View allAll Photos Tagged openwork
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 készített. A szoknya borsózöld volt, rajta fekete sáv, amiben krémszínű havasi gyopár volt hímezve némi kis piros mintával. A blúz krémszínű volt, áttört mintával, a puffos ujján ugyanolyan zöld zsinórral, mint a szoknya. Ennyi idő 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
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The Türkmen (Türkmen: Türkmen, Түркмен, توركمن) are an Oğuz Turkic speaking ethnic group that inhabit Türkmenistan (Turkmenistan) but also have sizeable populations in Afğanistan (Afghanistan), Türkiye (Turkey), and other Central-Asian countries. They are famous for their masterfully made jewelry. Their jewelry is typically made of high-quality silver and carnelian stones. Openwork designs, granulation, and gilding are common traits of their work.
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Use in any type of AI application is prohibited. I do not consent to such use in any way and under any circumstance. AI use is by nature derivative; so, I will treat violators as nothing more than thieves.
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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
Khachkars in stenen kantwerk.
Famous khachkar at Goshavank
The khachkars created by the carver Pavgos in Goshavank stand out among the rest. The best of them is a 1291 khachkar with the maker’s name carved in the bottom left star, which is one of the most intricate examples in existence. The finely carved lacy ornaments are arranged in layers in which the basic elements of the composition — a cross on a shield-shaped rosette and eight-pointed Starr filling the corners of the middle-cross section—show clearly. The intricate openwork ornaments vary — a clear-cut geometrical pattern constitutes the background, and the accentuating elements form a complicated combination of a floral and geometrical ornament which never repeats itself.
De geschiedenis van dit bloeiende klooster kan u vinden:
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]
The Postcard
A postally unused postcard by R. H. bearing an early image of the main entrance to Bayeux Cathedral. You can also see a crocodile of well-dressed children leaving the Cathedral from a side door.
Bayeux
The buildings in Bayeux were virtually untouched during the Battle of Normandy, the German forces being fully involved in defending Caen from the Allies.
The Bayeux War Cemetery with its memorial includes the largest British cemetery dating from the Second World War in France. There are 4,648 graves, including 3,935 British and 466 Germans. Most of those buried there were killed in the invasion of Normandy.
Bayeux Cathedral
The Norman-Romanesque Cathedral was consecrated on Friday the 14th. July 1077 in the presence of William, Duke of Normandy. The chapter house was added in the 12th century, and the chapels were built in the 14th century.
An octagonal storey, decorated with open-work, was added to the lantern-tower in the 15th century, and finally a stone dome was built in the 18th. century.
The nave is 24 m high and 96 m long.
The Bayeux Tapestry
The Cathedral was the original home of the Bayeux tapestry which was first referred to in writing in 1476. The tapestry is 50 cm wide by 70 metres long (20 inches by 230 feet), and it illustrates the events leading up to the Norman conquest of England, as well as the events of the invasion itself. It is not a true tapestry, because the design is not woven into the fabric of the cloth - it is in fact an embroidery.
The tapestry is now housed nearby at the Musée de la Tapisserie de Bayeux which is at the Centre Guillaume le Conquérant.
A video presentation and series of displays explain how the tapestry was sewn. It still looks fresh and new - it it difficult to believe that it was completed over 900 years ago. Nevertheless, despite its new appearance, at least two of the panels are known to be missing.
There is also a Victorian replica of the tapestry in Reading UK. Each of the embroiderers stitched her name beneath her completed panel.
Halley's Comet
The tapestry includes an image of Halley's Comet, shown as a firey star. Modern astronomy tells us that the comet would have been visible from the 20th March 1066. On that occasion the comet came to within 0.10 Astronomical Units of the earth (about 15 million kilometres).
The next appearance of Halley's Comet will be on the 28th. July 2061. Many of us won't be around to see it, but this beautiful cathedral will still be there.
Quite a clever way of constructing a handle -- you cast off x stitches on either side of the bag, and then cast on the same number or more on the next round. Knit around a few times, then cast off all the stitches. The handle is firm but not hard on the hands.
The Lübeck Rathaus (city hall) was constructed in a Gothic style between 1230 and 1308. It was designed as a symbol of political independence after the city was given the status of free imperial city in 1226. The Rathaus was modified many times in its history, most notably decorative additions in the Renaissance and modifications in the 19th century in a Neo-Gothic style.
The Rathaus presents itself as an L-shaped building from the side of the market. The massive late Romanesque Schildwand or Marktwand (left) is the oldest extant part of the Rathaus and goes back to around 1230. The two wind holes were added in 1435. The Renaissancebau, the Renaissance structure in front of the wall, was added in 1570–1571.
The Langes Haus (long house, center) was constructed between 1288 and 1308. The ground floor features an open vaulted hall with brick pillars that used to shelter the booths of the goldsmiths. The great hall upstairs served as council chambers and then as festivities hall. The Neues Gemach (right) is a late Gothic addition from 1440. It features a stunning openwork wall.
The first meeting of the Hanseatic League was held here in 1358, turning Lübeck into the center of this emerging trade and defense alliance in Northern Europe. The last meeting took place in 1669, long after the Hanseatic League had lost its central role.
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]
Tot de kerkinventaris behoren een herenbank waarvan de bekroning van de wapens van Bernard Julsingh en Decia Rengers draagt, gesneden door Goossen Groenwolt (omstreeks 1669)....
[from www.oudegroningerkerken.nl/index.php/g/63-garmerwolde ]
Manorial pew bearing the coats of arms of Bernard Julsingh and Decia Rengers, carved by Goossen Groenwolt (around1669).
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]
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Pulpit
The pulpit was designed by George Edmund Street and carved by sculptor Thomas Earp. It was exhibited at the Great International Exhibition at South Kensington in 1862 and moved to St Peter’s when the exhibition was over. The marble base, inlaid with parquetry, supports polished colonnettes of Purbeck marble displaying above them carved heads of the Apostles. An angel holds a scroll inscribed “How shall they preach, except they be sent”, is discreetly shielding the head of Judas.
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.
The rooftop of Milan Cathedral is open to tourists (for a fee). From this perspective, the close-up view of the forest of openwork pinnacles and spires, set upon delicate flying buttresses, is truly spectacular. There are as many as 135 spires and 3,500 statues, including one that depicts Napoléon Bonaparte - he was crowned as King of Italy in the Cathedral and ordered that its facade be completed. That means that these flying buttresses and spires, though Gothic in appearance, were actually built in the 19th century.
The woodwork was made in 1778 by Jean Elshoecht of Sint Winoksbergen, called Bergues in French. He was paid 350 French crowns.
Sandwell Council are continuing the works to refurbish Lightwoods Park & House.
Including new paths, bridges etc.
Scaffolding has come down on Lightwoods House, but fences and hoardings have not.
The bandstand has also been refurbished.
Grade II listed.
Bandstand, Lightwoods Park, Smethwick
SANDWELL MB HAGLEY ROAD WEST (off)
SP 08 NW
Smethwick
9/82 Bandstand,
Lightwoods Park
II
Bandstand. Late C19. Cast iron on brick base with sheet iron roof.
Octagonal plan. Columns have pedestals and foliated capitals and are linked
by low railings on four sides. Shallow elliptical arches spring from the
capitals, with openwork decoration below oversailing eaves. The roof is a
facetted ogee dome with central cupola. The columns are inscribed: 'LION
FOUNDRY CO KIRKINTILLOCK".
Listing NGR: SP0198685969
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.
I worked a square, flat, then cast off all but the last stitch, and went around and picked up stitches on all 4 sides. I worked a few rows in st st, with the odd garter row thrown in for interest, then went into the openwork.
西漢 Western Han Dynasty（206 BC - AD 8）
The upper section is well carved in openwork as a dragon with backward-turned head standing triumphantly on the back of a bear, one of its paws resting on the top of the hinge and its upward-turned head carved in high relief on the reverse so that it centers the 'archer's thumb ring'-shaped pendant when the ornament is closed. The pendant is carved in openwork on one outer edge with a bird and on one side with a pattern of connected C-scrolls surrounding a trefoil repeated in higher relief on the otherwise plain reverse. The semi-translucent white stone has some areas of pale brown color and some opaque white mottling.
9.2 cm high overall, box
www.christies.com/lotfinder/lot/a-very-rare-white-and-rus...
Estimate : $ 250,000 - $ 350,000
Christie's
Dongxi Studio : Important Chinese Jade and Hardstone Carvings from a Distinguished Private Collection
New York, 17 Mar 2016
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.
Carved wood eagle lectern
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.
Built in large granite bati, it has a bell tower with three openwork ceilings, wearing a dome. The main doors are hung on the wall chains and crosses worn by the red penitent on Good Friday. Note the superb Baroque altarpiece, in polychrome marbles exported to the seventeenth century of Liguria and Tuscany.
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️ eXploration (5) Church Santa Maria Assunta {Sartène} (Corsica - Corse)
🌟 Church Santa Maria Assunta {Sartène} (Corsica - Corse)
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⛪ Church Santa Maria Assunta {Sartène} (Corsica - Corse)
📝 Type : Ground eXploration
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❓ WHY : To eXplore the Church Santa Maria Assunta
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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
The Postcard
A postally unused Valentine's Series postcard that has a divided back on which is printed:
'The Eastgate, Chester.
Rebuilt by one of the Grosvenors
in 1768. The Iron Clock Tower
which surmounts the Gate was
erected by a Chester citizen to
commemorate the Diamond
Jubilee of Queen Victoria.
Gates have existed here from
Roman Times.'
Although the card was not posted, there is a brief message on the divided back:
"My Dear Mother,
Hope you like cards,
& expect to be home
shortly.
Your ever loving son,
H. C."
The Eastgate, Chester
The Eastgate, Chester is a permanently open gate through the Chester city walls, on the site of the original entrance to the Roman fortress of Deva Victrix in Chester.
It is a prominent landmark in the city of Chester, and the Eastgate clock on top of it 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 in order 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. The whole structure, gateway and clock, was designated as a Grade I listed building on the 28th. July 1955.
History of the Eastgate
Chester was first established as a Roman fortress and town, known as Deva Victrix, in about AD 74 or 75. The fortress was in the shape of a rectangle with rounded corners. This was protected by a turf and earth rampart on which was a timber palisade, and outside this was a V-shaped ditch.
On each of the sides was a gate; the gate on the east side has survived as the Eastgate. It was defended by a timber tower.
The road running through the gate led to Manchester, then across the Pennines to York. It is thought that outside the fortress this road was lined by timber buildings that were used as shops or for other kinds of commercial activities.
In AD 907 the Saxon kings of Wessex re-founded Chester as a burh, although it is likely that at this time the Roman Eastgate was still present.
Just outside the gate, to the north, was a large open area used as a parade ground. From about AD 100 the defences of the fortress were reinforced by a sandstone wall, and at this time the gates and their towers were rebuilt in stone.
By the medieval period the Eastgate was the most important entrance to the city. The Roman Eastgate had been replaced, but the date of the replacement is not known.
Its design was possibly influenced by Caernarvon Castle, which makes the early 14th. century the most likely date for its construction. It consisted of a tall rectangular tower with octagonal corner turrets. At its flanks were lower towers that also had octagonal turrets.
During an excavation in 1971 a portion of the northern flanking turret was found, consisting of cream-coloured sandstone (in contrast to the red sandstone normally used in Chester).
Outside the Eastgate, excavations in 1991 revealed the presence of three ditches. The ditch made during the Saxon period was wide but shallow, being only a little over 3 feet (1 m) in depth. It had been filled with rubble and masonry.
The next ditch was deeper, 7.5 feet (2 m) deep, and this may have been constructed when the new Eastgate was built, probably in the 14th. century.
The third ditch was built during the later medieval period, probably to assist with drainage. The two later ditches were later used for the disposal of rubbish and became waterlogged, so that they contained organic materials that do not normally survive well.
By the 18th. century the city walls were no longer needed for defensive purposes and so, rather than being pulled down, they were converted into walkways.
The medieval gateways were obstructing the traffic into the city, and were replaced by wider-arched gateways with balustraded parapets.
The first gateway to be replaced was Eastgate in 1768, which was rebuilt as an "elegant arch." It was built at the expense of Richard Grosvenor, 1st. Earl Grosvenor, and designed by Mr Hayden, the earl's surveyor of buildings.
Architecture of the Eastgate
Eastgate is built in red sandstone, and consists of a wide central arch, with rusticated jambs and voussoirs, and a small pedestrian arch on each side. On the inner keystone are the arms of the county palatine, a sword of justice and three sheaves.
On this side of the gateway is a frieze-band with an inscription reading:
"THIS GATE BEGUN MDCCLXVIII
JOHN KELSAL ESQ. MAYOR:
FINISHED MDCCLXIX CHA. BOSWELL
ESQ. MAYOR".
The outer keystone has the arms of Richard Grosvenor with the motto:
"NOBILITATE VIRTUS NON
STEMMA CHARACTER".
The frieze-band inscription reads:
"ERECTED AT THE EXPENCE OF
RICHARD LORD GROSVENOR
A.D.:MDCCLXIX".
The walkway that forms part of the circuit of the city walls crosses the top of Eastgate, which is surmounted by the Victorian clock.
The Eastgate Clock
The first scheme to enhance the Eastgate came following the visit of the Prince of Wales to the city in 1869. In 1872 Hugh Grosvenor, who was at that time the 3rd. Marquess of Westminster, asked the local architect John Douglas to prepare a number of designs.
The Marquess offered to pay half the cost of the project, but the Chester Improvement Committee would not allow any council funds for it, and the scheme came to nothing.
The idea was revived to celebrate the diamond jubilee of Queen Victoria in 1896. At this time the 1st. Duke of Westminster suggested that the city should support Queen Victoria's Jubilee Institute of Nurses.
Other ideas suggested at the time were a statue of Queen Victoria in the Town Hall square, or a clock in the Town Hall tower.
A committee was set up and, despite early support for the Queen's Institute and for general festivities, it was finally decided to erect a memorial tower and clock on Eastgate.
John Douglas was again invited to prepare a design. His first design was for a stone structure costing £1,000 (equivalent to £121,000 in 2021). However, a wooden model showed that this would restrict the daylight to the neighbouring properties.
In October 1897 a meeting of the subscribers to the fund (who had by that time raised nearly £651 (equivalent to £79,000 in 2021) carried a motion to erect a light iron-work structure containing a clock. John Douglas prepared a new design, which was approved in March 1898.
The clock's faces and mechanism were paid for by Edward Evans-Lloyd, a local solicitor and freeman of the city, while the cost of the tower was financed by public subscription, and the city corporation were to pay for its subsequent maintenance.
The clock mechanism was made in 1897 by J. B. Joyce & Company of Whitchurch, Shropshire, who until 1974 supplied a technician to travel to Chester each week to wind it.
The cast iron inscriptions on the clock were made by the Coalbrookdale Iron Company. The ironwork for the tower was made by the firm of James Swindley of Handbridge; James Swindley was John Douglas's cousin.
The official opening of the clock was performed on the 27th. May 1899, Queen Victoria's 80th. birthday.
After souvenir-hunters stole the hands of the clock, the city council glazed the clock faces in 1988. In 1992 an electric mechanism replaced the original wind-up mechanism.
In 1996 the clock faces were restored with their original colours.
Design of the Clock
The clock has a face on each of its four sides, and is supported on an open-work wrought iron pavilion on pylons with a round arch on each side. Its plinth is inscribed on each face.
The inscription on the east side reads:
"THIS CLOCK TOWER WAS ERECTED IN
COMMEMORATION OF THE 60TH. YEAR
OF THE REIGN OF VICTORIA, QUEEN
AND EMPRESS."
The west side reads:
"ANTIQUI COLANT ANTIQUUM DIERUM:
B.C. ROBERTS, MAYOR 1897; J.C. HOLMES,
MAYOR 1898."
The south side reads:
"THIS CLOCK WAS ERECTED BY EDWARD
EVANS-LLOYD CITIZEN AND FREEMAN 1897."
The north side reads:
"ERECTED BY PUBLIC SUBSCRIPTION &
COMPLETED A.D. 1899 H. STOLTEFORTH
MAYOR".
Beneath each clock face in gilt is the date 1897, and above each face, again in gilt, the initials "VR".
Over the clock is a copper ogee cupola which is surmounted by a weather vane with lions rampant.
Cologne cathedral’s official title is the High Cathedral of St. Peter, and is of course Roman Catholic by denomination. Amazingly enough the construction of this truly magnificent building commenced in 1248, but the work wasn’t in fact completed until 1880.
Fortunately despite the devastation of Cologne during the Second World War, and several direct hits on the building, the cathedral survived largely unscathed.
The ground plan for the Dom is based closely on that of the cathedral at Amiens in France, another place that I have been fortunate to be able to visit on my business travels. However, the architectural feature that really stands out for me at Cologne is the construction of the two giant towers that dominate the building. They are of openwork construction, allowing the light to pass through and giving them a lattice-like appearance.