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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.
Das Goldene Wunder, as the altar is called, measures 5.65x7.4m when fully opened, and contains 36 painted panels & 30 sculptured panels, plus a number of painted panels on the ousides of the closed shutters. It was commissioned in 1521 from Jan Gilleszoon Wrage, sculptor, and Adriaan van Overbeck, painter, of Antwerpen. Here panel 13, "mater dolorosa", bordered by scenes from Jesus's life.
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
Elegant, vector, abstract mandala with thin lines. Stylized round oriental pattern. Template for any surface. Black-and-white ornament.
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
A morning walk around Taunton, before heading to the Museum of Somerset. Very quiet before the shops opened.
The view from East Street of Saint George's Catholic Church, Taunton.
Seen between Wilko and Halifax, looking up Billet Street.
Grade II* listed building
Roman Catholic Church of St George
Summary
Roman Catholic church, 1858-60 by Benjamin Bucknall in an early C14 style; tower added in 1875. Some late C20 re-ordering.
Reasons for Designation
The Roman Catholic Church of St George, built in 1858-60 and designed by Benjamin Bucknall, with a tower added in 1875, and which underwent some late C20 re-ordering, is listed at Grade II* for the following principal reasons: * Architectural interest: as a well-detailed and assured church of lofty proportions by the architect Benjamin Bucknall, a recognised exponent of true Gothic Revival architecture; * Interior: it is of a very high quality in its design, execution and materials, with high-quality C19 and C20 fixtures and fittings; * Group value: it forms a coherent and interesting ensemble with the rectory, gateway, garden building and boundary railings, which are listed at Grade II.
History
The Taunton mission was established in the 1780s by the Reverend George Baldwin and received further impetus after the arrival in 1808 of Franciscan nuns from Bruges, via Winchester. In 1821-23 a small classical Catholic chapel (now the Masonic Hall, listed Grade II*) was built in The Crescent, dedicated to St George. By the 1850s, it had become too small as well as unfashionable in style, and plans were made for a larger church. The present site on high ground at the S end of Billet Street was bought by the nuns and the foundation stone was laid on 19 August 1858. The architect was Benjamin Bucknall and the builder was John Spiller of Taunton. The original plans for the church included a tower with a high spire; however, it was not added until 1875 and the spire had to be omitted for structural reasons. The completed church was opened by the Bishop of Plymouth on 24 April 1860; it was consecrated on St George’s Day 1912.
In 1969 the roof of the church was re-covered with asbestos slates, the stonework repointed, and worn tower pinnacles were replaced in artificial stone. The following year the interior was reordered and refurbished by Shirley-Smith & Gibson. The altar was moved forward and the sanctuary rails modified, while a new narthex was installed with a cry room. In 1991 the current parish centre (to the SW) replaced a parish hall of 1933.
Details
Roman Catholic church, 1858-60 by Benjamin Bucknell in an early C14 style; tower added in 1875. Some late C20 reordering.
MATERIALS: constructed of Monkton stone rubble with dressings of Bath stone under roofs covered in late C20 asbestos slates with stone-coped gables. Decorated tracery to the windows.
PLAN: the church is orientated N-W to S-E, aligning with Billet Street. It comprises a tower, clerestoried nave with aisles, sanctuary with side chapels, and a sacristy to the SW corner. The church forms an L-shaped plan with the attached rectory (Grade II) to the SW. For the purposes of this description, the rest of the text will follow conventional liturgical orientation.
EXTERIOR: the tower faces onto Billet Street and has four stages and corner buttresses. The large, pointed, W doorway has three orders of shafts and is set within a moulded, flat-arched surround with cinquefoil carvings to the spandrels. The second stage has a window of five lights with cusped heads, rising to flowing tracery, and the upper stages have long ogee-arched bell-openings that are pierced and traceried and divided by a transom. There is an openwork parapet with corner pinnacles. The aisles are of six bays, divided by buttresses, and each bay has a two-light window. Towards the W end of the S aisle is a deeply-chamfered, pointed-arched doorway. The clerestory has a similar window arrangement to the aisles, though the bays are defined by pilasters and the windows are smaller. The E (liturgical) end has a large six-light, traceried window and an inset carved stone trefoil above. The flanking chapels are also articulated by buttresses and each has a three-light E window with a stone trefoil in the gable apex. To the left is the sacristy which has a lower roof-line and a flat-arched window of four lights with cusped, ogee-arched heads. Its W elevation has a matching window of two lights and a small single window.
INTERIOR: late C20 glazed and timber screens form a narthex to the lower floor of the tower, above which is a large W organ gallery that has a canted wooden gallery front. The nave is in the early Gothic style of c1300 with an arcade carried on clustered columns with capitals. Within each spandrel of the arcade is a carved stone corbel of a head from which a short stone shaft rises to a further carved corbel in the form of an angel playing a musical instrument just below the clerestory string course. These angel corbels support the arched trusses of the scissor-braced roof. The aisles have lean-to roofs with arch-braced trusses. At the E end of each aisle is a small chapel. The N chapel has the relocated carved octagonal stone font, a Gothic reredos of five empty niches, and an altar frontal depicting the Death of St Joseph; the Lady Chapel has a similar Gothic reredos with statues of the Virgin Mary and female saints, as well as reliefs depicting the Adoration and the Visitation. The tall sanctuary arch is carried on clustered columns with carved capitals. To the left of the arch is a stone pulpit which has panels carved with figures of St Mary Magdalene, St George, the Good Shepherd and a bishop, and is supported on a base of coloured marble shafts; on the opposite side is a large statue of the Sacred Heart on a pedestal with marble shafts. The original high altar was separated from the reredos in c1969 and brought forward; at the same time it was given a new mensa (flat stone forming the top of the altar) of polished Ashburton marble. The reredos has eight statues in gabled niches on either side of the tabernacle and is attributed to CF Hansom (Orbach and Pevsner). It is flanked by matching wall arcades with larger statues of saints. To the side walls of the sanctuary are two pointed arches; the E arch on each side has a stone screen divided into three ogee-arched pierced panels with marble shafts and surmounted by carved angels with gilded wings. Full-height stone shafts rise from the floor to support the roof, with angel corbels to their lower parts.
The designers and makers of most of the stained glass windows are largely unknown. The E window of c1860 depicts the Virgin Mary and St George flanked by Saints Dunstan, Joseph, Walburga and Boniface; at the E end of the N aisle is a window of Saints Philip and James signed by William Morris & Co; and a stained glass window in the N aisle is a memorial to the Fallen of the Second World War. The W window, depicting Christ in Glory, is by Patrick Reyntiens and was installed in 2009 to commemorate the 150th anniversary of the church. The wooden Stations of the Cross, added in 1977, were carved by Tom Preater of Taunton, and in the narthex is a First World War memorial in the form of a wall-mounted timber Calvary.
This List entry has been amended to add the source for War Memorials Register. This source was not used in the compilation of this List entry but is added here as a guide for further reading, 16 August 2017.
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.
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
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
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
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
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
Clôture de la chapelle saint Nicolas avec armoiries, marbre noir, rouge et blanc, albâtre, 1631.
La porte est l'oeuvre du sculpteur audomarois Emile Sturne (1842-1922).
(6ème chapelle du bas-côté nord).
Entry to the chapel of St. Nick with coats of arms; black, red & white marble, alabaster, dating from 1631.
The door is the work of the regional sculptor Emile Sturne (1842-1922)
{6th chapel of the north side}
Ivory; 8th-7th century B.C.E.; From Mesopotamia, Nimrud
61.197.6
Text from the Metropolitan Museum card.
Architect: Hans Asplund
Built in: 1963
Client:
Parkaden is a parking garage in downtown Stockholm with a capacity of 800 cars. The whole house is built of concrete, where the facade elements have been designed with an openwork pattern of numbers indicating the floor. The numbers are right side up and flip on one another and form an ornamental pattern that has become typical for Parkaden.
The property was classified in 2007 as one of the most valuable properties in the district, and that the building meets the criteria for historic buildings in the Cultural Heritage Act.
More of Hans Asplund’s work