View allAll Photos Tagged plasterwork
This is the ornate roof above the altar. Even though I attended mass here (many, many years ago) I never noticed the intricacy of the plasterwork.
Designed by AW Pugin and consecrated in 1839. He also designed the Palace of Westminster and the Elizabeth Tower housing Big Ben.
Lumix S5ii and NiSi 15mm f4
Please enlarge or zoom in for the amazing detail.
Facing the Bull Hotel with its medieval coaching yard is this incredible building.
One of the best known half-timbered buildings in Britain and the jewel in Ludlow's crown.
Considered one of England's finest small hotels, not only is the carved exterior of note but so are its beautifully preserved Jacobean interiors of fine fireplaces, panelling and plasterwork ceilings.
From the hotel's website:
'Built in 1619 by an ambitious attorney called Rees Jones, who moved to Ludlow to pursue his career at the ‘Council of the Marches’, our handsome building was converted into a hotel by his grandson 50 years later and has been welcoming guests since 1670.
The Feathers’ famous half-timbered Tudor façade is adorned with carved wooden motifs of the Prince of Wales’ three feathers emblem, which gives the hotel its name.
Described by architectural historian Pevsner in his seminal 1942 book ‘The Buildings of England’ as ‘that prodigy of timber-framed houses’ it was listed as a Grade 1 building in 1954. More recently, in 1983, The New York Times named it the ‘most handsome inn in the world’. In the article by historian Jan Morris, she added: ‘It is one of the prime images of olde England, portrayed in posters and brochures wherever tourism is known.’
Guests have stepped through The Feathers’ original studded plank front door, which survives to this day, and enjoyed food, drink, rest and relaxation within its Jacobean interior for over 400 years.
Many 17th century features remain. In 1970, the careful restoration of the hotel’s intricate wood carvings on its oak panelling by specialist craftsman Robert Pancheri, was awarded the UK’s Civic Trust Award for excellence in renovation.
Today, visitors in our Lounge look out on to Ludlow’s main street, through the same lattice windows as The Feathers’ first guests. The carefully-preserved moulded glass with original mullions and transoms are set with cast iron diamond glazing.
By the turn of this century, the years were beginning to tell on the hotel and it was in need of a makeover to fix its creaking plumbing and bring its facilities up to scratch for the modern visitor.
The Crest Hotel Group purchased The Feathers in 2018 and embarked on a £2.7 million renovation, working closely with local authorities and the community, and paying careful attention to requirements of its Grade 1 listing.'
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.
To stand there is AMAZING!
"Honeycomb," "stalactite," or "mocárabe" vaulting in the Hall of the Abencerrajes
The Hall of the Abencerrajes (Sala de los ,) is located in front of the Hall of the Two Sisters (Sala de Dos Hermanas).
The walls have plasterwork covers and a tile skirting board from the 16th century, of Renaissance style. A wonderful dome of mocarabes rests on eight pendentives of mocarabes. The following inscription is written on the pendentives: «There is no other help than the help that comes from God, the clement and merciful One». The windows that are where the dome starts let a faint light filter through and illuminate the mocarabes creating a magic
The Nasrid dynasty of Granada used mocárabe extensively and used it around the capitals of its columns thereby making a new order of column.
Mocárabe was constructed in a variety of materials including wood and plaster. Under the Nasrid, mocárabe was originally carved into its medium. Later on, moulds were made to cast the designs with clay or plaster. Thank you and have a peaceful day, M, (*_*)
For more of my other work or if you want to purchase, visit here: www.indigo2photography.co.uk
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
A grand function room falling into decay as time passes.
My 200th post on Flickr! Here's one of my favourite shots from one of my favourite local locations! : )
España - Toledo - Palacio de Galiana
www.palaciodegaliana.es/en/index.html
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ENGLISH:
The building, located on the northeast outskirts of Toledo's historic center, most likely formed part of the almunia (fortress) built by Al-Mamun of Toledo, king of the Taifa of Toledo (1043-1075). Following the Christian conquest, the site was called the "royal almunia," which was still used in 1294, although by this time the Castilianization of the name "Huerta del Rey" (King's Garden) had taken hold. The name Galiana became popular from the 16th century onwards due to the disappearance of the authentic Galiana palaces, located in the Alficén complex next to the Alcázar.
During the Mudejar period, the north and south facades were rebuilt. According to Gómez-Moreno, at the beginning of the 20th century, when the building was in poor condition, the windows with lobed arches, the plasterwork of the framing—dating from the 14th century—and remains of paintings—which he considers to be earlier—were still visible in the rooms on the second floor. Few fragments of this decoration remain today, but Gómez-Moreno's testimony seems to indicate two renovations. First, the painted plinths and some of the plasterwork were completed in the mid-13th century. Later, John I donated this royal possession to the Jerónimos convent of La Sisla in 1385. Almost a decade later, it was purchased by Beatriz de Silva, who married Alvar Pérez de Guzmán in 1397. It was shortly afterward that the second renovation of the building was undertaken, as evidenced by the Guzmán and Silva coat of arms featured in the plasterwork.
Due to successive inheritances, the orchard was divided among various owners. The majority continued to belong to the Guzmán y Montijo family, while other areas belonged to the Chapel of Santo Tomás and the Brotherhood of Santa Caridad. After the confiscations of the 19th century, the House of Montijo acquired the undivided shares of the entities whose real estate assets were sold to the State. Empress Eugenie was interested in restoring the palace, which ultimately did not happen. As time passed, the site fell into disrepair.
It was declared a historic-artistic monument, belonging to the National Artistic Treasure, on June 3, 1931, by a decree published in the Gaceta de Madrid with the signature of the provisional president of the republic, Niceto Alcalá-Zamora, and the Minister of Public Instruction and Fine Arts, Marcelino Domingo y Sanjúan. In the 20th century, the Duke of Peñaranda sold the estate to Alejandro Fernández de Araoz and Carmen Marañón, who began the rehabilitation in 1959.
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ESPAÑOL:
El edificio, situado en las afueras, al noreste del casco histórico de la ciudad de Toledo, muy probablemente formó parte de la almunia construida por Al-Mamún de Toledo, rey de la taifa de Toledo (1043-1075). A raíz de la conquista cristiana, el lugar se denominó «almunia real», aplicándose todavía en 1294, aunque por estas fechas se impone la castellanización de «Huerta del Rey». El nombre de Galiana se popularizó a partir del siglo XVI a consecuencia de la desaparición de los auténticos palacios de Galiana, situados en recinto del Alficén, junto al alcázar.
En época mudéjar se rehicieron las fachadas norte y sur. Según recoge Gómez-Moreno, a principios del siglo XX, cuando el edificio se encontraba en mal estado, aún se apreciaban las ventanas con arquillos lobulados, las yeserías de los encuadramientos –que data en el siglo XIV– y restos de pinturas –que considera anteriores– en las habitaciones del segundo piso. En la actualidad quedan escasos fragmentos de dicha decoración, pero el testimonio de Gómez-Moreno parece indicar dos reformas. Por un lado, a mediados del siglo XIII se realizarían los zócalos de pinturas y algunas de las yeserías. Posteriormente, Juan I donó esta posesión real al convento de jerónimos de la Sisla en 1385. Casi una década después fue comprada por Beatriz de Silva, quien contrae matrimonio en 1397 con Alvar Pérez de Guzmán. Sería poco tiempo después cuando se acometió la segunda reforma del edificio, como atestiguan los escudos de Guzmán y Silva que figuraban en las yeserías.
Por las sucesivas herencias, la huerta se fraccionó en diversos propietarios. La mayor parte siguió perteneciendo a la familia Guzmán y Montijo, mientras que otras zonas pertenecían a la capilla de Santo Tomás y a la cofradía de la Santa Caridad. Tras las desamortizaciones del XIX, la Casa de Montijo adquirió las partes proindiviso de las entidades cuyo patrimonio inmueble enajenó el Estado, interesando a la emperatriz Eugenia la restauración del palacio, lo que finalmente no ocurrió. Conforme pasó el tiempo, el lugar fue cayendo en el abandono.
Fue declarado monumento histórico-artístico, perteneciente al Tesoro Artístico Nacional, el 3 de junio de 1931, mediante un decreto publicado en la Gaceta de Madrid con la rúbrica del presidente provisional de la república, Niceto Alcalá-Zamora, y del ministro de Instrucción Pública y Bellas Artes, Marcelino Domingo y Sanjúan. En el siglo XX el duque de Peñaranda vendió la finca a Alejandro Fernández de Araoz y Carmen Marañón, quienes en 1959 emprendieron la rehabilitación.
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/)
Gawthorpe Hall in Lancashire, England was built for the Shuttleworth family, 1600-05, and has Elizabethan panelling and plasterwork of outstanding quality. It was sensitively restored in the 1850s
St Andrew's Square is a public square in the city of Glasgow, Scotland and lies to the south east corner of Glasgow Cross, close to Glasgow Green. The square is noted for its immense 18th-century classical church, St Andrew's in the Square, from which the square takes its name. The church was completed in 1758, to the designs of architect Allan Dreghorn[1][2][3] and master mason Mungo Naismith[4] and is among the finest of its type anywhere in Britain. The interior has lavish 18th century rococo plasterwork. The building is Category A listed. It is one of six squares in the city centre.
The church standing amidst fields on the banks of the Molendinar Burn,[5] was later enclosed by a square, encouraged by the town council who sold the ground to builder developer William Hamilton of Glassford, Lanarkshire, building between 1786 and the early 1790s.[6] He was also the architect of the Tontine in the Trongate. The square became a fashionable residence for some of Glasgow's wealthiest merchants. "Here and in Virginia Street were domiciled the best and wealthiest in the city."[7] The Royal Bank of Scotland opened here in the 18c with David Dale in charge of the agency. Sulman's panoramic Bird's Eye View of Glasgow published in 1864 shows the Square conveniently close to the mercantile centre of Glasgow Cross and the University of Glasgow in High Street.[8]
Beauty is in the eye of the beholder and I think this is a beautiful building in Nottingham City Centre that is in quite a sad state of repair. The rainy day actually enhance its charm I think...
House, now club, and attached railings and boundary wall. c1675. For Thomas Newdigate. Stucco with ashlar dressings and hipped slate roof. EXTERIOR: plinth, chamfered quoins, modillion eaves cornice. 3 storeys plus attics; 5 window range of 12-pane sashes with moulded surrounds and alternating triangular and segmental pediments. Above, 5 similar sashes with lugged architraves and fleurons. Above again, 3 dormers with alternating pediments and 9-pane casements. Central moulded ashlar doorcase with volutes and broken segmental pediment and fielded 6-panel door. On either side, two 12-pane sashes with alternating pediments. INTERIOR has an entrance hall with full height moulded wooden panels and cornice, and 8-panel door with bolection moulded surround. Ground floor dining room has Adam-style plasterwork and 2 round skylights. Restored wooden dogleg staircase with stick balusters. 2 fully panelled first floor rooms with moulded cornices and 8-panel doors Outside, attached crested wrought-iron railing, central gateway and overthrow, probably by Francis Foulgham. Rendered plinth with ashlar coping. To left, attached boundary wall, brick with slab coping, containing a wooden doorcase with entablature and 6-panel door. Approx 10m long. Marshal Tallard was held prisoner here after the battle of Blenheim. (The Buildings of England: Pevsner N: Nottinghamshire: London: 1979-: 235-236).
St Peter's Church, Clayworth, is open all day, everyday for you. It is God's house and everyone is welcome.
This beautiful church was built between 1150 and 1180 and is situated on the main street which runs through this charming north Nottinghamshire canalside village, 6 miles north of Retford. It is a Grade I listed building and is regarded as one of the finest village churches in the county.
It is home to the Traquair Murals, the largest work of art in the East of England, painted by the eminent Scottish artist Phoebe Traquair in 1904/5. The church also features a fine 13th century stone screen - a rare possession in a village church, and the Elizabethan Fitzwilliam tomb, one of the earliest examples of decorative plasterwork in the country
Gu Byaukgyi Paya (Wet Kyi Inn) which means “Great Painted Cave Tempe” off Anawrahta Rd just south of Nyaung-U (should not be confused with identically named temple in Myinkaba). Traces of fine plasterwork can still be seen on the exterior. This was build in the early 12th century. Bagan Myanmar
The St Patrick's Basilica or Oamaru Basilica, as it is popularly known because of its style of architecture, is a church in Oamaru, New Zealand. It was designed by the prominent New Zealand architect Francis Petre and is one of his most celebrated works. It is one of the most important historic buildings of Oamaru and of the North Otago region. The Basilica's classical portico and three domes are an admired feature of the Oamaru townscape and the building is particularly noted for the high quality of the stone carving and fine plasterwork of its architectural features. The Basilica "must surely have one of the most noble church interiors in the country. Built entirely of Oamaru stone the exterior has weathered more than one would have expected, but inside the church glows with reflected light from the creamy stone which is virtually in its original state."
The inspiration and effort behind the building of St Patricks came from Father (later Monsignor) John Mackay, who became Parish Priest in Oamaru on 3 March 1890. He wished to build a Church that would suit the needs of his congregation and began fundraising. By April 1893 he was had enough money to start on the building. On an earlier trip to Europe, he had seen buildings he considered would suit the needs of the Oamaru Parish and he had commissioned Francis Petre to put his observations and ideas into a practical design. The laying of the foundation stone coincided with the silver jubilee of ordination of Mackay, who was parish priest of Oamaru for 36 years (1890-1926) and who supervised the construction of the Basilica from its commencement in 1893 until its final completion 25 years later in 1918. The foundation stone was laid on Trinity Sunday 1893, by Bishop Moran of Dunedin. The successful tender for the construction of the church had been made by D.W. Woods: £3,460 exclusive of the sanctuary and dome. The whole building was to be of Oamaru stone, cut from the nearby quarry at Weston, Mr Joseph Kelly of Weston being the Quarry contractor. - From Wikipedia
The Grosvenor Picture Palace has dominated the corner of Oxford Road and Grosvenor Street since opening on 19th May 1915 with Blanche Forsythe in “Jane Shore” (The Eternal Strife).
Operated for many years by the H.D. Moorehouse chain, it survived unaltered until it was acquired by Star Cinemas Group in the early-1960’s joining the nearby Regal Twins (now Dancehouse Theatre). Star introduced Bingo and, for a time the building operated as a dual cine-bingo operation until the last film show came on May 18th, 1968 with “Passionate Demons” & “Attack of the Crab Monsters”. At that stage, Bingo took over completely. However the Bingo operation failed and the building became a Riley’s Snooker Club for several of years.
Following that the premises were vacant and boarded up until they were converted to the Footage and Firkin public house. Much of the interior, including the balcony, vaulted ceiling and plasterwork survives today.
The Grosvenor Cinema was designated by English Heritage a Grade II Listed building in the 1990s.
The Old Sun Inn is an enchanting and much-cherished Grade I-listed historic building in Saffron Walden, Essex, displaying some of the best pargeting—external decorative plasterwork added in the 17th century—in England. Originally medieval houses, later an inn, the property has since seen mixed commercial and domestic use.
El Museo y Centro de Interpretación de la Ciudad de Carmona se encuentra hoy instalado en un antiguo palacio del siglo XVI: la Casa del Marqués de las Torres, en la que cabe destacar los yesos decorativos de tradición mudéjar en las molduras de los balcones.
Esta casa es un ejemplo de la arquitectura palaciega carmonense.
El patio central es de planta cuadrada y las dependencias se organizan en torno a él en dos plantas.
Es destacable el lienzo de la Virgen de Gracia que se encuentra en la escalera.
turismo.carmona.org/museo-de-la-ciudad/
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.
The Rotunda a garden temple c.1760 possibly by Robert Adam. Circular Bath stone building with entablature and shallow dome. 6 windows around with moulded architraves and triangular pediments on consoles. Glazing bar sash windows. Above each a sunk oblong panel with festoon carving. Interior has fine rococo plasterwork to walls and window surrounds, entabluature above and coffered ceiling to dome.
© Historic England 2024
We didn't walk to the top of the hill at Ryde, but we stopped when we were in line with the old Town Hall, which is set on a side street, almost not noticeable.
Ryde Town Hall is a municipal structure in Lind Street in Ryde, Isle of Wight, England. The town hall, which was the headquarters of Ryde Borough Council, is a Grade II listed building.
The building continued to serve as the headquarters of Ryde Borough Council for much of the 20th century but ceased to be the local seat of government after the enlarged Medina Borough Council was formed in 1974. A programme of works, to a design by the council surveyor, Nigel Hayton, to convert the first floor of the building into a theatre was completed in March 1991. The theatre incorporated a balcony and featured extensive decorative plasterwork and a proscenium arch. After the theatre closed in February 2005, the facility was used as a music venue: performers at the town hall included the rock band, The Stranglers, in July 2009. The venue closed completely in April 2010 and the building was sold to a developer in January 2013. However, by October 2020, the development had not progressed and the building was badly vandalised. In November 2020 Ryde Town Council decided to take a three-year lease on the building with a view to raising the finance to acquire and restore it.
In medieval times the village of Lavenham in Suffolk was one of the richest in England. It thrived on the wool trade in the 15th and 16th centuries when local merchants became very wealthy.
One the ways they could show their wealth was in the building of houses which .has resulted in the village having many half timbered properties that have stood the test of time over many centuries. There are over 200 grade 1 and grade 2 listed structures in the village today.
This house, known as Cordwainers, dates from circa 15th century and is located in the High Street. It is a timber frame and plastered building with grade 2 listed protection. In the past it was the One Bell Inn but is now a private house. I particularly like the different shapes and sizes of the timber beams, the colour of the plasterwork and the blocked up doorway on the right. A magnificent property!
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I used San Carmen in Aviary for this slide. I went with a mild slide that would accentuate the beautiful plaster work detail in the white room (the rest of the rooms are dark brown like the doors).
Sutton Scarsdale Hall was built in the Baroque style on the site of an existing house between 1724 and 1729 for the 4th Earl of Scarsdale. The architect for the new hall was Francis Smith of Warwick, who skilfully incorporated the earlier building of about 1469 within his design.
Notable craftsmen were employed here. Edward Poynton of Nottingham carved the exterior stonework and the Italian master craftsmen Arturi and Vasalli carried out the fine stucco (plasterwork) detailing in the principal rooms, remnants of which can still be seen.
Grinling Gibbons is believed to have contributed some of the interior wood carvings. The cost of this splendid building left the Scarsdale heirs with depleted funds and they were eventually forced to sell the hall in the 19th century.
John Arkwright, a descendant of the industrialist Richard Arkwright, bought the hall, but in 1919 the family sold it to a company of asset strippers.
Many of its finely decorated rooms were sold off as architectural salvage and the house was reduced to a shell. Some rooms still exist: three interiors are displayed at the Museum of Art in Philadelphia.
A pine-panelled room is at the Huntington Library, California. It was offered to the Huntington by a Hollywood film producer who had used it as a set for a film, Kitty, in 1934. He had bought it from William Randolph Hearst, the newspaper magnate and well-known collector.
The ruins of the hall were saved from demolition by the writer Sir Osbert Sitwell, who bought it in 1946 after he had heard of the impending sale to dismantle the stonework. In 1970 descendants of the Sitwells persuaded the Department of the Environment to take the building into guardianship and preserve it for the nation.
A recent programme of works has been undertaken by English Heritage to preserve and protect the fragments of the original stucco interior.
Jal Mahal is a palace in the middle of the Man Sagar Lake in Jaipur city, the capital of the state of Rajasthan, India. The palace was originally constructed around 1699; the building and the lake around it were later renovated and enlarged in the early 18th century by Maharaja Jai Singh II of Amber.
The Jal Mahal Palace is an architectural showcase of the Rajput style of architecture (common in Rajasthan) on a grand scale. The building has a picturesque view of Man Sagar Lake, but owing to its seclusion from land is equally the focus of a viewpoint from the Man Sagar Dam on the eastern side of the lake in front of the backdrop of the surrounding Nahargarh ("tiger-abode") hills. The palace, built with local sandstone, is a three-storied building, with the third floor only existing on the eastern side of the palace. The eastern side is not visible from the road side public promenade, which is the Western side of the palace. The additional lower levels of the eastern side remain underwater when the lake is full. The Jal Mahal has a terrace floor with a garden, and the garden has four Tibaris facing north, south, east and west. The Tibaris are designed in the Bengal roof style architecture while the four octagonal Chhatri on the roof mark the corners of the monument. The palace had suffered subsidence in the past and also partial seepage (plaster work and wall damage equivalent to rising damp) because of water logging, which have been repaired under a restoration project of the Government of Rajasthan.
The hills surrounding the lake area, towards the north east of Jaipur, have quartzite rock formations (with a thin layer of soil cover), which is part of the Aravalli hills range. Rock exposures on the surface in some parts of the project area have also been used for constructing buildings. From the northeast, the Kanak Vrindavan valley, where a temple complex sits, the hills slope gently towards the lake edge. Within the lake area, the ground area is made up of a thick mantle of soil, blown sand, and alluvium. Forest denudation, particularly in the hilly areas, has caused soil erosion, compounded by wind and water action. As a result, silt built up in the lake incrementally raises the lake bed. On the terrace of the palace, a garden was built with arched passages. At each corner of this palace semi-octagonal towers were built with an elegant cupola.
The restoration works of the early 2000s were not satisfactory and an expert in the field of similar architectural restoration works of Rajasthan palaces examined the designs that could decipher the originally existing designs on the walls, after removing the recent plasterwork. Based on this finding, restoration works were re-done with traditional materials for plastering – the plaster consists of partly organic material: a mortar mix of lime, sand and surkhi mixed with jaggery, guggal and methi powder. It was also noticed that there was hardly any water seepage, except for a little dampness, on the floors below the water level. But the original garden, which existed on the terrace had been lost. Now, a new terrace is being created based on a similar roof garden of the Amer Palace. The building is located near the shoreline of a lake with a maximum depth of 15 ft. As the four stories of the building are built under the water, this means it would be structured on the bottom of the lake.
#AbFav_DAY_TRIP
To stand there is AMAZING!
"Honeycomb," "stalactite," or "mocárabe" vaulting in the Hall of the Abencerrajes.
The Hall of the Abencerrajes (Sala de los ,) is located in front of the Hall of the Two Sisters (Sala de Dos Hermanas).
The walls have plasterwork covers and a tile skirting board from the 16th century, of Renaissance style. A wonderful dome of mocarabes rests on eight pendentives of mocarabes. The following inscription is written on the pendentives: «There is no other help than the help that comes from God, the clement and merciful One». The windows that are where the dome starts let a faint light filter through and illuminate the mocarabes creating a magic
The Nasrid dynasty of Granada used mocárabe extensively and used it around the capitals of its columns thereby making a new order of column.
Mocárabe was constructed in a variety of materials including wood and plaster.
Under the Nasrid, mocárabe was originally carved into its medium.
Later on, moulds were made to cast the designs with clay or plaster.
Thank you and have a peaceful day, M, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
#Alhambra #Andalusia #Granada #Architecture #colour #natural light #horizontal #Nikon d90 #magda indigo
Old clay jug, thistles, feathers and sea urchin tests on the wall of my friend Georg's house. Georg had a fable for such things and they gave the interior something archaic. I took the photo on Polaroid material type 665 and washed the negative straight away in Georg's house in the sink section. Hasselblad Flexbody, Zeiss Planar CF 2,8/80mm, Polaroidfilmmagazine, Polaroidfilm Typ 665, scanned with Nikon Supercoolscan 8000ED.
Have also a look at my Crete album and the description.
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All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
whc.unesco.org/en/tentativelists/5125/
“Napier Art Deco historic precinct, New Zealand
Description
The Napier Art Deco Historic Precinct is part of the central business district of the City of Napier, located between the shoreline of Hawke Bay and the coastal margin of the Heretaunga Plains, Hawke's Bay, North Island.
Napier township was originally surveyed and laid out in the 1850s. Most of the town centre was destroyed on 3 February 1931 by a major earthquake (measuring 7.9 on the Richter scale) and the ensuing fires. The Hawke's Bay earthquake not only destroyed the centre of Napier, but caused radical changes to the surrounding landscape. It was a natural disaster of major proportions. This destruction resulted in a massive reconstruction of the town centre. Napier became New Zealand's (and indeed the world's) newest city with its own Southern Hemisphere version of Art Deco style. Due to the economic climate and the number of casualties caused by falling masonry and decorative features during the earthquake, the scale of the town centre was limited to one or two storeys and the buildings were decorated with low relief ornamentation. Reinforced concrete was used in construction and the use of older materials such as bricks was shunned. Ornamental motifs used on buildings reflect all of the themes prevalent in Art Deco design, and include authentic Maori designs on both exteriors and interiors of some buildings. These motifs are seen not only in exterior low relief stucco but also in interior plasterwork, leaded glass, metal grilles, flooring and joinery.
The central business district was reconstructed mainly over the two years following the earthquake, with planning decisions made by two government-appointed commissioners and an Earthquake Reconstruction Committee. Although the number of architects involved in the town centre reconstruction was relatively small with five main contributors, there is a wide variety of building styles in such a compact area. By the end of the 1930s, central Napier consisted almost entirely of buildings and landscaping of the previous 20 years. Because the creation of a completely new city centre halts the normal cycle of demolition and renewal, no changes occurred at all in central Napier until the 1960s. Buildings have been lost since then, but only a small proportion of the total stock.”
When Robert Adam designed this room in the 1760s, it was intended to be the best drawing room. The ceiling plasterwork and wall decorations were completed by 1774, but the room remained unfinished.
Sir Roland Winn and Sabine had planned this as a grand 'withdrawing room' for guests to retreat after an evenings entertainment, but the project ground to a halt when he died in 1785. Only the ceiling and fireplace remain. Whilst Rowland's Nostell was shaped by new, British designers, tasted changed in the following century. Later generations were keen to promote their family history and good taste by filling rooms with a mix of prized inheritances and newly purchased artistic treasures. These included Continental antiques such as Flemish tapestries which give the room its name.
Of the four largest tapestries, three date from 1750, the other is a period replacement after the fourth in the set was damaged by fire in 1920.
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No Group Banners, thanks.
Fresh snow in the forecourt of The Assembly House on Theatre Street, Norwich photographed using an Insta360 X5 held on a 3 m pole.
Norwich locals long referred to this place as the Assembly Rooms.
The present Assembly House was built in the mid-18th century, 1754–1755, as a purpose-made venue for social life in the city: dances, concerts, dinners and formal gatherings. It is closely associated with Norwich architect Thomas Ivory and the refined 18th-century interiors have been linked with James Burrough.
The site itself is older than the Georgian façade. Parts of the structure include material from earlier buildings connected with St Mary-in-the-Fields. Over the centuries the House has had periods of change and reinvention while remaining one of Norwich’s best-known historic interiors. It is Grade I listed which reflects its architectural importance and the survival of key rooms.
Following WW2, after decades of heavy use and wartime requisition the building had suffered neglect, bomb damage and serious fabric problems (the sort of old-building headaches like dry rot and woodworm) and there wasn’t an obvious public pot of money ready to rescue a large Grade I listed venue. Without someone taking control and paying for a proper restoration it risked sliding further into decay and being lost to Norwich as a civic arts and events space.
So Henry J. Sexton joined with Sir George White and Alan Rees Colman to buy the building, stabilise its future then arrange for it to be given to Norwich in 1950 for public benefit.
A major turning point came on 12 April 1995 when a serious fire swept through The Assembly House, bringing down much of the roof and badly damaging parts of the historic interior including decorative plasterwork. The trustees decided the very next day that it would be restored and, under the day-to-day lead of general manager Ben Russell-Fish, a rapid fundraising effort began. Support included a £400,000 contribution from the National Lottery which helped fund modern essentials alongside conservation work such as improved access, new kitchen facilities and upgraded fire detection. The restoration planning was led by Purcell as architects with highly skilled specialist craftspeople brought in for the repairs, with expertise comparable to teams used on major national heritage projects. The work involved careful reconstruction in a Georgian manner where fabric had been lost, then the building was able to reopen on 14 February 1997, slightly ahead of schedule. The building is held for Norwich by The Assembly House Trust which is a registered charity.
Grand Café is located in South Western House, a Grade II listed building designed by John Norton that originally opened it's doors in 1872 as South Western Hotel.
The Restaurant itself was originally the Wedgewood Ballroom, with its traditional blue and white colour scheme seen in the plasterwork. There are only a few of these rooms still to be seen in the UK, and most of them are in London. Grand Cafe is very fortunate to be connected to this part of history.
Shot 92/100 x
To view more images, of Hintlesham Hall Hotel click "here"
I would be most grateful if you would refrain from inserting images, and/or group invites; thank you!
Hintlesham Hall Hotel - A grand, early-Georgian facade (added in the 1740s) disguises the hotel's 16th-century origins. Painted a distinctive, soft orangey-pink with white stucco and large white sash windows, the main house is flanked by two wings either side of a broad, gravelled courtyard; original features include wood-panelled walls, marble fireplaces, plasterwork ceilings, windows with cased shutters and a 17th-century oak staircase. Grounds include a hedged herb and kitchen garden, lawns and small fruit orchard behind the house. There is a small, rather dated spa annexe and swimming pool. There are 33 rooms; 10 in the courtyard and 23 in the main house, many under the beamed eaves on the top floor. A rolling programme of refurbishment is under way, but some of the courtyard rooms are particularly comfortable with rich fabrics and smart bathrooms. One of the most popular is "Cherry Orchard", the room formerly used as a kitchen by Robert Carrier, who ran his cookery school here in the Seventies, with spacious sitting area and mezzanine bedroom. Main house rooms are mainly on the top floor, under the eaves. "Braganza" is the hotel's top suite, taking up the entire first floor of the south wing with a vast drawing room that has a historic ornately plastered ceiling.
Quaint French Antique - Secondhand shop found in the centre of Casteljaloux selling bric-a-brac and curiosities....a magnet for any hoarder!
Slight use of Trigraphy to enhance line and cracked plasterwork.
I took this image a couple of years ago at Wimpole Hall, a National Trust property in Cambridgeshire. It’s a picture of the ceiling of the Yellow Drawing Room with its circular skylight. The room was designed in the 1790s by Sir John Soane, who described it like this: ‘The upright skylight will light the back part of the Room in the most desirable manner for pictures.’
I was attracted to the plasterwork and the light coming through the glazed areas. The central chandelier certainly served to add sparkle in the natural light, but whether it was illuminated otherwise, I am not sure.
The image was processed in monochrome with a strong blue tint using Nik Silver Efex. It looks like a simple image, but really it needed quite a lot of work to correct the perspective of the camera shot using DxO Viewpoint and Affinity’s perspective filter. I decided to leave the peeling paint and the plaster cracks. I hope you enjoy it anyway…
Thank you for taking the time to look. I hope you enjoy the image. Happy Donnerstag Monochrom :)
Images of Australia: 4/100
The town of Bendigo was a central location in the Gold Rush of the 1850's, leaving a legacy in the significant buildings and beauty of the town today. Bendigo is now the largest inland city in Australia with a population of over 127,000. It still has the 2nd highest gold producing mine in Australia.
The original Bendigo Town Hall was designed in 1859, with a later addition (The Corn Exchange) used for trading of grain,
From 1878 to 1902 the Town Hall was transformed by the architect William Vahland who was given the task of converting the hall into something worthy of Bendigo's leading position as the "City of Gold". The hall's interior featured decorative plaster adorned with 22-carat gold leaf.
An extensive restoration and renovation program including plasterworks, murals and gold leaf worked by artists and artisans was completed in 2003, restoring the building to its former glory and it is considered one of the finest boom time Victorian-era buildings in Australia.
Built in 1892-1894, this Richardsonian Romanesque Revival-style building was designed by Theodore Link for the Terminal Railroad Association of St. Louis to serve as a Union Station for multiple railroads that offered passenger service in the city at the time. The building consists of three sections, those being a head house, a large train shed, and a midway between the two. The head house is clad in granite with a rough-hewn rusticated base, rough-hewn belt coursing, hipped, gabled, and conical red terra cotta tile roofs, cylindrical turrets, a clock tower with an octagonal turret and pyramidal hipped roof, arched window bays on the second floor and the third floor, Chateauesque wall dormers, stone terraces with stone railings and metal lampposts flanking the main entrance at the exterior of the Grand Hall, a large suspended metal canopy at the main entrance, and buff brick and brown brick cladding on the rear and side facades. The interior of the head house originally housed a hotel, lunch room, ticketing facilities, and offices, as well as a large waiting room, known as the Grand Hall, which features a barrel vaulted ceiling with decorative stenciling and plasterwork, arches with decorative sculptural reliefs, arched bays on the walls, green tile wainscoting, stained glass windows, terazzo floors, around which are hallways with decorative ceilings, marble and tile wainscoting, decorative plasterwork, columns with decorative capitals, and decorative fireplace surrounds. The Train Shed is a large metal-frame structure with a barrel vault roof, skylights, and roof monitors, which originally housed multiple train platforms, and today houses multiple buildings that contain a hotel, aquarium, and mirror maze. The midway, between the two larger structures, features a metal truss roof with skylights, brick and drywall walls, marble floors, fountains, balconies, and window openings from the surrounding structures. The building was listed on the National Register of Historic Places and designated a National Historic Landmark in 1970, and was designated a Historic Civil Engineering Landmark in 1981. The last passenger train service at the station was in 1978, after decades of declining ridership, and the building languished until 1985, when it was rehabilitated and renovated for adaptive reuse as a hotel, shopping mall, and food court under the direction of HOK and Conrad Schmitt Studios. The hotel today is part of the Curio Collection by Hilton, and the train shed houses the St. Louis Aquarium, a Mirror Maze, multiple restaurants, and a carousel.
Sala de los Abencerrajes, siglo XIV, con su impresionante bóveda adornada con mocárabes, (los mocárabes son prismas yuxtapuestos de yeso, uno al lado del otro, que parecen estalactitas).
Es una de las más bellas cúpulas de este estilo, sus yeserías penden del techo de forma que parece una inmensa estrella que tenemos encima de nuestras cabezas. Conserva parte de la preciosa policromía primitiva que la decoraba.
Le dan empuje a esta bóveda ocho trompas también de mocárabes, entre ellas y la cúpula existen unas ventanas que dejan pasar una suave luz, dándole un aspecto mágico.
Hall of the Abencerrajes, 14th century, with its impressive vault adorned with muqarnas, (the muqarnas are juxtaposed plaster prisms, one next to the other, that look like stalactites).
It's one of the most beautiful domes of this style, its plasterwork hangs of the ceiling in such a way that it looks like an immense star that we have above our heads. It conserves part of the precious primitive polychrome that decorated it.
This vault is given impetus by eight squinches, also made of muqarnas, between them and the dome there are windows that let in a soft light, giving it a magical appearance.
I bought it from the Corinthian Club,Glasgow's most iconic and visually stunning venue,a five floor entertainment complex with long history behind ...
I wrapped it in a resplendent History paper and offer it to you ...
It stands on the site of the renowned 18th century Virginia Mansion,famed as being one of the finest private residences in Glasgow.The location itself is historic and symbolizes the social and commercial development of Glasgow in the 18th and 19th centuries.
It's one of the city’s most elaborate and richly decorated buildings,embellished over many decades by highly acclaimed architects.
In 1920 it was converted into judiciary courts,one of the UK’s finest Victorian interiors,but many of its features were hidden from public view behind false walls and ceilings.
In 1999 it was painstakingly restored as The Corinthian.
Details such as the Doric pilastrade,elaborate cornicing,26 foot glass dome,superb sculptural plasterwork,free standing classical figures,fixtures and fittings remain as impressive and spectacular as they were in the 1800s.
In 2010,after being extensively refurbished,it opened its doors once again as "The Corinthian Club".
The iconic Corinthian dome remains a focal point,located directly above Teller’s Bar and Brasserie,a space which was once the route to the court cells.
** Well,Clio and her sisters always come down from mountain Helicon and follow me ... ; its Ancient Greek name "Corinthian" prompted me,I allured you with champagne in order to talk about the Glaswegian gem ...
彡★彡 Cheers from Teller’s Bar - Happy New Year 彡★彡
It's not Mrs. Astor's staircase, but it's pretty nice. This is the Castle Hotel, Dublin, Ireland. The hotel was formerly a matching pair of Georgian houses built in the late 1700s and later interconnected. It's a fine example of the period and still retains many of the original marble fireplaces and restored plasterwork.