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The Grade II Listed Bodnant House, located in the National Trust's Bodnant Gardens, in Conwy Valley, North Wales.
The structure of Bodnant house was built by Colonel Forbes between 1770 and 1821 at a small distance from the original house called Old Bodnod. The late Georgian house, with 7-bay symmetrical S facade including outer wings, was bought in January 1875 by Henry Pochin, a wealthy industrial chemist and china clay magnate from Lancashire.
The house was progressively rebuilt from 1875-6 in Old English style by W J Green of London who refaced the house with hard blue local stone, used Talacre sandstone for window dressings and quoins and replaced the sash windows with stone mullions and casements. An architectural drawing of 1880 by G Richards Julian (in estate office) shows the remodelled exterior before the Drawing-Room wing and conservatories were added.
The conservatory attached to the SE corner was built for Pochin by Messenger & Co in 1881-2 (contract dated Nov 1881) and the adjoining fernery was in place and planted by 1883. The conservatory originally had a gabled porch to the S side and there were double doors to the fernery.
Henry Pochin's daughter married the first Lord Aberconway and she and her son and grandson have further developed the house and hugely improved the gardens. The large Drawing-Room wing was added in 1898 to the NW tower of the house to designs by Ould of Grayson and Ould, architects of Chester. The Dining-Room was extended in 1911 including the bay towards the terraces, and the upper room over the porch (chimney-piece dated 1911) was added at that time. Other dates appear in the Drawing Room plasterwork - 1935 when the Shobdon panelling was inserted - and the Turret Room of 1936 which has panelling from Wheatley Hall, Doncaster.
Information gained from britishlistedbuildings.co.uk/300025063-bodnant-eglwysbach...
This church erected with financial support from the Board of First Fruits (fl. 1711-1833) representing an integral component of the early nineteenth-century ecclesiastical heritage of north County Wexford with the architectural value of the composition, one evoking favourable comparisons with the contemporary Ballycarney Church (Ballycarney) (1834), Ballycarney (see 15701510), confirmed by such attributes as the standardised nave-with-entrance tower plan form, aligned along a liturgically-correct axis; the "pointed" profile of the openings underpinning a contemporary Georgian Gothic theme with the chancel defined by a streamlined "East Window"; and the slender pinnacles embellishing the tower as a picturesque eye-catcher in the landscape. Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior, including crown or cylinder glazing panels in hornless sash frames: meanwhile, contemporary joinery; and sleek plasterwork refinements, all highlight the artistic potential of a church making a pleasing visual statement in a rural street scene.
This church was a parish church before 1492. Developed between 1541 and 1565 on the ruins of an old mosque and palace (the tower was kept as the belfry), it was only finished in 1631. It is a stone building with a nave and two aisles in the Mozarabic style, supported by marble columns and with a Baroque plasterwork. During renovation work in 1991-1992, the columns were found to bear frescoes of the apostles, dating back to 1632.
Listed Building Grade II
List Entry Number : 1365829
Date First Listed : 4 November 1982
A mid 19th century stuccoed public house with a slate roof. It is in four storeys, with one bay in Ranelagh Street, three curved bays on the corner, and two bays in Cases Street. The front of the building dates from about 1900, and is in Art Nouveau style. Its features include granite Ionic pilasters, bow windows, and decoration in copper and wrought iron. The interior contains panelling, engraved mirrors, columns, and rich plasterwork.
historicengland.org.uk/listing/the-list/list-entry/1365829
en.wikipedia.org/wiki/Grade_II_listed_buildings_in_Liverp...
Canons Ashby House (previously known as Canons Ashby Hall) is a Grade I listed Elizabethan manor house located in the village of Canons Ashby, about 11 miles south of Daventry, Northamptonshire. It has been owned by the National Trust since 1981 when the house was close to collapse and the gardens had turned into a meadow.
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 Canons Ashby 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.
The house sits in the midst of a formal garden with colourful herbaceous borders, an orchard featuring varieties of fruit trees from the 16th century, terraces, walls and gate piers from 1710. There is also the remains of a medieval priory church (from which the house gets its name).
British Listed buildings: Corner terrace house with Soho Square. c.1744-46 by Joseph Pearce, the interior fitted out with very fine plasterwork etc. for Richard Beckford, brother of the Alderman in 1754. This is a Grade I listed building.
www.british-history.ac.uk/survey-london/vols33-4/pp88-106
The house has a plain and, for its period, curiously old-fashioned exterior, the design of which seems hardly to have felt the influence of the Palladian ideas which were well established by the 1740's and are evident in the internal finishings. A conceivable explanation is that the builder was trying to match his front to those already existing in the square, for Sutton Nicholls's view of 1727 suggests that at that date house-fronts of a similar pattern were still predominant. The interior of No. 1 Greek Street, finished in carved wood and moulded plasterwork, is one of the best examples of the mid eighteenth-century English Rococo style now surviving in London.
We spent most of a day at the Alhambra complex divided between three areas. The Generalife Gardens where this photo was taken was the first area. Second was the the Alcazaba or fortress area and the third was the palace area. We also did a night tour of one of the palaces the next day. There is so much to see and even one day does not do it justice. Below is some explanation about the garden area.
It occupied the slopes of the Hill of the Sun (Cerro del Sol), from which there is a complete view over the city and the valleys of the rivers Genil and Darro. There are different interpretations of the meaning of its name: the Governor's Garden, the Architect's (alarife) Garden, the Vegetable Garden of the Gypsy Festivity Organiser, etc. The Generalife became a leisure place for the kings of Granada when they wanted to get away from the official affairs of the palace.
It was built in the 13th century and it was redecorated by the king Abu I-Walid Isma'il (1313-1324), as it is explained by an inscription that dates from 1319. This means that the Generalife was built before the Comares Palace. In spite of it being very close to the Alhambra and the close relationship between the two complexes, it is considered to be outside the city. A rebellion against Mohammed V even broke out in the Alhambra while he was in the Generalife.
Nowadays the Generalife is formed by two groups of buildings connected by the Patio of the Irrigation Ditch (Patio de la Acequia).
Nevertheless it is difficult to know what the Generalife originally looked like, as it has been altered and rebuilt at different moments throughout the Christian period. These changes were at first necessary due to the sorry state of deterioration and neglect that was the result of the late Muslim period and later on they changed its layout and distorted many of its features.
In the Generalife there is no kind of decorative excess or points of interest in its architecture. Unlike the Alhambra, all the buildings of the Generalife are quite solid, but in general poor and simple. This indicates an intimate and peaceful atmosphere that the kings were looking for when they retired to these gardens to rest. There are only some decorative motifs of plasterwork, which are not very varied, but are exquisitely fine and tasteful.
Canons Ashby House (previously known as Canons Ashby Hall) is a Grade I listed Elizabethan manor house located in the village of Canons Ashby, about 11 miles south of Daventry, Northamptonshire. It has been owned by the National Trust since 1981 when the house was close to collapse and the gardens had turned into a meadow.
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 Canons Ashby 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.
The house sits in the midst of a formal garden with colourful herbaceous borders, an orchard featuring varieties of fruit trees from the 16th century, terraces, walls and gate piers from 1710. There is also the remains of a medieval priory church (from which the house gets its name).
From the National Register of Historic Places Astoria Downtown Historic District application:
STATEMENT OF SIGNIFICANCE:
Although known collectively as the Associated Building, there are three sections-Hobson, Copeland, and Carruthers. [It was built in 1923.]
The architect for this building was C.T. Diamond, the Lorenz Brothers were the general contractors. It was owned by the Carruthers, Cook, Copeland and Halderman interests.
The Carruthers building is situated at the west end of the Associated Building and its first tenant was Cordz Bros., a
men's clothing store. Offices were located on the second floor.
The Copeland building is presently [i.e., 1998] occupied by Astoria Coffee Company, a wholesale coffee bean store, and Hide & Silk Natural Fiber Women's Clothing.
Several offices are occupied on the second floor including Hope L. Harris, Licensed Massage Therapist.
This building is significant for its association to Charles T. Diamond. The bulding's rare design and attention to detailing in its plasterwork greatly contributes to the historic streetscape.
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* I cannot claim credit for the title of this photo. It is the title of a collection of short stories by the great writer Joseph Mitchell:
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Saloon-keepers and street preachers, gypsies and steel-walking Mohawks, a bearded lady and a 93-year-old “seafoodetarian” who believes his specialized diet will keep him alive for another two decades. These are among the people that Joseph Mitchell immortalized in his reportage for The New Yorker and in four books—McSorley's Wonderful Saloon, Old Mr. Flood, The Bottom of the Harbor, and Joe Gould's Secret—that are still renowned for their precise, respectful observation, their graveyard humor, and their offhand perfection of style.
These masterpieces (along with several previously uncollected stories) are available in one volume, which presents an indelible collective portrait of an unsuspected New York and its odder citizens—as depicted by one of the great writers of this or any other time.
Source: Publisher
ASTLEY HALL IS A MUSEUM AND ART GALLERY HOUSED WITHIN A GRADE I LISTED HISTORIC HOUSE. THE HALL IS SET WITHIN THE BEAUTIFUL SURROUNDINGS OF ASTLEY PARK WHICH INCLUDE HISTORIC WOODLAND, A LAKE, AND A FULLY RENOVATED VICTORIAN WALLED GARDEN ALONGSIDE CLEAN AND MODERN FACILITIES FOR VISITORS TO ENJOY.
THE HALL IS PERHAPS BEST KNOWN FOR ITS STUNNING JACOBEAN PLASTERWORK CEILINGS AND THE HOUSE IS BUILT AROUND AN INTERNAL ELIZABETHAN COURTYARD. THE FOUR WINGS OF THE HOUSE WERE EXTENDED BY THE FAMILIES WHO LIVED HERE AND MOST OF THE ORIGINAL FEATURES ARE RETAINED TO THIS DAY. THE HOUSE CONTAINS MUCH OAK FURNITURE FROM THE 1600S, INCLUDING THE SIRLOIN CHAIR AND A 27FT LONG SHOVEL BOARD TABLE.
The current iteration of the Triumph Cinema in East Brisbane, Queensland. Wouldn't you love to see inside this building, that seems to have remained somewhat intact. Remember the days when we went to the "pitures" or flicks? I might have to have some Kung Fu lessons and get inside.
Does anyone have any Jaffas? (Older Aussies will know what I mean!)
I don't think they sell them any more. Last I saw them was a giant variety in the lollie store at Williamstown in Melbourne. Oh boy, we we sick after we ate what we bought in there that day 15 years ago or so.
From Wikipedia
Triumph Cinema is a heritage-listed former cinema at 963 Stanley Street, East Brisbane, City of Brisbane, Queensland, Australia. It was designed by Arthur Robson and built in 1927. It is also known as East Brisbane Picture Theatre, Elite Cinema, and Classic Cinema. It was added to the Queensland Heritage Register on 27 July 2001.
Location
963 Stanley Street, East Brisbane, City of Brisbane,
The site of the Triumph Cinema, East Brisbane, has been associated with film exhibition since 1921. The building itself dates to 1927, with minor modifications probably c. 1970.
The site was earlier part of a much larger parcel of land purchased from the Crown in 1855 by Joseph Darragh of Brisbane. Darragh held the land, unsubdivided, for nearly 30 years, and it was the eventual subdivision of this property into residential allotments (mostly 16 perches) in the mid-1880s, which established East Brisbane as a dormitory suburb. Prior to this, East Brisbane was semi-rural in character, with a few isolated families scattered through the bush, and a number of elite estates (such as Mowbray's and Heath's) along the riverbank.
In June 1885 Mrs Annie Elizabeth Cocks gained title to subdivisions 112 and 113 of eastern allotment 128, parish of South Brisbane, county of Stanley (32 perches - later the site of the picture theatre). Mrs Cocks owned this land for over 20 years. About 1906 she sold it to Brisbane real estate agent George Henry Blocksidge, who in 1907 transferred the property to Henry William Robinson, who established a fuel depot there.
On 1 July 1921 the property was transferred from Robinson to Frederick Carl Christian Olsen, who established an open-air picture show on the site that year. A sewerage detail plan dated 1919 shows a picture theatre, partly roofed, occupying the whole of the site. The date may be misleading. It is not unusual for alterations to be made to original detail plans, and in this instance, the theatre as shown on the site is more likely to date to between 1921 and 1927. Oral history reveals that the facade of this theatre was timber, and that about one-third of the seating area was roofed in flat galvanised iron, which on rainy days could be manually extended over about half the seating. The Olsens reputedly were very proud of this technological feat. Around the perimeter of the site were fences of flat iron.
Frederick Olsen died in January 1926. The Stanley Street East property passed to his widow, Maria Gustava Olsen, a year later, and then to Vigo Gustav Olsen (her son) in June 1927. Around the same time Vigo Olsen raised a mortgage on the property from Ernest Adolph Burmester, which is likely to have financed the construction of a new picture theatre to cost £2,000, for which Vigo Olsen already had permission from the Brisbane City Council to erect. Olsen, who lived nearby at Didsbury Street, East Brisbane, had let the contract to construct the theatre to Corinda contractor and architect Arthur Robson. It is highly likely Robson also prepared the design. He had worked for the Workers' Dwellings Board in Townsville as an inspector and as an architect in Rockhampton in the early 1920s. From 1923 he was resident in Corinda and practised as an architect and builder in Brisbane and other centres throughout Queensland. Robson both constructed and/or designed picture theatres throughout Queensland in the 1920s, including the Indooroopilly Picture Theatre (later the El Dorado), and the Paragon Theatre at Childers. By August 1928, he had erected 23 picture theatres in Queensland.
The picture theatre at Stanley Street East is listed as the Triumph in 1927 licensing records, but there is some suggestion that the place was known initially as the East Brisbane Picture Theatre. It is possible that the name was changed when the new picture theatre was built in 1927, and this is the name which still appears in relief on the facade of the building.
Vigo Olsen died in August 1929, and the property passed to his widow, Ida Elizabeth Olsen, in April 1931. Around this time Mrs Olsen raised a further mortgage on the property from EA Burmester, possibly to purchase sound equipment for the theatre. Sound movies were introduced in 1927 with Warner Brothers' production of The Jazz Singer, and over the next few years motion picture exhibitors either converted their theatres to sound or went out of business, as demand for the "talkies" swept the world.
In mid-1934 title to the property was transferred to accountant Albert Frederick Stoddart of East Brisbane, and Alma Jones, wife of Sylvester Stephen Jones of Mount Gravatt, as tenants in common. The Jones were related to the Olsens. Gordon Jones took over the management of the Triumph in 1934, when he was only 17 years old. In 1943, AF Stoddart transferred his interest in the property to Gordon, who managed the theatre until c. 1970, exhibiting (from at least 1938, and likely earlier) as the Triumph Theatre Company.
A 1940 photograph of the theatre shows a facade remarkably similar to that which survives today. The foyer was reached via concrete steps from the street, but had not yet been enclosed with glass doors. Folding iron gates still secured the foyer, and these were at the front of the building, on the footpath. The interior of the foyer was lined with fibrous sheeting and dark-stained timber cover-strips; there was a centrally located ticket-box at the back of the foyer; and doors to the auditorium were located either side of the ticket box. The terrazzo flooring in the present entrance is likely to date to 1927.
In the 1930s, there were approximately 200 picture theatres operating in Queensland, of which about 25% were located in Brisbane. This was the period when most Brisbane suburbs had at least one picture theatre, if not more, and encouraged local allegiances. Theatre staff - owners, management and other employees (such as projectionists, organ or piano players, ticket sellers and ushers) - generally lived in the district, and the theatre offered a local community focus and sense of local identity. Competition for audiences was strong. The Triumph's closest contemporary competitors were the Broadway at the Woolloongabba Fiveways; the Mowbray Park Picture Theatre on Shafston Road; the Alhambra at Stones Corner; the Roxy (Gaiety) at Coorparoo; and the Norman Park Picture Theatre near the Norman Park railway station. Of these, only the Triumph survives.
Following the introduction of television to Brisbane in the late 1950s, Brisbane cinema audiences declined rapidly. Suburban cinemas struggled to continue screening films and in the 1960s and 1970s many closed, the buildings converted into alternative uses or the sites redeveloped. By the 1980s, only a handful of single-screen interwar suburban cinemas survived in Brisbane.
In 1960-61 the Triumph had a seating capacity of 800, suggesting that some seating refurbishment had occurred since 1938, when the theatre seated 950.
By January 1970 the property had been acquired by Roy Arthur Chesterman and Merle Audrey Chesterman, and was transferred in February 1970 to Eric Dare, who owned the place for over three decades. The changes in ownership c. 1970 correspond with a transformation of the theatre. By 1970 the Triumph had been renamed the Capri East Brisbane and was operated by the Capri Theatre Company, which screened mostly R-rated sex films. In 1971 the capacity of the theatre was listed as 510, indicating that seating and/or possibly foyer refurbishment had taken place.
The cinema is believed to have closed for a short period in the 1980s, but by 1988 had re-opened as the Classic Cinema, an art-house screening alternative and revival films, and the venue for film festivals and the annual Brisbane screening of Australian Film, Television and Radio School productions. The theatre functioned as an art-house until closed in mid-2000.
In 2014 the building was being used as a martial arts studio, with a yoga studio on the upper floor.
Description
The former Triumph Cinema occupies a site at the southeast corner of Stanley Street East and Withington Street, East Brisbane. The facade fronts Stanley Street East, which is a major arterial road. The surrounding streets are mostly residential, but there is a small commercial node either side of Stanley Street East, where the cinema is located. Diagonally opposite, on the northeast corner of Stanley Street East and Didsbury Street, is the East Brisbane Hotel, erected in 1889.
The theatre is built to the street alignments and occupies the whole of the site. The front facade is two storeys in height, of rendered brick, and decorative, with strong streetscape presence. In an extraordinarily eclectic metaphorical mix typical of 1920s picture theatre architecture, the facade combines a mix of "Classical" and "Mediterranean" decorative and design elements. There are five bays, not of equal width, defined by pilasters, at the top of which are decorative concrete urns. A balustraded concrete pediment unites the two bays either side of the central bay. This middle bay is wider and taller, with a high pediment with the name TRIUMPH in rendered block lettering. Below the theatre name is a cantilevered tiled window hood above a bank of five-paned casement windows with opaque, green and amber Arctic glass. Behind these windows is the original bio-box. In the bays either side are pairs of similar casement windows, with similar window hoods above. At street level there is a centrally placed wide, low-arched entrance, defined by half pillars on each side, with concrete steps leading to what was formerly a semi-open foyer. This has been partly enclosed with later timber-framed glass doors, recessed from the arch entrance. To either side of this arched entrance is a billboard case, and in the end bays are small "porthole" windows with a square leadlight panel in each, now enclosed with timber lattice.
As was typical of suburban picture theatre construction of this period, the masonry facade returns along the sides only one narrow bay in depth. What the elegant facade was intended to obscure is that the main part of the structure, housing the auditorium, is a large, timber-framed space with a steep, gabled, galvanised iron roof. The side walls of the auditorium are clad externally with later cement sheeting. At the rear (southern) end of the main building the gable is in-filled with weatherboards and there is a lower, hipped roof extension over the stage area.
The main change to the building is that the foyer has been expanded and pushed back into the auditorium, c. 1970s. This space has a low, false ceiling of acoustic tiles, and the floor, which was formerly raked and part of the auditorium, has been raised and levelled. A ticket box and candy-bar are located on the western side of the foyer, and there are toilets on the eastern side. The auditorium is accessed from doorways at either side of the rear wall of the foyer. Above the renovated foyer is the projection booth, which is the original bio-box, accessed from steep, narrow timber stairs behind the ticket box on the western side, and near the men's toilets on the eastern side.
The auditorium remains remarkably intact and retains much of its early decorative finishes. It is a large space, with the roof supported by unboxed laminated timber arches, and has an early lattice ceiling with hessian or canvas backing which follows the curve of the arches. There are three decorative light panels in the centre of this ceiling. There is a raked timber floor, sloped more steeply at the northern end of the building. The side walls are lined internally with vertically-jointed tongue and groove timber boards to dado height, and above this have early plasterboard panels with decorative "classical" mouldings between the timber arches.
There is a small stage the southern end of the auditorium, with a proscenium arch in plasterwork with "classical" motifs. On either side of the stage, angled to direct focus to the rear wall, are large, early plasterboard panels with decorative "classical" mouldings. The rear wall is constructed of galvanised iron sheeting, on which is painted an early "screen". A later cinema screen which once filled the proscenium arch has been removed. There are two early sound horns which hang above the stage. There is off-stage space either side of the stage, which suggests that it may have been used for performance purposes as well.
Boroujerdi Historical House, Kashan, Iran.
The house was built in 1857 by architect Ostad Ali Maryam, for the bride of Haji Mehdi Borujerdi, a wealthy merchant. The bride came from the affluent Tabatabaei family, for whom Ali Maryam had built the Tabatabaei House some years earlier. It consists of a rectangular beautiful courtyard, delightful wall paintings by the royal painter Kamal-ol-molk, and three 40 meter tall wind towers which help cool the house to unusually cool temperatures. It has 3 entrances, and all the classic signatures of traditional Persian residential architecture, such as biruni and daruni (andarun). The house took eighteen years to build using 150 craftsmen. It has three entrances and all the classic signatures of Persian architecture. The main entrance is in the form of an octagonal vestibule with multilateral skylights in the ceiling. Near the entrance is a five-door chamber with intricate plasterwork. Walking through a narrow corridor, one reaches a vast rectangular courtyard that has a pool and is flanked by trees and flowerbeds. The house is famous for its unusual wind towers, which are made of stone, brick, sun-baked bricks and a composition of clay, straw and mortar. Three 40-meter-tall wind towers help cool the house to unusually cool temperatures. Even the basements consistently benefit from the flow of cool air from the wind towers. Since exceptional attention has been paid to minute architectural details demanded by the geographical and climatic conditions of the area, the house has attracted considerable attention of architects as well as Iranian and foreign scientific and technical teams. While Boroujerdi House used to be a private home, it is now open to the public as a museum. The museum is divided into four sections, namely reception, ceremonies, residential halls and rooms.
Rising proudly above Lisbon’s lively Praça dos Restauradores, Teatro Éden stands as one of the city’s most emblematic examples of Art Deco architecture. Designed by Cassiano Branco and Carlo Florencio Dias, the theater opened in 1931 as a glamorous cinema and performance venue during Lisbon’s golden age of entertainment. Its pale pink stone façade, dramatic vertical columns, and sculptural reliefs by Leopoldo de Almeida all speak to the optimism and modernity of the early 20th century, when the cinema was still a relatively new and magical experience. The building’s composition—symmetrical, elegant, and monumental—combines strong geometric forms with delicate details, showing the architect’s ability to merge grandeur with refinement.
The theater’s central window and sweeping glass panels were revolutionary for their time, flooding the lobby with light and reflecting the surrounding cityscape. Inside, the Éden once housed a vast auditorium adorned with ornate plasterwork, luxurious red velvet seating, and state-of-the-art projection equipment that attracted Lisbon’s elite. Generations of locals came here not just for films, but for a sense of occasion. The Éden was more than a cinema—it was an escape, a symbol of Lisbon’s cosmopolitan identity between the wars.
Following its closure in the 1980s, the building fell into decline before being reborn as a hotel, the Éden Teatro Apartments, while carefully preserving its striking façade. Today, the restored exterior continues to captivate photographers, architects, and passersby who admire how it bridges history and modernity in one sweeping gesture. From the bas-reliefs depicting classical scenes of art and music to the bold typography spelling “EDEN TEATRO,” every element embodies the glamour of a bygone era brought thoughtfully into the present. Standing before it, one can easily imagine the hum of vintage cars, the glow of neon lights, and the anticipation of audiences waiting beneath its marquee for a night of cinematic wonder.
Teatro Éden remains one of Lisbon’s architectural treasures—a living monument to Art Deco design, cultural aspiration, and the enduring magic of the city’s urban fabric. Its restoration ensures that this masterpiece continues to watch over Restauradores Square as both a memory of old Lisbon and a beacon of its creative future.
History
The mansion was built by Sir Edward Culpeper in 1590. It originally formed a complete courtyard prior to being altered various times, and currently has an E-shaped plan. Wakehurst was bought in 1694 by Dennis Lyddell, comptroller of the Royal Navy treasurer's accounts and briefly MP for Harwich. His son Richard Liddell, Chief Secretary for Ireland and MP for Bossiney, was obliged by financial pressure to pass the estate to his younger brother Charles.[5]
The house was illustrated in Joseph Nash's The Mansions of England in the Olden Time (1839–49).
The gardens were largely created by Gerald Loder (later Lord Wakehurst) who purchased the estate in 1903 and spent 33 years developing the gardens.[6] He was succeeded by Sir Henry Price, under whose care the Loder plantings matured. Sir Henry left Wakehurst to the nation in 1963 and the Royal Botanic Gardens took up a lease from the National Trust in 1965.
In 1887, American architect Dudley Newton completed a replica of Wakehurst in Newport, Rhode Island, for sportsman and politician James J. Van Alen from plans designed by Charles Eamer Kempe. Salve Regina University purchased the mansion from the Van Alen family in 1972.[7]
In 2022, the mansion was closed for an extensive renovation, predicted to last at least two years. Wikipedia
www.kew.org/wakehurst/planRoam our magnificent living plant collection
Our collections at Wakehurst are planted to a 'woodland' principle, rather than an 'arboretum' and have been especially curated to accentuate the stunning, rural natural landscape.
They are connected to form a Woodlands of the World walk.
What is a Living Plant Collection?
A living collection is what sets a botanic garden apart from a park or public garden.
It is a group of plants grown especially for research, conservation, education purposes or ornamental display.
To help our visitors understand and learn from this work, we accurately identify and document the plants at Wakehurst. ts
Terminada en 1740, es obra de García de Quiñones, quien se inspiró en la escalera del convento dominico de San Esteban (1553). Como en ella, las rampas colgantes se apoyan sobre arcos rebajados cuyo intradós está decorado en cada tramo por tarjetas con alegorías simbólicas.
De orden toscano, se considera una “nostalgia del Renacimiento” en su versión plateresca. Lo más interesante, no obstante, son las yeserías y estucos de la bóveda. Una inscripción debajo de la cornisa reza de la siguiente manera: ESTE COLEGIO SE FUNDO AÑO 1614. FUERON SUS FUNDADORES CON REAL MAGNIFICIENCIA LOS CATHOLICOS REYES D. PHELIPE TERCERO Y Dª MARGARITA DE AUSTRIA.
El techo de la escalera se decora con estucos y los escudos de armas reales y de Margarita de Austria. Es evidente que exalta a los protectores del Colegio, la Virgen y los monarcas.
En las paredes se pueden observar ahora los vítores que recuerdan a los obispos que han estudiado en la Universidad Pontificia, emulando las antiguas pinturas realizadas en sangre de toro (mezcla de arcilla, aceite y pimentón) en la fachada de la Universidad para celebrar el doctorado de los alumnos.
Completed in 1740, it is the work of García de Quiñones, who was inspired by the staircase of the Dominican convent of San Esteban (1553). As in it, the hanging ramps are supported on reduced arches whose intrados is decorated on each section by cards with symbolic allegories.Of Tuscan order, it is considered a "nostalgia of the Renaissance" in its Plateresque version. The most interesting, however, are the plasterwork and stuccos of the vault. An inscription under the cornice reads as follows: THIS SCHOOL WAS FUND YEAR 1614. THE FOUNDERS WERE WITH A REAL MAGNIFICANCE THE CATHOLIC REYES D. PHELIPE THIRD AND D MARGARITA OF AUSTRIA.The ceiling of the staircase is decorated with stuccos and the coats of arms of the royal and Margarita of Austria. It is evident that it exalts the protectors of the College, the Virgin and the monarchs.On the walls you can now see the cheers that remind the bishops who have studied at the Pontifical University, emulating the ancient paintings made in bull blood (mixture of clay, oil and paprika) on the facade of the University to celebrate the doctorate of the students.
Achevé en 1740, il est l'œuvre de García de Quiñones, inspiré par l'escalier du couvent dominicain de San Esteban (1553). Comme dans celui-ci, les rampes suspendues s'appuient sur des arches réduites dont l'intrados est orné sur chaque section de cartes d'allégories symboliques.De l'ordre toscan, il est considéré comme une "nostalgie de la Renaissance" dans sa version plateresque. Les plus intéressants, cependant, sont les plâtres et les stucs de la voûte. Une inscription sous la corniche se lit comme suit: CETTE ÉCOLE A ÉTÉ FONDUE EN 1614. LES FONDATEURS ÉTAIENT D'UNE VRAIE MAGNIFICATION LES REYES CATHOLIQUES D. PHELIPE TROISIÈME ET D MARGARITA D'AUTRICHE.Le plafond de l'escalier est décoré de stucs et des armoiries du roi et de Marguerite d'Autriche. Il est évident qu’il exalte les protecteurs du Collège, de la Vierge et des monarques.Sur les murs, vous pouvez maintenant voir les acclamations qui rappellent les évêques qui ont étudié à l'Université pontificale, imitant les peintures anciennes réalisées avec du sang de taureau (mélange d'argile, d'huile et de paprika) sur la façade de l'université pour célébrer le doctorat des étudiants.
One of England's finest Jacobean mansions, built by Sir Thomas Holte, a Warwickshire landowner, between 1618-1635. Grade I listed. The house boasts some fine interiors including early 17th century plasterwork, wood carving and chimney pieces.
Another view of Saltram House. The beautiful Georgian mansion in Plympton on the outskirts of Plymouth is the work of Robert Adam, who altered the original Tudor house on two occasions. The saloon (main drawing room) is sometimes cited as one of Adam's finest interiors. Complete with all of the original decor, plasterwork and furnishings, Saltram is one of Britain's best preserved examples of an early Georgian house. Originally home to the Parker family and Earls of Morley, Saltram House changed hands when, in 1957, it became the property of the National Trust.
John Parker inherited the house in 1743 and along with his wealthy wife, Lady Catherine Parker, (who largely funded the remodelling), clothed the building with symmetrical Palladian facades which cover the Tudor origins of the house. The interiors of the house were given delicate touches including Rococo ceiling plasterwork in the Entrance Hall, Morning Room and Velvet Drawing Room.
Parker's son, who was later created Lord Boringdon, succeeded his father in 1768, and the next few years are considered Saltram's golden age. Robert Adam was appointed to create a suite of neo-classical rooms along the east front which reaches its climax in the Saloon, perhaps the most iconic of all of Saltram House's rooms. Adam, who was the most fashionable architect and interior designer of the day, created everything from the door handles to the huge plasterwork ceiling. Not to be confined to the inside of the property, Boringdon also commissioned Nathaniel Richmond to lay out the present parkland which surrounds the house
Ipswich is full of old and notable buildings, some are a little out out the obvious places.
built in the 15th or 16th century and containing timber features from other buildings in the town.
2014 04 0813 East Anglia Holiday Suffolk Ipswich 3HDR
Circa 1860 - Bletchley Park House in Bletchley, Buckinghamshire on 13 September 2021.
Grade II listed.
Home to the code breakers during World War 2.
Info from the Historic England website.
Name: Bletchley Park House
Designation Type: Listing
Grade: II
List UID: 1125409
Large house, now offices. 1860 altered and extended 1883-86 and c1906 for Sir Herbert Samuel Leon, a Jewish financier, Liberal party politician, and prominent Rationalist.
Red brick in Flemish bond with ashlar dressings; principal gables half-timbered with pebble-dashed infill, some others tile-hung; Welsh slate roof with red tile ridge; brick stacks, with clustered flues, ribs and bands. Transomed wooden windows, principal windows with leaded upper lights. Decorative wooden barge boards and finials to gables.
Large rambling house, of two storeys with partial attic. Entrance elevation: six bays. Lavish ashlar detailing including architraves. Entrance in bay two has internal, vaulted, porch protecting panelled half-glazed double-door with side lights, traceried upper part and fanlight the latter leaded and with coloured glass. Flanking porch are hexagonal brick columns surmounted by panelled stone tops which flank base of four-light oriel window with decorative base. Projecting from porch, and attached to it are two seated griffins on bracketed plinths. Shaped pediment with elaborate finial. Gabled bay one has projecting two storey canted bay with pretted eaves band and cornice below swept, domed, metal roof. On its left is single storey wooden conservatory with traceried bays, formerly an open-sided loggia. Paired, gabled, bays two and three have ashlar framed triple window to ground floor with gableted buttresses, and two canted bay windows over. Across bay four is three bay embattled ashlar loggia fronting elaborate panelled double-door with canted bay window to right; inserted first floor window. Bay six has polygonal two storey bay window with shaped pediments screening finialed polygonal roof.
Right return: three left-hand bays in same style as front, the rest plainer; but attached to right end is dovecote-like structure: octagonal, of two stages, having plinth; inserted ground floor windows; ashlar upper stage with two-light windows below string; and plain tile roof with gablets and finial.
Rear: plainer having tradesmen's entrance; complex roofline, one roof having louvre with finialed lead cupola; and embattled tower with blue-brick decorative work and date (former steep hipped roof removed). Left return: in style of front, with ashlar canted and curved bay windows; paired, gabled, bays two and three decorative half-timbered first floor; shaped pediment to bay four; and former loggia (much altered) across right-hand bays.
Interior: high quality, elaborate, interiors survive, with panelling, panelled doors, decorative fireplaces, and decorative plaster ceilings. Entrance vestibule: stone columns and vaults. Entrance Hall: arcaded polished-stone screen wall and panelled area beyond with elaborate two-stage, columned, ashlar fireplace surround and traceried panelling and painted glass to roof. Room at right end: Jacobethan fireplace; coffered ceiling with floral-decorated plaster panels. Stairhall: panelled; ground floor arcade and deep floral frieze; decorative coved, coffered, ceiling over stair; fretted balustrade with carved surround and carved octagonal newels to stair panelled stair well. Library: elaborate wooden Jacobethan inglenook with overmirror; fitted book cases and shelves; fluted frieze; compartmental ceiling with decorative plaster panels. Ballroom: linenfold panelling; wall recess flanked by clustered wooden columns from which spring traceried arches; elaborate plaster work to frieze and to coved, ribbed, ceiling which has pendant finials. Billiard room: brattished panelling and cornice; columns support ceiling ribs; wooden trusses. Additional fireplaces, panelling, and decorative doors, plasterwork and cornices to first floor.
Bletchley Park House was the headquarters building of World War II operational centre, in the grounds of which was the hut in which the vital cracking of the Nazis' Enigma Code occurred. Churchill was one of the important visitors to the house.
Information about the building's former appearance from photographs in the building.
The Long Gallery at the top of the National Trust's Chastleton House.
Curving above this room is the longest-surviving barrel-vaulted ceiling of its date in England. After centuries of neglect, the plasterwork was restored in 1904-5.
Two grotesque mask heads at the far end of the room are extremely rare survivals from the 1600s. They are likely to have been positioned to deter evil spirits.
Wentworth Woodhouse is a country house in the village of Wentworth, South Yorkshire, and is believed to be the largest private house in Britain. It comprises two separate houses, joined back-to-back, forming west and east fronts. The older, West front is a baroque house of 1725, and the newer, Palldian East front, started in 1734, reputedly has the longest facade of any house in Europe, at 606 feet.
The Main Staircase was built by John Carr for the 4th Earl Fitzwilliam around 1801. Neoclassical, with stone risers, elaborate wrought ironwork and moulded timber handrail, it was later adorned with plasterwork by Ely Crabtree in c.1803. Busts on the staircase include a Roman marble bust of Antinous (c130 - 138 A.D.), and a carved marble bust of the Dying Alexander by Joseph Wilton (1753).
The architectural details in the Alcazaba are striking. Although in the Alcazaba of Malaga most of the decorations have been lost, it is still possible to see some fragments and some recreations of how it could have been originally.
The walls were covered with beautiful and decorated ceramic and plasterwork. The roofs are adornated with carven wooden frames. The main concern of the artists of the Alcazaba was to cover every space with decorations, no matter how small it was.
The Cuartos de Granada is one such place with its decorated ceilings, multiple arches and wall tiles.
Iglesia de San Martín, Cuéllar, Segovia.
La iglesia de San Martín es un templo católico localizado en la villa de Cuéllar, provincia de Segovia (España). Fue construida en el siglo XII y está situada frente al Castillo de Cuéllar, en la explanada que constituyó la ciudadela en la Edad Media y dentro de la primera muralla del recinto murado de la villa. En 1931 fue declarada monumento artístico nacional, y está catalogada en la actualidad como Bien de Interés Cultural. En el mes de abril de 1354 fue escenario del matrimonio celebrado entre Pedro I de Castilla con Juana de Castro.
Construida en mampostería y ladrillo, su planta se asienta sobre una nave central y dos laterales más pequeñas, con cinco tramos, que terminan en la cabecera con triple ábside de tramo recto y remate semicircular. La nave de la Epístola es ligeramente más larga, y los tramos y las naves se separan por pilares sobre los que se apoyan arcos doblados de ladrillo rodeados de un alfiz.
La cabecera consta de tres ábsides poligonales al exterior y semicirculares al interior, cubiertos con bóvedas de medio cañón. El basamento es de cal y canto y la decoración consiste en arcos ciegos de medio punto, doblados, con recuadros rectangulares, casetones y remate de un friso de esquinillas. Posee tres puertas de ladrillo y arco de medio punto: la del Oeste es simple, con un arco doblado; las del Norte y Sur se disponen de cuatro y seis arquivoltas, respectivamente, y están enmarcadas por un alfiz. La torre es de planta cuadrada y maciza de cal y canto, fue construida posteriormente y se eleva sobre la iglesia junto al muro occidental ocupando parte del atrio de ladrillo que recorría los lados norte, oeste y sur, del que aún quedan restos.
En su interior conserva pinturas murales mudéjares y una capilla decorada con yeserías. Tras su desamortización a finales del siglo XIX fue convertida en viviendas, siendo recuperada en la década de 1980 por la Escuela Taller, y en la actualidad alberga el Centro de Interpretación del Arte Mudéjar, donde la imagen, la luz y el sonido pretenden mostrar al visitante las peculiaridades de este arte.
The church of San Martín is a catholic temple located in the town of Cuéllar, province of Segovia (Spain). It was built in the 12th century and is located opposite the Cuéllar Castle, on the esplanade that constituted the citadel in the Middle Ages and within the first wall of the walled enclosure of the town. In 1931 it was declared a national artistic monument, and it is currently classified as an Asset of Cultural Interest. In the month of April of 1354 it was the scene of the marriage celebrated between Pedro I of Castile and Juana de Castro.
Built in masonry and brick, its plant sits on a central nave and two smaller sides, with five sections, ending at the head with triple apse of straight section and semicircular finish. The ship of the Epistle is slightly longer, and the sections and the ships are separated by pillars on which are supported by bent brick arches surrounded by an alfiz.
The head consists of three polygonal apses to the outside and semicircular to the interior, covered with half-barrel vaults. The base is of lime and song and the decoration consists of blind arches of half a point, folded, with rectangular boxes, coffered ceilings and a corner frieze. It has three brick doors and a semicircular arch: the west door is simple, with a bent arch; those of the North and the South have four and six archivolts, respectively, and are framed by an alfiz. The tower is square and solid lime and stone, was built later and rises over the church next to the western wall occupying part of the brick atrium that ran along the north, west and south sides, of which there are still remains.
In its interior it conserves Mudéjar mural paintings and a chapel decorated with plasterwork. After its disentailment at the end of the 19th century, it was converted into houses, and was recovered in the 1980s by the Workshop School, and now houses the Mudéjar Art Interpretation Center, where image, light and sound are intended to show the visitor the peculiarities of this art.
Listed Building Grade II
List Entry Number : 1219103
Date First Listed : 27 September 1979
Built in 1825 as a courthouse designed in Neoclassical style by Thomas Rickman, later the Museum of Lancashire. It is built in sandstone with a brick rear wall, and is in two storeys. On the symmetrical south front is a large porch with a round-headed archway. The west front is also symmetrical and is in five bays. There is a central porch with two unfluted Greek Doric columns. Inside, there is much rich plasterwork.
historicengland.org.uk/listing/the-list/list-entry/1219103
en.wikipedia.org/wiki/Listed_buildings_in_Preston,_Lancashire
Elizabethan architects knew a thing or two about light – look at the way it comes streaming through the windows in this living room at Montacute House, the National Trust-owned property in Somerset. Look, too, at the magnificent plasterwork ceiling. Such craftsmanship!
VIEW LARGE
ISFAHAN-in progress
The unique blue tiles of Isfahan's Islamic buildings, and the city's majestic bridges, contrast perfectly with the hot, dry Iranian countryside around it, Isfahan is a sight you won't forget. Not only is the architecture superb and the climate pleasant, but there's a fairly relaxed atmosphere here, compared with many other Iranian towns. It's a city for walking, getting lost in the bazaar, walking in beautiful gardens and meeting people.
The famous half-rhyme Isfahan nesf-e-jahan (Esfahan is half the world) was coined in the 16th century to express the city's grandeur. There's so much to see that you'll probably have to ration your time and concentrate on must-sees such as the Imam Mosque, a magnificent building completely covered in Isfahan's trademark pale blue tiles; This mosque is situated to the south of Naqsh-e-Jahan sq. built in the reign of shah Abbas, tile work and architecture of this Mosque is amazingly superb. Its minarets Are 48 meters high. Naghsh-e-Jahan (world picture) Square, one of the largest town square in the world. The Chehel Sotun Museum & Palace, a marvellous 17th century pavilion and a great place for a picnic; this palace is another building dating back to the Safavid period, built amidst a vast garden covering an area of 67000 sq m. The building has a veranda with 18 pillars and a large pool in front of it. Being mirrored in the still water of the pool, the pillars create a beautiful view. The wall painting in the interior of the building is superlative in their kind.Ali Qapoo Palace Situated to the west of Naghsh-e-Jahan Sq. belongs to the Safavid period. It was used for the reception of the Ambassadors and envoys from other Countries. Ali Qapoo is a six-storied plasterwork and paintings of which are extremely impressive. and the Vank Cathedral, the historic focal point of the Armenian church in Iran. Taking tea in one of the teahouses under the bridges is also an essential part of the Isfahan experience.
Isfahan is about 400km (250ml) south of Tehran.
Kersey is the quintessential picture postcard village, and the view across the cobbled ford, up the main street lined with thatched and timber framed cottages, to the medieval church that overlooks the village, is an iconic Suffolk sight, and one that you will always remember.
Kersey owes its wealth of historic buildings to its prosperity during the heyday of the Suffolk wool trade in the Middle Ages. Kersey was known for its coarse twill broadcloth, much of which was used for army greatcoats and uniforms. Many of the attractive cottages in the village were home to families of weavers.
Among the numerous medieval buildings is the Bell Inn, which has featured in several travelogue films. Several of the houses show medieval pargetting, or decorative plasterwork, a speciality of East Anglian houses. One has a plasterwork sun with the date 1334 set around it
Canons Ashby House (previously known as Canons Ashby Hall) is a Grade I[1] listed Elizabethan manor house located in the village of Canons Ashby, about 11 miles (17.7 km) south of the town of Daventry in the county of Northamptonshire, England. It has been owned by the National Trust since 1981 when the house was close to collapse and the gardens had turned into a meadow.[2] "The Tower" of the building is in the care of the Landmark Trust and available for holiday lets.
Design
Kitchen range at Canons Ashby House
The interior of Canons Ashby House is noted for its Elizabethan wall paintings and its Jacobean plasterwork. It has remained ssentially 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.
The house sits in the midst of a formal garden with colourful herbaceous borders, an orchard featuring varieties of fruit trees from the 16th century, terraces, walls and gate piers from 1710. There is also the remains of a medieval priory church (from which the house gets its name).
History
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.
One John Dryden had married Elizabeth Cope in 1551 and inherited, through his wife, an L-shaped farmhouse which he gradually extended. In the 1590s his son, Sir Erasmus Dryden completed the final north range of the house which enclosed the Pebble Courtyard.
John Dryden and Elizabeth Cope had a daughter, Bridget Dryden (1563-1645),born at Canons Ashby. She became the second wife of cleric and teacher Francis Marbury; their daughter Anne Hutchinson (1591-1643) emigrated to the Massachusetts Bay Colony in 1634. Anne's strong religious convictions were at odds with the established Puritan clergy in the Boston area, and her popularity and charisma helped create a theological schism that threatened to destroy the Puritans' religious community in New England. She was eventually tried and convicted, then banished from the colony with many of her supporters. To 19th century America, she was a crusader for religious liberty; in the 20th century, she became viewed as a feminist leader for her staunch defence of individual freedom of thought. Today, a statue of Anne Hutchinson stands in front of the State House in Boston, Massachusetts.
Sir Henry Edward Leigh Dryden's 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 (1821–1912).[3]
Louis Osman (1914–1996), an architect and accomplished British goldsmith lived at Canons Ashby from 1969/70 to 1979. Whilst there, Osman made the crown, with his enamellist wife, Dilys Roberts, which was used at the investiture of Charles, Prince of Wales in 1969. They also made the gold enamelled casket that held the Magna Carta which was on view in the United States Capitol, Washington, DC in 1976 for the United States Bicentennial.[4]
During World War II, the London offices of 20th Century Fox films were evacuated to Canons Ashby House; the evacuee staff lived in the nearby village of Moreton Pinkney.
Gervase Jackson-Stops, who was the Architectural Adviser to the National Trust for over twenty years, broke fresh ground when he fought for the rescue of the then decaying manor-house in the 1980s. This was the first time that the Trust used its charitable funds rather than the traditional family endowment to save a historic house.Wikipedia
The Dancehouse Theatre originally opened as the Twin Regal Kinemas on 20th September 1930. The cinemas, which had separate entrances and foyers, were on the second floor and shared a single projection room. Neither had a balcony and each seated 800. Although now commonplace, these two cinemas often presented the same film albeit at different times. Each had a barrel vaulted ceiling and elaborate Art Deco plasterwork down the side walls depicting folds of cloth.
In 1960, they were bought by the Star Cinemas group and renamed Romulus and Remus. This lasted just two years before they became known as Studios 1 & 2. In 1972 a sub-division took place and they became Studios 1-5. Although unconfirmed, it is thought that only the former Studio 1 was split leaving Studio 2 intact. Star Cinemas chain was acquired by the Cannon Group late in 1985 and they were quickly closed, the last films being screened September 25, 1986.
The cinemas were left shuttered until Manchester gained the European City of Drama in 1992 and the need for more middle-scale live theatre space identified the closed Studios as ideal for conversion. So, the Dancehouse Theatre was born using one of the auditoria as a very attractive theatre in its restored state. The other is now restored as a rehearsal and studio space for the Northern Ballet School which now shares the premises.
The former Twin Regal Kinemas have been awarded Grade II Listed status.
Viewed from across the East Lawn.
"The East Block (officially the Eastern Departmental Building; French: Édifice administratif de l'est) is one of the three buildings on Canada's Parliament Hill, in Ottawa, Ontario, containing offices for parliamentarians, as well as some preserved pre-Confederation spaces.
Built in the Victorian High Gothic style, the East Block is, along with the Library of Parliament, one of only two buildings on Parliament Hill to have survived mostly intact since original construction. Though not as renowned as the Centre Block of parliament, the East Block formerly appeared on the face of the Journey Series design of the Canadian hundred-dollar bill. The East Block is open to the public for tours in July and August.
Designed by Thomas Stent and Augustus Laver, the East Block is an asymmetrical structure built in the Victorian High Gothic style, with load bearing masonry walls— being nearly 0.9 m (3 ft) thick at the ground level, expanding to 2.1 m (7 ft) thick at the base of the main tower. These are all clad in a rustic Nepean sandstone exterior and dressed stone trim around windows and other edges, as well as displaying a multitude of stone carvings, including gargoyles, grotesques, and friezes, keeping with the style of the rest of the parliamentary complex.
This detail continues on the interior of the East Block, where emblems, such as wheat sheaves, were carved in stone originally to indicate the various government departments housed nearby. The level of quality and luxury of the offices initially indicated the status of the inhabitant: large, wood panelled chambers with marble fireplaces and richly decorated plaster ceilings served for ministers of the Crown; intricate, but somewhat less detailed cornices were sufficient for senior bureaucrats; and basic, machine-made woodwork and concrete fireplace mantles filled rooms set aside for clerks. Though much of the original decor has been retained or restored, the spaces have been reorganized so that the East Block now houses, as well as ministers, members of parliament, senators, and parliamentary administrators. Corridors and entranceways are also lit by windows filled with stained glass, and contemporary adaptations of the original gas fixtures adorn the walls. Beneath the decor stand 0.6 m (2 ft) wide, double-wythe masonry partitions with a rubble fill core, and concrete floors more than 0.3 m (1 ft) thick.
The main historic spaces in the East Block are restored to reflect the period around 1872. The former office of the Governor General of Canada contains its original furnishings, and the woodwork, fireplace, and plasterwork are finished as they would have been just a decade after Confederation. The office that had been occupied by Sir John A. Macdonald contains a blue-grey Arnprior marble mantle, and the Prime Minister's furniture occupies the room. The previous Queen's Privy Council for Canada chamber holds a reproduction of the original table made at Upper Canada Village, above which hangs the same chandelier that hung there before the Second World War.
Parliament Hill (French: Colline du Parlement), colloquially known as The Hill, is an area of Crown land on the southern bank of the Ottawa River that houses the Parliament of Canada in downtown Ottawa, Ontario, Canada. It accommodates a suite of Gothic revival buildings whose architectural elements were chosen to evoke the history of parliamentary democracy. Parliament Hill attracts approximately three million visitors each year. The Parliamentary Protective Service is responsible for law enforcement on Parliament Hill and in the parliamentary precinct, while the National Capital Commission is responsible for maintaining the nine-hectare (22-acre) area of the grounds.
Development of the area, which in the 18th and early 19th centuries was the site of a military base, into a governmental precinct began in 1859 after Queen Victoria chose Ottawa as the capital of the Province of Canada. Following several extensions to the Parliament and departmental buildings, and a fire in 1916 that destroyed the Centre Block, Parliament Hill took on its present form with the completion of the Peace Tower in 1927. In 1976, the Parliament Buildings and the grounds of Parliament Hill were designated as National Historic Sites of Canada. Since 2002, an extensive $3 billion renovation-and-rehabilitation project has been underway throughout the precinct's buildings that is expected to be completed after 2028.
Ottawa (/ˈɒtəwə/, /ˈɒtəwɑː/; Canadian French: [ɔtawɑ]) is the capital city of Canada. It is located in the southern portion of the province of Ontario, at the confluence of the Ottawa River and the Rideau River. Ottawa borders Gatineau, Quebec, and forms the core of the Ottawa–Gatineau census metropolitan area (CMA) and the National Capital Region (NCR). As of 2021, Ottawa had a city population of 1,017,449 and a metropolitan population of 1,488,307, making it the fourth-largest city and fourth-largest metropolitan area in Canada.
Ottawa is the political centre of Canada and the headquarters of the federal government. The city houses numerous foreign embassies, key buildings, organizations, and institutions of Canada's government; these include the Parliament of Canada, the Supreme Court, the residence of Canada's viceroy, and Office of the Prime Minister.
Founded in 1826 as Bytown, and incorporated as Ottawa in 1855, its original boundaries were expanded through numerous annexations and were ultimately replaced by a new city incorporation and amalgamation in 2001. The municipal government of Ottawa is established and governed by the City of Ottawa Act of the Government of Ontario. It has an elected city council across 24 wards and a mayor elected city-wide.
Ottawa has the highest proportion of university-educated residents among Canadian cities and is home to several colleges and universities, research and cultural institutions, including the University of Ottawa, Carleton University, Algonquin College, Collège La Cité, the National Arts Centre, the National Gallery of Canada; and numerous national museums, monuments, and historic sites. It is one of the most visited cities in Canada, with over 11 million visitors annually contributing more than $2.2B to the city's economy." - info from Wikipedia.
Late June to early July, 2024 I did my 4th major cycling tour. I cycled from Ottawa to London, Ontario on a convoluted route that passed by Niagara Falls. during this journey I cycled 1,876.26 km and took 21,413 photos. As with my other tours a major focus was old architecture.
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Canons Ashby House (previously known as Canons Ashby Hall) is a Grade I[1] listed Elizabethan manor house located in the village of Canons Ashby, about 11 miles (17.7 km) south of the town of Daventry in the county of Northamptonshire, England. It has been owned by the National Trust since 1981 when the house was close to collapse and the gardens had turned into a meadow.[2] "The Tower" of the building is in the care of the Landmark Trust and available for holiday lets.
Design
Kitchen range at Canons Ashby House
The interior of Canons Ashby House is noted for its Elizabethan wall paintings and its Jacobean plasterwork. It has remained ssentially 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.
The house sits in the midst of a formal garden with colourful herbaceous borders, an orchard featuring varieties of fruit trees from the 16th century, terraces, walls and gate piers from 1710. There is also the remains of a medieval priory church (from which the house gets its name).
History
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.
One John Dryden had married Elizabeth Cope in 1551 and inherited, through his wife, an L-shaped farmhouse which he gradually extended. In the 1590s his son, Sir Erasmus Dryden completed the final north range of the house which enclosed the Pebble Courtyard.
John Dryden and Elizabeth Cope had a daughter, Bridget Dryden (1563-1645),born at Canons Ashby. She became the second wife of cleric and teacher Francis Marbury; their daughter Anne Hutchinson (1591-1643) emigrated to the Massachusetts Bay Colony in 1634. Anne's strong religious convictions were at odds with the established Puritan clergy in the Boston area, and her popularity and charisma helped create a theological schism that threatened to destroy the Puritans' religious community in New England. She was eventually tried and convicted, then banished from the colony with many of her supporters. To 19th century America, she was a crusader for religious liberty; in the 20th century, she became viewed as a feminist leader for her staunch defence of individual freedom of thought. Today, a statue of Anne Hutchinson stands in front of the State House in Boston, Massachusetts.
Sir Henry Edward Leigh Dryden's 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 (1821–1912).[3]
Louis Osman (1914–1996), an architect and accomplished British goldsmith lived at Canons Ashby from 1969/70 to 1979. Whilst there, Osman made the crown, with his enamellist wife, Dilys Roberts, which was used at the investiture of Charles, Prince of Wales in 1969. They also made the gold enamelled casket that held the Magna Carta which was on view in the United States Capitol, Washington, DC in 1976 for the United States Bicentennial.[4]
During World War II, the London offices of 20th Century Fox films were evacuated to Canons Ashby House; the evacuee staff lived in the nearby village of Moreton Pinkney.
Gervase Jackson-Stops, who was the Architectural Adviser to the National Trust for over twenty years, broke fresh ground when he fought for the rescue of the then decaying manor-house in the 1980s. This was the first time that the Trust used its charitable funds rather than the traditional family endowment to save a historic house.Wikipedia
The view from the back (north-west), with a better view of the north-east tower.
Internally, inevitably, there have been many changes over the years. The basement of the oldest parts of the castle is all vaulted. The original kitchen has the usual great fireplace and also a bread oven within its walls. The original Hall on the first floor of the old south-west tower is also vaulted and decorated with plasterwork. This must date from after 1603 since it features the Tudor Rose amongst other symbols, celebrating the union of the crowns. One would suppose that it therefore dates to after the castle's burning in 1645 as well.
Excerpt from alhambradegranada.org:
It is difficult to know how the Mexuar was originally built, as the multiple restorations and reconstructions carried out until today do not let us know how its chambers were. Some of them are just ruins today. According to the quotations by the poet Ibn Zamrak, it could be said that it belonged to the original Nasrid palaces. The layout and connections of the Mexuar have changed a lot as a result of the improvements carried out by the Catholics and of the great damages caused by the explosion of a powder magazine in 1590. The eastern section still survives from the series of chambers located next to the Tower of Mohammed I.That section is now known as «Mexuar» and it also underwent the Christian rebuildings. The gallery and the Machuca Tower (Torre de Machuca) are still in good condition. This tower is so called because the architects Pedro and Luis Machuca lived there during the construction of the Charles V Palace (Palacio de Carlos V).
As an example of what has been said, it may be mentioned that the exterior of the walls of the Mexuar Hall have undergone so many changes that it is impossible to know how they were originally built. Four columns stand in the middle of the hall, with corbels of mocarabes. The following text appears on the plaster frieze: «Everything that you own comes from God». The ceiling, from the Christian period, is a coffered ceiling with interlacing decoration. The wall, on its higher part is decorated with plasterwork, golden elements and paintings. The skirting boards are covered with tiles and have Alamares' motto, Charles V coat of arms and Mendoza's arms because Mister Iñigo López de Mendoza, Count of Tendilla was appointed as the governor of the fortress by the Catholic Monarchs. There are also some boards with the columns of Hercules and a border of Moorish bows from the 16th century.
At the back of the hall there is a chamber which was used by the king for the meetings with the council and to grant audiences. When the king was not in the palace, it was the Judge (Cadí), in the next hall, who met the traders. On the door, one of the tiles of the wall says: «Enter and fear not ask to ask for justice, for you will find it». Later, around the year 1632, these halls were turned into a Christian chapel and a choir was built.
THIS ELIZABETHAN HALL AND STANDS ON THE BANKS OF THE RIVER CALDER IN PADIHAM IN THE HEART OF INDUSTRIAL LANCASHIRE. THE HALL WAS BUILT BETWEEN 1600 AND 1605 GAWTHORPE HALL WAS THE FAMILY HOME OF THE SHUTTLEWORTH FAMILY FOR OVER 300 YEARS. INSIDE THE HOUSE YOU WILL FIND PERIOD ROOMS ON DISPLAY FROM THE 1850 REMODELLING BY RENOWNED ARCHITECT SIR CHARLES BARRY AND PUGIN AS WELL AS ORIGINAL PLASTERWORK CEILINGS, PANELLING AND THE IMPRESSIVE LONG GALLERY. ALSO ON DISPLAY ARE OVER 200 PIECES FROM THE NATIONALLY IMPORTANT GAWTHORPE TEXTILE COLLECTION.
THE NATIONAL PORTRAIT GALLERY HAS LOANED OVER 20 PAINTINGS TO THE HALL ALL OF WHICH ILLUSTRATE ITS FASCINATING CONNECTIONS AND HISTORY, PARTICULARLY WITH THE ENGLISH CIVIL WAR. GAWTHORPE HALL IS AN ARTISTIC AND HISTORIC TREASURE TROVE IN THE MIDDLE OF INDUSTRIAL LANCASHIRE.
GAWTHORPE HALL IS CLOSED COMPLETELY FOR THE REST OF 2015. THIS IS DUE TO MAJOR BUILDING CONSERVATION WORK TO THE HALL, AND IS EXPECTED BE OPEN FULLY FOR 2016.
Listed Building Grade II*
List Entry Number : 1025280
Date First Listed : 07 October 1977
Built in 1897, a theatre by Magnall and Littlewood, with a front of red Ruabon brick and terracotta, and rendering at the rear. Along the ground floor are shop fronts and a canopy. There are three-storey towers at the corners with lunettes and shaped gables with finials. Between the towers is a first-floor arcade, a balustrade, and a central projection, above which is stepped coping with volutes and finials. Inside is a richly-decorated entrance hall and an auditorium with two tiers of balconies and elaborate plasterwork.
en.wikipedia.org/wiki/Morecambe_Winter_Gardens
The Indiana State Capitol in Indianapolis, completed in 1888, stands as a grand example of late 19th-century Neoclassical and Renaissance Revival architecture. Designed by architect Edwin May and completed under Adolph Scherrer, the building was constructed to house all branches of Indiana’s government under one roof. Its design features a central dome rising above a cruciform layout, flanked by symmetrical wings and adorned with classical columns and arched windows that reflect the influence of the Italian Renaissance. Built from Indiana limestone, the structure’s interior includes a soaring rotunda with a stained-glass dome, marble staircases, and decorative plasterwork, symbolizing the state’s pride and prosperity during a period of growth and modernization.
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Cottage in Saffron Walden. This area in Essex is famous for decorative plasterwork known as pargeting. I have walked past this cottage in Gold Street hundreds of times and never noticed the fine decoration before.
Looking more like silverware than classical architecture, these column bases fulfilled their function admirably.
It's possible the columns serve a structural purpose, but it's the plasterwork eagles and garlands that do the heavy lifting here, communicating the occupants' refined tastes and high status any and all passers-by.
Helsinki, Finland.
One of just three National Trust properties in Northamptonshire, Canons Ashby is situated in the south of the county. This is the main Hall on the ground floor of the building, which is noted for its Elizabethan wall paintings and its Jacobean plasterwork.
The challenge for Saturday 15th October is ‘parallels’.
In the 1920’s and 30’s our small 1,400-year-old downland farming village was substantially developed into a residential suburb, in the building style sometimes called ‘Tudorbethan’ or ‘Mock Tudor’. The new homes were even marketed as being in the ‘Tudor Village’, even though there were few if any actual Tudor buildings in the village, but it could now boast:
- a cul-de-sac called Tudor Close
- the Tudor Rose public house
- the Tudor Parade of Mock Tudor shops with flats over them, and most of all …
- any number of Mock Tudor detached, semi, and terraced homes along its old lanes and new streets.
The result was that all around here you can see buildings with black painted strips of wood stuck over white plasterwork, where the architects had tried to make them look vaguely like traditional old English half-timbered homes. (Ours is not one of them, by the way.) Here, for example, is a road of semis just round the corner from us, with enough black strips of wood in parallel with each other (At last! We wondered when you’d be getting round to mentioning parallels!) to satisfy the challenge several times over.
== As always, your comments (and faves, should you be so inclined) are greatly appreciated! ==