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The Church of St. Martin in Prague-Řepy is a small stone Romanesque church with a vestibule, a rectangular nave and a semicircular apse. It is located in Žalanského Street on the former village square, close to the Ke Kaménce bus stop (line 164). The whole area of the church is protected as a monument.
History
The original wooden church was built in the middle of the 12th century. After the fire, a stone building was built on the original site at the beginning of the 13th century. The builder is considered to be the Prague burgher Frovín, who bought the village of Řepy from the Benedictine abbey in Břevnov. Stone from nearby marl quarries in Břevnov was used for the construction.
Originally a Romanesque building, it was characterized by a small rectangular nave, an apse adjoining the nave on the east and a prismatic tower on the west, built around 1225. A late Romanesque portal with a tympanum and a painted cross has been preserved from this period. From later architectural alterations in the Gothic period, a stone sanctuary was found in the northern wall of the apse, covered with modern plaster. The church was not used in the 16th and first half of the 17th century, as evidenced by a report from 1667 on its rededication. The result of Baroque alterations in the 18th century was, among other things, a Baroque altar built into the apse. Other, this time classicist, modifications were made in the 19th century - the main entrance to the church was relocated to the west wall of the tower and backrests were added to the tower.
There was a cemetery around the church from the 13th century, where it was buried until the 19th century. In 1837, a new Řepy cemetery in Žalanského Street was built a little further and the original one near the church was abolished. In 1968, during the construction of the sewerage system, mass graves were discovered, probably those killed in the Battle of Bílá Hora.
Kadina.
The town was laid out in 1860 by the government to provide a settlement for the Wallaroo mines of Walter Watson Hughes. Blocks were auctioned in 1861. The town took its name from the corruption of a local Aboriginal word meaning “lizard plain” Kaddyinna. By 1863 the town had a court house, police station, Post Office and telegraph station. At that time it took three or four days to travel to Adelaide but this was reduced to 12 hours when the road was completed in 1865. Near to the mines Cornish village settlements sprang up, often on leased Crown land until 1871 when the area was surveyed and the freehold sold to settlers. These villages included Matta Flat, Jerusalem, Jericho and Wallaroo Mines. Most of the buildings in these villages have now disappeared since the closure of the mine in 1923. Stone from some of the mine structures was used to build the Catholic Church in Kadina which opened in 1936. It is an especially fine building with limestone. The well laid out township of Kadina was destined to become the major commercial centre for the Copper Triangle once the railway from Adelaide arrived there in 1878.
Kadina Historical Walk.
1. Queen Victoria Park and Rotunda 1879. Queen Victoria’s 60th jubilee was celebrated here in 1897. This was the site for bandstand concerts, public speeches and gatherings.
2. Royal Exchange Hotel 1874. A fine example of a two storey country hotel overlooking the town square. Young Prince George, later George V stayed here on his visit to SA in 1880 when he was in the British Navy.
3 Ascot Theatre 1921. This early motion picture theatre (for silent movies) was designed in classical rather than Art Deco style. Note the symmetry of the façade, the pilasters (flat pillars) with small scrolls (volutes) on their tops, the pediment across the top of the building and the wonderful semicircular fanlight above the entrance doors. It has Art Nouveau stained glassed windows. It was built just before the mines faded and the economy of Kadina slumped.
4. Former Bank, now Currency Museum 1874. 19th century banks were designed to be solid and look impressive so as to inspire confidence for people to deposit money. This is a good example. It has fancy chimneys, a “blind” window above the main entrance to maintain symmetry and fine keystones above the door. It started life as SA Banking Company premises in 1874 and later it became the Union Bank. The bank used to handle over £5,000 weekly for the Wallaroo Mines. More recently in 1987 it became the ANZ Bank and now it is a museum. If you look back across the road from here you will see the old Kadina Railway Station which is now a private residence. It dates from around 1878.
5. Truscott House 1922. This amazing structure was built for the AMP Society in 1922 just before the mines closed. It is an example of a stripped classical building in dull cement render. It is similar in design to Old Parliament House in Canberra. It has remnants of classical columns across the front. Note the amazing sized front doors under the colonnade or veranda. Check out the carved wooden heads and scroll work in the doors- a typical feature of stripped classical buildings. It is probably the only example of this style of architecture in country SA. Goldsborough Mort eventually took over Truscott House and you might be able to discern their name on the side wall. Mr Truscott operated a grocery store on this site before the AMP built here. It has had many uses in the last 30 years.
6. Wombat Hotel 1860. This is the oldest building in Kadina. It began as a boarding house for miners but soon became a hotel (1862) to quench their thirsts. At that time it was the largest building in Kadina. It takes it name from the story of copper being discovered in a wombat hole near Kadina.
7. Former hairdressing Salon 1906.This Federation style commercial building features lots of wood, especially on the upper balcony. It also features some classical design elements such as a roof pediment with scrolls and other ornamentation on the symmetrical façade. The second floor was added in 1913.
8. Roman Catholic Church 1936. This impressive Gothic church was made from limestone from Elders Engine house at Wallaroo Mines. It is a good example of re-using facing stones just like the Egyptians did with the pyramids! Buttresses between the front doors are an unusual feature.
9. Former Savings Bank of South Australia 1908. This great building would be described by an architect as Federation Freestyle. It has mixed materials- sandstone at the bottom; limestone above that; plaster work and extensive use of wood for decoration. It has mixed architectural styles- Art Nouveau arched windows, wooden features and stained glass above the main doors; Tudor Gothic brick work with an oriel window ( which juts out from the upper floor) and chimneys in Gothic style; Classical style semi circular pediment along the roof line and main doors etc. It was built at the height of the mining period. It was designed by Port Pirie architect J.F. Jenkins and constructed by a Kadina builder.
10. Town Hall 1880, 1883 and 1903. This our departure point for Adelaide. The position overlooking Victoria Square befits its status in the town as a Town Hall but it actually began life as an Institute. The main building is 1880 with the upper floor added in 1883. It is in Classical style with triangular pediments, balustrade and symmetry. The clock tower with a French mansard style roof with wrought iron on the top was donated by a former resident Mr D Squibb in 1903. The building was acquired by the Corporation of Kadina from the institute movement in 1889.
11. Masonic Hall 1883. This hall is a good example of a Classical Revival style building and it is still in use by the Freemasons. It used to have perfect symmetry across the façade until the adjoining building was added to it. Note the fine pediment above the main entrance with a nice semicircular fan light. The doors are flanked with classical pilasters. For contrast the adjacent windows have a half rounded pediment above them. Masons favoured buildings that looked a bit like a Greek temple.
12. Anglican Church 1911. The church was finished in 1910 and officially dedicated by the Bishop of Adelaide, Dr Nutter in 1911. It replaced an earlier church built in 1865 which was demolished to make way for this one.
13. Bews Fountain 1892. Local politician David Bews worked hard to get reticulated water for Moonta, Wallaroo and Kadina and he is memorialised in all towns. Kadina has a small fountain to honour him. Beetaloo reservoir when it was built in 1890 was the largest reservoir in the southern hemisphere. It was eventually linked to Bundaleer reservoir near Jamestown and Baroota reservoir near Port Germein.
My wife's foot in plaster bandage... broke her heel into 4 pieces... another 4 weeks in this shape until next photoshoot in the hospital!
Books of Images and Wax, 3 day workshop
Pacific Northwest Art School, Whidbey Island, WA
Day 2
Kristina
This spectacular monument was built by the famous Subehdar (Governor) of the Punjab (1041/1632), Hakim Aliuddin (sometimes also referred to as Ilmuddin) in 1634. Hailing from the Punjab town of Chiniot on the banks of the river Chenab, Aliuddin had been employed by shahzada (prince) Khurram (later Emperor Shah Jahan) as a hakim (physician). He rendered great service to the prince during the various campaigns, and became one of the most trusted aides of the emperor—it was Aliuddin, along with Prince Shah Shuja, who was entrusted with the task of bringing the body of the deceased queen Mumtaz Mahal from Burhanpur to Agra to be buried in the Taj Mahal. Granted the title of Wazir Khan in 1620, he was raised to the mansab (title) of 5000 foot and 3000 horse (panj-hazari) on Shah Jahan's accession to the Mughal throne (1037/1628). It is the same Wazir Khan, who was entrusted with the building of the Khwabgah and Hammam-e-Badshahi in Lahore Fort, just before Shah Jahan embarked on his journey to Kashmir in the summer of 1634 from Lahore—his first visit to the Punjab capital after ascending the throne.
The mosque is located about a furlong from the Delhi gate and off the Kashmiri bazaar. Traversing the bustling bazaar through a gateway, beyond which the towering minaret of Wazir Khan's mosque beckons you, you turn left into the chowk named after the builder of the mosque. The chowk outside the mosque probably once formed an important part of the plan of the old city of Lahore. The mosque was so located in the centre of the city that all the major routes and bazaars were linked with it at right angles.
The chowk or jilau khana is enclosed by other Mughal structures incorporating overlooking balconies. Although much dilapidated today, they were built by Wazir Khan and bequeathed to the mosque for its maintenance. In view of the lack of a jamia masjid in the fort during Shah Jahan's reign—Badshahi Masjid was built later—Wazir Khan's mosque served as imperial Jamia Masjid, utilized by the emperor and his grandees and large retinue to offer Friday prayers. Until the construction of Badshahi Mosque, surely, the emperor and his entire retinue, exiting from Akbari Gateway of the Fort, traversed the route via Masti Gate Bazaar, Chunna Mandi Chowk, Kotwali Walla Bazaar and Chowk Kotwali to arrive at the wonderfully decorated Wazir Khan Mosque.
The mosque is situated on a raised platform and is reached by a flight of steps to the east. The imposing east doorway—a lofty aiwan or Timurid peshtatq with its decorative muqarnas semi-domical roof, flanked by decorative oriel-like projecting balconies on the upper level—beckons you into its octagonal vestibule. The six steps in this wide passage lead to a platform under the front niche of this gate; another step leads to the centre of a covered octagonal court, the central domed position of this gate. This central roofed area is connected by steps on all four sides: one enters from the east and north through a stepped passage, and from this same centre, opposite the east entrance, one crosses several steps to the west to enter the courtyard of the mosque.
To the north and south of the great octagonal forecourt stretch out galleries with double rows of arcade chambers, each with a sixteen feet wide passage between. This part of the mosque, known as the forecourt, was a novel innovation in the evolution of the mosque plan. The central octagonal court also has double rooms in each of its four corners, probably reserved for the gatekeepers of the mosque. This arrangement is repeated on the upper story of this position. The northern and the southern sides of the main court of the mosque have eleven rooms each, of which those adjacent to the aiwan and minars are double, and probably were reserved for the library attached to the mosque, indicating that apart from serving as a place of worship, this mosque served as a college.
As you step into the enormous sunlit courtyard, 160' x 130', you could hardly have prepared yourself for the splendid piece of architecture that presents itself. This oasis of beauty, elegance and calm overpowers you as you stand in the mosque courtyard, framed by the praying chamber on the west, khanas or study cloisters for religious scholars on the north and south, and the deorhi with entrance cubicles on the east. The whole building presents a dazzling view of tile-mosaic and frescoes of extraordinary beauty, which could hardly have been imagined when you battled through the narrow winding streets filled with jostling crowds.
The arrangement of the 5-bay single aisle prayer chamber 130' long, framed by simple cusped arches carried on deep piers, is reminiscent of the Maryam Zamani (Begam Shahi) Mosque. The central dome, rising higher than others, accents the elegantly detailed mihrab, the ingenious construction of double domes carrying the voice of the imam to the extremity of the courtyard.
The arrangement of kalib kari, a tracery of pendentives, is used in large as well as intricate beehive patterns, giving a special flavour to the building. Its stately octagonal minarets rising to a height of over 100 feet and defining the four extremities of the courtyard, consist of several stages and are capped with a kiosk (chattri) configuration terminated with fluted cupolas, all profusely decorated with the best of Shahjahani tile mosaic. The work was supervised by leading Persian artists who had come to India on the orders of Shah Jahan. One of its most attractive features is the colorful floral and calligraphic designs in glazed tile mosaic work, said to be introduced from Thatta during the 16th century. It is in the decorated panels of this mosque that the cypress as a motif on enameled mosaic work appears for the first time. The improved octagonal minarets, among the earliest of this type in Mughal architecture, are another distinctive feature of the mosque.
The superb calligraphy by well known khattats (master calligraphers) in rendering verses from the Holy Quran and Persian poetry in elegant nastaliq, naskh and tughra forms is itself a treat. The extraordinary blend of calligraphy, geometrical forms and floral decoration along with large-scale scintillating kashi kari (tile mosaic), fresco painting, stone and chunam (plaster) decoration, with taza kari (brick outline fresco) lends the mosque a character entirely its own. Lockwood Kipling was not far wrong when he declared "This beautiful building is in itself a school of design."
In the basement of the courtyard of the mosque is situated the shrine of the saint Syed Muhammad Ishaq Gazruni, who died in the 14th century.
My ankle is broken and I've had an operation on it a month ago now, still in plaster and a bit fed up so decided to decorate it with my crochet flowers. Note the colour purple/green, I can choose every time they change the plaster so thought of Wimbledon. which I've been following last couple of weeks.
painted plaster
1st Century AD
Pompeii
Theater imagery and masks were common themes in peristyle frescoes and sculpture. These two masks are of a common character found in Roman tragedy. Their image would have been balanced by another, probably of two comedy masks.
Cathedral square 42; Kilian square 4
Dom St. Kilian. Catholic St. Kilian cathedral, cruciform three-naved pillar basilica with Westwork and choir flank towers, retracted choir with round apse, plaster masonry with Romanesque and neo-Romanesque sandstone structurings, foundation second half 9th century, Westwork first half of the 11th century, new construction of the Basilica second half 11th century, renovation in the 12th century, redesigning of eastern parts first half of the 13th century, vaulting 1608, Baroque stucco cladding by Pietro Magno early 18th century, after war destruction simplistic restoring until 1967; with equipment; sacristy attachments, two symmetrical one-storey hipped roof extensions with sandstone outline, Baroque, Balthasar Neumann, 1749; Grave chapel, so-called Schönborn chapel, domed central building with lantern, square sandstone building with portal of figures, Baroque, Balthasar Neumann after designs of Maximilian von Welsch under the influence of a design by Johann Lucas von Hildebrandt, 1721-36; with equipment; Cathedral cloister, four-wing building with tracery windows, late Gothic, 1420-53; with equipment; chapter house with mortuary, two-storey pitched roof attachment, late Gothic, 1458-66, restoring after 1945 with changes to the upper floor D-6-63-000-104
Domstraße 42; Kiliansplatz 4
Dom St. Kilian Katholischer St.-Kiliansdom, kreuzförmige dreischiffige Pfeilerbasilika mit Westwerk und Chorflankentürmen, eingezogener Chor mit Rundapsis, Putzmauerwerk mit romanischen und neoromanischen Sandsteingliederungen, Gründung zweite Hälfte 9. Jahrhundert, Westwerk erste Hälfte 11. Jahrhundert, Neubau der Basilika zweite Hälfte 11. Jahrhundert, Erneuerung im 12. Jahrhundert, Neugestaltung der Ostteile erste Hälfte 13. Jahrhundert, Einwölbung 1608, barocke Stuckverkleidung durch Pietro Magno frühes 18. Jahrhundert, nach Kriegszerstörung vereinfachende Wiederherstellung bis 1967; mit Ausstattung; Sakristeianbauten, zwei symmetrische eingeschossige Walmdachanbauten mit Sandsteingliederung, Barock, Balthasar Neumann, 1749; Grabkapelle, sogenannte Schönbornkapelle, überkuppelter Zentralbau mit Laterne, Sandsteinquaderbau mit Figurenportal, Barock, Balthasar Neumann nach Plänen von Johann Maximilian von Welsch unter Einfluss eines Entwurfs von Johann Lucas von Hildebrandt, 1721–36; mit Ausstattung; Domkreuzgang, vierflügeliger Bau mit Maßwerkfenstern, spätgotisch, 1420–53; mit Ausstattung; Kapitelhaus mit Sepultur, zweigeschossiger Satteldachanbau, spätgotisch, 1458–66, Wiederherstellung nach 1945 unter Veränderung des Obergeschosses D-6-63-000-104
de.wikipedia.org/wiki/Liste_der_Baudenkm%C3%A4ler_in_W%C3...
Purchased by the Pacific Imperial Railway (aka PIR) the successor in interest to the Carrizo Gorge Railway, these three former CSX GP40-2's sit rotting away in the sun on the end of the Desert Line at Plaster City California. Word has it, that these three GP-40's are essentially useless to the PIR because they are grossly under-powered for their intended purpose of pulling double stacked well cars through the gorge to Division on the Mexican border just South and West of Jacumba. Currently, the PIR is involved in a number of management and money problems, the most recent being their newest president (they change like the seasons) is in trouble with the Securities and Exchange Commission. Interestingly enough, a year ago these units were tied down about a 1/2 mile east of their current position and they had to be moved when the UP (the railroad that brought the units to Plaster City) told the PIR guys to get their train off the UP track. Additionally, rumor has it that the units remain unpaid for by the PIR and the former owners are not as of yet, able or interested in going through the grief and expense of reclaiming them from Plaster City. A noted observation from a year ago in 2014, it appears that when the units were moved off the UP track, they were operated a few miles westward where they grabbed four derelict box cars from a string of about 20 sitting on a siding closer to Interstate 8. As to why the operators who moved the three units needed the box cars brought down to Plaster City, who knows. Perhaps it was to have some extra axles to tie down the train because things in the desert are likely to move by themselves in the night (the mind set after the Dubber's Spur incident) or perhaps the PIR guys felt it was necessary to create the illusion that a railroad is actually working out there, and this was a train that was just tied down after a day of switching. It makes one wonder.....
(STBX #4500 EMD EMD GP40-2)
Carrizo Gorge Railway in Plaster City at MP 129
Plaster City - Imperial County, California.
(January 10, 2015)
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Andrew Barclay 0-4-0 saddle tank 'Ken Boazman' (W/No.2343 built in 1953), provided new to the company, leaves a smoke trail across the surrounding fields as it raises steam at British Gypsum Ltd, Thistle Plaster Works, Kirkby Thore, during the early 1960s. The works, connected to the Settle & Carlisle line, still receives in-bound containerised product by rail, but does not have an internal shunting locomotive.
© Gordon Edgar collection - all rights reserved. Please do not download, copy, or use this image without my explicit prior permission
14th Century
from a new demolished palace in Leon
Museo Arqueológico Nacional, Madrid
20240324_140634
this is the plaster ceiling in a delightful place called the Parkside Candy Shop in Buffalo, NY; besides being a place to buy wonderful candies and chocolates by the pound, it also is a soda fountain and serves sandwiches
if you've ever seen the Hollywood film "The Natural" you may remember the scene in which Robert Redford and Glenn Close dine here