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New Pattern "Colored Flowers" - more info here:
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"As indicated by the coat of arms on the case, this finely carved crosier once belonged to Giovanni Benci Carrucci Aldobrandini, bishop of Gubbio (Umbria, central Italy) between 1370 and 1375. The volute is decorated with an openwork representation of the Adoration of the Magi, and inscribed on both sides with a portion of the Collect for the Epiphany. The half-length figures of Christ and prophets in foliate shoots are also found in other Venetian crosiers dating from the same period.
The name crozier is commonly used for the crook-shaped pastoral staff of a bishop or abbot. It forms part of their insignia. It was carried as a symbol of authority and pastoral care. It was made of various materials, but by the twelfth century ivory was in widespread use for the head of the crozier. The shaft was often made of wood, occasionally embellished with metal knops, although on Italian Gothic examples, ivory and bone cylinders were used in construction. French Gothic ivory crozier heads are predominantly of one design, with the Crucifixion and the Virgin and St John on one side and the Virgin and Child, flanked by candle-bearing angels, on the other. It appears that the principal face was that to be seen when the volute of the crozier was facing to the right. The volute, which issues from the mouth of a dragon, is surmounted by half-length figures of Christ between David (?) and Salomon. It encloses an openwork representation of the Adoration of the Magi with the star and firmament above and is decorated with an inscription, a portion of the Collect for the Epiphany. The knop, made up of four plaques, is carved on each face with a writing Evangelist seated beneath a trefoil arch. Four foliate shoots and additional prophets are now missing around the lower part of the volute: three ivory pegs remain.
The stem, divided into four sections that screw together, is painted with dragons, birds, and faded leafy stems, and with designs including crosses, quatrefoils and foliate designs: these are all of gold with red and black outlines. From the top these four sections consist of three, four, three and two cylinders respectively, the last section terminating in a turned ivory foot with a brass tip (both later).
The cuir bouilli case is decorated with various animals amid leafy scrolls and with the arms of the Aldobrandini family. The interior is divided into five compartments, a central one for the head of the crozier and four circular ones for the sections of the staff. The central parts of each side consist of foliate shoots in which are three creatures: on one side mythical beasts (a unicorn and two dragons) and on the other a deer, a hare and a wild boar. Above these on both sides are the arms of the Aldobrandini, here uncoloured but clearly identifiable: a bend counter-embattled between six mullets ranged in orle. The cover of the case continues the leaf designs of the lower part, but on the side with the animals has a panel with an eagle, its head turned back. The top surface has a third Aldobrandini coat-of-arms with, above it, a mitre with lappets and a foliate crozier, indicating that the owner was an Aldobrandini bishop. george salting Bequest The heads of Christ and Solomon and the two foliate shoots are either late-nineteenth-century replacements or were broken before 1880 and subsequently restored.
Four foliate shoots and additional prophets are missing around the lower part of the volute, and three ivory pegs remain.
Formerly in the Museo Civico, Volterra; sold with other ivory carvings from the Museo, 2 December 1880, in Florence. Then Frederic Spitzer collection, Paris, by 1890. Sold at Spitzer sale, Paris, (25 April 1893, lot 125). Then George Salting collection. Bequeathed to the V&A by Salting, 1910.
Historical significance: The coat of arms on the case identifies the crosier as having belonged to Giovanni Benci Carrucci Aldobrandini, bishop of Gubbio (Umbria, central Italy) between 1370 and 1375. Venetian elements such as the half-length figures of Christ and prophets in foliate shoots also feature in other crosiers, such as those in the Museo Nazionale del Bargello, Florence, The Walters Art Gallery, Baltimore and in a private collection, New York. The figure style and painting of these crosiers is close to that of the Venetian triptych with the Coronation of the Virgin, datable to 1360-70 (V&A, 143-1866). " V and A collection website.
Elegant and down-to-earth at the same time, this gold vermeil openwork charm and coin pearl necklace is sure to become an instant favorite in your jewelry collection.
Suspended from the 14k gold filled cable chain is a 14x20mm silky white coin pearl and 12x15mm round leaf/tree charm. A bead-flanked lobster clasp completes the design.
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 four 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 to relieve the pressures on St John's. 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 to 1860. The tower has 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. Among the fourteen bells are two dating from 1728 and made by Thomas Bilbie of the Bilbie family in Chew Stoke. Another from the same date, the "Great Bell", was recast in 2013, from 4,502 pounds (2,042 kg; 321.6 st) to 4,992 lb (2,264 kg; 356.6 st).
Because of the state of some of the external masonry the church has been added to the Heritage at Risk Register.
In the Church of St John the Baptist, Yeovil one stained glass window depicts Judas with a black halo.
Unusually, the stained glass windows include a depiction of a lone Judas Iscariot with a dark halo. Inside the church is a brass reading desk originally made in East Anglia.
The parish is part of a benefice with St Andrew with the Diocese of Bath and Wells.
Silver gilt openwork belt buckle and fittings with floral and arrowhead scrollwork. Roman Imperial jewelry, 3rd Century AD - 4th Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
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...
Copper alloy
Central Asia (Bactria-Margiana)
Late 3rd - early 2nd millennium B.C.
Metropolitan Museum of Art
NYC
April, 1990.
Original photograph © Kenneth Mantock, scanned and curated for Bournemouth Civic Society.
Listed Grade II on 27th February, 1976: "Edwardian villa in style derived from Voysey circa l9O5, probably by Joseph Brewerton, 2 storeys, roughcast, timber mullions. Almost symmetrical garden front centre with 2 rectangular ground floor bay windows, with moulded cornices to flat roofs, on either side of verandah with 5 openwork trellis arches (round-headed except for wide flattened centre). Flanking gables, that to left carried down low. East side has entrance in an arched trellis porch with sidepieces, with 2 oriels above, 1 curved, 1 rectangular; asymmetrical gable. Tapering chimneys with projecting cornices, tiled roof."
A Bronze Two-Part Belt Buckle with Tiger and Raptor
3rd-2nd Century BC
Both plaques are cast in openwork as a raptor and a tiger attacking each other. The raptor is wildly flapping its wings and tail while biting the neck of the tiger which has the leg of the raptor grasped in its jaws. One plaque has a tab-like hook at one end.
12.1 cm wide, box
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Estimate : USD 4,000 - USD 6,000
Price realised : USD 27,500
Christie's
The Harris Collection : Important Early Chinese Art
16 March 2017, New York
Gold, silver, pearl, amethyst, sapphire, glass, quartz, emerald plasma
Byzantine
Made in probably Constantinople
6th–7th century
These elaborately decorated bracelets have richly jeweled exteriors and finely detailed opus interrasile (openwork) patterns on their interiors. The luminous beauty of pearls was highly prized in the Byzantine world. These bracelets are only two of thirty-four pieces of gold jewelry from Egypt said to have been found near Lycopolis (now Assiut) or Antinoopolis (Antinoe, now Sheik Ibada) in Egypt at the turn of the century. Whether discovered together, or later assembled, they represent the standard of luxury common among the elite in Egypt during the period of Byzantine rule and the close connections between the wealthy province and the capital in Constantinople. Multicolored, or polychrome, jewelry was very popular in the Early Byzantine world.
The unusual openwork spire of the Methodist church, built by Ewan Harper, 1896. The church is now closed for worship and the congregation joined with the nearby Anglican church of St Luke to form a local ecumenical partnership known as the Bridge Church.
Early 1900s openwork floral Art Nouveau sash pin. Very pretty gold tone color with flowers and vines. Pin is stamped design oval shape.
2 3/4 inches wide x 2 inches tall. C hook clasp and large size pin stem.
Feminine and mystical!
Med sized gourd about 6-6 1/2 " W x 6"H
Mostly inked and stained body with pierced and carved "wrap" with openwork around neck. Wrap also includes foiled area. Simple but attractive. SOLD
Just your basic asymmetrical poncho, this was made with random mohair and velvet chenille stripes in large needles to give it an openwork appearance.
It's really soft and lovely and I've made it over a year ago for a gift that never happened, so I think I might sell it now.
CATHEDRAL CHURCH OF CHRIST AND ST MARY, COLLEGE STREET, WORCESTER
Heritage Category: Listed Building
Grade: I
List Entry Number: 1389728
National Grid Reference: SO 85002 54520
Details
WORCESTER
SO8554NW COLLEGE STREET 620-1/17/1 Cathedral Church of St Mary 22/05/54 (Formerly Listed as: Cathedral Church of Christ and St Mary)
GV I
Cathedral Church, formerly Benedictine Priory. Crypt from 1084, some remains of same date in W transept and first 2 bays West end of nave. West transept and part of 2 bays at west end of nave c1175. Choir, east transept, Lady Chapel, presbytery, 1224-1250. Nave with aisles 1317-1377; central tower from 1374, and north porch from 1386, substantial restoration 1857-1863, by AE Perkins and GG Scott. Few medieval designers are identified, but include Alexander the Mason c1224-1240 (nave west bays), William Shockerwick, c1317-1324 (nave north arcade), and John Clyve, 1376/77 (nave south arcade and central tower).
MATERIALS: construction mainly in Highly and Alveley sandstones, with some Cotswold oolite, and Purbeck marble, many of the vault panels are in tufa, roof slate, including Penrhyn slate.
PLAN: east end includes substantial remains of the early crypt, formerly with radial chapels and outer ambulatory. Principal church has 9-bay nave and aisles with deep north porch and a single bay chapel also on north side. West transept and east transept, both without aisles, 4-bay choir with aisles, 3-bay Lady Chapel, and 2-bay Chapel of St John, central crossing tower. South of the nave are the cloister, with Chapter House and former frater (now King's School Hall qv)).
EXTERIOR: exterior of the cathedral was very largely refaced during C19 restoration work, and both central tower and eastern arm substantially restructured or refaced - the sandstones used being relatively soft, and subject to reject rapid weatherings. However, original medieval detail remains in most areas. The gables are coped, and parapets are mostly plain, with saddle-back weathered copings and a lower string course, the northwest transept is an exception. The following description will begin at the west end and work to the east.
NAVE - WEST END: central gable over 3 tall rectangular lights and a very large 8-light 'Decorated' window of the C19, flanked by square buttresses surmounted by octagonal turrets with open pinnacles. The big west door, also of C19 but with some remnants of Norman work, has a high gable breaking into the bottom part of the window. To each side the aisle terminations with square corner turrets to octagonal pinnacles, and each with a round-arched light with later tracery above a large 4-light window.
NAVE - NORTH SIDE: first 2-bays of the clerestory have round-arched lights with tracery, in masonry of various dates, remainder are small 3-light with stopped drips in flat 4-centred arches. The aisle, right of the porch, has a 3-light pointed then a 3-light with stepped transoms, and with straight-sided arch. These bays with heavy flying buttresses, supporting a wall of early masonry in small blocks. 2 further bays having simpler 3-light to cusped heads in pointed arches. Bay 5 has the bold square 2-bay porch with almost plain flanks, and rich north front, rebuilt by Scott, and having statues by Redfern. Interior is vaulted, and inner door, flanked by Norman responds, has a narrow Dec cusped head above the C19 doors set in plain masonry to a very flat basket arch. Left of the porch are 2 bays with 3-light Dec windows under small rectangular lights, with deep buttress between, then the single bay projecting chapel with corner buttresses and large 3-light to the North wall. Beyond this is a further aisle bay.
NAVE - SOUTH SIDE: the first 2-bays are similar to those to the North, incorporating older masonry, then 7 clerestory bays with 3-light windows to straight-sided arches and stopped drips, and two flying buttresses. The aisle has two 2-light traceried rectangular windows to each bay, but one 3-light in the arches, set deep with broad casement mould, and with stopped drips. Plain square buttresses divide the bays. At the lower level is the north walk of the cloister (qv).
WEST TRANSEPT - NORTH ARM: the high gabled north wall has 3 small rectangular lights above a prominent horizontal string, then a large C19 Decorated 4-light window to sill string, carried round to the returns. To each side is a square turret with nook shafting, crowned by tall octagonal turrets with pinnacles. The W and E sides have two 4-light in Mannerist panelling including ogee heads and with a crenellated parapet. The east side also has a deep 4-light with transom and 4-centred head.
SOUTH ARM: this differs greatly in detail from the north arm, having an 'Early English' plate tracery window in the south wall, below the high gable with rectangular lights, and to heavy octagonal corner turrets without pinnacles. The west side has a small 4-light in panelling as to the north, then a very long 4-light with 2 transoms, all this set to masonry of widely varied dates. The east side has a high rectangular window in a larger 4-centred opening, and weathered offset at sill level, below are roofs of ancillary buildings. The bold crossing tower rises to 59.7m (169ft), and has 4 identical faces. It is in 2 stages, with a lofty 8-bay Perp blind arcade below two large 2-buttresses with pinnacles rise to tall octagonal main pinnacles, linked by 7-bay traceried parapets to a horizontal coping. Although substantially rebuilt in the C19, the medieval detail has been convincingly retained. The eastern arm externally is mainly C19 work, it has plain coped parapets carried on a continuous corbel-table of tri-lobed arches, and windows are generally formed in pale limestone contrasting with the sandstone walling. The east end has 5 above 5 lancets, the upper row stepped, and a large open trefoil in the gable, all flanked by square buttresses crowned by open octagonal turrets with plain pinnacles, these are repeated on the gable ends of the east transept. The east end has a single bay return with a single lancet at 2 levels, then the ends of the Lady Chapel aisles. The main body has stepped in a containing arch at aisle level, with triple lancets to the 2-bay chapel on the south side. On the north side of the choir is a very large ground level flying buttress below the original flying buttress. The transepts have triple lancets at 2 levels, the upper one stepped, and on the returns a similar configuration in the first bay with a single small lancet above the aisles. Square buttresses with weathered heads have small nook shafts.
INTERIOR: the description begins with the earliest unit - the crypt, then proceeds from east to west. The crypt - the central vessel is in 4 aisles with apsidal end, small monolithic columns with square bases and cushion capitals carry plastered groined vaults with broad transverse arches, with a central and 2 outer rows. This is contained within thick walls with attached half-columns in bedded stone, and arched doorways to outer aisles, also with a central row of columns and responds. Remains of a south side chapel are at the west end, with early stairs to the west transept, and a C20 stair flight gives access at the east end, adjacent to Prince Arthur's Chapel, here also are some excavated remains of a former pentagonal chapel, including some early wall painting. The church is stone vaulted throughout, principally ribbed quadripartite, and neither plastered nor painted except to the East arm. Floors are generally C19 black and white marble. Nave, choir and Lady Chapel are in three storeys, with aisles. The east arm makes extensive use of Purbeck marble, main arcades carry richly moulded arches, those to the choir with some embellishment, and wider than in the Lady Chapel. The triforium above a Purbeck string, is in paired double lights with varied carved spandrel figures, in front of a simpler continuous blind arcade which is carried through in an independent rhythm. The clerestory, also above a Purbeck string, has a triple stepped opening with Purbeck shafts, and wall passage. The vault, with a longitudinal ridge rib, retains the C19 Hardman painted decoration, and is carried on Purbeck shafts taken down to the level of the arcade capitals. The shallow single bay sanctuary to the Lady Chapel has tall lancets at two levels, on three sides. The aisles have simple quadripartite vaulting, and wall arcading in the eastern half and east transept. In the east transept the 3 storey treatment is carried into the first bay, with 2 level lancets in the outer bay and the end walls, all with an inner Purbeck screen and wall passage. The east crossing piers have banded Purbeck shafts to the full height. The main crossing has tall unbroken multi-shaft piers carrying pointed arches in four orders, and crowned by an unusual lierne vault, plastered and painted. West transept reflects continuous growth and alteration from the time of Wulfstan to the C19, with a mix of masonry, and occasional remnants of detail built into the walls. Both arms have ribbed vaults with diagonal and ridge ribs, with some liernes in the south arm, the joints in the severy panels are very prominent. In each arm the east wall retains a bold Norman arch with the 2-bay St John's Chapel, which was part of the great 1224 extension. The upper parts of these walls include rectilinear inner screening to windows. The west walls have much plain masonry, with sharply cut rectilinear blind panelling above the aisle arches. In the NW corner of the north arm is a prominent circular stair turret from early work, but the large window is C19. This arm contains many wall monuments. The south arm has a triple lancet to its south wall. The nave, with a single tierceron rib in addition to the diagonals and ridges also have prominent joints to the panels. Arcade piers are multi-shafted, some of these taken full height on the Sough side, and detail varies slightly between the two arcades, the south being completed some decades later than the north. Triforia have paired double lights, with very varied carved spandrel figures, there is no wall passage in the normal way, but bays are entered from doorways in the roof spaces. The clerestory has a wall passage, and stepped triple inner arcade. In the first bay adjoining the crossing there are prominent flying buttresses carried through clerestory and triforium levels, these inserted to stabilise the central tower. The 2 west bays have a lower arcade, and transitional detail, with paired triple round-arched openings embellished with chevron and rosettes, under pointed arches, and mixed pointed and round arches to the clerestory inner screen, at the pier junction between old and new bays is some two-coloured stonework of Wulfstan's original build. The large west window is richly glazed in small scale biblical stories. The nave north aisle has simple vaulting, but the south is an unusual combination of quadripartite design plus sets of longitudinal and transverse lierne ribs except for the two west bays. The walls are almost filled with monuments, including in the south side some deep recesses. On the north side the single bay Jesus Chapel is enclosed by a decorative stone screen of the late C19. The entrance from the north porch is provided with a large internal draught lobby. Above the south aisle for its full length is the Cathedral Library, with heavy roof timbers adjusted when new shelving was inserted in the C18. Parts of 2 flying buttresses show within the space, and at the west end the floor is lower, over the Norman bays.
FITTINGS, MONUMENTS, AND STAINED GLASS: Most internal fittings are of the later C19, many by G G Scott, including the bishop's throne, choir reredos, choir stalls (but incorporating late C14 misericords and choir screens, including main open ironwork screen under the crossing arch, organ cases, and the nave pulpit. The chancel pulpit is an octagonal design of 1642, much restored by Scott. There is a 3-bay repositioned C15 stone screen on the North side of the retrochoir, and two openwork iron screens by Skidmore. The nave lectern with gilt angel is a Hardman design, and the font, at the west end of the nave south aisle, is by G F Bodley. Although fragments of C14 glass remain in some windows of the nave south aisle, most is of the C19, principally by Hardman, including the great window and the main lancets, the large window in the north wall of the west transept is by Lavers and Barraud, as is that in the east bay of the nave North aisle,of 1862, and according to Pevsner 'The best Victorian glass in the cathedral...'. Of special historic interest is a fine memorial 3-light window to Sir Edward Elgar, in the second bay of the nave north aisle (above a C16 monument of the kneeling figure of Lady Abigail, mother to Bishop Goldisburgh). The cathedral is very rich in commemorative monuments, both free-standing and wall-mounted, including work by Nollekens, Robert Adam, Chantrey, and Westmacott Junior. They are too numerous to be detailed here, but Pevsner (op cit) includes many of them in his description. Outstanding is the chantry chapel to Prince Henry, of 1504. This is a very elegant fine stone 'casket' on the south side of the main sanctuary, in lacy open stonework with delicate cresting and pinnacles, it has a complex flat lierne vault with pendants, and very rich stone reredos with many figures and complex canopies: these were defaced and plastered over, but when rescued, much of the detail is seen to remain. On its south side, towards the east transept, the chapel is on two levels, with an intermediate band of shields and other devices in blank panelling, above 2 recesses containing earlier recumbent figures of the Giffard family. Other major monuments include the splendid recumbent effigy to King John, centred below the sanctuary steps, Bishops Walter de Cantelupe and William de Blois in the Lady Chapel sanctuary, the chest tomb to Sir Griffith Ryce, 1523, with very fine in-situ brass top, in the SE transept, Sir John Beauchamp, executed by the 'merciless parliament' in 1388 - a splendid painted chest tomb on a medieval base, and Robert Wylde, 1607/08 (sic), a large multi-coloured chest tomb, these last two in the N and S arcade of the nave, respectively, fourth bay from the crossing. In the eighth bay, near the W end, the large free-standing early Renaissance monuments to Bishop Thornborough, 1641 (N side) and Dean Eades, 1596 (S side) are especially notable. In the N chancel aisle, opposite the Prince Arthur chantry are 2 early monuments, both of early design, with recumbent figures in recesses, of interest since they, with adjacent walling, were left 'unrestored' by Scott, to demonstrate the general state of the building before that action. Among wall monuments some of the more striking are: Bishop Isaac Maddox, 1697-1759, in white and grey marble, with a great urn and weeping supporters over an extended inscription, and Bishop Hough, a Roubiliac design of 1746, in the NW transept and choir aisle, Dean Stillingfleet, 1599, in white marble on a gadrooned base, in the N wall of this transept, Nicholas Billington, 1576, with an esoteric selection of elements, to the right of Jesus Chapel, John Moore, 1615, with his wife Ann and six kneeling figures, with late gothic vaulting over an early Renaissance design (nave, N aisle, to left of porch). The nave S aisle has a whole series of interesting monuments, including Bishop Blandford, 1675, a bold Baroque design, a recessed tomb chest of 1428 to Judge Littleton, and in the next bay to Bishop Henry Parry, 1616 - this under a medieval canopy, with cusping and mouchettes. Of special local interest is the modest white marble tablet on the W wall of the NW transept to Mrs Henry Wood, 1814/1887, author of the Victorian 'best seller' East Lynn.
HISTORY: Worcester in the Middle Ages was an unusually large diocese, including, for instance, both Gloucester and Bristol, it was also unusual in that its Saxon Bishop, Wulfstan, remained in power after the Norman takeover, and it was during his episcopate that the earliest extant parts of the current cathedral - the crypt, nave and W transept - were established. Subsequent Gothic phases were conditioned by the pre-existing work, but the E arm was greatly extended - including a second transept, peculiar to English cathedrals - in the C13, so that the central tower lies almost exactly half-way in the 130m (425ft) length of the structure. Rich in architectural detailing and containing a large number of monuments, both free-standing and as wall tablets, the building has frequently undergone restoration or reconstruction because the soft sandstone used weathers so quickly. Substantial new work, including replacement of window designs, was undertake in the C17 and C18, much damage having been caused also by Parliamentarians, but a major restoration, including replacement of window designs of appropriate type, was effected in the C19. The location is enhanced by its setting by the Severn, but in the C20 the town has been cut off visually and practically by the principal traffic route passing diagonally across the N and E sides of the building. The Pevsner description was written before the later excavation revealed the details of radial chapels to the crypt. (P Barker: A Short Architectural History of Worcester Cathedral: 1994-; MEDIEVAL ART AND ARCHITECTURE AT WORCESTER CATHEDRAL: 1978-; J Harvey: English Mediaeval Architects: 1954-; N Pevsner: The Buildings of England, Worcestershire: 1968-).
Sources
Books and journals
Medieval Art and Architecture at Worcester Cathedral, (1954)
Harvey, J , English Medieval Architects, (1984)
Pevsner, N, The Buildings of England: Worcestershire, (1968)
Barker, P, 'Worcester Cathedral Publications' in A Short Architectural History of Worcester Cathedral, (1994)
historicengland.org.uk/listing/the-list/list-entry/138972...
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Worcester Cathedral
Worcester Cathedral is an Anglican cathedral in Worcester, England, situated on a bank overlooking the River Severn. It is the seat of the Bishop of Worcester. Its official name is the Cathedral Church of Christ and the Blessed Mary the Virgin, of Worcester. The present cathedral church was built between 1084 and 1504, and represents every style of English architecture from Norman to Perpendicular Gothic. It is famous for its Norman crypt and unique chapter house, its unusual Transitional Gothic bays, its fine woodwork, and its "exquisite" central tower,[1] which is of particularly fine proportions.[1][2] The cathedral contains the tombs of King John and Prince Arthur.
More information can be found on the link below:-
"Showers of Love" Openwork Umbrella Bookmark with White-Silk Tassel Favors Gifts - 77% OFF - 14079NA - Cheap Wedding Favors - Cheap Bridal Shower Favors - Cheap Party Favors - www.warmimpressions.com/WEDDING_FAVORS/Showers-of-Love-Op...
A Bronze Knife with Rattle
13th-11th Century BC
The tapering blade has a raised median rib on each side that extends from the center of the ribbed hilt which is set at one end with a small attachment loop below the eight-strap, openwork rattle pommel.
29 cm long
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Estimate : USD 2,000 - USD 3,000
Price realised : USD 1,875
Christie's
The Harris Collection : Important Early Chinese Art
16 March 2017, New York
built from 1728-32 by Heinrich Gottlieb Herbst from Halberstadt ; see www.herbstorgel.de/ for more info ; shot from the upper gallery opposite
Terracotta skyphos (deep drinking cup): Seated woman, holding openwork processional basket and accompanied by two other women, Eros and satyr
Greek, attic, red-figure, ca. 350 BC
Openwork baskets of this type holding implements of sacrifice were carried by women in religious ceremonies. The presence of a satyr and Eros on both sides of the vase suggests that the festival being celebrated was the Anthesteria. On the second day of this important Attic celebration devoted to Dionysos, the god of wine, he was united in marriage in a secret ritual to the wife of a honorary official of Athens. It was apparently also a popular time for weddings in the city, and the seated on the back may be a bride being prepared for marriage. The basket and detail of jewelry are in slight relief and glided.
Bolero crochet. Due to the close-fitting sleeves and a narrow gate sits perfectly on the shoulders and requires no fasteners.
Nymphenburg, Neudeck, Korb, Barock, Rokoko, Brotkorb, Zitronenkorb, Blumen, 18. Jh., Schale, www.kabelitz-porzellan.de
Barcelona's Cathedral of St Eulalia is a magnificent example of Catalan gothic and dates mostly from the 13th to 15th centuries with a 19th century neo-gothic west facade. The building has an unusual profile with no less than five towers, two tapering octagonal belfries flank the chancel in place of transepts, whilst three pierced steeples crown the main facade (the octagonal tower supporting the main one is original late 15th century gothic, it's openwork spire and the two small flanking steeples date from the 19th century). There is a small and elegant cloister on the south side of the nave.
The cathedral consists of aisled nave, chancel and apse (under which is the crypt containing St Eulalia's tomb)as a single main vessel without transepts surrouned by numerous chapels, seemingly tunneled out of the thick walls in the dark an cavernous interior.
There wasn't time to go inside the cathedral on this occasion and much of the exterior was lost under scaffolding. Luckily I had already been inside on my previous visit to Barcelona in 2004, when we also ascended to the roof via a lift in the north tower.
Early C12 nave, chancel added C13, alterations in C14, tower and nave heightened mid C15. Restored c1858 by G.E.Street and south-east chapel added; further restoration 1880s. Coursed and dressed stone, stone slate roof to chancel and chapel, nave roof not visible. Nave and chancel with central tower, north and south porches, south-east chapel. Large tower of 3 stages with offsets and stepped diagonal buttresses rising to crocketed pinnacles and openwork parapet. Three-light belfry openings on each side with stone mullions and arched hoodmould with carved stops; middle stage has small single light with square hoodmould below a square framed with 3 concave moulded lights, centre one blind; lowest stage has very large 4-light windows to north and south with king mullion, 2 transoms and Perpendicular tracery and single-light over to south, niche to north. Clock face on north side of tower. Nave retains deeply splayed round arch single-lights of Norman period and zig-zag moulded string course below additional Decorated windows added in C14. Clerestorey of mid C15 has three 3-light cusped trefoil-head windows with square hoodmould and string course with grotesques. North porch has Norman doorway with chevron arch and carved shafts, porch itself of early C16 with ogee-headed niche an) flanking crocketed pinnacles on east wall, a typical feature of the area, and 4-centred archway with concave mouldings and angel shields below gable rebuilt in late C19. South porch said to contain equally fine Norman doorway but inaccessible at time of survey (March 1985). Chancel of late C13/early C14 has 3-light trefoil-head lancet with cusped sexfoil at east end, north side fills 3-light Decorated window with reticulated tracery and small blocked trefoil-head doorway. Chapel by Street of 1858 has two 3-light with reticulated tracery on south side.
Interior: 8 bay nave roof with 3 tiers of arched wind bracing, corbels for rood screen at east end of nave. Tower has doorway in north-west corner, lierne vault decorated in heraldry in 1862 and stone seats around side walls. Fine stained glass by Kempe in north window. Chancel has wagon roof, with painted ciborium probably of same date as tower decoration, plaster has been removed from walls in chancel, probably when 2-bay arcade opened up by Street to form south chapel. Large Perpendicular tomb on north wall with 2 mutilated seated figures and recumbent effigy probably of earlier date. Pulpit by Street, with marble painted over, choir stalls with fanning leaf finials also by Street.
built from 1728-32 by Heinrich Gottlieb Herbst from Halberstadt ; see www.herbstorgel.de/ for more info ; shot from the lower gallery opposite
Title: Basket
Artist/Maker: Unknown
Place Made: China
Date Made: ca. 1772
Medium: ceramic; porcelain with overglaze enamels
Measurements: Overall: 3 7/8 in x 8 13/16 in x 6 7/8 in; 9.8425 cm x 22.38375 cm x 17.4625 cm
Credit Line: Gift of Mrs. Frederick Frelinghuysen
Collection: The Diplomatic Reception Rooms, U.S. Department of State, Washington, D.C.
Accession No: RR-1966.0016
The center sections {in red} built by Esias Compenius from 1603-13 ; the lateral extensions by Adolf Reubke, 1859.
Coat-of-arms of the city of Kroppenstedt
A thorough history of the instrument can be found at www.compenius-orgel.de/geschichtederorgel.htm
This cardi-wrap begins with a large infinity motif that forms the sweat-er back. I used a self-striping yarn to emphasize the multiple directions of rows that make up the motif. The sides are picked up along the edges of the back and are worked in a light and airy openwork pattern that resembles crocheted broomstick lace. For no-sew construction, the collar and sleeves are picked up and worked outward from the body. Wear this wrap hanging open or pinned at the front or make long I-cord ties attached to each side of the front at your natural waist, then wrap the ties around the fronts, loop them through the openwork, around the back, and, finally, tie them in the front.
This doorknob fascinated me when I was in Zurich. I saw it while I was walking the street. Art in details.
This is way more decoration than we would ordinarily expect to find at a U.S. parking garage. It is from 1962 and ought to be historically preserved immediately.
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In downtown Findlay, Ohio, on April 29th, 2018, outside the "Findlay Parking Garage," a/k/a "The Crawford," on the north side of East Crawford Street, west of Beech Avenue.
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Getty Thesaurus of Geographic Names terms:
• Findlay (2079566)
• Hancock (county) (1002448)
Art & Architecture Thesaurus terms:
• architectural ornament (300378995)
• brick (clay material) (300010463)
• chandeliers (hanging lights) (300037622)
• circles (plane figures) (300055627)
• openwork (300253899)
• Mid-Century Modernist (300343610)
• paint (coating) (300015029)
• parking garages (300007807)
• patterns (design elements) (300010108)
• red (color) (300311118)
Wikidata items:
• 29 April 2018 (Q45920265)
• April 29 (Q2535)
• April 2018 (Q23994861)
• 1960s architecture (Q7160120)
• brick building (Q41955438)
• Buildings and structures completed in 1962 (Q8318743)
• Northwest Ohio (Q7060133)