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Ganjali Bazaar - Square - Malek Mosque
The bazaar is located in southern part of Ganjali Square. Inside, the bazaar is decorated with exquisite plasterwork and wall paintings and although they are 400 years old, they are still well-preserved. The bazaar is 93 meters long and is connected to Ganjali square through 16 iwans and vaults.
Ganjali Caravanserai and Mosque
The caravanserai is located on the east side of the Ganjali Square. Its portal bears a foundation inscription from 1598 composed by calligrapher Alireza Abbasi. The plan of the caravanserai is based on the four-iwan typology, with double-story halls centered on tall iwans enveloping four sides of an open courtyard. There is an octagonal fountain at the center of the courtyard which is chamfered at the corners. The caravanserai measures thirty-one and a half by twenty-three meters. It has a small domed mosque at one corner that measures five and a half by five meters
This mosque is a construction of the 5th century AH. (the Saljuqi period). Various portions of this mosque, specially the main platform was constructed in the times of Vakil-ol-Molk (1285 AH.), and the eastern porch was repaired in the last century by the late Deylamqani which is a remnant of the Saljuqi period. There is the brick tower in the north eastern section, which was formerly in a state of ruin, but has since then been repaired. Besides which there are three altars worked in plaster.
The George Hotel has existed at 25 Lydiard Street, Ballarat, since 1853. The present building was constructed in 1902 to designs of architects E. and B. Smith.
The principal feature of the three storey building is the triple storey, six bay, cast iron verandah. The main facade was originally face brickwork. The first floor facade is characterised by archivolts to the row of windows. The balustraded parapet has a semicircular tympanium.
The interior of the George Hotel has changed greatly over the years since it was built. The most damage was not caused by the ravages of time and the fickle nature of fashion, but a fire in 1988. However the interiors have been lovingly restored, and original features survive to this day.
The ground floor has marble facings, white above the height of the sill and red below; this was an unusual design feature at the time, as most facades were tiled then. The threshold of the main Lydiard Street entrance has the black marble words "George Hotel" inlaid into white marble.
The George's public rooms feature high ceilings with ornate plasterwork, grand chandeliers and fine cornices.
The main cathedral in Birmingham, it is where the Bishop of Birmingham is based.
It is the third smallest cathedral in England after Derby and Chelmsford
The Cathedral Church of St Philip is a Church of England cathedral and seat of the Bishop of Birmingham. It was built as a parish church and consecrated in 1715. It became a cathedral in 1905 for the newly formeed Diocese of Birmingham. It was built in the early 18th century in the Baroque style by Thomas Archer and is located on Colmore Row in Birmingham (and Temple Row to the south and west). The cathedral is a Grade I listed building.
Designed 1709 and consecrated in 1715, though the tower not completed until 1725. Raised to cathedral status in 1905. By Thomas Archer, his first big commission, and of far more than local importance as a major monument of the English Baroque. Stone, refaced in 1864-9 by J A Chatwin. Restored after war damage, 1947-8. Rectangular in plan with slight east and west projections representing chancel and tower; the aisles extend further than the nave at each end to form vestibules containing stairs to the galleries either side of the tower and vestries either side of the chancel. The vestries are part of the alterations made to the east end in 1883-4 by J A Chatwin who also extended Archer's original shallow apsidal chancel. Tower and porches either side with Borrominesque detail. Side elevations with arched windows separated by Doric pilasters carrying an entablature and parapet with urns on the skyline. Inside, a 5-bay arcade, north and south galleries and plasterwork by Richard Hass. Principal among the furnishings are the organ-case of 1715 by Thomas Schwarbrick of Warwick, the wrought-iron chancel rails in the style of Tijou or Bakewell of Derby and the east and west stained glass windows of 1885-97 designed by Sir Edward Burne-Jones and made by William Morris.
Cathedral Church of St Philip - Birmingham - Heritage Gateway
Sir Robert Lorimer's interior includes ironwork by Thomas Hadden, plasterwork by Sam Beattie and furniture by Whytock & Reid.
Sir John Sommerson has described the Church as ‘the pride of English architecture, and one of the few City churches in which the genius of Wren shines in full splendour’. Sir Nikolaus Pevsner lists it as one of the ten most important buildings in England.
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In many of the City churches Wren was not particular about right angles in the plans, but the geometry of St. Stephen's is perfectly rectangular. What makes this Church so remarkable, however, is not the delicacy of the plasterwork or the accuracy of the geometry, hut the subtlety of the space which that geometry defines. Significantly, the space has never been interrupted by galleries, for there is no place in which galleries could have been acceptably placed.
Wren's churches were intended to be what he called 'auditories', in which everyone present could see, hear and feel themselves part of the congregation. A well-lit interior was imperative, with the minimum of obstruction from internal supports. Wren also provided, as a matter of course, a place for the communion table at the east end, and a principal entrance at the west; the latter is unusually impressive because the slope of the site makes it necessary for a flight of steps up from the street.
From the porch, we pass into a short nave of only two bays with double aisles, to face a chancel of one bay on the far side of the dome; the main focus of the interior becomes immediately clear. But the space can be read in other ways. We seem to be inside a set of pillars arranged on a regular grid plan, except that four have been left out of the centre, under the dome. Or again, we may see a perfectly regular domed church, with four triplets of columns, but extended westwards into a sort of ante-chapel from which we can look into the central symmetrical space. The dome seems to rest on the points between the arches, and on the eight columns under these points; in fact there are walls and window arches behind these points, which share with the columns the function of support. These window arches have become the Church's principal light sources. since the east windows are coloured and the oval side windows are shielded by later buildings.
The worshipper and the agnostic alike may feel at first only that they are in a pleasant interior, but the flooding light, and the arrangement of the interior space, so clear yet capable of several readings, have a cumulative effect. That effect does not depend on decorative richness - the enrichment exists only to give softness and substance to the abstraction of lines; the roses, laurels and palms of the plasterwork are only the most conventional of symbols. Wren considered geometry to be the basis of the whole world and the manifestation of its Creator, while light not only made that geometry visible but also represented the gift of Reason, of which geometry was for him the highest expression. Like the solution to a mathematical problem, everything fits into place with apparent simplicity; yet this simplicity itself is mysterious and magical. Whether one experiences St. Stephen's alone, in stillness and quiet, or in a full congregation resounding with music, the effect is always the same. Life outside is complicated and chaotic. To enter is not to escape into fantasy; rather is it to submit to the strongest positive assertion of the true order of the universe.
Like all great works of art, St. Stephen's is of its time, and our sense of history requires that we recognise its associations with a great age; but again like all great works of art, it has something about it that is timeless, and its message, indeed its very survival, must be the concern of us all.
Professor Kerry Downes
Grade 1 listed building of historical importance. Dating from the 14th Century, the old pub in Church Street has beautiful pargeting (plasterwork)
Ganjali Bazaar - Square - Malek Mosque
The bazaar is located in southern part of Ganjali Square. Inside, the bazaar is decorated with exquisite plasterwork and wall paintings and although they are 400 years old, they are still well-preserved. The bazaar is 93 meters long and is connected to Ganjali square through 16 iwans and vaults.
Ganjali Caravanserai and Mosque
The caravanserai is located on the east side of the Ganjali Square. Its portal bears a foundation inscription from 1598 composed by calligrapher Alireza Abbasi. The plan of the caravanserai is based on the four-iwan typology, with double-story halls centered on tall iwans enveloping four sides of an open courtyard. There is an octagonal fountain at the center of the courtyard which is chamfered at the corners. The caravanserai measures thirty-one and a half by twenty-three meters. It has a small domed mosque at one corner that measures five and a half by five meters
This mosque is a construction of the 5th century AH. (the Saljuqi period). Various portions of this mosque, specially the main platform was constructed in the times of Vakil-ol-Molk (1285 AH.), and the eastern porch was repaired in the last century by the late Deylamqani which is a remnant of the Saljuqi period. There is the brick tower in the north eastern section, which was formerly in a state of ruin, but has since then been repaired. Besides which there are three altars worked in plaster.
The George Hotel has existed at 25 Lydiard Street, Ballarat, since 1853. The present building was constructed in 1902 to designs of architects E. and B. Smith.
The principal feature of the three storey building is the triple storey, six bay, cast iron verandah. The main facade was originally face brickwork. The first floor facade is characterised by archivolts to the row of windows. The balustraded parapet has a semicircular tympanium.
The interior of the George Hotel has changed greatly over the years since it was built. The most damage was not caused by the ravages of time and the fickle nature of fashion, but a fire in 1988. However the interiors have been lovingly restored, and original features survive to this day.
The ground floor has marble facings, white above the height of the sill and red below; this was an unusual design feature at the time, as most facades were tiled then. The threshold of the main Lydiard Street entrance has the black marble words "George Hotel" inlaid into white marble.
The George's public rooms feature high ceilings with ornate plasterwork, grand chandeliers and fine cornices.
This large piece of ornate plasterwork hangs on for dear life in one of the grand rooms at Baron Hill. Exposed to the elements for many years and now surrounded by vegetation, it nevertheless remains as a reminder of the opulence that once existed here.
Commissioned by the Bulkeley family, the building of Baron Hill began in 1612, but was not finished, until the house we see today – enclosing the original Jacobean works – was constructed in 1776-9. Gradual decline was accelerated when Polish troops were stationed there during World War II, a fire causing damage to part of the building. The mansion was completely abandoned after the War, decay and vandalism have now left it a ruin. There are currently proposals to renovate the buildings into 40+ apartments.
Full Photo Tour of the Baron Hill Estate can be found here:
A fire in 1904 severely damaged the ceiling in the chamber of the Iowa House of Repesentatives. The chandeliers, plasterwork and other architectural detail seen here were put up after the fire. Not sure about the scores of smaller electric lights.
The interior of the Iowa State Capitol underwent recent restoration, so it is hard to know how much of the paint and guilding - if any - is original, or how faithful the restorations are to the original. But it beats looking at acres of institutional green paint.
A photo such as this produces perspectival aberrations that would make M.C. Escher proud. Aligning the image so any one plane is horizontal or vertical inevitably means other elements that should be horizontal or vertical won't be.
So take your pick: should the column be vertical or should the chandelier hang straight down? Can't have both. What amazing brains we have that correct for this automatically!
details of the doors and ceiling in the entry vestibule of St Ignatius Church in San Francisco completed in 1914 and designed by architect Charles J. I. Devlin
additional photos of this church can be found here: www.flickr.com/photos/atelier79033/sets/72157622868020110/
some fine details when viewed LARGE
The gallery and ceiling of the Great Staircase at Wimpole Hall, Cambridgeshire. This staircase replaced an earlier, seventeenth-century one. Wimpole was largely the creation of Edward Harley, earl of Oxford (1689-1741) who expanded the core of an earlier house. This phase of work was undertaken circa 1719-21 by James Gibbs. In 1740, the house was bought by Charles Yorke, first earl of Hardwicke (1690-1764), and a new phase of work was initiated under Henry Flitcroft between 1742 and 1745. He refaced the exterior and did much additional work in the interior, including making several modifications to the Great Staircase, as seen here, which involved removing Gibbs's ceiling and inserting the gallery. Gibbs had inserted a ceiling between the first and second floors which had preserved a plasterwork coving with garlands of fruit, flowers, and laurel leaves that dates back to the original seventeenth-century house, and which remains visible here. Flitcroft's plasterer, Giuseppe Artari, decorated the upper walls with garlands in the style of the 1740s. Lastly, in the 1790s, John Soane inserted a new ceiling for Philip Yorke, third earl of Hardwicke, with a domed skylight and four large thermal windows.
The side loge seating - unusual in a British cinema. The decorative plasterwork is by Mollo & Egan. Apollo Ardwick.
Below the false ceiling in the Empire Theatre Longton the plasterwork was kept in surprisingly good condition as the Coral Bingo Club, and, as can been seen, was Frank Matcham at his flamboyant best. Only the stalls and dress circle were used by the club, the upper circle and balcony levels were intact, but hidden above a false ceiling.
Empire Longton, Stoke on Trent,
A scanned negative from May 1989.
Detail of plasterwork inside the Empire Theatre Great Yarmouth. Circle area.
Great Yarmouth Empire Theatre
January 2003
Decorative plasterwork from a ceiling at Wentworth Castle, Yorkshire. Wentworth Castle was built by Thomas Wentworth, 3rd Lord Raby, who after 1711 became 1st earl of Strafford (of the second creation). Raby purchased Stainborough Park in 1708 which he renamed Wentworth Castle in 1731. The estate was chosen because it was only six miles away from Wentworth Woodehouse which Raby considered he should have inherited instead of Thomas Watson. The enlargement and renaming of Stainborough was therefore done in a spirit of bitter rivalry and as a bid for the extinct earldom of Strafford (which Raby eventually obtained). The house was enlarged with a new east range designed by Johann de Bodt between 1710 and 1720, although his plans were modified by James Gibbs and William Thornton, the Yorkshire carpenter and builder. The internal plasterwork has been attributed to the stuccatori Giuseppe Artari and Giovanni Bagutti but their names do not appear in the Strafford papers, and Francesco Vassalli has been proposed instead.
Levens Hall is a magnificent Elizabethan mansion that was built around 1350 by the Redman family as a pele (or peel) tower and was later expanded and rebuilt towards the end of the 16th Century. It is the family home of the Bagots, and contains a collection of Jacobean furniture, fine paintings, the earliest English patchwork and many other beautiful objects. (No photos from inside the house as photography is not allowed)
The world-famous award winning gardens were laid out in 1694. The topiary beech hedges and colourful seasonal beds create a stunning visual impact. The topiary garden has huge abstract shapes, pyramids and columns reminiscent of monstrous chess men.
These photographs remind me of my many days visiting stately homes during the summer months, hope you enjoy.
The four churches of STANTA have had no congregations since 1943, and in the intervening years, have just sat there letting time and the occasional bored squaddie do their worst.
Over the past ten years, work has been undertaken to ensure the churches are dried out, with long an elaborate guttering and down pipes to get rain water away from the foundations of the the buildings.
It was almost too late for All Saints, as the plasterwork added to the church by a Victorian Vicar on the Chancel arch began to sag and break.
The Norfolk Churches Trust paid to have a scaffold frame put in the nave to support the plasterwork, and it has been like that for the best part of the decade.
Most of the nave is fenced off for safety reasons, meaning we all were squeezed into a small part of the west end as we were told the history of the building and plans for the future.
All Saints is the only round-towered church in the STANTA area. Te nave and ailses seem wider than the nave and chancel is long. A striking combination.
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Stanford is at the very heart of the training area, and so far from civilisation that the silence in the air is stunning. I had not heard such a silence in England before. The sheep were fearless, inquisitive as we let ourselves into the churchyard; their lambs hid behind, chins tilted upwards as they watched. As at Tottington, the roofs are blast-proof panels rather than tiles, but this is so well done that you wouldn't know unless you looked carefully.
This is the only round-towered church in the training area, although there are several more just outside, including Threxton and Merton. Here, the Norman round part is surmounted by an octagonal belfry stage, as at nearby Breckles. It probably dates from the 15th century.
As I wandered about the graveyard, tiny spring rabbits bolted from beneath my feet. At first, this was startling, and then comical; they had never seen a human before, and so they waited until I was right on top of them before running for the scrub. I became wary lest I step on one, but I don't think they were ever in any real danger.
As at West Tofts, this church underwent a considerable 19th century restoration, but the difference here is that it seems to have been carried out by the Rector. You might even say that it was an amateur restoration. His is the chancel with its pastel murals, his the great rood, his even the painted glass in the north aisle window, which Pevsner thought worthy of mention, but which is mostly now lost. The arcades rest on elegant, fluted columns, and something very odd has happened at the east end of the south aisle, where a fomer archway appears to have been truncated by the eastern wall. Or was it begun and never finished? Curious.
Again, the roof tiles are stored here, but the benches are gone, the bells have gone. And yet this still feels as if it must have been a very warm and welcoming building, busy in the years of its restoration, and still a touchstone for generations.
Outside, Quantrills and Clarks, Rudds and Gathercoles. One Quantrill memorial has a very curious inset relief which must have been the height of fashion in the early 19th century. A badly eroded Gathercole memorial is profoundly evangelical: Weep not for us our children dear, because we die and leave you here. But look to Christ the crucified, that you may feel his blood applied.
Another for a Quantrill wife hopes that God shall wipe away all the tears from their eyes. All about, the silence continues.
Simon Knott, May 2004
Plasterwork swags above a doorway to the staircase at Wentworth Castle, Yorkshire. Wentworth Castle was built by Thomas Wentworth, 3rd Lord Raby, who after 1711 became 1st earl of Strafford (of the second creation). Raby purchased Stainborough Park in 1708 which he renamed Wentworth Castle in 1731. The estate was chosen because it was only six miles away from Wentworth Woodehouse which Raby considered he should have inherited instead of Thomas Watson. The enlargement and renaming of Stainborough was therefore done in a spirit of bitter rivalry and as a bid for the extinct earldom of Strafford (which Raby eventually obtained). The house was enlarged with a new east range designed by Johann de Bodt between 1710 and 1720, although his plans were modified by James Gibbs and William Thornton, the Yorkshire carpenter and builder. The cantilevered stone staircase at the north end has a wrought-iron balustrade, pedimented doorcases and extensive plasterwork including large medallions of Fame and Perseus. The internal plasterwork has been attributed to the stuccatori Giuseppe Artari and Giovanni Bagutti but their names do not appear in the Strafford papers, and Francesco Vassalli has been proposed instead.
I found it hard to get my head around these plasterwork ladies, apparently depictions of an Elizabethan gentleman's late wife. There were very many of these images throughout his wonderful house, can't help thinking that his second wife must have found it quite trying. The German gentleman touring the house was very unimpressed, hence the picture's title.
The Pentecost overmantel in the first floor dining room of the Sloping Deck Restaurant in the picturesque Butterwalk, Dartmouth.
tour.rammuseum.org.uk/tours-in-devon/historic-decorative-...
The design appears to be unique, with highly unusual religious imagery in a 17th century domestic setting; Moses & David flank the image of Pentecost, with a central figure of Mary surrounded by the 12 Apostles (it appears one was forgotten about originally and squeezed in at the last minute on the left with just his head showing!).
It holds nostalgic attraction for me as I recall being fascinated by it on a childhood holiday in Dartmouth back in 1982 (I was 8 and my interest in historic churches, art & architecture was blossoming) it wasn't top-lit back then and one of the right hand Apostle figures slightly spooked me as he always seemed to be staring right at me!. I even remember we popped back into the Sloping Deck again a few days later and I was disappointed at not being able to see this again when there was a function on in this room. The eponymous sloping floor also greatly intrigued me as a child.
Uploaded originally for the 'Guess Where UK?' Group.
Click the picture to study the locally popular form of decorative plasterwork called "Pargetting"
This village sits upon the ancient Roman highway beginning at the only place where the River Lea in East London could be forded at low tide, now named appropriately Old Ford.
It then runs in a straight line direct to Bury St Edmunds, in Suffolk
Taken on a Minolta SR-T101 camera with a 50mm f2 MC Rokkor lens on Kodachrome
The faded splendor of the rococco salon in the Hotel Decumani de Charme. 18th Century AD. Napoli, Campania, Italy. Copyright 2016, James A. Glazier.
The Queen's College Library
Although a library has existed since the college's foundation in 1340-1 the upper "baroque" library was built between 1692-5, it is considered by many to be one of the finest rooms in Oxford university. Some of the woodcarving is attributed to Thomas Minnand Son, whilst James Hands did most of the elaborate plaster-work on the ceiling. Originally there were intended to be painted panels but Thomas Roberts finished the room in 1756 with rococo plasterwork. There are stained glass portraits of Henry 1V, Charles II and Catherine of Braganza.
Terrace of shops with flats over, now mainly storage. c1836-45, with caryatids of 1840. Designed by WH Knight; at least 3 caryatids are by Rossi of London, serving as models for others by WG Brown of Tivoli Street, Cheltenham; National Westminster Bank converted by Eric Cole c1970. Ashlar over brick with mansard slate roof and terracotta caryatids. PLAN: L-shaped with opening to lower, shorter part. EXTERIOR: 2 storeys with attics, mostly 1 window each (Nos 19-23 have 2 windows. Ashlar detailing includes pilasters with sunk panel to most party walls; tooled, eared architraves to first floor 2-window ranges; cornice sweeps up; balustraded parapet. First floor has 6/6 and tripartite 6/6 between 2/2 sashes where original. 8/8 and 6/6 sashes to mansard, further attic dormers with casements. Mainly 6/6 sashes, those to bow are curved on section; also to roof dormers. Rear: elevations to Montpellier Street are good 3-storey, ashlar, first-floor windows have pediments. INTERIOR: noted as retaining some original plasterwork and joinery. HISTORICAL NOTE: although dated 1836 to the south end, Blake points out that no other evidence suggests such an early date, it is not shown on Griffith's 1838 Map and the earliest reference occurs in 1841 to "2 additional shops". By 1841 the north end of the Walk, opposite Montpellier Arcade (qv) had been built, forming a covered entrance to the tree-lined walk, leading from the Old Well and Imperial Spa to Montpellier (on which the shops were to be built). Rowe illustrates the north end of the Walk with bow and indicates that the shops along this side were occupied by Mr Merrett, Cook and Confectioner; Mrs Hacker's Magasin of Modes; and Mr Draper, Tailor; Rowe does not indicate any other shops had been completed in this development. Rowe describes, 'the bow front on the left of the entrance .. occupied by two handsome shops, the windows of which are separated by Caryatids - elegant Grecian figures, representing Athenian virgins, dressed in their Panathenaic costume'. Montpellier Walk was originally known as the Grand Promenade. This unique row of shops was described by Verey as, 'A charming example of intimate Classical architecture' and is an outstanding example of its type, both for its significance as commercial architecture of the period and the C19 terracotta revival. EH Listing
The Deming, 615 Cherry Street, Terre Haute, Indiana. Named for financier and philanthropist Demas Deming, this former hotel occupies the site of the old Congregational Church. The firm Holabird and Roche of Chicago designed the building in the “Second Empire” style, with ornate cornices and plasterwork inspired by French architecture. Construction was by the Sheldon-Breck Construction Co. of St. Louis at a cost of $400,000. F.P.W. Young was the supervisor.
Designed as a fireproof hotel, the eight-story structure is an all-masonry building with poured concrete floors and ceilings. The Terre Haute Coal and Lime Co. furnished 4,450 cubic yards of gravel and sand, as well as 7,550 barrels of Marquette Portland cement for the concrete work on the building and sidewalks. Also used were 648,000 various kinds of bricks and 300 tons of twisted steel. It should be noted that during construction, no accident of any consequence occurred.
For the interior, the Connersville Furniture Co. manufactured all the bedroom furniture. Their local representatives, the A.Z. Foster Co., provided everything else except for the linens and kitchen equipment. The Adamson & Anderson Co. was contracted for all the glasswork in the hotel, using 10,000 pieces. When completed, the hotel had 250 rooms and 200 baths. The Mandel Studio of Chicago provided a large painting of Indians with Fort Harrison in the background for the lobby. This painting was removed during renovation and later returned.
The Deming Hotel opened officially for business on Tuesday, Oct. 20, 1914, with a Charity Ball to benefit The Boys Club. “Billie” Cochran was the first manager, with Tom Nelson as his first lieutenant manager. John O. Holmes, a traveling representative for Eli Lilly and Co., was the first name on the guest register. With dinner at 7 and dancing at 10, a good time was had by all. The first noted actor/dancer to stay at the hotel was Joseph Santley, appearing in Phillip Bartholomew’s musical comedy “When Dreams Come True,” at the Grand Opera House on Thursday, Oct. 22, 1914.
On Dec. 28, 1962 the property was sold to Hulman and Co. In 1963, the property changed hands again when it was purchased by Indiana State University for use as a men’s dormitory and later as a conference center.
On Sept. 21, 1978, Congressman John Myers and Mayor William Brighton announced completion of financial arrangements for the $4.15 million “Deming Project.” A month later, Bethesda Corp. and the Terre Haute Housing Authority began rehabilitation of the hotel into 109 apartments for low-income elderly and the handicapped, with completion set for December 1979.
In February 2014, it was announced that Core Redevelopment had acquired the 100 year old building. The Deming will undergo a six million dollar renovation with a move-in day of August 2015!
traditional plasterwork, woodcarving, and Zellij tilework based on a pattern in the Alhambra, in the Moroccan Court
Glasgow Film Theatre - screen 1, the extended former balcony, retains the plasterwork of the original cinema, has a huge screen and multi-format capabilities. It seats just under 400.
Film Theatre, Glasgow
June 2011
Note the artistry of the doors and their mouldings, as well as the plasterwork on the ceiling. Antoni Gaudi designed every aspect of La Pedrera, including the decorative elements (lighting fixtures, knobs, handles, mouldings, doors, floorings, ceilings, bannisters, etc.).
One of Gaudi’s most ingenious innovations in the design of La Pedrera is the structural system of pillars made of stone, brick or iron which, by eliminating the need for load-bearing walls, made it possible for him to freely distribute the interior space of the floors of apartments. The distribution of a typical floor is notable for its irregular geometry and its well-defined internal organization, intended to make the most of the south-facing main façade. People circulate within the building by using the well-lit, wide corridors around the courtyards. The lifts provide direct access to the entrance of the flats on each floor. Each floor is divided into four apartments in such a way that each one has a section of the main façade.
This apartment recreates the life of a Barcelona bourgeois family in the first third of the 20th century.
The Elizabethan plasterwork above the main hall. It is unlikely it was ever intended to be seen from this angle.
traditional plasterwork, woodcarving, and Zellij tilework based on a pattern in the Alhambra, in the Moroccan Court
Opened on 16th September 1912, the Lime Street Picture House was a very upmarket city centre cinema with a tiled Edwardian facade and 1,029 seats in the stalls and circle auditorium which was richly decorated with plasterwork in the French Renaissance style. Dummy boxes with a riotous pediment were either side of the screen opening and looked down into the orchestra pit. The lower walls were panelled in a dark oak wood. An unusual feature for such an early cinema was the provision of a lift for the circle patrons. There was a cafe-lounge located on the first floor. It was re-named City Picture House from 14th August 1916. In 1920 the City Picture House was renamed the Futurist Cinema, a name the closed and derelict building still bears. The Futurist Cinema was very popular and managed to retain its hold even after competition from the huge Paramount (Odeon) and Forum (ABC) opened which sometimes forced the Futurist into taking off-circuit films. In May 1954 Twentieth Century Fox took over the cinema as their Cinemascope venue in the city and it was equipped with a large screen, re-opening on 20th May 1954 with Tyrone Power in "King of the Khyber Rifles". In 1955, Twentieth Century Fox took over the adjacent Scala Cinema, and also equipped that with Cinemascope. Later, in 1960, the Futurist Cinema was acquired by ABC and was equipped with 70mm/Todd-AO re-opening on 10th July 1960 with Gordon Macrea in "Oklahoma" which ran for 20 weeks. It became ABC's roadhouse cinema for extended runs of features such as "Earthquake". Eventually, as ABC tripled their main cinema (the ex-Forum directly across the street), the Futurist Cinema was closed on 17th July 1982 with Mel Brook's "History of the World-Part 1" and "Blazing Saddles". It has not been used since and the condition inside must now be very poor.
Decorative plaster turnip from a ceiling at Wentworth Castle, Yorkshire. Wentworth Castle was built by Thomas Wentworth, 3rd Lord Raby, who after 1711 became 1st earl of Strafford (of the second creation). Raby purchased Stainborough Park in 1708 which he renamed Wentworth Castle in 1731. The estate was chosen because it was only six miles away from Wentworth Woodehouse which Raby considered he should have inherited instead of Thomas Watson. The enlargement and renaming of Stainborough was therefore done in a spirit of bitter rivalry and as a bid for the extinct earldom of Strafford (which Raby eventually obtained). The house was enlarged with a new east range designed by Johann de Bodt between 1710 and 1720, although his plans were modified by James Gibbs and William Thornton, the Yorkshire carpenter and builder. The internal plasterwork has been attributed to the stuccatori Giuseppe Artari and Giovanni Bagutti but their names do not appear in the Strafford papers, and Francesco Vassalli has been proposed instead.
Sudbury Hall, was the country home of the Lords Vernon, containing 17th-century craftsmanship, featuring plasterwork, wood carvings and classical story-based murals.
The Museum of Childhood within the Hall is a delight for all ages with something for everyone. Watch your children discovering something new, or relive nostalgic memories by exploring the childhoods of times gone by.
The Parish Church of All Saints,which is adjacent to the house, was restored for the 6th Lord Vernon by George Devey.
The house was used by the BBC to film "Pride & Prejudice".
The mansion was built in the 1630s for Sir Thos. Holte {1571-1654}. The frieze in the great dining room depicts the Nine Worthies, plus 2 other figures.
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Alexander the Great
Scored and painted plasterwork, on an elevation of a church in the pedestrianised areas of Málaga. A great city!