ORNAMENTAL PLASTER WALL and CEILING
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Warmont Castle is located north of the village along the main road. Huys te Warmont is built on the site of a medieval castle dating from 1250, incorporating traces of medieval architecture.The original timber structures were replaced by buildings that were subsequently damaged by fire in the 14th, 15th and 16th centuries and rebuilt each time on the old foundations.A 16th-century drawing makes it possible to reconstruct the medieval original, when the castle consisted of a square ground-plan of four wings and four corner towers set around an interior court, the whole surrounded by a moat. The living-quarters were in the north and east wings. The massive west tower was once assumed to have been the keep, but the thickness of its walls and its dimensions are too small for this purpose. In 1629 the castle was given a new entrance range by Salomon de Bray, featuring pilasters and a broad pediment. The south tower, originally octagonal, was replaced by a square one after 1650. Owing to the various rebuilding projects, Warmond acquired an irregular character in the course of the centuries. In 1780 the castle was extensively rebuilt. Floor levels and the proportions of the rooms were altered, and the walls were stuccoed. Medieval remains were hidden by new walls and plasterwork; de Bray’s additions disappeared.
The house had been the home of the Dryden family since its construction in the 16th century; the manor house was built in approximately 1550 with additions in the 1590s, in the 1630s and 1710.The interior of the house is noted for its Elizabethan wall paintings and its Jacobean plasterwork. It has remained essentially unchanged since 1710 and is presented as it was during the time of Sir Henry Edward Leigh Dryden (1818–1899), a Victorian antiquary with an interest in history. His daughter, the historian and photographer Alice Dryden (1866–1956) was born in the house and lived there for 33 years. She moved away after her father died, since a woman could not inherit the estate and it went to her uncle, Sir Alfred Erasmus Dryden
Entrada al patio principal del maravilloso palacio. Recrea la vista en este espectacular patio principal del siglo XV, una de las mejores creaciones del arte mudéjar sevillano y artesonados renacentistas, de primorosas yeserías, columnas y arcos de medio punto adornados, donde podrás apreciar una colección de arte romano, fruto del coleccionismo de la familia durante siglos. Otras piezas arqueológicas pueblan los diferentes jardines de tesoros botánicos…
Entrance to the main courtyard of the wonderful palace. Recreate the view in this spectacular main courtyard of the fifteenth century, one of the best creations of Sevillian Mudejar art and Renaissance coffered ceilings, with exquisite plasterwork, columns and ornate semicircular arches, where you can appreciate a collection of Roman art, the result of the collecting of the family for centuries. Other archaeological pieces populate the different gardens of botanical treasures…
Entrada al pati principal del meravellós palau. Recrea la vista en aquest espectacular pati principal del segle XV, una de les millors creacions de l'art mudèjar sevillà i enteixinats renaixentistes, de primoroses guixeries, columnes i arcs de mig punt adornats, on podràs apreciar una col·lecció d'art romà, fruit del col·leccionisme de la família durant segles. Altres peces arqueològiques poblen els diferents jardins de tresors botànics…
Ham House, with Coade stone statue of Father Thames, by John Bacon the elder, in the foreground
Ham House sits on the banks of the River Thames in Richmond. It was built in 1610 for Sir Thomas Vavasour; altered in 1637-9 by William Murray, Earl of Dysart; and extended and remodelled in the 1670s by Murray’s daughter, Elizabeth and her second husband John Maitland, Duke of Lauderdale. Their architect was William Samwell. The Lauderdales transformed Ham into one of the grandest Stuart houses in England. The interiors are richly decorated with baroque ceiling murals by Antonio Verrio, Caroline plasterwork and rare ‘paned’ damask hangings. There is a handsome grained and gilded staircase with a carved and pierced balustrade containing trophies of arms. The library dates from the 1670s and is one of the earliest purpose-built country house libraries. There is an 18-acre garden designed by the Lauderdales which is one of the oldest surviving garden layouts in Britain.
Entrada al patio principal del maravilloso palacio. Recrea la vista en este espectacular patio principal del siglo XV, una de las mejores creaciones del arte mudéjar sevillano y artesonados renacentistas, de primorosas yeserías, columnas y arcos de medio punto adornados, donde podrás apreciar una colección de arte romano, fruto del coleccionismo de la familia durante siglos. Otras piezas arqueológicas pueblan los diferentes jardines de tesoros botánicos…
Entrance to the main courtyard of the wonderful palace. Recreate the view in this spectacular main courtyard of the fifteenth century, one of the best creations of Sevillian Mudejar art and Renaissance coffered ceilings, with exquisite plasterwork, columns and ornate semicircular arches, where you can appreciate a collection of Roman art, the result of the collecting of the family for centuries. Other archaeological pieces populate the different gardens of botanical treasures…
Entrada al pati principal del meravellós palau. Recrea la vista en aquest espectacular pati principal del segle XV, una de les millors creacions de l'art mudèjar sevillà i enteixinats renaixentistes, de primoroses guixeries, columnes i arcs de mig punt adornats, on podràs apreciar una col·lecció d'art romà, fruit del col·leccionisme de la família durant segles. Altres peces arqueològiques poblen els diferents jardins de tresors botànics…
Ham House
Ham House sits on the banks of the River Thames in Richmond. It was built in 1610 for Sir Thomas Vavasour; altered in 1637-9 by William Murray, Earl of Dysart; and extended and remodelled in the 1670s by Murray’s daughter, Elizabeth and her second husband John Maitland, Duke of Lauderdale. Their architect was William Samwell. The Lauderdales transformed Ham into one of the grandest Stuart houses in England. The interiors are richly decorated with baroque ceiling murals by Antonio Verrio, Caroline plasterwork and rare ‘paned’ damask hangings. There is a handsome grained and gilded staircase with a carved and pierced balustrade containing trophies of arms. The library dates from the 1670s and is one of the earliest purpose-built country house libraries. There is an 18-acre garden designed by the Lauderdales which is one of the oldest surviving garden layouts in Britain.
Warmont Castle is located north of the village along the main road. Huys te Warmont is built on the site of a medieval castle dating from 1250, incorporating traces of medieval architecture.The original timber structures were replaced by buildings that were subsequently damaged by fire in the 14th, 15th and 16th centuries and rebuilt each time on the old foundations.A 16th-century drawing makes it possible to reconstruct the medieval original, when the castle consisted of a square ground-plan of four wings and four corner towers set around an interior court, the whole surrounded by a moat. The living-quarters were in the north and east wings. The massive west tower was once assumed to have been the keep, but the thickness of its walls and its dimensions are too small for this purpose. In 1629 the castle was given a new entrance range by Salomon de Bray, featuring pilasters and a broad pediment. The south tower, originally octagonal, was replaced by a square one after 1650. Owing to the various rebuilding projects, Warmond acquired an irregular character in the course of the centuries. In 1780 the castle was extensively rebuilt. Floor levels and the proportions of the rooms were altered, and the walls were stuccoed. Medieval remains were hidden by new walls and plasterwork; de Bray’s additions disappeared.
The house had been the home of the Dryden family since its construction in the 16th century; the manor house was built in approximately 1550 with additions in the 1590s, in the 1630s and 1710.The interior of the house is noted for its Elizabethan wall paintings and its Jacobean plasterwork. It has remained essentially unchanged since 1710 and is presented as it was during the time of Sir Henry Edward Leigh Dryden (1818–1899), a Victorian antiquary with an interest in history. His daughter, the historian and photographer Alice Dryden (1866–1956) was born in the house and lived there for 33 years. She moved away after her father died, since a woman could not inherit the estate and it went to her uncle, Sir Alfred Erasmus Dryden
The house had been the home of the Dryden family since its construction in the 16th century; the manor house was built in approximately 1550 with additions in the 1590s, in the 1630s and 1710.The interior of the house is noted for its Elizabethan wall paintings and its Jacobean plasterwork. It has remained essentially unchanged since 1710 and is presented as it was during the time of Sir Henry Edward Leigh Dryden (1818–1899), a Victorian antiquary with an interest in history. His daughter, the historian and photographer Alice Dryden (1866–1956) was born in the house and lived there for 33 years. She moved away after her father died, since a woman could not inherit the estate and it went to her uncle, Sir Alfred Erasmus Dryden
Something a little different for this post. This is plasterwork above a door in Ålesund, Norway. Mirrored in Photoshop.
Thanks for viewing!
Warmont Castle is located north of the village along the main road. Huys te Warmont is built on the site of a medieval castle dating from 1250, incorporating traces of medieval architecture.The original timber structures were replaced by buildings that were subsequently damaged by fire in the 14th, 15th and 16th centuries and rebuilt each time on the old foundations.A 16th-century drawing makes it possible to reconstruct the medieval original, when the castle consisted of a square ground-plan of four wings and four corner towers set around an interior court, the whole surrounded by a moat. The living-quarters were in the north and east wings. The massive west tower was once assumed to have been the keep, but the thickness of its walls and its dimensions are too small for this purpose. In 1629 the castle was given a new entrance range by Salomon de Bray, featuring pilasters and a broad pediment. The south tower, originally octagonal, was replaced by a square one after 1650. Owing to the various rebuilding projects, Warmond acquired an irregular character in the course of the centuries. In 1780 the castle was extensively rebuilt. Floor levels and the proportions of the rooms were altered, and the walls were stuccoed. Medieval remains were hidden by new walls and plasterwork; de Bray’s additions disappeared.
The house had been the home of the Dryden family since its construction in the 16th century; the manor house was built in approximately 1550 with additions in the 1590s, in the 1630s and 1710.The interior of the house is noted for its Elizabethan wall paintings and its Jacobean plasterwork. It has remained essentially unchanged since 1710 and is presented as it was during the time of Sir Henry Edward Leigh Dryden (1818–1899), a Victorian antiquary with an interest in history. His daughter, the historian and photographer Alice Dryden (1866–1956) was born in the house and lived there for 33 years. She moved away after her father died, since a woman could not inherit the estate and it went to her uncle, Sir Alfred Erasmus Dryden
1655: Thomas Foley of Stourbridge, Worcestershire bought the Great Witley Estate (amongst other properties and lands) from the Russell family of Strensham, Worcestershire.
Thomas Foley, now the 1st Baron Foley grandson of above decided to build a new church but died in 1732. His wife Lady Mary Foley and their son Thomas, 2nd Baron Foley at their own expense continued with the project. Lady Mary died in December 1735 just before the church was consecrated and the 2nd Lord Foley continued with the completion of the church including the memorial monument sculpted by Michael Rysbrack and dedicated to his parents and their five children who predeceased them. The cost of the monument was £2000.
At this point in time the interior of the church was quite plain with plain flat ceiling, plain walls and clear window glass. There were box pews, a high pulpit including a sounding board above, a lectern, and the reredos panels were wood with the Lord’s Prayer, Ten Commandments and the Creed written on them.
1747: The church was transformed. 2nd Baron Foley acquired by private sale from the Duke of Chandos’ Canons Palace, Edgeware, near London; the ten stained glass windows and the oil on canvas paintings which were placed insitu on a new curved ceiling, purpose built to hold the central painting ‘The Ascension’. This painting is stretched onto a wooden curved frame. The organ and pipes were also included in the private sale. The moulds for the wall and ceiling decorations were taken from the original designs of the plasterwork at Canons and recreated from papier mache. Papier mache had just been perfected by Henry Clay of Birmingham.
Information by Witley Parish Church.
Effects by William Walton & Topaz.
www.prolocosantagatafeltria.com/en/petrella_guidi.php
(italiano) www.prolocosantagatafeltria.com/petrella_guidi.php
A Small Place to Discover
On the right bank of the Marecchia river rises the enchanting village of Petrella Guidi, now almost deserted but with a nearly intact medieval structure, dominated by a ruined fortress that features a grand tower built by the Tiberti family between the twelfth and thirteenth centuries.
On the walls of this tower, the original white plasterwork is still intact in many places, testifying the fact that ancient fortifications were plastered and painted, rendering the colours of the family heraldry clearly visible from the countryside. The Malatesta family coat of arms (of Galeotto) is preserved on the gate of wall, flanked by the coats of arms of the Oliva family, which held it with Malatesta protection until the beginning of the fifteenth century, and of the Church (the crossed keys).
Geordie, by Fabrizio de Andrè:
Original Version:
As Redrefield it was the principal manor of the six manors held in 1086 (as listed in the Domesday Book) by the Norman knight Anchetil de Greye (c.1052- post-1086), ancestor of the prominent Grey family.
The mainly Tudor-style house has a courtyard and gardens. The walled gardens contain old-fashioned roses and wisteria, an ornamental vegetable garden, maze (laid to grass with brick paths, dedicated by Archbishop Robert Runcie on 12 October 1981) and ice house. Within its grounds are the fortified tower built circa 1347, the only remains of the medieval castle, overlooking the gardens and surrounding countryside, as well as a Tudor wheelhouse.
The house remains furnished as a family home, with some outstanding 18th-century plasterwork interiors. It is a Grade 1 listed building
The 1872 Central Synagogue on Lexington Avenue and 55th St in Manhattan.The architectural style is called Moorish Revival.The construction of the synagogue was intended to impress,and impressive it is.The two towers rise 122 feet from the ground and are topped by gilded and poly chromatic stone onion domes.A huge central rose window dominates the Lexington Ave side facade while stained-glass windows are on the side.The architect used horizontal contrasting bands of stone,Moorish stones and exuberant roofline crenelations (the notches in the parapet on top) for dramatic effect.Fire damaged the synagogue in 1886,but the interior was restored using the original 1872 building plans.In 1998,another fire destroyed the roof which collapsed into the interior.A determined congregation called upon restoration architect Hugh Hardy,who was able to restore and reproduce decorative plasterwork,stained glass,original tiles,and pews and raise the synagogue back up from the ashes nyc-architecture.com/UES/UES004.htm daytoninmanhattan.blogspot.com/2010/05/back-from-ashes-ce...</a
Being a Sunday, thought I'll post this interior shot of the Dom or cathedral. It was crowded and I didn't take many photos there.
Ham House sits on the banks of the River Thames in Richmond. It was built in 1610 for Sir Thomas Vavasour; altered in 1637-9 by William Murray, Earl of Dysart; and extended and remodelled in the 1670s by Murray’s daughter, Elizabeth and her second husband John Maitland, Duke of Lauderdale. Their architect was William Samwell. The Lauderdales transformed Ham into one of the grandest Stuart houses in England. The interiors are richly decorated with baroque ceiling murals by Antonio Verrio, Caroline plasterwork and rare ‘paned’ damask hangings. There is a handsome grained and gilded staircase with a carved and pierced balustrade containing trophies of arms. The library dates from the 1670s and is one of the earliest purpose-built country house libraries. There is an 18-acre garden designed by the Lauderdales which is one of the oldest surviving garden layouts in Britain.
The Patio de las Muñecas is the main courtyard of the private area in the Mudejar Palace, of which the first floor is preserved. In the seventeenth-century, the upper floor was completed, which was modified by Queen Elizabeth II in the middle of the nineteenth-century to adapt it to a royal residence, a function that continues being fulfilled today.
Several hypotheses support this courtyard name. On the one hand, there are experts who think that the name “Dolls” is given because it was the place where infants were raised, while others believe that it is because of its reduced dimensions. However, the most widespread explanation is that the name comes from some small faces reliefs that are sculpted at the arches base and look like children or “dolls”.
The courtyard is a great little jewel of Mudejar art with plasterwork inspired by the Alhambra of Granada based on atauriques, laceries, arabesques and sebka cloth. Despite the anachronism of its elements, columns supporting the galleries arches from Medina Azahara and the upper floor balustrade or the muqarnas cornice from the nineteenth-century, the set maintains the inspiration and exoticism of the Al-Ándalus buildings.
The Litomyšl Castle is an outstanding example of an arcaded Renaissance country residence, a type of structure first invented in Italy and then developed in the Czech Lands to create a mature form with special architectural value. Situated at an important communications junction on the main route between Bohemia and Moravia, in the Pardubice region, Litomyšl was a fortified centre on the hill where the castle now stands.
The work on the Renaissance building began in 1568 under the supervision of Jan Baptista Avostalis (Giovanni Battista Avostalli), who was soon joined by his brother Oldřich (Ulrico). Most of the work had been completed by 1580. The castle interior underwent alterations between 1792 and 1796, based on the designs of Jan Kryštof Habich, but he was careful to preserve the fine building’s Renaissance appearance with impressive gables.
The castle is a four-winged, three-storeyed structure with an asymmetrical disposition. The western wing is the largest, whereas the southern wing is a two-storeyed arcaded gallery, closing the second square courtyard (a feature that is unique to Litomyšl). The groin-vaulted arcading continues around the western and eastern sides of the courtyard. The south-eastern corner of the eastern wing contains the castle chapel. One of the most striking features in the interior of the castle consists in the fine neoclassical theatre from 1796-97 in the western wing. The original painted decoration of the auditorium, stage decorations and stage machinery have survived intact. The house has richly decorated interiors, basically Renaissance in form and with lavish late Baroque or neoclassical ornamentation in the form of elaborate plasterwork and wall and ceiling paintings.
The buildings associated with the castle were all built or rebuilt during the course of the modifications that the castle itself underwent over time, and this is reflected in their architectural styles. Among the ancillary buildings, the most interesting is the Brewery, the birthplace of Bedřich Smetana, one of the greatest Czech composers of all time. It lies to the south of the first courtyard. Originally constructed to complement the castle, with Renaissance sgraffito decoration, it was remodelled by the well-know
n architect František Maximilián Kaňka after the 1728 fire and received what is its present appearance. The ensemble also includes the former French formal garden with its saletta (pavilion) in the Baroque style and an 18th-century English-style park. (whc.unesco.org/en/list/901/)
The Carmona Museum and Interpretation Centre is located in the 16th century Marqués de las Torres palace-house, where the Mudejar-style decorative plasterwork on the balcony mouldings are particularly worthy of note.
This house is an excellent example of palace architecture in Carmona.
The main central courtyard has a square floor design and the rooms are organized around it, over two floors.
Hanging on the stairs, there is a remarkable painting of the Virgen Grace.
Claustro gótico de San Fernando, siglo XIII.
Fue construido hacia el primer cuarto del siglo XIII. Sus galerías están cubiertas por bóvedas de cañón, reforzadas por arcos fajones que se apoyan en ménsulas de decoración vegetal hacia el interior y lisas hacia el exterior.
En algunas zonas se conservan restos de yeserías hispanomusulmanas policromadas con motivos de pavos reales, heráldica, atauriques y lacerías.
Cada panda o lado está recorrido por arquerías apuntadas, cuyos arcos están agrupados de tres en tres entre machones.
En este claustro pueden admirarse algunas portadas y algunas puertas de madera, sobre todo una de origen musulmán, del siglo XI, procedente de la conquista de Almería.
Gothic cloister of San Fernando, 13th century.
It was built around the first quarter of the 13th century. Its galleries are covered by barrel vaults, reinforced by transverse arches that rest on corbels with vegetal decoration towards the interior and smooth towards the exterior.
In some areas, remains of polychrome Hispano-Muslim plasterwork with motifs of peacocks, heraldry, atauriques and lacework are preserved.
Each panda or side is crossed by pointed arches, whose arches are grouped three by three between buttresses.
In this cloister you can admire some doorways and some wooden doors, especially one of Muslim origin, from the 11th century, from the conquest of Almería.
Claustro gótico de San Fernando, siglo XIII.
Fue construido hacia el primer cuarto del siglo XIII. Sus galerías están cubiertas por bóvedas de cañón, reforzadas por arcos fajones que se apoyan en ménsulas de decoración vegetal hacia el interior y lisas hacia el exterior.
En algunas zonas se conservan restos de yeserías hispanomusulmanas policromadas con motivos de pavos reales, heráldica, atauriques y lacerías.
Cada panda o lado está recorrido por arquerías apuntadas, cuyos arcos están agrupados de tres en tres entre machones.
En este claustro pueden admirarse algunas portadas y algunas puertas de madera, sobre todo una de origen musulmán, del siglo XI, procedente de la conquista de Almería.
Gothic cloister of San Fernando, 13th century.
It was built around the first quarter of the 13th century. Its galleries are covered by barrel vaults, reinforced by transverse arches that rest on corbels with vegetal decoration towards the interior and smooth towards the exterior.
In some areas, remains of polychrome Hispano-Muslim plasterwork with motifs of peacocks, heraldry, atauriques and lacework are preserved.
Each panda or side is crossed by pointed arches, whose arches are grouped three by three between buttresses.
In this cloister you can admire some doorways and some wooden doors, especially one of Muslim origin, from the 11th century, from the conquest of Almería.
Claustro gótico de San Fernando, siglo XIII.
Fue construido hacia el primer cuarto del siglo XIII. Sus galerías están cubiertas por bóvedas de cañón, reforzadas por arcos fajones que se apoyan en ménsulas de decoración vegetal hacia el interior y lisas hacia el exterior.
En algunas zonas se conservan restos de yeserías hispanomusulmanas policromadas con motivos de pavos reales, heráldica, atauriques y lacerías.
Cada panda o lado está recorrido por arquerías apuntadas, cuyos arcos están agrupados de tres en tres entre machones.
En este claustro pueden admirarse algunas portadas y algunas puertas de madera, sobre todo una de origen musulmán, del siglo XI, procedente de la conquista de Almería.
Gothic cloister of San Fernando, 13th century.
It was built around the first quarter of the 13th century. Its galleries are covered by barrel vaults, reinforced by transverse arches that rest on corbels with vegetal decoration towards the interior and smooth towards the exterior.
In some areas, remains of polychrome Hispano-Muslim plasterwork with motifs of peacocks, heraldry, atauriques and lacework are preserved.
Each panda or side is crossed by pointed arches, whose arches are grouped three by three between buttresses.
In this cloister you can admire some doorways and some wooden doors, especially one of Muslim origin, from the 11th century, from the conquest of Almería.
LAS CLAUSTRILLAS
Recibe este nombre desde antiguo por comparación con el claustro más grande de San Fernando.
Las Claustrillas pertenece a las partes más antiguas conservadas en el monasterio.
Se fecha entre 1180 y 1190.
Sigue un pleno concepto románico de arquerías de medio punto. Es la única parte del monasterio que pudo ver finalizada antes de su muerte, en 1214, su fundador Alfonso VIII.
Al parecer la vida del monasterio comenzó alrededor de este claustro. Pudo formar parte de las construcciones del palacio que el rey poseía en este paraje. El rey Alfonso VIII donó ese palacio para transformarlo en monasterio.
En cualquier caso, comprende algunos de los restos más antiguos del conjunto monástico.
A las Claustrillas se accede a través de un pasillo cubierto por un magnífico artesonado de yeserías mudéjares, que nace en el ángulo suroriental del claustro gótico de San Fernando.
El claustro es un espacio cuadrangular, con cubiertas de madera en las galerías. Los arcos reposan sobre esbeltas columnas pareadas que presentan unos anchos capiteles de tambor alto, decorados con motivos vegetales.
Un macizo pilar, con una aspillera en su parte inferior, divide en dos tramos cada una de las galerías del claustro. Los pilares de las crujías septentrionales y occidental muestran una fantástica decoración en la que se pueden reconocer los elementos de una típica ciudad románica de la época: murallas almenadas, torres, iglesias y casas en las que se abren diminutos arcos de herradura.
It has received this name since ancient times by comparison with the largest cloister in San Fernando.
Las Claustrillas belongs to the oldest parts preserved in the monastery.
It is dated between 1180 and 1190.
It follows a full Romanesque concept of semicircular arches. It is the only part of the monastery that could be seen completed before the death of its founder Alfonso VIII in 1214.
Apparently the life of the monastery began around this cloister. It could have been part of the palace constructions that the king owned in this area. King Alfonso VIII donated that palace to transform it into a monastery.
In any case, it includes some of the oldest remains of the monastic complex.
The Claustrillas are accessed through a corridor covered by a magnificent coffered ceiling of Mudejar plasterwork, which originates in the southeastern corner of the Gothic cloister of San Fernando.
The cloister is a quadrangular space, with wooden roofs in the galleries. The arches rest on slender paired columns that have wide, high-drum capitals, decorated with plant motifs.
A solid pillar, with a loophole in its lower part, divides each of the galleries of the cloister into two sections. The pillars of the northern and western bays show a fantastic decoration in which you can recognize the elements of a typical Romanesque city of the time: crenellated walls, towers, churches and houses in which tiny horseshoe arches open.
Compared to the simple door I posted yesterday, this is a much grander doorway in Chefchaouen, Morocco
St. Pancras Renaissance Hotel is located right between Kings Cross Station and the British Library, London. Housed in a beautifully restored Victorian building, it was originally opened in 1873 as the Midland Grand Hotel
The hotel features 245 guest rooms and suites, each of which is elegantly decorated and furnished with modern amenities. The hotel also has a range of dining options, including the Booking Office Bar & Restaurant, which is situated in the former ticket hall of St. Pancras station, and the Hansom Lounge, which is housed in the former carriage driveway.
But the hotel is mostly known for its sublime staircase.
The staircase was originally built in 1873 as part of the Midland Grand Hotel, which was designed by the British architect Sir George Gilbert Scott. The staircase features intricate ironwork, marble columns, and ornate plasterwork, all of which have been meticulously restored to their original condition during the hotel's recent £200 million renovation. Its 83 steps are made of marble.
The staircase's soaring ceilings are imposing, as are the original stained-glass windows and ornate plasterwork. The sweeping staircase in the hotel's main lobby is a popular backdrop for photo shootings. The combination of the staircase carpets and wallpaper creates an atmosphere of grandeur that envelops you as you traverse the hotel's interiors.
The staircase is flanked by marble columns and is illuminated by a large skylight overhead. The skylight allows natural light to flood the space and adds to the staircase's grandeur. The balustrade is made up of intricately detailed cast ironwork that is painted in a rich, dark color, adding to the staircase's Gothic aesthetic.
Popular Filming Location:
The staircase, is also known for being used as a filming location for several movies and music videos, including:
*** The Spice Girls' music video for their hit single "Wannabe" in 1996.
*** A famous scene in the Harry Potter films, where it was used as a filming location for the Hogwarts staircase in Harry Potter and the Chamber of Secrets. The scene features Harry, Ron, and Hermione running up the stairs to the Gryffindor common room
***The 1999 James Bond film "The World Is Not Enough." In the film, the staircase appears in a scene where Bond, played by Pierce Brosnan, meets with the character Sir Robert King, played by David Calder. They discuss a plan to transport a large sum of money, and the scene is filled with tension and intrigue. The staircase's grandeur and beauty add to the overall sophistication and elegance of the film's setting and is a fitting location for the meeting between Bond and Sir Robert King.
CAPILLA DE SANTIAGO.
De estilo mudéjar, construida en piedra y ladrillo. Tiene una puerta de arco túmido (llamado también arco árabe), un friso de yesería mudéjar y un artesonado notable.
Se accede al presbiterio por otro túmido, donde se encuentra una imagen de Santiago del siglo XIII, articulada, que fue utilizada durante siglos para las ceremonias de armar caballeros a reyes y príncipes, costumbre que inició Fernando III en 1219, y después repitieron muchos otros, como Alfonso X en 1254, el príncipe Eduardo -hijo de Enrique de Inglaterra- en 1255 o Juan I en 1379.
El rey pasaba toda la noche anterior en la capilla rezando y vestido de blanco, con la única iluminación de una vela. De ahí las expresiones de pasar la noche en blanco, o en vela, para expresar una noche sin dormir.
CHAPEL OF SANTIAGO.
Mudejar style, built in stone and brick. It has a door with a tumido arch (also called an Arab arch), a Mudejar plasterwork frieze and a notable coffered ceiling.
The presbytery is accessed through another tumido, where there is an articulated image of Santiago from the 13th century, which was used for centuries for the ceremonies of knighting kings and princes, a custom that Ferdinand III began in 1219, and later repeated by many others. , like Alfonso
The king spent the entire previous night in the chapel praying and dressed in white, with the only lighting from a candle. Hence the expressions in Spanish of "spending a night in white", or "staying a night in candle", to express a sleepless night.
CAPILLA DE SANTIAGO.
De estilo mudéjar, construida en piedra y ladrillo. Tiene una puerta de arco túmido (llamado también arco árabe), un friso de yesería mudéjar y un artesonado notable.
Se accede al presbiterio por otro túmido, donde se encuentra una imagen de Santiago del siglo XIII, articulada, que fue utilizada durante siglos para las ceremonias de armar caballeros a reyes y príncipes, costumbre que inició Fernando III en 1219, y después repitieron muchos otros, como Alfonso X en 1254, el príncipe Eduardo -hijo de Enrique de Inglaterra- en 1255 o Juan I en 1379.
El rey pasaba toda la noche anterior en la capilla rezando y vestido de blanco, con la única iluminación de una vela. De ahí las expresiones de pasar la noche en blanco, o en vela, para expresar una noche sin dormir.
CHAPEL OF SANTIAGO.
Mudejar style, built in stone and brick. It has a door with a tumido arch (also called an Arab arch), a Mudejar plasterwork frieze and a notable coffered ceiling.
The presbytery is accessed through another tumido, where there is an articulated image of Santiago from the 13th century, which was used for centuries for the ceremonies of knighting kings and princes, a custom that Ferdinand III began in 1219, and later repeated by many others. , like Alfonso
The king spent the entire previous night in the chapel praying and dressed in white, with the only lighting from a candle. Hence the expressions in Spanish of "spending a night in white", or "staying a night in candle", to express a sleepless night.
Jacobean plasterwork in the Long Gallery of Blickling Hall. Dates to 1620s. Long galleries were a common feature in houses of that period and were intended for exercise in bad weather.
Capilla de Santiago.
Situada en el entorno de las claustrillas, pero independiente, el templo de Santiago es la construcción más oriental del monasterio. Su fábrica es de ladrillo, con armadura que cubre la nave y otra en forma de artesa con almizates en la cabecera, así como decoración de yeserías en el presbiterio. Aquí se realizaba el rito de recepción de caballeros en una solemne ceremonia, cuyo ritual era oficiado por la figura de brazos articulados de un Santiago sedente que se aloja en este recinto.
Esta costumbre se inició por Fernando III en 1219, y después repitieron muchos otros, como Alfonso X en 1254, el príncipe Eduardo -hijo de Enrique de Inglaterra- en 1255 o Juan I en 1379.
Located in the surroundings of the cloisters but independent, the temple of Santiago is the easternmost construction of the monastery. Its factory is made of brick, with armor that covers the nave and another in the form of a trough with almizates in the head, as well as plasterwork decoration in the presbytery. Here the rite of reception of knights was carried out in a solemn ceremony, whose ritual was officiated by the articulated-armed figure of a seated Santiago who stays in this enclosure.
This custom was started by Ferdinand III in 1219, and was later repeated by many others, such as Alfonso
Claustro gótico de San Fernando, Siglo XIII.
Arriba a la derecha podemos apreciar un fragmento bastante bien conservado de las yeserías mudéjares que adornaban las bóvedas.
Aunque se han perdido en buena parte, los restos conservados son de gran importancia pues presentan formas muy variadas de derivación almohade combinando lacerías mixtilíneas, ataurique (ornamento vegetal característico del arte islámico), y epigrafía en caracteres cúficos (considerada primera caligrafía árabe). Todo ello se talló sobre material aún blando, según la técnica almohade anterior al empleo de moldes, tan frecuente en las yeserías nazaríes posteriores.
Son obra de artífices traídos de Sevilla por Fernando III el Santo, después de la conquista de esa ciudad, y se terminaron con anterioridad al año 1260.
La riqueza y calidad de estas decoraciones, las hacen destacar entre las obras de yeso hispano-musulmanas.
Gothic cloister of San Fernando, 13th century.
At the top right we can see a fairly well preserved fragment of the Mudejar plasterwork that adorned the vaults.
Although they have been largely lost, the preserved remains are of great importance as they present very varied forms of Almohad derivation combining mixtilinear lacework, ataurique (vegetable ornament characteristic of Islamic art), and epigraphy in Kufic characters (considered the first Arabic calligraphy). All of this was carved on still soft material, according to the Almohad technique prior to the use of molds, so common in later Nasrid plasterwork.
They are the work of craftsmen brought from Seville by Ferdinand III the Saint, after the conquest of that city, and were completed before the year 1260.
The richness and quality of these decorations make them stand out among the Hispanic-Muslim plaster works.
The Saloon
This room once commanded an excellent view across an orchard to the River Ouse. Here the plasterwork ceiling is the finest in the house. The foliage seems to be in perpetual motion, swirling across the ceiling towards a frieze of lions and leaves.
Stockport Town Hall was designed by architect Sir Alfred Brumwell Thomas who had previously designed Belfast City Hall.
It was opened by the then Prince and Princess of Wales in July 1908. To commemorate the Royal visit, part of Heaton Lane, a main shopping street in the town, was renamed Prince's Street.
Council and committee meetings take place during the evening in three oak-panelled committee rooms and in a traditional Council Chamber. The chamber has elaborate plasterwork, brass chandeliers and decorative carvings on oak benches. The civic collection of silver, some of which dates from the 15th century, lines the wall of the corridor outside the chamber.
An imposing Italian marble entrance leads to the Edwardian Ballroom, which former poet laureate Sir John Betjeman described as "magnificent". This contains a Wurlitzer organ formerly installed in Manchester's Paramount Theatre and moved to Manchester's Free Trade Hall in 1977 subsequently being moved to Stockport Town Hall and being opened at Stockport in late 1999. The Wurlitzer, a 'Publix 1' was one of only sixteen of its kind in the world and was designed by the American Theatre Organist Jesse Crawford for the accompaniment of silent films. The Manchester Paramount instrument was unique in being the only one to be exported to a theatre outside the United States. The organ has been fully overhauled and the old relays have been replaced with digital technology. Various changes to the organ's original specification have been carried out throughout its life both in the theatre and its subsequent homes.
The town hall is also the home of Stockport Symphony Orchestra, who perform classical concerts on a regular basis.
Stockport Town Hall has been nicknamed "the wedding cake".
Claustro de San Fernando, Siglo XIII.
Detalle de un fragmento bien conservado de las yeserías mudéjares que adornan las bóvedas, conocido como de los pavos reales.
Aunque se han perdido en buena parte, los restos conservados son de gran importancia pues presentan formas muy variadas de derivación almohade combinando lacerías mixtilíneas, ataurique (ornamento vegetal característico del arte islámico), y epigrafía en caracteres cúficos (considerada primera caligrafía árabe).
Todo ello se talló sobre material aún blando, según la técnica almohade anterior al empleo de moldes, tan frecuente en las yeserías nazaríes posteriores.
Son obra de artífices traídos de Sevilla por Fernando III el Santo, después de la conquista de esa ciudad, y se terminaron con anterioridad al año 1260.
La riqueza y calidad de estas decoraciones, las hacen destacar entre las obras de yeso hispano-musulmanas.
Cloister of San Fernando, 13th century.
Detail of a well-preserved fragment of the Mudejar plasterwork that adorns the vaults, known as peacocks.
Although they have been largely lost, the preserved remains are of great importance as they present very varied forms of Almohad derivation combining mixtilinear lacework, ataurique (vegetable ornament characteristic of Islamic art), and epigraphy in Kufic characters (considered the first Arabic calligraphy).
All of this was carved on still soft material, according to the Almohad technique prior to the use of molds, so common in later Nasrid plasterwork.
They are the work of craftsmen brought from Seville by Ferdinand III the Saint, after the conquest of that city, and were completed before the year 1260.
The richness and quality of these decorations make them stand out among the Hispanic-Muslim plaster works.
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St. Pancras Renaissance Hotel is located right between Kings Cross Station and the British Library, London. Housed in a beautifully restored Victorian building, it was originally opened in 1873 as the Midland Grand Hotel
The hotel features 245 guest rooms and suites, each of which is elegantly decorated and furnished with modern amenities. The hotel also has a range of dining options, including the Booking Office Bar & Restaurant, which is situated in the former ticket hall of St. Pancras station, and the Hansom Lounge, which is housed in the former carriage driveway.
But the hotel is mostly known for its sublime staircase.
The staircase was originally built in 1873 as part of the Midland Grand Hotel, which was designed by the British architect Sir George Gilbert Scott. The staircase features intricate ironwork, marble columns, and ornate plasterwork, all of which have been meticulously restored to their original condition during the hotel's recent £200 million renovation. Its 83 steps are made of marble.
The staircase's soaring ceilings are imposing, as are the original stained-glass windows and ornate plasterwork. The sweeping staircase in the hotel's main lobby is a popular backdrop for photo shootings. The combination of the staircase carpets and wallpaper creates an atmosphere of grandeur that envelops you as you traverse the hotel's interiors.
The staircase is flanked by marble columns and is illuminated by a large skylight overhead. The skylight allows natural light to flood the space and adds to the staircase's grandeur. The balustrade is made up of intricately detailed cast ironwork that is painted in a rich, dark color, adding to the staircase's Gothic aesthetic.
Popular Filming Location:
The staircase, is also known for being used as a filming location for several movies and music videos, including:
*** The Spice Girls' music video for their hit single "Wannabe" in 1996.
*** A famous scene in the Harry Potter films, where it was used as a filming location for the Hogwarts staircase in Harry Potter and the Chamber of Secrets. The scene features Harry, Ron, and Hermione running up the stairs to the Gryffindor common room
***The 1999 James Bond film "The World Is Not Enough." In the film, the staircase appears in a scene where Bond, played by Pierce Brosnan, meets with the character Sir Robert King, played by David Calder. They discuss a plan to transport a large sum of money, and the scene is filled with tension and intrigue. The staircase's grandeur and beauty add to the overall sophistication and elegance of the film's setting and is a fitting location for the meeting between Bond and Sir Robert King.
Santiago del Espaldarazo.
Se denominada así por tratarse de una figura articulada que, según la tradición, era utilizada para armar caballeros a los reyes y a los príncipes e infantes, a los que, una vez terminada la ceremonia, les daba un espaldarazo con la espada colocada en su brazo articulado que era manejada por detrás.
Es tradicional clasificar las imágenes de Santiago en tres tipos: las imágenes de apóstol como maestro sedente en majestad, las imágenes de Santiago como peregrino y las imágenes de Santiago como caballero o guerrero. A medias entre los tipos primero y tercero está esta imagen, por tratarse de un Santiago sedente pero con espada y con la particularidad de tener los brazos articulados.
La imagen se custodia en la capilla de Santiago del Real Monasterio de Las Huelgas de Burgos, una capilla que se encuentra fuera de las construcciones monásticas, aislada en el terreno de la huerta, de llamativo estilo mudéjar, construida en piedra y ladrillo, con una puerta de arco túmido o arco árabe, un friso de yesería mudéjar y un notable artesonado. Se accede al presbiterio por otro túmido, donde se encuentra la imagen de Santiago del siglo XIII.
Esta figura que goza de las características del Santiago sedente en majestad y de las de Santiago caballero por su armadura y su espada, se confeccionó de forma articulada para que, en la ceremonia de armar caballeros a los reyes, fuese el Santo quien les diese el espaldarazo y no otro caballero súbdito del monarca, pues según las normas de caballería medieval sólo un superior podía armar a un aspirante, y por tanto se concluyó que únicamente el apóstol Santiago podía hacerlo. Esta escultura sedente es de la segunda mitad del siglo XIII, viste gonela policromada con arabescos de colores vivos, coloreados para darles una entonación más suave.
Entre los caballeros armados antes de ser reyes figuran Fernando III el Santo, Eduardo I de Inglaterra, Alfonso XI de Castilla y de León, Pedro I de Castilla y Juan II. Los reyes coronados aquí fueron Alfonso XI y su hijo Enrique II de Trastámara.
El rey velaba toda la noche las armas vestido de blanco y con la única luz de una vela. De ahí vienen las expresiones "pasar la noche en blanco" y "pasar la noche en vela" para expresar una noche sin dormir.
It is so called because it is an articulated figure that, according to tradition, was used to arm kings, princes and infants as knights, to whom, once the ceremony was over, he gave them a boost with the sword placed on his articulated arm that was operated from behind.
It is traditional to classify images of Santiago into three types: images of the apostle as a teacher seated in majesty, images of Santiago as a pilgrim and images of Santiago as a knight or warrior. Halfway between the first and third types is this image, as it is a seated Santiago but with a sword and with the particularity of having articulated arms.
The image is kept in the chapel of Santiago of the Royal Monastery of Las Huelgas de Burgos, a chapel that is located outside the monastic buildings, isolated in the garden land, in a striking Mudejar style, built in stone and brick, with a door with a tumido arch or Arabic arch, a Mudejar plasterwork frieze and a notable coffered ceiling. The presbytery is accessed through another tumido, where the image of Santiago from the 13th century is located.
This figure, which enjoys the characteristics of Santiago seated in majesty and those of Santiago the knight due to his armor and his sword, was made in an articulated way so that, in the ceremony of knighting the kings, it was the Saint who gave them the accolade and not another knight subject to the monarch, since according to the rules of medieval chivalry only a superior could arm an aspirant, and therefore it was concluded that only the apostle Santiago could do so. This seated sculpture is from the second half of the 13th century, it wears polychrome gona with arabesques of bright colors, colored to give them a softer intonation.
Among the armed knights before becoming kings are Ferdinand III the Saint, Edward I of England, Alfonso XI of Castile and León, Peter I of Castile and John II. The kings crowned here were Alfonso XI and his son Enrique II of Trastámara.
The king kept watch over his weapons all night, dressed in white and with the only light of a candle. That's where the expressions "spending the night in white" and "spending the night in candle" come from to express a sleepless night.