View allAll Photos Tagged openwork
The case was made for an organ completed by Christian Vater of Hannover in 1731. The present instrument was made by Alfred Kern & Fils.
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
Finally finished and photographed the yellow counted-cutwork cloth I have been working on for the last four months, on and off. The fabric is a fine primrose-yellow linen, with a thread count of about #42/46 (it's not an exact evenweave). I bought the cloth from an antiques stall for 50p, with the hem and the drawn-thread border already done. All the rest of the stitchery was done with 1 strand of stranded cotton, to match the fabric.
Blogged here: suetortoise.wordpress.com/2012/01/06/a-year-with-stitches/
Discovered in the Valley of the Kings in Luxor,
Egypt in 1922. Artefacts moved to the Egyptian
Museum in Cairo at the time of excavation. The
entire collection is currently in the process of
transferring to the Grand Egyptian Museum in
Cairo.
Inventory:
JE 61885
SR 1/ 3453
Carter 267-1
Carter 267-j
GEM 136
Title: Gold Openwork Pectoral, Chain and
Counterpoise with Lapis Scarab Flanked by
Thoth
By artist: Unknown
Date: 18th Dynasty of the New Kingdom
Medium: Gold
Silver
Lapis Lazuli
Turquoise
Faience
Calcite
Size:
Pectoral:
H 8.6 cm
W 10.8 cm
Chain:
L 34.3 cm
Counterpoise:
H 8.4 cm
W 7.8cm
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
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
Southwell Minster is a minster and cathedral, in Southwell, Nottinghamshire, England. It is situated six miles from Newark-on-Trent and thirteen miles from Mansfield. It is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham.
History
Middle Ages
The earliest church on the site is believed to have been founded in 627 by Paulinus, the first Archbishop of York, when he visited the area while baptising believers in the River Trent. The legend is commemorated in the Minster's baptistry window.[4]
In 956 King Eadwig gave land in Southwell to Oskytel, Archbishop of York, on which a minster church was established. The Domesday Book of 1086 recorded the Southwell manor in great detail. The Norman reconstruction of the church began in 1108, probably as a rebuilding of the Anglo-Saxon church, starting at the east end so that the high altar could be used as soon as possible and the Saxon building was dismantled as work progressed. Many stones from this earlier Anglo-Saxon church were reused in the construction. The tessellated floor and late 11th century tympanum in the north transept are the only parts of the Anglo-Saxon building remaining intact. Work on the nave began after 1120 and the church was completed by c.1150.[5]
The church was originally attached to the Archbishop of York's Palace which stood next door and is now ruined. It served the archbishop as a place of worship and was a collegiate body of theological learning, hence its designation as a minster. The minster draws its choir from the nearby school with which it is associated.[6]
The Norman chancel was square-ended. For a plan of the original church see Clapham (1936).[7] The chancel was replaced with another in the Early English style in 1234–51 because it was too small. The octagonal chapter house, built starting in 1288 with a vault in the Decorated Gothic style has naturalistic carvings of foliage (the 13th-century stonecarving includes several Green Men). The elaborately carved "pulpitum" or choir screen was built in 1320–40.[5]
Reformation and civil war
The church suffered less than many others in the English Reformation as it was refounded in 1543 by Act of Parliament.[8]
Southwell is where Charles I was captured during the English Civil War, in 1646. The fighting saw the church seriously damaged and the nave is said to have been used as stabling. The adjoining palace was almost completely destroyed, first by Scottish troops and then by the local people, with only the Hall of the Archbishop remaining as a ruined shell.[9] The Minster's financial accounts show that extensive repairs were necessary after this period[citation needed].
18th century
On 5 November 1711 the southwest spire was struck by lightning, and the resulting fire spread to the nave, crossing and tower destroying roofs, bells, clock and organ.[10]:118 By 1720 repairs had been completed, now giving a flat panelled ceiling to the nave and transepts.
Victorian
In 1805 Archdeacon Kaye gave the Minster the Newstead lectern; once owned by Newstead Abbey, it had been thrown into the Abbey fishpond by the monks to save it during the Dissolution of the Monasteries, then later discovered when the lake was dredged.[11] Henry Gally Knight in 1818 gave the Minster four panels of 16th century Flemish glass (which now fill the bottom part of the East window) which he had acquired from a Parisian pawnshop.[12]
In danger of collapse, the spires were removed in 1805 and re-erected in 1879–81 when the minster was extensively restored by Ewan Christian, an architect specialising in churches. The nave roof was replaced with a pitched roof[13] and the choir was redesigned and refitted.
Ecclesiastical history
Collegiate church
Southwell Minster was served by prebendaries from the early days of its foundation. By 1291 there were 16 Prebends of Southwell mentioned in the Taxation Roll.[14]:19–20
In August 1540, as the dissolution of the monasteries was coming to an end, and despite its collegiate rather than monastic status, Southwell Minster was suppressed specifically in order that it could be included in the plans initiated by King Henry VIII to create several new cathedrals. It appears to have been proposed as the see for a new diocese comprising Nottinghamshire and Derbyshire, as a replacement for Welbeck Abbey which had been dissolved in 1538 and which by 1540 was no longer owned by the Crown.[15][16]
The plan for the minster's elevation did not proceed, so in 1543 Parliament reconstituted its collegiate status as before. In 1548 it again lost its collegiate status under the 1547 Act of King Edward VI which suppressed (among others) almost all collegiate churches: at Southwell the prebendaries were given pensions and the estates sold, while the church continued as the parish church on the petitions of the parishioners[14]:32.
By an Act of Philip and Mary in 1557, the minster and its prebends were restored[citation needed]. In 1579 a set of statutes was promulgated by Queen Elizabeth I and the chapter operated under this constitution until it was dissolved in 1841[14]:36-38. The Ecclesiastical Commissioners made provision for the abolition of the chapter as a whole; the death of each canon after this time resulted in the extinction of his prebend. The chapter came to its appointed end on 12 February 1873 with the death of Thomas Henry Shepherd, rector of Clayworth and prebendary of Beckingham.[17]
Cathedral
Despite the August 1540 plans to make Southwell Minster a cathedral not initially coming to fruition at the time, in 1884, 344 years later, Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby[10]:126–127. The diocese was divided in 1927 and the Diocese of Derby was formed.[18][19] The diocese's centenary was commemorated by a royal visit to distribute Maundy money. George Ridding, the first Bishop of Southwell, designed and paid for the grant of Arms now used as the diocesan coat of arms.[20]
Architecture
Compartments of the nave, interior and exterior[21]
The nave, transepts, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design. With the exception of fragments mentioned above, they are the oldest part of the existing church.
The Nave is of seven bays, plus a separated western bay. The columns of the arcade are short and circular, with small scalloped capitals. The triforium has a single large arch in each bay. The clerestory has small round-headed windows. The external window openings are circular. There is a tunnel-vaulted passage between the inside and outside window openings of the clerestory. The nave aisles are vaulted, the main roof of the nave is a trussed rafter roof, with tie-beams between each bay – a late C19 replacement.[5][22][23]
By contrast with the nave arcade, the arches of the crossing are tall, rising to nearly the full height of the nave walls. The capitals of the east crossing piers depict scenes from the life of Jesus.[24] Two stages of the inside of the central tower can be seen at the crossing, with cable and wave decoration on the lower order and zigzag on the upper. The transepts have three stories with semi-circular arches, like the nave, but without aisles.[5]
Rib vault of Southwell Minster choir
The western facade has pyramidal spires on its towers – a unique feature today, though common in the C12.[5] The existing spires date only from 1880, but they replace those destroyed by fire in 1711, which are documented in old illustrations.[25] The large west window dates from the C15.[5] The central tower's two ornamental stages place it high among England's surviving Norman towers. The lower order has intersecting arches, the upper order plain arches. The north porch has a tunnel vault, and is decorated with intersecting arches.[5]
The choir is Early English in style, and was completed in 1241. It has transepts, thus separating the choir into a western and eastern arm. The choir is of two stories, with no gallery or triforium. The lower storey has clustered columns with multiform pointed arches, the upper storey has twin lancet arches in each bay. The rib vault of the choir springs from clustered shafts which rest on corbels. The vault has ridge ribs. The square east end of the choir has two stories each of four lancet windows.[5]
Entrance portal of the Chapter House with the famous carved foliage
Chapter house capital with carving of hops
Southwell rood screen (pulpitum) from the choir
In the 14th century the chapter house and the choir screen were added. The chapter house, started in 1288, is in an early decorated style, octagonal, with no central pier. It is reached from the choir by a passage and vestibule, through an entrance portal. This portal has five orders, and is divided by a central shaft into two subsidiary arches with a circle with quatrefoil above. Inside the chapter house, the stalls fill the octagonal wall sections, each separated by a single shaft with a triangular canopy above. The windows are of three lights, above them two circles with trefoils and above that a single circle with quatrefoil[5][10]:87–105. This straightforward description gives no indication of the glorious impression, noted by so many writers[10]:91, of the elegant proportions of the space, and of the profusion (in vestibule and passage, not just in the chapter house) of exquisitely carved capitals and tympana, mostly representing leaves in a highly naturalistic and detailed representation. The capitals in particular are deeply undercut, adding to the feeling of realism. Individual plant species such as ivy, maple, oak, hop, hawthorn can often be identified. The botanist Albert Seward published a detailed description of the carvings and their identification in 1935[26] and Nikolaus Pevsner wrote the classic description entitled The Leaves of Southwell, with photographs by Frederick Attenborough, in 1945.[27]
The rood screen dates from 1320 to 1340, and is an outstanding example of the Decorated style.[5] It has an east and west facade, separated by a vaulted space with flying ribs. The east facade, of two stories, is particularly richly decorated, with niches on the lower story with ogee arches, and openwork gables on the upper storey. The central archway rises higher than the lower storey, with an ogee arch surmounted by a cusped gable.[5]
The finest memorial in the minster is the alabaster tomb of Edwin Sandys, Archbishop of York (died 1588).[23]
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
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 stone creature
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 Helena presents the true cross to her son, the emperor Constantine.
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).
ca. 1997 --- Model Shalom Harlow on the runway at the Spring/Summer 1997 Chanel couture collection designed by Karl Lagerfeld, wearing a white and metallic openwork strapless evening dress and pearl choker. --- Image by © Condé Nast Archive/Corbis
Nathan, with reference to 2. Sam. 7, 12
The altar was made between 1470 & 1485; these prophets are on the right side of the altar.
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 through the rood screen to the chancel
Shortly before the beginning of our era two carriages were sacrificed in a western Jutland bog. They were dismantled and laid in a peat bog fenced in with branches and wattles. The wagons were probably the ceremonial carriages of a magnate. The iron in the carriages bodies was forged from Central European mountain ore, and the carriages were probably made in Central Europe by Celtic artisans. However, the wheels were repaired in Denmark - one of the rim hoops was forged from Danish bog iron ore.
50BC
The best preserved of the two carriages from Dejbjerg Bog. It is equipped with a carriage body that is richly decorated with metal mountings and a drawbar with sheet bronze in an openwork pattern. On the edge of the carriage body are four Celtic make masks with inlaid enamel in hair and eyes. The many rivets too have enamel inlay. The furnishings of the carriage could be changed so it could be used for various purposes. For example a seat could be mounted on the body. It was also possible to take the body off and use the four vertical carrying-poles to hang one of the great metal vessels that were used in the votive rituals.
I am about 1/3 of the way through the body of this afghan - it's an enjoyable and pretty easy pattern, and I like the somewhat contemporary design created by the openwork triangles. The yarn is Lion Brand Homespun "Sierra", and it is creating a lovely subtle striping.
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.
East window: Agnus Dei, 1840
This was Raleigh N.C.'s longtime "Tower of Lovemaking": Everybody knew what was going on in there.
It was built in 1969 lol. Supposedly it will be demolished at any minute and could be gone by the time you read this. Goodbye!
As of this writing Wikipedia says this was the TALLEST SKYSCRAPER IN ALL RALEIGH from 1969 to 1977, lol can you imagine.
It looks round but it's sixteen-sided at the top, hexadecagonal.
-----------------------
In downtown Raleigh, North Carolina, on April 4th, 2023, the Holiday Inn Downtown Raleigh at the northwest corner of North Dawson Street (U.S. routes 70 and 404 and North Carolina Highway 50) and Hillsborough Street.
-----------------------
Getty Thesaurus of Geographic Names terms:
• Raleigh (7013949)
• Wake (county) (2001548)
Art & Architecture Thesaurus terms:
• circular (shape) (300263827)
• cylindrical (300378890)
• high-rise buildings (300004810)
• hotels (public accommodations) (300007166)
• openwork (300253899)
• round (shape) (300121969)
Wikidata items:
• 4 April 2023 (Q69306758)
• 1960s in architecture (Q11185676)
• 1969 in architecture (Q2812513)
• April 4 (Q2508)
• April 2023 (Q61313055)
• hexadecagon (Q263152)
• Hillsborough Street (Q5763736)
• Holiday Inn (Q2717882)
• North Carolina Highway 50 (Q2488945)
• Piedmont (Q426977)
• Raleigh-Durham-Cary, NC Combined Statistical Area (Q117861793)
• Research Triangle (Q767860)
• round building (Q42898444)
• U.S. Route 70 (Q410063)
• U.S. Route 401 (Q4297315)
Our July Birthstone Bracelet is made with our decorative openwork birthstone heart charm in sterling silver featuring a synthetic ruby stone. Enhanced by two Pandora sterling silver clips on our Moments Silver bracelet with heart Clasp, this set is a perfect and unique gift for anniversaries, Birthdays or any other important occasion.
Silver gilt openwork belt buckle and fittings with floral and arrowhead scrollwork. Roman Imperial jewelry, 3rd Century AD - 4th Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
Cette église a été très remaniée à partir de 1718 par Alexandre van de Walle (1681-1761), jésuite cultivé, cure de la paroisse, mélomane qui y faisant donner des concerts : d'où l'importance des décors musicaux en stuc et en bois [...]. {info in the church}
---------------
This church was very much altered starting in 1718 by Alexandre van de Walle (1681-1761), a cultivated Jesuit, parish curate, and music lover, who organized concerts here : hence the importance of the musical decoration in stucco and wood [...].
============
Info at the church did not mention the organ specifically.
The façade was being restored when I visited, & the organ was wrapped up for protection.
Built in 1896/97, the architect was Ewan Harper. His openwork spire is very much a local landmark and icon. Following the discovery of dry rot, the church closed for worship in 2009 when the congregation joined with the Parish Church of St Luke's to form a Local Ecumenical Partnership known as The Bridge Church. (See previous postings)
In 2014 the building was sold and is now subject to a planning application to demolish and replace it with a residential development. It is hoped that a campaign, led by the Victorian Society, will be able to save the tower and/or the spire.
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
Lt. Governor Boyd Rutherford remarks at opening ceremony at Open Works facilty. by James W. Brown at Baltimore City, MD
In a knitted tyrolean style skirt and blouse by my mum. The skirt was pea-green, with nice cream coloured edelweisses on a black stripe, some red patterns among them - the blouse was also a cream coloured openwork, had gauged sleeves with green cordon in them and in the collar. I remember it perfectly after 55 years!
Kötött tiroli ruhámban, amit anyám készÃtett. A szoknya borsózöld volt, rajta fekete sáv, amiben krémszÃnű havasi gyopár volt hÃmezve némi kis piros mintával. A blúz krémszÃnű volt, áttört mintával, a puffos ujján ugyanolyan zöld zsinórral, mint a szoknya. Ennyi idÅ‘ múltán is tisztán emlékszem rá.
Moroccan Nickel Silver wall light, sconce and its delicate openwork rose pattern. Moroccan Decoration. www.medina-touch.com
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 pulpit
Gold repousse openwork Master of animals holding geese and with snakes. A misinterpretation of an Egyptian design. Aigina Treasure, Minoan, Crete, 1850 BC - 1550 BC. British Museum, London, England. Copyright 2017, James A. Glazier. The poor lighting, awkward angles and highly reflective and dirty glass at the British Museum make seeing anything, let alone photographing it a challenge. Ironic that many Italian museums now have much better display conditions than the British Museum.
Gilt silver openwork and filigree crown inlaid with kingfisher feathers and hardstones (some missing)
Late Ming - early Qing dynasty, 17th century AD
The decoration of this ornate crown of 'cage' construction includes flower heads, flaming pearls, dragons and phoenixes. It would have been worn by a lady of high birth.
I finally managed to catch Issabbella wearing the coif in good light, and seated so I could photograph the beautiful drawn threadwork and openwork seam on the top.
Ring made from scratch by hand, soldering and wire-wrappingtechnique
Materials : oxidized (tinted) and polished silver +quartz, pearls
-height (measured on the outer edges)2,0cm.
-width (measured on the outer edges) 1,9x2,2cm.
-adjustable circuit
◤◢◣◥◤◢◣◥◤◢◣◥◤◢◣◥◤◢◣◥◤◢◣◥
The Türkmen (Türkmen: Türkmen, Түркмен, توركمن) are an Oğuz Turkic speaking ethnic group that inhabit Türkmenistan (Turkmenistan) but also have sizeable populations in Afğanistan (Afghanistan), Türkiye (Turkey), and other Central-Asian countries. They are famous for their masterfully made jewelry. Their jewelry is typically made of high-quality silver and carnelian stones. Openwork designs, granulation, and gilding are common traits of their work.
◤◢◣◥◤◢◣◥◤◢◣◥◤◢◣◥◤◢◣◥◤◢◣◥
Use in any type of AI application is prohibited. I do not consent to such use in any way and under any circumstance. AI use is by nature derivative; so, I will treat violators as nothing more than thieves.
◤◢◣◥◤◢◣◥◤◢◣◥◤◢◣◥◤◢◣◥◤◢◣◥