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.

National Museum of China (中国国家博物馆)

Beijing, China

2535

La Ceja, Antioquia, Colombia.

Esta es la casa de unos amigos en La Ceja. La construyeron en el estilo colonial que vino de España, especialmente de Andalucía. Tiene todos los elementos característicos, como el patio interno de piedra, las chambranas en madera que rodean la casa; los calados en puertas y ventanas, el techo en teja de barro y un jardín precioso lleno de flores.

______________________________________

This is the house of some friends in La Ceja. They built it in the colonial style that came from Spain, especially Andalusia. It has all the characteristic elements, such as the internal stone patio, the wooden frames that surround the house; the openwork on doors and windows, the clay tile roof and a beautiful garden full of flowers.

Engraved openwork shell pectoral or disk with images of feathered serpents (Quetzalcoatl) with turquoise inlay eyes. Mixtec (Nudzavui), 1400 AD - 1521 AD. Mexico. Special Exhibit, Golden Kingdoms: Luxury and Legacy in the Ancient Americas. Metropolitan Museum of Art, New York, New York, USA. Copyright 2018, James A. Glazier.

The Daily Telegraph Building

Newspaper offices with flats above 1928. Elcock C. Sutcliffe with Thomas Tait. Portland stone granite podium, six storeys including recessed top storey. Seven windows wide. Central entrance. Five centre bays set slightly forward within five storey panel with fluted frame. Giant columns between windows. Stone facia above first floor with words ¿Daily Telegraph¿. Outer bays with carriageways and vertical windows with zig zag panels between (only first floor retains original zigzag glazing). These rise to form towers. Bronze balconies and window frames including showcases with Egyptian ornament to ground floor and openwork bronze doors. Stone relief sculptures over door, same windows and to tops of tower. Large elaborate clock attached to third floor level.

organ built in 1874 by G.M. Holdich

Crocheted with very fine perle cotton in openwork and lacy picots.

© KnittingGuru, 2010. All rights reserved. All images and finished designs, including the name and description, are the intellectual property of KnittingGuru.

Keble Chapel

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.

~1500 ; originally probably Anthony the hermit

later 18th century

later 18th century

Borobudur Temple

Yogyakarta, Indonesia

UNESCO 1991

This famous Buddhist temple, dating from the 8th and 9th centuries, is located in central Java. It was built in three tiers: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa. The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,500 m2. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha. The monument was restored with UNESCO's help in the 1970s. Listing includes associated nearby Pawon and Mendut temples.

looking eastward

On Lotus Petal in Openwork and Enamels on Biscuit

Dated the 45th Year of the Wanli Period (1671), Ming Dynasty

This monumental ceramic sculpture consists of two separate parts, the upper section is composed of the figure of Buddha Shakyamuni seated on the lotus pedestal, and the lower section is a base in hexagonal shape. The Buddha sits in the half lotus position, with the right foot resting on the left thigh. He has a protrusion on top of his head called the usnisa, and an urna, a white tuft shaped like a dot on the forehead symbolizing wisdom. He has long ear lobes, and wears an expression of inner calm. One facet of the upper hexagonal base bears the inscription "on the first day of the fourth month in the 45th year of Wanli" (1671). It was common in the Ming Dynasty to use low-fire enamels on biscuit for architectural parts. A similar palette was also used for vases and figurines. This dedicatory piece, intended for worship in a temple, is a remarkable example of its kind because of its size and elaborate decorations.

My last spindle from Mary's Fiber/Spindle club...at least until I can save my pennies and sign up for another three month run! Shown here with this month's batt, Carnivale. Love the gorgeous squiggly bits!

"Dublin - Decorated Wood: Wood was carved in a distinctively Dublin interpretation of the insular version of the so-called Ringerike art style. This ornamentation appears on everything from large planks to small sliding case lids. Selected elements of the style were often carved into furnishings and tool handles. It can be deeply carved, lightly scored or even done in openwork. Apart from this high art decoration in wood, simple tools, handles and stools were often decorated in a fairly (rectilinear) primitive or rustic style, which was particularly favoured by the makers of single piece wooden containers. Dublin woodworkers often carved animals and sometimes humans. The less artistic doodled producing graffiti among which ships were the most conspicuous. (1-3) Three decorated wooden handles (Fishamble street), (4) Wooden bowl handle (Christchurch place), (5) Wooden carpenter's plane (Christchurch place), (6) Decorated wooden plank (Christchurch place), (7) Decorated wooden bracket (Christchurch place), (8) Wooden chair or bench end (Christchurch place), (9) Wooden chair back? (Fishamble street); (10) Decorated wooden spoon handle (Christchurch place); (11-12) Two decorated wooden spoons (Fishamble street); (13) Decorative wooden spoon (High St.); (14) Decorated wooden handle (Fishamble St.); (15) Decorated bow or handle (Christchurch Place), (16-17) Two animal-headed handles (Fishamble St.); (18) Animal-headed handle (Michael's Hill, Dublin); (19) Fragments of wooden cross (Christchurch place); (20.) Decorated wooden churn lid ( Christchurch place); (21) Decorated wooden box with sliding lid (Christchurch Place); (22) Decorated wooden box (Fishamble st.); (23) Decorated wooden box (High St.); (24) Decorated wooden box lid (Fishamble St); (25-26) Two wooden snake pendants (Fishamble st., High St.); (27) Wooden figurine of wolf with ball (Fishamble street); (28) Carved human head (Christchurch Place); (29) Carved human head (Fishamble St.); (30) Wooden stopper carved with human head (Christchurch place); (31) Decorated wooden bucket stave (Christchurch Place); (32) Iron stylus with decorated wooden handle ( fishamble st.); (33) Wooden Handle (High st.); (34) Decorated wooden handle (Fishamble street);(35-36). Two wooden cylindrical objects (Fishamble st.); (37) Decorated wooden object (Fishamble st.)" ~ Display at the Museum of Archaeology Ireland, Dublin, Ireland. "A Medieval Christmas Exhibit" - Museum of Archaeology Ireland (www.technogypsie.com/reviews/?p=1090) in Dublin (www.technogypsie.com/reviews/?p=885), Ireland (www.technogypsie.com/reviews/?p=884). Cian's Adventures with a Medieval Xmas - Walking with the Ancestors, Part 2 - Ireland - 2013 - Sunday, December 8, 2013. Photography (c) 2013 Thomas Baurley, Eadaoin Bineid, Leaf McGowan, Technogypsie Productions. www.technogypsie.com/photography/. To follow the stories and tales visit www.technogypsie.com/reviews/ and www.technogypsie.com/chronicles/?p=8691.

Title: Model, cooking range

Description: model of Scottish cooking range as used in the 19th century together with cooking implements and stove accessories. This model was made in Scotland by the donor's father who was a fitter and turner.

cooking range made of brass and steel and set in a wooden fireplace, pots could be hung from range

.1: cooking range; wooden; has metal rectangular panel at top with gilt medallions arranged in a cross; painted panels on sides of range; three metal hooks at top; one hook on either side; green wooden base; metal backplate

.2: milk can; brass; conical shape with handles

.3: milk can lid; brass; circular

.4: griddle iron; brass; circular plate with handle and hanging loop

.5: pan; brass; handle with hanging loop at apex; pouring lip at front; handle splits into two around pouring lip; welding at front handle has failed

.6: ash bucket with lid; brass; hinged lid and handle; clip at back; bottom of bucket is ridged

.7: ceramic container inside .2 milk can; white

.8: shovel; brass

.9: pick; brass; hanging hole in end of handle

.10: hammer; brass; hanging hole in end of handle

.11: ash bucket piece / trivet; brass circular part with circular holes; rod at side

.12: kettle; brass; weighted bottom

.13: lid, kettle

.14: 3-legged pot; brass; hinged handle

.15: lid to 3-legged pot

.16: saucepan; brass

.17: lid to saucepan; brass

.18: jack support; steel; sits on top of stove; turned shaft; screw in shaft which adjusts support

.19: hearth surround floor; steel; circular holes; rods welded together

.20: chimney left hand side; brass; rectangular wooden insert at back; steel decorations

.21: chimney right hand side; brass; rectangular wooden insert at back; steel decorations

.22: hook; steel hook with brass body; slot in body which slides onto .18 jack support

.23: front panel; right hand side; brass with steel decorations; medallion with horse and rider; tap; hinged oven door; wire grate behind door

.24: oven door in right hand front panel; swivel catch on door

.25: stove top; two rectangular brass surfaces connected by steel rod; right hand surface has large circle hole and smaller circle hole; left hand surface has steel stand with rod to hold .18 jack support

.26: ash tray drawer; steel; rectangular tray with knob

.27: ash box; fits underneath .31 grate frame; grate at top; brass plate at front; handle at front

.28: ash tray drawer; steel; rectangular tray with knob

.29: back plate; brass

.30: grate; drawer with two handles; openwork bottom surface

.31: grate part/frame; steel box; angled back, rods across bottom surface; grating across front; hinged top frame; grate frame on four legs, back legs curved

.32: front panel; left hand side; brass; two oven doors, upper door is larger and opens in to hollow; lower door is smaller and opens in to wire grate

.33: door, lower, in left hand side panel; hinged; knob handle

.34: door, upper, in left hand side panel; two heavy duty hinges; large central knob with locking mechanism

.35: poker; steel shaft; brass handle

.36: shovel; brass handle; steel body with holes in shape of flower

.37: tongs; brass handle; steel static tongs

Credit: Collection of Auckland Museum Tamaki Paenga Hira, 1964.152, col.1426, 37619

www.aucklandmuseum.com/collection/object/am_humanhistory-...

later 18th century

This beautiful ring bearer pillow is made of linen fabric. Top side is covered by an embroidered openwork cotton fabric. A rich floral green decoration is attached on a linen fabric belt, that across the pillow front side along its diagonal. Bright orange wide ribbons, fastening rings, gives a clashing touch as opposed to general light smooth color af the whole. A mother-of-pearl shell pin is a nice and usefull detail.

The linen fabric is not simply applied on a standard pillow, as many others ring bearer you can see for sale, but sewn on the edges of an original and creative pillow.

Ideal for own wedding or to give an unique wedding gift. It’s handmade in Italy.

Measurements: 20 x 12 cm – 7,8” x 4,7”

This item is featured here: theperfectpalette.blogspot.com/2009/08/its-etsy-wednesday...

~✿ For orders and more informations about my shop, please visit my profile www.flickr.com/people/passionarte or send me a mail to passionarte.handmade@yahoo.it

center aisle ; later 18th century ; original to this church ; grapes of the promised land

This late 15C house (now a library) is carved with 400 scallop shells in its golden stone wall. It has decorative Isabelline windows and beautiful wrought-iron grilles. The patio has delicate mixtilinear arches and openwork balustrades, carved lions' heads and coats of arms.

Best viewed in Lightbox.

The most beautiful church of the city, the Church of Elijah the Prophet is the pride and joy of Yaroslavl and the favorite tourist attraction. It was built in 1647 – 1650 and is one of the most complete and best-preserved monuments of Yaroslavl. Built on the site of two churches, the Intercession and Elijah, the church is considered a real masterpiece of ancient Russian art. The main structure of the temple is a massive building on high foundation topped with five heads resting on light drums. The drums are decorated with arches and columns and surrounded by the rows of kokoshniks. But the main thing is, of course, the interior painting, made by famous Kostroma masters. They have no equals in beauty, richness and brightness of colors.

From both sides the Church of Elijah the Prophet is surrounded by a wide two-tier covered gallery. The gallery from the north and the west is accessed by richly decorated porches. The northwest of the temple is decorated with a tall tent bell tower. Its ornate level is surrounded by arched windows. It is the chapel of the Deposition of the Robe that gives such an unusual openwork appearance to the Church of Elijah the Prophet. Its tall slender octagonal tent is surrounded by a number of kikoshniks, that make the whole structure look elegant and colorful.

Free Pattern Pack Download

I finished this sometime in mid-February, but didn't get around to blocking it until today. Anyway, it was a *very* easy lace pattern, and I finished it during a long, travel-filled weekend.

Pattern: Knotted Openwork Scarf.

Yarn: Silken Straw by Alchemy Yarns, one hank.

Needles: Size 9, I think.

Photo by striatic.

Blogged here.

A Molded and Reticulated Fauhua Jar

Ming Dynasty

Of baluster form, the openwork outer layer carved with the Eight Immortals paying court to Shoulao, the God of Longevity, amid pines, clouds, cranes, and other auspicious animals, all between a band of upright lappets with inverted lotus buds on the foot and an openwork peony scroll along the shoulder, a narrow band of petals beneath detached clouds on the short neck, the exterior glazed principally in turquoise with aubergine, yellow, and cream glazes applied to the figural and ornamental features, the faces reserved in unglazed biscuit, the interior and base glazed grass-green

Height 34.3 cm

www.sothebys.com/en/auctions/ecatalogue/2017/important-ch...

Estimate : 20,000 - 30,000 USD

Lot sold : 15,000 USD

Sotheby's

Important Chinese Art

15 Mar 2017 10:30am, New York

The Church of St John the Baptist in Yeovil, Somerset, England was built in the late 14th century and has been designated as a Grade I listed building.

The tower, which was built around 1480, is 92 feet (28 m) high, in 4-stages with set back offset corner buttresses. It is thought that the work was supervised by William Wynford, master mason of Wells. To meet the growing size of Yeovil and the increased population, work on Holy Trinity Church began on 24 June 1843[3] to relieve the pressures on St John the Baptist church. In 1863, pressures on space in the graveyard were alleviated by the opening of Preston Road cemetery.

The church is capped by openwork balustrading matching the parapets which are from the 19th century, when major reconstruction work was undertaken from 1851-1860.[3] There are two-light late 14th century windows on all sides at bell-ringing and bell-chamber levels, the latter having fine pierced stonework grilles. There is a stair turret to the north-west corner, with a Weather vane termination. The tower contains two bells dating from 1728 and made by Thomas Bilbie of the Bilbie family in Chew Stoke. The "Great Bell" was recast from 4,502 pounds (2,042 kg; 321.6 st) to 4,992 lb (2,264 kg; 356.6 st)

Title: Model, cooking range

Description: model of Scottish cooking range as used in the 19th century together with cooking implements and stove accessories. This model was made in Scotland by the donor's father who was a fitter and turner.

cooking range made of brass and steel and set in a wooden fireplace, pots could be hung from range

.1: cooking range; wooden; has metal rectangular panel at top with gilt medallions arranged in a cross; painted panels on sides of range; three metal hooks at top; one hook on either side; green wooden base; metal backplate

.2: milk can; brass; conical shape with handles

.3: milk can lid; brass; circular

.4: griddle iron; brass; circular plate with handle and hanging loop

.5: pan; brass; handle with hanging loop at apex; pouring lip at front; handle splits into two around pouring lip; welding at front handle has failed

.6: ash bucket with lid; brass; hinged lid and handle; clip at back; bottom of bucket is ridged

.7: ceramic container inside .2 milk can; white

.8: shovel; brass

.9: pick; brass; hanging hole in end of handle

.10: hammer; brass; hanging hole in end of handle

.11: ash bucket piece / trivet; brass circular part with circular holes; rod at side

.12: kettle; brass; weighted bottom

.13: lid, kettle

.14: 3-legged pot; brass; hinged handle

.15: lid to 3-legged pot

.16: saucepan; brass

.17: lid to saucepan; brass

.18: jack support; steel; sits on top of stove; turned shaft; screw in shaft which adjusts support

.19: hearth surround floor; steel; circular holes; rods welded together

.20: chimney left hand side; brass; rectangular wooden insert at back; steel decorations

.21: chimney right hand side; brass; rectangular wooden insert at back; steel decorations

.22: hook; steel hook with brass body; slot in body which slides onto .18 jack support

.23: front panel; right hand side; brass with steel decorations; medallion with horse and rider; tap; hinged oven door; wire grate behind door

.24: oven door in right hand front panel; swivel catch on door

.25: stove top; two rectangular brass surfaces connected by steel rod; right hand surface has large circle hole and smaller circle hole; left hand surface has steel stand with rod to hold .18 jack support

.26: ash tray drawer; steel; rectangular tray with knob

.27: ash box; fits underneath .31 grate frame; grate at top; brass plate at front; handle at front

.28: ash tray drawer; steel; rectangular tray with knob

.29: back plate; brass

.30: grate; drawer with two handles; openwork bottom surface

.31: grate part/frame; steel box; angled back, rods across bottom surface; grating across front; hinged top frame; grate frame on four legs, back legs curved

.32: front panel; left hand side; brass; two oven doors, upper door is larger and opens in to hollow; lower door is smaller and opens in to wire grate

.33: door, lower, in left hand side panel; hinged; knob handle

.34: door, upper, in left hand side panel; two heavy duty hinges; large central knob with locking mechanism

.35: poker; steel shaft; brass handle

.36: shovel; brass handle; steel body with holes in shape of flower

.37: tongs; brass handle; steel static tongs

Credit: Collection of Auckland Museum Tamaki Paenga Hira, 1964.152, col.1426, 37619

www.aucklandmuseum.com/collection/object/am_humanhistory-...

Benzinger Skeleton

PURSE FRAME - British Museum (London, UK)

Museum number: 1998,1001.1

Description: Copper alloy purse frame with a central suspension loop for attachment to a belt. Two further loops hang from the central bar. The inner loop is pierced with stitching holes for fabric. The suspension loop is connected to a hexagonal tower, pierced with openings and topped with fleurs de lis. There are two subsidiary towers ending in little spires. The central bar of the purse has pierced decorative panels ornamented with circles and half circles. Beneath this are two further panels, detached, which would have decorated each side of the upper part of the fabric of the purse. They are pierced with designs of window tracery and a six part openwork decorative device of curved tracery openings.

Date: 1450 (circa)

Made in: Flanders (?) or France (?)

Found/Acquired: London, Thames River (near Cannon Street Station)

Materials: copper alloy

Height: 218 millimetres

Width: 112 millimetres

Depth: 15 millimetres

SOURCE:

www.britishmuseum.org/research/collection_online/collecti...

The renovations at Lightwoods Park appear to be complete.

Lightwoods House is now completed and open.

Renovations on the bandstand are now complete and it is open to the public once more.

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.

Behind the bus is the former R W Forsyth department store by John J Burnet and begun in 1906. The six storey building was the first such building in Scotland to be fully steel-framed. R W Forsyth closed in October 1981 and the building is now occupied by retailers Topman and Topshop while the upper floors have been converted into a Travelodge. The gilded openwork sphere on the corner tower has recently returned to its rightful place on the roof after a popular campaign - it had earlier been removed for repair and then conveniently forgotten about.

Okay, so it stretches a little bit when it's loaded...

Elements from a Necklace

Made in Spain (Granada), about 1475-1525 (Nasrid period)

Inscribed in Latin (on pendant): "Hail Mary, full of grace"

These necklace elements, excavated at Granada sometime before 1916, represent the work of a virtuoso goldsmith who combined the techniques of filigree (openwork designs in fine gold wire), granulation (clustered spheres of gold), and cloisonne enamel. The salutation of the archangel Gabriel to the Virgin Mary inscribed on the center pendant indicates that the necklace was made dor a Christian, while other fine pieces attributed to the same workshop (including harness ornaments and a Torah shield) were clearly commissioned by patrons belonging to medieval Spain's other majot religions.

UNESCO World Heritage : Agra Fort at Agra, India

インド アーグラの アーグラ城塞(じょうさい)

Keble Chapel

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.