms are open and colonnaded, the columns often surmounted with openwork and curved arches.
Beautiful architecture design of Khetri Mahal
Most of the rooms are connected through arched portals rather than with doors, and much of the masonry is covered with a pinkish plaster.
One enters the palace via a student hostel at the base of the structure.
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.
Tower of Belem was built in 1514 by King John II, not only as a defense system at the mouth of the Tagus River, but also as a ceremonial gate to Lisbon. It has two parts, the 100-foot tower with four vaulted rooms and the bulwark containing a casemate with artillery. The tower was to commemorate the expedition of Vasco de Gama. It has rope carved in stone, openwork balconies, Moorish style watchtowers, and battlements in the shape of shields.
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Itchan Kala is the walled inner town of the city of Khiva, Uzbekistan. Since 1990, it has been protected as the World Heritage Site.
The old town retains more than 50 historic monuments and 250 old houses, dating primarily from the eighteenth or nineteenth centuries. Djuma Mosque, for instance, was established in the tenth century and rebuilt from 1788 to 1789, although its celebrated hypostyle hall still retains 112 columns taken from ancient structures.
The most spectacular features of Itchan Kala are its crenellated brick walls and four gates at each side of the rectangular fortress. Although the foundations are believed to have been laid in the tenth century, present-day 10-meters-high walls were erected mostly in the late seventeenth century and later repaired.
Tash-Hauli Palace
In the period of Allakuli-khan (1825-1842), the political, public and trading center of Khiva had moved to the eastern part of Ichan-Qala. A new complex formed at the gates of Palvan-darvaza: a new palace, madrassah, caravanserai and shopping mall (tim). The palace of Allakuli-khan was named Tash-Hauli ("Stone courtyard"). It looks like a fortress with high battlements, towers and fortified gates. Its architecture is based on the traditions of Khorezm houses and country villas ("hauli") with enclosed courtyards, shady column aivans and loggias.
Tash-Hauli consists of three parts, grouped around inner courtyards. The northern part was occupied by the Khan's harem. The formal reception room-ishrat-hauli adjoins the last one on the southeast; court office (arz-khana) - in the southwest. In the center of Ishrat-hauli there is a round platform for the Khan's yurt. Long labyrinths of dark corridors and rooms connected the different parts of the palace. Refined majolica on walls, colored paintings on the ceiling, carved columns and doors are distinctive features of Tash-Hauli decor.
A corridor separated the family courtyard of Tash-Hauli (harem or haram) from the official part. Its southern side is occupied by five main rooms: apartments for the Khan and his four wives. The two-storied structure along the perimeter of the courtyard was intended for servants, relatives and concubines. Each aivan of the harem represents a masterpiece of Khivan applied arts. Their walls, ceilings and columns display unique ornamental patterns. Majolica wall panels were performed in traditional blue and white color. Red-brown paintings cover the ceilings. Copper openwork lattices decorate the windows.
THE 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
Buffalo, UNITED STATES OF AMERICA 2024
The Saint Louis Roman Catholic Church in Buffalo is the city's oldest Catholic parish, founded in 1829. The current Gothic Revival-style building was constructed in 1889 after the original church was destroyed by fire. It is noted for its impressive Medina sandstone spire, which is considered the tallest openwork spire made entirely of stone without reinforcement in the United States. In addition to its architectural significance, the church is known for its beautiful stained-glass windows and for being the "Mother Church" of the Catholic Diocese of Buffalo. It continues to be an active place of worship and an important historical and cultural landmark.
originally part of the organ at St. John's College, Cambridge, from the 1660s ; acquired in 1870 ; the portcullis & rrose are royal badges of the house of Tudor
Iron belt fitting with openwork Mistress of Animals Design derived from 2nd Millenoum BC Sumerian prototypes. Gothic. Germanic, 5th Century AD - 6th Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
“Spaghetti Garden” is a tunic top made of summery sunny prints and featuring a round blooming lattice yoke. The top is embellished with flower and leaf shapes made from coordinating fabrics and applied with the spaghetti bias appliqué technique from More Sewing with Whimsy. The openwork yoke of aqua green rick rack and green gingham spaghetti bias is adorned with Whimsy Stick pink satin roses and yellow pompom center spaghetti flowers. Flounces in coordinating stripe and polka dot prints edged in rickrack are used for the gathered sleeves and ruffle at the bottom of the top. Hot pink piqué capri pants are a perfect match with curved polka dot flounce ruffles topped with more spaghetti bias appliques and Whimsy Stick flowers. This adorable ensemble is a garden of sheer delight!
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
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
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
Engraved openwork shell pectoral with design of man pouring grain into bowl before god. Mixtec (Nudzavui), 1400 AD - 1521 AD. Mexico. Special Exhibit, Golden Kingdoms: Luxury and Legacy in the Ancient Americas. Metropolitan Museum of Art, New York, New York, USA. Copyright 2018, James A. Glazier.
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
The case was made for an organ completed by Christian Vater of Hannover in 1731. The present instrument was made by Alfred Kern & Fils.
Enlarge the foto to view the effects of woodworm!
In the 1300’s shoemakers fitted and sewed shoes to a last (Fig of shoemaker S and P). This posed a problem for me as I had none and no way of making one. I decided to try fitting a shoe on a duct-tape pattern. To make this pattern, I first traced my foot onto cardboard and added a point to the toe. Points in the late 14th century tended to be quite exaggerated, as seen in the chart from the London excavations (Fig. 6). I chose a more subtle point, as might be more befitting a modest lady - in manuscripts or on funerary brasses you rarely see long poulaines poking out . The pattern I chose was based directly on (Fig ) in S and P – a low shoe fastened across the instep with a latchet strap. I decided to liven it up and challenge myself with doing some openwork punched hole patterns.
Clockwise from top left: Hublot Classic Fusion Extra Slim, Chopard XP Skeletec, Zenith El Primero Chronomaster 1969, Vacheron Constantin Patrimony Traditionelle Openworked, Jaeger-leCoultre Grande Reverso Ultra Thin SQ, Piaget Altiplano Skeleton.
The skeleton watch design follows the current trend to thinner watches. The skeleton is necessarily thin in order to let through enough light to illuminate the movement which is the centerpiece of this design. Piaget claims that the Altiplano Skeleton, above, is both the world's thinnest skeleton movement and the world's thinnest skeleton self-winding watch. Notice that you can see completely through the Altiplano movement to the background of the picture.
Because the movement is on display, there is "...no compromise in terms of finishing and polishing, microsanding, satin finishing, brushed finishing, etc. This finishing comes at a huge cost ... The objective is to find the right balance between the necessity of components being extremely rigid and the fact that you take off a lot of material." Financial Times, Inner Piece, June 8, 2012, p. 15. The difficulty of making a skeleton watch approaches that needed to make a tourbillon.
Although many of these watch parts are laser-cut, the components of the Hublot Classic Fusion may have been digitally "printed" using a three-dimensional printing process. Many of the parts of skeleton watches have narrow angles as small as 20 degrees, all of which must be hand finished. Audemars Piguet claims that their Royal Oak Skeleton movement has more of these narrow "entering angles" than any other watch.
Brooch, from museum website: Anglo-Scandinavian, 2nd half of the 11th century AD. Found in Pitney, Somerset, England.
An entwined animal and snake in combat, this elegant openwork brooch was found in a churchyard. The skill needed to make it indicates that it was probably worn by a man or woman of some importance, and the brooch would have been considered a symbol of prestige.
The main ornament is a snake with round eyes biting the underside of a four-legged animal, which in turn bites itself. A row of beads runs along the underside of the animal which is stretched into a looped ribbon. Its hips are marked with spirals and a spindly front and back leg are shown.
The brooch is a rare and fine example of the combination of Scandinavian and English art styles. The design, with its plant-like tendrils and ribbon animals, is an English version of the final phase of Viking art, the Urnes Style. However, the delicate beading which picks out the main animal, and the scalloped border of the brooch are both Anglo-Saxon features.
The brooch was cast in bronze with a slightly convex form, then gilded on both side. The reverse is plain, and still retains some fixings for the missing pin.
Bone comb and comb case: Antler comb case with incised lattice design and pointed ends; two holes at one end. The case consists of two outer back-plates and two inner plates, separated by two end-plates and held together by four iron rivets. The outer plates are of plano-convex section with a convex outer edge, flattening at either end. The ends are ornamented in the manner of the comb-back, but with rows of transverse lines (instead of the cross-hatching) within the fields. The inner plates are of triangular section, flattening at the ends, ornamented with two rows of irregular diagonal crosses of double lines; the flattened triangular fields at either end are plain, with the transition to the central zone marked by a pair of transverse lines. The end-plates act as spacers to keep the plates apart and allow the comb to be fitted between them; they are plain with triangular ends, the top one having a pair of circular perforations for suspension. 10th-11th Century; found at York, England.
Shrine: Silver trapezoidal roof-panel from house-shaped casket shrine. It has a narrow billeted border, and is divided into four triangular zones of decoration by a diagonal cross with a billeted mid-rib, pierced by five rivet-holes. The lower field contains a lightly incised human face-mask above a line of speckled interlace. The three remaining fields contain crudely-drawn animals reserved against a background of niello, their limbs entangled in interlace. They differ in detail, but all have a large ring-and-dot eye, double-contoured, speckled bodies, and necks crossed by a limb passing through an interlaced ring. Panel has been trimmed, and pierced for secondary rivets. The back is plain. Viking or Anglo Saxon, early 10th Century.
The Basilique Saint-Urbain de Troyes (Basilica of Saint Urban of Troyes), formerly the Église Saint-Urbain, is a massive medieval church in the city of Troyes, France. It was a collegial church, endowed in 1262 by Pope Urban IV. It is a classic example of late 13th century Gothic architecture. The builders encountered resistance from the nuns of the nearby abbey, who caused considerable damage during construction. Much of the building took place in the 13th century, and some of the stained glass dates to that period, but completion of the church was delayed for many years due to war or lack of funding. Statuary includes excellent examples of the 16th century Troyes school. The vaulted roof and the west facade were only completed in the late 19th and early 20th centuries. It has been listed since 1840 as a “monument historique” by the French Ministry of Culture.
Jacques Pantaléon (c. 1195–1264) was the son of a shoemaker in Troyes. He studied at the Cathedral school for a short period, then moved to Paris to study theology at the Sorbonne. He rose through the church hierarchy and was appointed Patriarch of Jerusalem in 1255. He was elected pope in 1261 and chose the name of Pope Urban IV. In May 1262 he announced that he would build a cathedral in Troyes dedicated to Saint Urban, his patron saint. For the church site, Urban IV purchased several houses around the building that had housed his father's workshop. The property had belonged to the Abbey of Notre-Dame-aux-Nonnains.
Structure
Saint-Urbain is a classic example of French Gothic architecture of this period. The exterior has perforated gables with sharp points, narrow buttresses with many pinnacles, and openwork flying buttresses. The effect is visually complex, perhaps discordant. The main structural elements are built from a resistant limestone from Tonnerre, while softer local chalk is used for infilling masonry of the walls. The interior floor plan is compact. There is a short nave with three bays, a transept that does not project from the side walls and a stubby chevet that ends in three polygonal apses. There is no ambulatory. The building makes spectacular use of tracery and attenuated forms.
The interior walls have two different patterns. The apse has two levels of glass windows, which create a luminous area around the altar, above a plain masonry base. There is a walkway on the lower level behind an open tracery screen whose mullions rise to the clerestory above. The sanctuary, transept and nave have a strongly built arcade at the lower level supported by composite piers, above which rises a clerestory of similar height. The two patterns are unified by the framework of rectilinear wall sections and the grid of vertical and horizontal elements.
The building does not aim for monumental effect, as with earlier Gothic buildings, but instead has been called a “delicate glass cage.” The architect eliminated the triforium, simplified the plan and concentrated on refining detail. The streamlined design was copied in later Gothic churches. The architect Eugène Viollet-le-Duc (1814–79), who led the Gothic revival of the 19th century, considered that Saint-Urbain represented the finest example of the system of construction in which the columns that support the vault extend continuously into the arches of the vault, without the massive Romanesque capitals of earlier periods. Saint-Urbain has been called the “Parthenon of Champagne.”
Stained-Glass Windows
The sober, elegant interior of the church is filled with light from the huge windows. The original church glazing followed the new band window style, with colored compositions in large rectangular fields surrounded by bright grisaille glass. This system is used for narrative depictions in both the upper and lower levels. Viollet-le-Duc dated the stained glass in the church to around 1295, but the ornament in its borders and grisaille is from an earlier tradition. It has a cross-hatched ground, as in Merton College, Oxford, but has a very simple leaded pattern and includes much natural foliage. The windows of the choir, and others in the church, date to the original glazing of 1264–66. They were badly damaged during the fire of 1266, but still show two rows of full color figures. Jane Hayward considers that the windows “exhibit the reuse of surviving figures by two masters, one preferring elongated figures in broad-fold drapery ... and the other more archaic and regional (with leaded-in eyes).” For some reason the windows did not depict either Saint Cecilia or Saint Urban, although tapestries to these saints were meant to be hung in the choir. The original windows were restored in 1992 by Le Vitrail of Troyes. The other windows date to the late 19th or early 20th centuries.
Sculpture
The piscine of Saint-Urbain, which dates to 1265, is unusually large. This is a carved stone recess in the choir where the ampoules containing holy oils are placed, pierced with holes through which waters used in purification ceremonies are poured. The Saint-Urbain piscine is accessed through two high windows above which are trefoil decorations of three scenes: Jesus blessing the Virgin in the centre, Urban IV presenting the church choir to the left and Cardinal Ancher presenting the transept to the right. Above these decorations, which were damaged during the French Revolution, is a carved representation of armed soldiers, clergymen and workers struggling to defend the walls of a medieval town against enemies. There is a magnificent 13th-century Last Judgement on the pediment.
The Champagne fairs made Troyes a prosperous city before the Hundred Years’ War (1337–1453). With the return of peace in the mid-15th century the city recovered, and its workshops making sculpture, paintings and stained glass flourished. The sculptural style from before the wars was revived, with the Gothic tradition of clean lines, simple facial expression and sober garments. Starting in the 1530s the influence of artists from the Château de Fontainebleau began to spread in the region. The style evolved under the influence of the Renaissance, with more elaborate hair styles, more natural poses and richer clothing. The statue of the Vierge aux Raisins in the chapel on the south aisle is an excellent example of the Troyes school of the 16th century. However, some of the studios in Troyes, such as those of the Maitre de Chaource, resisted these innovations and continued to create works of great quality in the pure Gothic tradition.
Nowadays it is mysterious to us that the people of the past wanted the interstices, but 1960s sunbelt people definitely did like and want the interstices, right?
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In Los Angeles on April 21st, 2019, on the west side of North Virgil Avenue, north of Lexington Avenue.
Presumably the wall dates to the same year as the building on the property: 1960.
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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
With its schematic, S-shaped body, this long-billed water bird perches above a disk. Incised lines embellish the base of the neck and tail of the bird, and the disk is incised with concentric circles. The bird is pierced through its neck, indicating that it was originally suspended. Similar examples are known from various sites in the Peloponnese and Thessaly in Northern Greece.
Water birds were a popular motif in Greek Geometric art. Small bronze statuettes of birds, often perched on top of disks or openwork spheres, were a customary votive dedication in sanctuaries throughout Greece. Some examples, however, have been found in graves, suggesting they served a funereal as well as votive function. As many of these birds are pierced for suspension, they might originally have served as dress ornaments or pendants on necklaces. However, the precise function is unclear.
Greek, ca. 750-700 BCE. Bronze.
Getty Villa Museum (96.AC.70)
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
Le buffet est le fruit du travail collectif d’une famille de sculpteurs et de menuisiers audomarois, les Piette.
La famille des Piette comprenait le père, Jean, les fils, Antoine-Joseph et Jean-Henri, ainsi que le gendre, Jacques-Joseph Baligand.
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The case is the work of a family of regional sculptors & wood carvers, the Piettes.
The family consisted of the father, Jean ; the sons, Antoine-Joseph & Jean-Henri ; & the son-in-law, Jacques-Joseph Baligand.
The organ was built on the 18th-century choir screen by J.J. van der Haeghen. [from Gids voor Vlaanderen, 1985]
or:
The organ (1743-1745) is the work of Jean-Godfroid Gobert and Joseph Bosquet from Lille. Between 1809 and 1814 the French [occupiers] stole many organ pipes. In 1849 Pieter Van Peteghem restored the instrument. The firm of Loncke, from Esen, restored it in 1966-1967. [from info posted in the church]
In the early 20th century the screen & the organ were moved to the west end. I suspect that the organ originally had a front & a back façade.