View allAll Photos Tagged openwork
Fragmentary openwork mount with triskele design. Although now only partial, the profile of the mount would suggest strongly it was intended for use as the mount on an Insular hanging bowl.
Allocated: Halliwell's House Museum, Selkirk
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 ;
above the ajour carving is a chronogram with the text
"VIrgInI beata / DeVotVs · ponebat · serVV /
her /M / ann /Vs
Loe [/M] / eLL [/Vs]" :
the writer has written the M in the middle & the Vs at the end in such a way as to be intended for both lines of the text, since otherwise he would have had 1005 too much for his total. The result is thus VIIIDVVvVVMVLLL => 1688.
The inventory of the riches of St. Omer has somehow arrived at the date 1643; this may be based on archival sources rather than on the chronogram.
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Copy of one of the monumental brasses housed in the Gwydir Chapel
'Signed' and dated: Georg Crossman, 1597 ; before 1863 this was located in the nave at the southeast corner of the crossing.
L’église a eu son premier orgue neuf en 1717. Il s’agissait d’un instrument construit, entre 1715 et 1717, par le Frère Pierre Delorme (1666-1728).
En 1967, un nouvel orgue neuf est construit par Jean-Georges Koenig, selon les tailles de Dom Bedos, en reprenant la composition supposée d’origine.
Le buffet a été classé « monument historique », le 28 avril 1975.
{www.uquebec.ca/musique/orgues/france/sarresg.html}
----------------
The church got its 1st new organ in 1717, built by Frère Pierre Delorme (1666-1728).
In 1967 a new organ was built [in the old case] using measurements given by Dom Bedos to reconstruct the probable original disposition.
The case was classified a Historical Monument on 28 April, 1975.
On the positif, right tower, are the arms of Bar Duchy.
On Westbourne Road in Edgbaston from Vicarage Road towards Westbourne Crescent.
Old Joe and Birmingham Botanical Gardens
Grade II listed building
Entrance and Offices with Tropical Bird House and Tropical Lily House, Botanical Gardens
Listing Text
WESTBOURNE ROAD
1.
5104
Edgbaston B15
Entrance and offices with
Tropical Bird House and
Tropical Lily House,
Botanical Gardens
SP 0485 NE 38/21
SP 0485 SE 43/5
II GV
2.
C1840. Stucco; slate roof. Two storeys. Canted end flanked towards the road
and drive by single storeyed slated lean-to lobbies. Stucco chimney stacks
with cornices. In the entrance passage, a Regency openwork iron arch, with
one pilaster only, supporting a Greek key frieze. The passage leads to the
Tropical Bird House, with its chamfered timber columns, and on to the Tropical
Lily House. This has iron columns with openwork supporting roof beams and
dividing the room into 3 aisles. It leads in its turn to the Palm House (qv).
Listing NGR: SP0489085504
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Chamberlain Tower is Grade II listed.
Listing Text
UNIVERSITY ROAD
1.
5104
Edgbaston B15
Chamberlain Tower
SP 08 SW 11/3
II
2.
The centre focal point of the D plan group of main university buildings designed
by Sir Aston Webb and Ingress Bell, 1900-1909. Dramatically soaring bright,
machined red brick campanile clock tower of tapering square section rising sheer
from the forecourt with a corbelled top stage and lantern.
Listing NGR: SP0481083543
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Interior. 7 bay arcade of quatrefoil piers on moulded polygonal bases and with polygonal moulded capitals. The piers have fillets to the cardinal points. Arches of roll mouldings. Nave roof of moulded tie beams on arched braces dropping on wall posts to head corbels. Moulded curved Queen struts rise to moulded principals. One tier butt purlins and ridge piece. North aisle roof of alternating large and small arched braces to principals. 2 tiers butt purlins. South aisle roof 1812. Stilted tower arch with double hollow chamfers. Internal corbels carved with grotesque figures. C17 timber screen extends across nave and aisles at west end. 3 doorways with pediments. Arched leaf trail panelling runs below openwork balustrade of turned shafts in turn below frieze of continuous circles with floral patterns. Early C17 tower gallery with turned balusters. Roll moulded chancel arch on circular responds. Ogee headed doorways to rood stairs. Dado of C15 rood screen survives in 6 bays right and left of central opening, each bay with painted figures of saints and apostles. South chancel arch pier with 3-light arched window from rood stairs looking down into chancel. Chancel dado of cinquefoil roll moulded arcade, each bay of which has miniture rib vault. String course runs beneath chancel windows. Between each window a nodding ogee canopy with pierced arcading sits above a statuary niche. Shallow niche to right and left of east window also with canopy. Stepped sedilia and piscina in south wall with mutilated rib vaulted canopies. Plain 1812 chancel roof of 2 tiers butt purlins intersecting with principals on arched braces. Several chancel stalls survive with poppyhead ends, animal arm rests and misericords. One particularly fine misericord with pelican pecking its own breast. Beneath a canopied niche on south chancel wall a monument to Robert Butler 1632. Marble with inscription panel predella below effigy of Robert Butler kneeling before altar. Pair of Composite columns support carved entablature. Nave with fine set of C18 box pews and C17 benches. In south aisle 3 tiers of benches largely made of fragments of different periods. Pierced C15 bench backs inserted into C17 poppyhead bench ends or vice versa. Evidence of C19 restoration. Fine hexagonal pulpit dated 1620 standing on slender timber stem. Panelled sides with arcaded bottom rail. Fielded diamond panels below upper arched panels, the arches enriched by foliage carving. Moulded cornice. Curving stairs bend round nave pier against which pulpit is erected. Above is tester with frieze and drop pendants. Octagonal font dated 1532 with stem and bowl carved with ogee headed panels. Early C17 timber rim buffet font cover in 3 stages. Console lower rail. Centre stage of paired carved pilasters framing arcaded panels. Tapering pinnacle with strapwork cornice below pierced arabesque work. C15 parclose screen between south aisle and south nave chapel. 5 bays with ogee tracery heads each of 2 subsidiary lights. 4 tracery arches in each dado bay. Chandelier in nave 1701. Brass... EH Listing
The major contribution to a vigorous post-war church building programme in Blackpool and its environs. This is a substantial brick church with a prominent west end, built in 1958-9 to the designs of Sandy & Norris. Internally it is high and impressive, with the body of the church divided into a series of shell domes supported on thick round arches, with passage aisles giving on to small side chapels along its length. As with Velarde’s late work, there is a strong Romanesque influence, which culminates in an apsed east end – though with round 1950s-style top lights in the window niches. The Romanesque style and use of concrete construction was employed by E. B. Norris in his fine listed church in Rochdale of the 1920s. There is a nice openwork steel screen, and a fairly intact interior scheme with what seem to be original furnishings, glass, etc.
The parish was established to cater for the Marton, Preston New Road areas, and to relieve the increasing school population of St Cuthbert’s parish. A school was built in 1934, with a church accommodated in its lower hall until the establishment of the present church. The foundation stone for this was laid in 1958 and the church opened the following year. The presbytery in Glastonbury Avenue dates from 1966. A new parish hall was built in the 1970s.
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Gwydir Chapel: Memorial to Sydney Wynn, daughter of Owen Wynn. Born 6th September, baptised 19th September, died 8th October, buried 16th October 1639.
Bronze pairs of animal-style openwork winged wolves (?). Gothic. Germanic, 5th Century AD - 6th Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
The church was built from 1410 to 1430 ; the church's guide book says that the screens are original, but I think they are unlikely to be much less than a century younger.
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
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Looking east along the nave to the rood screen
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Copy of one of the monumental brasses housed in the Gwydir Chapel
Grand Pier, Marine Parade, Weston-super-Mare, Somerset BS23 1AL
Overview
Heritage Category: Listed Building
Grade: II
List Entry Number: 1137759
Date first listed: 19-May-1983
District: North Somerset (Unitary Authority)
Parish: Weston-Super-Mare
National Grid Reference: ST3171261416
Summary
A seaside pier built to the designs of P. Munroe in 1903/4, by contractors Mayoh & Haley, extended in 1905, and with later alterations. The superstructure is of early-C21 date.
Reasons for Designation
Grand Pier, Weston-Super-Mare, is designated at Grade II, for the following principal reasons: * Rarity: pre-1914 seaside piers are rare and this example retains a significant proportion of its early substructure; * Architectural interest: the cast-iron substructure retains its distinctive appearance with openwork girders and columns on an impressive scale; * Historic interest: Grand Pier remains a significant historic feature of the Weston-Super-Mare seafront, and is redolent of the resort's early-C20 heyday, which is an important period of seaside development nationally. .
History
Seaside resorts first emerged in the C18 as rival to inland spas, and became increasingly accessible to greater volumes of visitors after the coming of the railways in the mid-C19. The seaside's most characteristic buildings were piers, established from the beginning of the C19 to provide landings for steam ferries. They soon became used for strolling, or promenading, and later examples were built on a larger scale to accommodate entertainment buildings. Grand Pier, Weston-Super-Mare belongs to the latter category and was first built in 1903/4 to the designs of P. Munroe, engineer. The pier was extended in 1905 to provide a passenger steamer landing stage, although following a lack of use it was reduced in scale. The pier was altered and embellished at regular intervals in the C20, often responding to the changing tastes of the seaside-going public, or to replace structural damaged caused by the coastal elements. Notably, a fire in 1930 destroyed the theatre at the pier end, and a new pavilion was constructed three years later.
The pier continued to evolve through the C20 and early-C21, until a serious fire destroyed much of the superstructure in 2008. The deck and buildings were rebuilt with planning consents, and the substructure repaired and reinforced. The pier reopened in 2010.
Details
MATERIALS: the pier is constructed of cast-iron, attached via concrete beams to a rubble stone abutment at the shore end. Additional fabric, including steel reinforcement, and the superstructure including the timber deck, have been added in the C21.
PLAN: the pier extends approximately 370m from the land, with the remains of a landing stage standing beyond the pavilion end. The shore end is 18 metres wide. The promenade and landing stage are 12m wide. The pavilion end is 64m wide.
EXTERIOR: the shore end comprises a stone abutment with concrete reinforcement. There are modern shops and entrance façade above. The abutment is lined by rubble stone walls with cobbled slipways that lead down to the beach. The walls and hard standings have been repaired or replaced. The pier deck stands on a cast-iron substructure of openwork girders, which are supported by cast-iron columns set in screw piles. The tubular columns have capitals and plinths and are progressively taller as the land falls away to the sea. They are arranged in groups of 8 or 10 with cross-braces under the lattice girder framework. A number of C21 steel piles have been inserted between with bracing. The bays toward the sea end have lateral bracing at lower level. The pavilion end is supported by a 10 x 10 column arrangement with cross-bracing and lateral bracing at lower level. Further support is provided by tubular steel piles inserted in the C21. These columns have no capitals and have been extended up to the C21 metal substructure beneath the pavilion deck. The landing stage is contiguous with the pavilion end and has a lattice girder substructure. Beyond, 12 tubular columns in a circular arrangement rise approximately one metre above ground level. The pavilion end/ landing stage substructure was raised in height and strengthened in the 2009 rebuild.
The deck, railings and buildings are not of special interest.
© Historic England 2020
Rapid Covid test site at the Civic Centre in Wolverhampton.
The home of the City of Wolverhampton Council.
From St Peter's Square.
View of St Peter's Collegiate Church.
Grade I listed building
Church of St Peter, Wolverhampton
WOLVERHAMPTON
SO9198NW LICH GATES
895-1/11/248 (East side)
16/07/49 Church of St Peter
GV I
Church. Late C13 crossing and south transept; late C15 nave,
tower and north transept; chancel and restoration, 1852-65, by
E.Christian. Ashlar with lead roofs. Cruciform plan: 4-bay
apsed chancel, crossing tower and 6-bay aisled nave, 2-storey
south porch and 2-storey vestry to north. 4-bay chancel and
7-bay apse, in Decorated style, articulated by offset
buttresses with crocketed gables and gargoyles to cornice
below openwork parapet, has 2-light windows to apse and
3-light windows with flowing tracery to chancel. 3-stage tower
has north-east stair turret, panels with quinquefoil heads and
quatrefoil friezes and embattled parapet with crocketed
pinnacles; 2-light windows to 2nd stage, paired 2-light bell
openings to top stage. North transept has offset buttresses,
embattled parapet and C17 round-headed windows to north and
east with large central mullion. South transept has angle
buttresses and embattled parapet, 5-light east window, and
3-light south window with 3 two-light square-headed transomed
clerestory windows above and 2 to west, all with Perpendicular
tracery. North aisle has 3-light windows with segmental-
pointed heads and Perpendicular tracery between buttresses,
embattled parapet. South aisle similar, with 4-light windows.
Vestry has embattled parapet and varied square-headed windows
of one, 2 or 3 lights. 2-storey porch has angle buttresses and
panelled embattled parapet with pinnacles, entrance with
moulded arch, sundial above, 2-light square-headed window to
1st floor. West facade has entrance of 2 orders under
crocketed ogee hood, enriched cornice and 4-light Decorated
window also under crocketed ogee hood; panelled buttresses and
gabled aisles, 3-light window to north and 4-light window to
south. Clerestory has paired Perpendicular 2-light
square-headed transomed windows and panelled embattled
parapet.
INTERIOR: vaulted ceiling to apse with angel and square
foliate capitals to shafts and angels to cornice; hammer-beam
roof to chancel has angel corbels with angels to brattished
cornice; crossing has C17 beams to late C19 painted ceiling;
transepts have late C15 moulded tie-beam roofs; 5-bay
Perpendicular nave arcades on octagonal piers, and C15 nave
roof with carved spandrels to moulded tie beams, panelled
ceiling with bosses. Fittings: chancel stalls have traceried
fronts and angel finials; crossing has C19 timber screen to
north, similar to C15 screen to south with open tracery and
C15 shafts supporting brattished cornice; north transept has
C19 Decorated style screen; screen to south transept has C15
shafts and blind tracery panels below open-work upper panels,
C19 brattished cornice; nave has C15 panelled stone pulpit on
shaft with stair winding round pier and parapet with crouching
lion to foot; late C17 west gallery, much altered; late C19
two-stage internal timber porch in Decorated style with
openwork tracery and figures under crocketed canopies. Some
C15 stalls from Lilleshall Abbey. Memorials: north transept:
chest tomb to Thomas Lane d.1582, carved balusters and figures
and armorial bearings to sides, 2 finely carved recumbent
effigies; wall monument to John Lane d.1667, a distinguished
soldier instrumental in the rescue of Charles II, is in marble
and alabaster and has inscribed panel in Ionic aedicule with
garlanded scrolls and heraldic cartouche in swan-necked
pediment flanked by cannon, and projecting base has finely
carved trophy of arms with crown in oak tree to left; south
transept has bronze figure and cherubs from monument to
Admiral Leveson, c1635, by Le Seur, and chest tomb to John
Leveson d.1575 and wife, with spiral corner balusters, figures
and armorial shields to sides, finely carved recumbent
effigies; north aisle has wall tablet to Henry Bracegirdle
d.1702, inscribed panel in Doric aedicule, painted board to
William Walker d.1634 and other C19/early C20 wall tablets
including George Thorneycroft d.1851 and South African war
memorial. Stained glass by C.E.Kempe to south aisle and good
east window to south transept.
(The Buildings of England: N.Pevsner: Staffordshire: London:
1974-: 314-5).
Listing NGR: SO9141698792
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
celebrating winter: my tree. It is mainly gold and there are some special handmade ornaments from friends all around the globe.
A golden cage with a plumed bird outside of it from TheGirlPurls to name one.
Two openwork embroidery stars in green, red and gold from LaMorena to name another.
Also some special glass ornaments I bought over the years: a silvery owl, a funny dragon, a little hippo, a bath duck.
This year I got a weird ornament from my cousin MickLaRock: a alligator wearing a sparkly red bow, toeslippers and a bikini. Love it1
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Gwydir Chapel: Wynn family monument [detail]
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Looking west
TAKEN IN MILAN AUTUMN 2012 FROM THE CATHEDRAL ROOFTOP THROUGH THE SAFETY FENCE
Milan Cathedral is the cathedral church of Milan, Italy. Dedicated to Santa Maria Nascente (Saint Mary Nascent), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola.
The Gothic cathedral took nearly six centuries to complete. It is the fourth largest cathedral in the world and the largest in the Italian state territory.
The plan consists of a nave with four side-aisles, crossed by a transept and then followed by choir and apse. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral, which was never completed).
The roof is open to tourists, which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
The cathedral's five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
No date or place for this old postcard view of a Mexican woman working on an openwork type of textile - removing threads from the weaving to create the design
Moroccan brass ceiling lamp, pendant light round shape with its outstanding chiselled openwork patterns. Moroccan Crafts. www.medina-touch.com
Made from dark brown wool yarn. The pattern is openwork and makes a pretty and interesting texture. Special decoration is big, dark gray, crocheted flower with bead inside. Finished with dark gray, acrylic yarn.
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Gwydir Chapel: Each of the ceiling's panelled squares has small ornate carvings at its corners
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Please also visit my Photoblog at brohardphotography.blogspot.com
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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.
Grand Pier, Marine Parade, Weston-super-Mare, Somerset BS23 1AL
Overview
Heritage Category: Listed Building
Grade: II
List Entry Number: 1137759
Date first listed: 19-May-1983
District: North Somerset (Unitary Authority)
Parish: Weston-Super-Mare
National Grid Reference: ST3171261416
Summary
A seaside pier built to the designs of P. Munroe in 1903/4, by contractors Mayoh & Haley, extended in 1905, and with later alterations. The superstructure is of early-C21 date.
Reasons for Designation
Grand Pier, Weston-Super-Mare, is designated at Grade II, for the following principal reasons: * Rarity: pre-1914 seaside piers are rare and this example retains a significant proportion of its early substructure; * Architectural interest: the cast-iron substructure retains its distinctive appearance with openwork girders and columns on an impressive scale; * Historic interest: Grand Pier remains a significant historic feature of the Weston-Super-Mare seafront, and is redolent of the resort's early-C20 heyday, which is an important period of seaside development nationally. .
History
Seaside resorts first emerged in the C18 as rival to inland spas, and became increasingly accessible to greater volumes of visitors after the coming of the railways in the mid-C19. The seaside's most characteristic buildings were piers, established from the beginning of the C19 to provide landings for steam ferries. They soon became used for strolling, or promenading, and later examples were built on a larger scale to accommodate entertainment buildings. Grand Pier, Weston-Super-Mare belongs to the latter category and was first built in 1903/4 to the designs of P. Munroe, engineer. The pier was extended in 1905 to provide a passenger steamer landing stage, although following a lack of use it was reduced in scale. The pier was altered and embellished at regular intervals in the C20, often responding to the changing tastes of the seaside-going public, or to replace structural damaged caused by the coastal elements. Notably, a fire in 1930 destroyed the theatre at the pier end, and a new pavilion was constructed three years later.
The pier continued to evolve through the C20 and early-C21, until a serious fire destroyed much of the superstructure in 2008. The deck and buildings were rebuilt with planning consents, and the substructure repaired and reinforced. The pier reopened in 2010.
Details
MATERIALS: the pier is constructed of cast-iron, attached via concrete beams to a rubble stone abutment at the shore end. Additional fabric, including steel reinforcement, and the superstructure including the timber deck, have been added in the C21.
PLAN: the pier extends approximately 370m from the land, with the remains of a landing stage standing beyond the pavilion end. The shore end is 18 metres wide. The promenade and landing stage are 12m wide. The pavilion end is 64m wide.
EXTERIOR: the shore end comprises a stone abutment with concrete reinforcement. There are modern shops and entrance façade above. The abutment is lined by rubble stone walls with cobbled slipways that lead down to the beach. The walls and hard standings have been repaired or replaced. The pier deck stands on a cast-iron substructure of openwork girders, which are supported by cast-iron columns set in screw piles. The tubular columns have capitals and plinths and are progressively taller as the land falls away to the sea. They are arranged in groups of 8 or 10 with cross-braces under the lattice girder framework. A number of C21 steel piles have been inserted between with bracing. The bays toward the sea end have lateral bracing at lower level. The pavilion end is supported by a 10 x 10 column arrangement with cross-bracing and lateral bracing at lower level. Further support is provided by tubular steel piles inserted in the C21. These columns have no capitals and have been extended up to the C21 metal substructure beneath the pavilion deck. The landing stage is contiguous with the pavilion end and has a lattice girder substructure. Beyond, 12 tubular columns in a circular arrangement rise approximately one metre above ground level. The pavilion end/ landing stage substructure was raised in height and strengthened in the 2009 rebuild.
The deck, railings and buildings are not of special interest.
© Historic England 2020
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
The doorway from the chancel into the Gwydir Chapel
This is a fairly typical view of the Eastgate, Chester, which I took on my telephoto lens. I don't use my telephoto that often, as it only has manual focus and it's difficult to get a clear shot. I do like the affect telephotos have though on views like this (where they are clear!)
Eastgate and Eastgate Clock in Chester, Cheshire, England, stand on the site of the original entrance to the Roman fortress of Deva Victrix. It is a prominent landmark in the city of Chester and is said to be the most photographed clock in England after Big Ben.
The original gate was guarded by a timber tower which was replaced by a stone tower in the 2nd century, and this in turn was replaced probably in the 14th century. The present gateway dates from 1768 and is a three-arched sandstone structure which carries the walkway forming part of Chester city walls. In 1899 a clock was added to the top of the gateway to celebrate the diamond jubilee of Queen Victoria two years earlier. It is carried on openwork iron pylons, has a clock face on all four sides, and a copper ogee cupola. The clock was designed by the Chester architect John Douglas.
Dedicated to deltrems, who we met in Manchester!
Crochet blouse of individual motifs are connected to each other in the process of knitting, so it has no seams, it consists entirely of solid lace. Composition nitochek - 100% microfiber. Microfiber has a slight sheen that simulates silk to the touch, too, is very similar to silk. When washing microfiber does not fade and does not shrink. Chance of any color shown in the last photo (provided that at the time of ordering that color will be on sale).
An exceptionally large and elaborate Gothic cathedral on the main square of Milan, the Duomo di Milano is one of the most famous buildings in Europe. It is the largest Gothic cathedral and the second largest Catholic cathedral in the world.
Milan Cathedral (Italian: Duomo di Milano; Lombard: Domm de Milan) is the cathedral church of Milan, Italy. Dedicated to Santa Maria Nascente (Saint Mary Nascent), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola.
The Gothic cathedral took nearly six centuries to complete. It is the fifth largest cathedral in the world, and the largest in the Italian state territory.
The roof is open to tourists, which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
Date: 1st century BCE – 2nd century CE Geography: Peru
Culture: Salinar (?)
Medium: Gold
Dimensions: H. 2 x W. 4 3/8 x D. 1/8in. (5.1 x 11.1 x 0.3cm)
Nose ornaments are among the earliest jewelry forms in Precolumbian America and were made in an endless variety of materials and styles; those for the elite were made of precious metal. In Peru, nose ornaments became less fashionable in the second half of the first millennium A.D. and were seldom used after about 600. This elegant, very delicate crescent nose ring from northern Peru is evidence of the high level of craftsmanship that existed among metalworkers at this time. Depicted are four spiders sitting in their web. The openwork, lacelike quality of the object was achieved by fusing the many minute parts together to create a symmetrical composition. The stylized spiders, their tiny eyes and fangs showing, are held, each in its own open space, by paired, spindly legs echoing the round bodies and joined to the web.
Spider imagery occurs in Peruvian art from the middle of the first millennium B.C. onward, suggesting that spiders played a role in early Andean mythology. The spiders' ability to catch and kill live prey associates them with sacrifice. Information from the sixteenth-century Inka peoples links spiders with rainfall and fertility.
© branko
youtube channel: www.youtube.com/a2b1
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Gwydir Chapel: One of Wales' most treasured possessions - the stone coffin of Llywelyn ap Iowerth (Llywelyn the Great), grandson of Owain Gwynedd (King of Gwynedd). He became one of the most powerful Princes of Wales in the early 13th century and fought hard to unite the realm. Llywelyn married Joan, the daughter of King John of England in 1205. He died in April 1240.
When Prince Llywelyn died he was buried beneath the High Altar in Aberconwy Abbey. Around 40 years later, Edward I wanted the Abbey land to build Conwy Castle, so the monks moved the coffin containing the body of Llywelyn by river, to the newly built Abbey at Maenan. During Henry VIII's dissolution of the monasteries in 1536, the coffin was moved to St Grwst's Church for safekeeping. Apparently the church was left neglected during this time, and the coffin was found some years later covered with rubbish. It was then moved to this chapel where it has remained for around 200 years.
St Andrew's Church, Church Lane, Backwell, Somerset BS48 3JJ
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1129810
Date first listed: 11-Oct-1961
District: North Somerset (Unitary Authority)
Parish: Backwell
The Diocese of Bath and Wells
National Grid Reference: ST 49311 68330
Details
Parish Church (Anglican). C12, altered and enlarged C13, C15; altered C16 and repaired C17. West tower, nave, north and south aisles, south porch, north and south chapels; chancel. Coursed, squared rubble with freestone dressings, ashlar tower; lead and stone slate roofs with coped raised verges. West tower: C15, restored 1928; 4 stages with setback buttresses which terminate in clustered pinnacles on the 3rd stage, clustered and setback pinnacles on the 4th stage, terminating in square turrets set diagonally, surmounted by openwork spires; projecting stair turret to north-east which is square on the first stage and half-octagonal above; blocked 2-light windows on second and third stages, cusped heads to tracery and hoodmoulds with lozenge stops, the mullion of the 3rd stage windows has a pierced quatrefoil in a circle at the base (inscription to the left of the 2nd stage window on the west wide); two single-light windows to bell chamber, pierced quatrefoils in arches, 4-centred heads to the windows which are both under a single ogee hoodmould which breaks through the parapet; 5-light west window (restored) with cusped heads to the tracery; west door in moulded surround; south-east buttress bears plaque which reads: "I.B./I.C./C.W./1713". South aisle and chapel: plain parapet; 3 windows all in a Perpendicular style (restored), 4-lights to west and 3-lights to east window; projecting square rood stair turret with embattled parapet; east window has cusped 4-centred heads to the tracery and daggers above; relieving arch over blocked window immediately east of porch; carved gargoyles empty into downpipes with hoppers dated "EIIR/1953". Nave: sanctus bellcote over east gable, crocketed pinnacles. South porch: circa 1300 with embattled parapet and diagonal buttresses; south doorway of 5 orders, ovolo moulding alternating with chamfers - roll moulded hoodmould on small fluted corbel to west. Chancel has angle buttresses and 3-light windows; priest's door in heavy roll moulded surround, hoodmould with carved head stops; restored 3-light Perpendicular style east window. Rodney Chapel: embattled parapet, east gable with trefoil headed window; 3-light restored Perpendicular style window; north doorway in chamfered surround with depressed 4-centred head. North aisle: plain parapet; four 2-, 3- and 4-light windows, all in Perpendicular style; cusped ogee heads to two 4-light westernmost windows; north door in chamfered, 4-centre headed surround. Interior. South porch: blocked door to left (now missing) has a chamfered surround and pointed head, corbel with leaf ornament to right; stoup to right of door with pointed surround; plank and cross battened south door of late C15. Nave: 5 bay arcades, the westernmost part dying into the later west wall, octagonal piers and caps and chamfered, pointed arches. C15 tower arch of 2 wave mouldings. Chancel arch rests on thickened east piers of arcade: sharply pointed arch; carved heads on piers and square squints through piers. Restored Perpendicular style roofs, those of the arcades rest on carved corbel heads; arch-braced roof to nave, with a 2-light dormer window at the south-east corner (possibly to light the rood); two blocked doors to rood stair turret, the lower one has an ogee and hollow moulded surround. Single bay to north and south chapels but no capital to east pier. Single bay chancel: triple sedilia with colonnettes and pointed arches under a linked hoodmould on carved stops, piscina of similar details but with an outer roll moulding which has a fillet; ogee headed niche to left of piscina; two shallow niches on east wall; in the north-east corner is a door with a double ogee moulded surround and a 4-centred head. Rodney Chapel: inscribed and dated 1536, resto red 1933; 3 bay screen of depressed arches with a doorway to the left and two 3-light cusped lights to the right, above are arms and everything is surmounted by a crocketted gable with pinnacles; 2-light trefoil headed squint to right with fragment of C11 carving; inside is a cusped rere-arch to the screen and a roof of 5 cusped transverse ribs. Pulpit is late C19. Font; C12, restored 1907, circular bowl with cable moulding, circular stem with foliate moulding on base. The pews are all 1933. The rood screen is early C16: blank arcaded base with cusped tracery and quatrefoils in circles; pierced tracery to upper part, decorative heads; pointed 4-centred heads to doorways. Brass chandelier, dated 1786. Monuments. Rodney tomb: the effigy is that of Sir Walter Rodney, died 1466 but the tomb chest is mid-C14; 5-bay blank arcade of cusped, ogee headed niches, angels bear arms, band of fleurons above. Rodney Chapel: Elizabeth Harvey, early C17, aedicular with a small obelisk finial; Rice Davis, died 1638, brass and marble plaques, flanked by ashlar terms, moulded frieze and cornice with arms above. North aisle: Joseph Whitchurch, died 1792, by Tyley of Bristol, inscribed marble plaque, a weeping woman rests on an urn; Anthony Biggs, died 1752, marble, broken pediment on brackets; Joseph Hitchman, died 1765, classical marble plaque. South aisle - two to the Simmons family, the lower one 1835, a marble plaque with a draped urn, the upper one with a weeping woman; Charles Biggs, died 1775, marble tablet, flanked by urns. (N. Pevsner, The Buildings of England : North Somerset and Bristol, 1958).
© Historic England 2020
18th century wrought iron gates and railings, stone piers, sculptered sphinxes. c.1726 in date. 30.5m span consisting of double wrought ironwork gates to centre with openwork iron piers, twin-bay side screens with iron work piers and outer stone piers topped with lead sphinxes. The gates themselves feature the Wynne crest.
A GREEK BRONZE FIGURE OF A HORSE,
GEOMETRIC PERIOD, CIRCA 8TH CENTURY B.C.
of Corinthian type, of stylized attenuated form standing on an openwork rectangular base, with crested mane, long forward-pointing ears, and cylindrical muzzle.
MEASUREMENTS
height 5 3/4 in. 14.6 cm.
PROVENANCE
Mathias Komor, New York [E.820], February 10th, 1976
LITERATURE AND REFERENCES
Jean-Louis Zimmermann, Les chevaux de bronze dans l'art géométrique grec, Mainz, 1989, p. 179, no. 26, pl. 42
CATALOGUE NOTE
For a related example in The Metropolitan Museum of Art, New York (inv. no. 21.88.24) see Zimmermann, op. cit., p. 180, no. 27, pl. 42.
SNY1207103