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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.
Sutton Scarsdale Hall is a Grade I listed Georgian ruined stately home in Sutton Scarsdale, close to the town of Chesterfield in Derbyshire.
Construction on the present building started in 1724 by architect Francis Smith for the 4th Earl of Scarsdale and incorperated a previous building that stood on the site.
The building was complete by 1729 on a scale and quality with nearby Chatsworth House, internally it featured both oak ornamental panels, stucco plasterwork, carved fireplaces in both marble and Blue John, and a carved mahogany staircase.
The house was purchased by Richard Arkwright Junior in 1824. He was the son of Sir Richard Arkwright who invented the water frame and had a major involvement in the cotton industry.
The Arkwright family lived in the hall until it was auctioned off in 1919, it was bought by a group of local businessmen who asset-stripped the house, this went as far as removing the roof in 1920. Some parts of the building were shipped to the United States were oak panelling from the hall is now in the Philadelphia Museum of Art.
In 1946, the estate was bought by Sir Osbert Sitwell of nearby Renishaw Hall, with the intention of preserving the remaining shell as a ruin. The hall was designated as a Grade I listed building in 1951, and is now in the care of English Heritage.
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My hometown Schuders in the Swiss Alps greeted me like this when I woke up this morning. We had some fresh snow last night. It's a good feeling to be back at my 82 year old mom's home.
The Schuders village with just 30 people is located higher up in the mountains of Graubünden, a canton in eastern Switzerland. From Wikipedia: Graubünden is known for its dramatic Alpine scenery and winter sports. St. Moritz, an upscale resort town and Winter Olympics host in 1928 and 1948, offers ski runs, an outdoor ice rink and ski jumping. Davos, home to the annual World Economic Forum, is also popular for skiing and hiking. The Engadin Valley has traditional whitewashed houses decorated with sgraffito plasterwork.
I processed a soft and a paintery HDR photo from three RAW exposures, merged them selectively, and carefully adjusted the curves.
-- © Peter Thoeny, CC BY-NC-SA 4.0, HDR, 3 RAW exposures, NEX-6, _DSC0493_4_5_hdr3sof3pai1c
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.
Built in the first half of the twelfth century by Payn of Hemingford, a tenant of Ramsey Abbey, the church was enlarged over the following centuries. Parts of the medieval church still survive in the south aisle and nave.
The spire collapsed during a hurricane in 1741 and instead of being rebuilt, was replaced with eight ball finials at its base. The church is still in active use with up to three services on a Sunday and many more in the week. The church undertook the second phase of a restoration project in 2013 and was closed from March till September. The main part of this work was to replace plasterwork which has been significantly damaged over the years by damp and modern repair and to restore the arcades stonework
La iglesia de Santiago Apóstol es un templo parroquial católico de la ciudad de Valladolid (Castilla y León, España). Sita en la calle vallisoletana del mismo nombre, fue construida en diferentes etapas y estilos entre los siglos XV y XVII. Es sede de la Cofradía de las Siete Palabras.
La iglesia se construyó sobre una pequeña ermita de comienzos del siglo XII, que hacia 1400 sería elevada a la categoría de iglesia parroquial. Como consecuencia del desarrollo de la zona del centro urbano de Valladolid, motivada por la actividad comercial de la cercana Plaza Mayor, a finales del siglo XV la iglesia se había quedado pequeña para acoger a la creciente feligresía. Además, la cabecera presentaba un estado ruinoso. El rico mercader y banquero D. Luis de la Serna se convirtió en el patrono del templo, acordando con la autoridad eclesiástica costear su completa reedificación a cambio de permitírsele utilizar la Capilla Mayor como panteón familiar.
La obra se contrató con el arquitecto guipuzcoano Juan de Arandia, quien desde 1499 había dirigido la construcción de la Iglesia del monasterio de San Benito el Real. Concluida la cabecera en 1500, cuatro años después, Juan de Arandia y García de Olave comenzaron a levantar, adosada al ábside, la torre de sección cuadrada, a la que se añadió un remate octogonal en 1610. A principios del siglo XVII se arruinó parte de la nave, por lo que en 1615 el arquitecto Francisco de Praves trazó una nueva estructura de bóveda y capillas de aires protobarrocos que fue ejecutada por los maestros de obras Martín de Répide, Juan del Valle y Juan Alonso Ballesteros.
En 1941 la Cofradía de las Siete Palabras trasladó aquí su sede desde la iglesia de San Miguel y San Julián.
Todo el exterior del templo presenta un aspecto austero, sin apenas concesiones decorativas, además de estar parcialmente enmascarado, en su lado del mediodía, por una edificación moderna que hace la función de pórtico de acceso y que acoge las dependencias de la parroquia y la confradía. La sobriedad de la portada occidental, compuesta con aparejo mixto de sillería y ladrillo, es apenas rota por un óculo vidriado. En el paño central del ábside se halla empotrado un relieve gótico de Santiago Matamoros, protegido por arco alfiz. El único elemento verdaderamente característico de la fábrica exterior es la torre, formada por cinco cuerpos separados por cordones, un elemento decorativo preservado del arte gótico hispano-flamenco. El chapitel octogonal que lo corona tiene sabor escurialense.
El interior presenta una sola y espaciosa nave, con cortas capillas laterales situadas entre los contrafuertes. La reforma integral ejecutada a principios del siglo XVII produjo un abovedamiento de cañón con lunetos sobre arcos fajones que apean en pilastras fasciculadas, una reminiscencia del gótico original del templo, y cuyos plementos están decorados con sencillas yeserías barrocas. La anterior cubierta era de madera y estaba sustentada por arcos diafragma. A los pies se sitúa el coro alto, alzado sobre un pequeño pórtico cubierto con un artesonado de comienzos del siglo XVI, en cuyos casetones se distinguen veneras con la cruz de la Orden de Santiago.
En la Capilla de las Siete Palabras se venera el espléndido Santo Cristo de las Mercedes, acompañado por los Dos Ladrones. El Crucificado es obra realizada entre 1550 y 1560 por el círculo de Pompeyo Leoni, quien talló un cuerpo de bastante mayor tamaño que el natural, muy anatómico y robusto, con marcadas articulaciones y musculatura. Concebida originalmente como pieza de retablo, este Cristo se atribuyó erróneamente durante mucho tiempo al discípulo de Juan de Juni Francisco de la Maza.
Las figuras de los ladrones son reproducciones de los del paso de La Sexta Angustia, que se encuentra en el Museo Nacional de Escultura. Cabe señalar que el Buen Ladrón lleva el rostro del Duque de Lerma porque éste le adeudaba al artista una suma por su trabajo en el retablo de la Colegiata de Lerma. Las tres esculturas forman un paso procesional de la Semana Santa vallisoletana conocido como En tus manos encomiendo mi Espíritu, que representa la séptima palabra, perteneciente a la Cofradía de las Siete Palabras, que preside el Sermón de las Siete Palabras en la Plaza Mayor en la mañana de Viernes Santo.
es.wikipedia.org/wiki/Iglesia_de_Santiago_Ap%C3%B3stol_(Valladolid)
The church of Santiago Apóstol is a Catholic parish church in the city of Valladolid (Castilla y León, Spain). Located on the Valladolid street of the same name, it was built in different stages and styles between the 15th and 17th centuries. It is the headquarters of the Brotherhood of the Seven Words.
The church was built on a small hermitage from the beginning of the 12th century, which by 1400 would be elevated to the category of parish church. As a consequence of the development of the downtown area of Valladolid, motivated by the commercial activity of the nearby Plaza Mayor, at the end of the 15th century the church had become too small to accommodate the growing membership. In addition, the head presented a dilapidated state. The rich merchant and banker D. Luis de la Serna became the patron of the temple, agreeing with the ecclesiastical authority to pay for its complete rebuilding in exchange for being allowed to use the Main Chapel as a family pantheon.
The work was contracted with the Gipuzkoan architect Juan de Arandia, who since 1499 had directed the construction of the Church of the monastery of San Benito el Real. Completed the head in 1500, four years later, Juan de Arandia and García de Olave began to build, attached to the apse, the tower with a square section, to which an octagonal finish was added in 1610. At the beginning of the 17th century part of of the nave, so in 1615 the architect Francisco de Praves drew up a new structure of vault and chapels with a proto-Baroque air that was executed by the master builders Martín de Répide, Juan del Valle and Juan Alonso Ballesteros.
In 1941 the Brotherhood of the Seven Words moved its headquarters here from the church of San Miguel and San Julián.
The entire exterior of the temple presents an austere aspect, with hardly any decorative concessions, in addition to being partially masked, on its midday side, by a modern building that functions as an access portico and which houses the parish and confraternity buildings. . The sobriety of the western façade, made up of a mixed masonry and brick rig, is hardly broken by a glazed oculus. A gothic relief of Santiago Matamoros, protected by an alfiz arch, is embedded in the central cloth of the apse. The only truly characteristic element of the exterior factory is the tower, made up of five bodies separated by cords, a preserved decorative element of Spanish-Flemish Gothic art. The octagonal spire that crowns it has an escurialense flavor.
The interior features a single and spacious nave, with short side chapels located between the buttresses. The comprehensive reform carried out in the early seventeenth century produced a barrel vaulting with lunettes on scalloped arches that stand in fasciculated pilasters, reminiscent of the original Gothic temple, and whose accessories are decorated with simple baroque plasterwork. The previous cover was made of wood and was supported by diaphragm arches. At the foot is the high choir, raised on a small portico covered with a coffered ceiling from the beginning of the 16th century, where the veneers with the cross of the Order of Santiago are distinguished.
In the Chapel of the Seven Words the splendid Santo Cristo de las Mercedes is venerated, accompanied by the Two Thieves. The Crucified is a work carried out between 1550 and 1560 by the circle of Pompey Leoni, who carved a body much larger than the natural, very anatomical and robust, with marked joints and muscles. Originally conceived as an altarpiece, this Christ was long mistakenly attributed to the disciple of Juan de Juni Francisco de la Maza.
The figures of the thieves are reproductions of those from the passage of La Sexta Angustia, which is in the National Museum of Sculpture. It should be noted that the Good Thief bears the face of the Duke of Lerma because he owed the artist a sum for his work on the altarpiece of the Collegiate Church of Lerma. The three sculptures form a processional passage of the Valladolid Holy Week known as In your hands I entrust my Spirit, which represents the seventh word, belonging to the Brotherhood of the Seven Words, which presides over the Sermon of the Seven Words in the Plaza Mayor in the Good Friday morning.
The castle-palace of Monteagudo is a medieval fortress located in the Spanish town of Monteagudo de las Vicarías, in the province of Soria.
It is located in the urban area of the town, inside the wall that completely surrounded it and of which many remains are preserved. It was built by the Hurtado de Mendoza family (15th-16th centuries).
Its style is Gothic Renaissance. It was protected as an "Asset of Cultural Interest" by law on April 22, 1949.
Inside, the Renaissance porticoed patio stands out, with a double gallery and beautiful Plateresque plasterwork decoration in the upper one.
A passage, on the west side, connected the castle with the church. (Source: Wikipedia)
PATIO PORTICADO DEL CASTILLO, 2024
El castillo-palacio de Monteagudo es un fortaleza medieval ubicada en la localidad española de Monteagudo de las Vicarías, en la provincia de Soria.
Se encuentra en el casco urbano de la villa, en el interior de la muralla que la rodeaba completamente y de la que se conservan bastantes restos. Fue construido por la familia Hurtado de Mendoza (siglos xv-xvi).
Su estilo es gótico renacentista. Fue protegido como "Bien de Interés Cultural" por ley el 22 de abril de 1949.
En su interior destaca el patio porticado renacentista, con doble galería y bella decoración de yesería plateresca en la superior.
Un pasadizo, en el lienzo del poniente, comunicaba el castillo con la iglesia. (Fuente: Wikipedia)
El Generalife es obra del segundo sultán de la dinastía nazarí, Muhammad II (1273-1302), reformado por Ismail I en 1319. La Sala Regia, en el Generalife, decorada con yeserías, conduce a una mirador del siglo XIV llamado de Ismail. La decoración tanto de esta sala como del resto del conjunto es comparativamente más sobria que la de las salas de la Alhambra. Como villa rural de descanso, la ausencia de fasto debía de ser preponderante.
The Generalife is the work of the second sultan of the dynasty Nazari, Muhammad II (1273-1302), amended by Ismail I in 1319. The Sala Regia in the Generalife, decorated with plasterwork, leads to a viewpoint of the fourteenth century called Ismail. The decoration of this room much as the rest of the set is comparatively more sober than the halls of the Alhambra. As a rural village of rest, lack of ostentation was to be predominant.
Explore! 26/09/2011 nº 232
Esta foto tiene derechos de autor. Por favor, no la utilice sin mi conocimiento y autorización. Gracias.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reservats.Thanks
Built in 1910, the so-called Haunted House is part of the old industrial estate in Milan's Corvetto district and is now part of the Fondazione Prada. The building, with its uneven plasterwork, was completely covered in gold, including the guttering, railings and window crosses, without altering the substance. The gilding of the building with 200,000 pieces of 24-carat gold leaf, totalling three kilos, was carried out by hand by specialists from the Florentine company Giusto Manetti Battiloro.
Fondazione Prada, Milan
Lombardy, Italy 13.12.2023
www.fondazioneprada.org/?lang=en
www.youtube.com/watch?v=V8uC6r5u0pI
Das 1910 gebaute sog. Haunted House gehört zum alten Industriebestand im Mailänder Stadtteil Corvetto und ist heute Teil der Fondazione Prada. Das Gebäude mit seinem unebenen Verputz wurde, ohne etwas an der Substanz zu verändern, vollständig, einschließlich Dachrinnen, Geländer und Fensterkreuzen, mit Gold überzogen. Die Vergoldung des Gebäudes mit 200.000 Stück Blattgold à 24 Karat, insgesamt drei Kilo, wurde per Hand durch Spezialisten der Florentiner Firma Giusto Manetti Battiloro vorgenommen.
Fondazione Prada, Mailand
Lombardei, Italien 13.12.2023
Craigievar Castle is a pinkish harled castle six miles (10 km) south of Alford, Aberdeenshire, Scotland. It was the seat of Clan Sempill. The setting is among scenic rolling foothills of the Grampian Mountains. The contrast of its massive lower story structure to the finely sculpted multiple turrets, gargoyles and high corbelling work create a classic fairytale appearance.
An excellent example of the original Scottish Baronial architecture, the great seven-storey castle was completed in 1626 by the Aberdonian merchant William Forbes, ancestor to the "Forbes-Sempill family" and brother of the Bishop of Aberdeen. Forbes purchased the partially completed structure from the impoverished Mortimer family in the year 1610. Forbes' nickname was Danzig Willy, a reference to his shrewd international trading success. The Forbes family resided here for 350 years until 1963, when the property was gifted to the National Trust for Scotland.
Designed in the L plan, as was Muchalls Castle, which is located in the same region, Craigievar is noted for its exceptionally crafted plasterwork ceilings. Craigevar, Muchalls Castle and Glamis Castle are generally considered to have the three finest ceilings in Scotland. The Clan Forbes family were close friends of the Clan Burnett of Leys, who built both Crathes Castle and Muchalls Castle.
The castle originally had more defensive elements including a walled courtyard with four round towers; only one of the round towers remains today. In the arched door to that round tower are preserved the carved initials of Sir Thomas Forbes, William Forbes' son. There was also a massive iron yett or gate covering the entrance door.
The castle interior boasts a Great Hall that has the Stuart Arms over the fireplace; a musicians gallery; secret staircase connecting the high tower to the Great Hall; Queen's Bedroom; servants' quarters and of course several splendid plasterwork ceilings. There is a collection of Forbes family portraits inside as well as a considerable quantity of Forbes furnishings dating to the 17th and 18th centuries.
The structure of Bodnant Hall was built by Colonel Forbes between 1770 and 1821, at a small distance from the original house called Old Bodnod. The late Georgian house 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 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, and the adjoining fernery was in place and planted by 1883. The conservatory originally had a gabled porch to the south side and there were double doors to the fernery. Henry Pochin's daughter married the first Lord Aberconway and she, her son and grandson have further developed the house and hugely improved the gardens. The large Drawing-Room wing was added to the north-west tower in 1898 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.
Bodnant Garden is a National Trust property near Tal-y-Cafn, Conwy, Wales, overlooking the Conwy Valley towards the Carneddau mountains.
Founded in 1874 and developed by five generations of one family, it was given to the National Trust in 1949. The garden spans 80 acres of hillside and includes formal Italianate terraces, informal shrub borders stocked with plants from around the world, The Dell, a gorge garden, areas of woodland garden with a number of notable trees and a waterfall. Since 2012, new areas have opened including the Winter garden, Old Park Meadow, Yew Dell and The Far End, a riverside garden. Furnace Wood and Meadow opened in 2017. There are plans to open more new areas, including Heather Hill and Cae Poeth Meadow.
Sutton Scarsdale Hall is a Grade I listed Georgian ruined stately home in Sutton Scarsdale, close to the town of Chesterfield in Derbyshire.
Construction on the present building started in 1724 by architect Francis Smith for the 4th Earl of Scarsdale and incorperated a previous building that stood on the site.
The building was complete by 1729 on a scale and quality with nearby Chatsworth House, internally it featured both oak ornamental panels, stucco plasterwork, carved fireplaces in both marble and Blue John, and a carved mahogany staircase.
The house was purchased by Richard Arkwright Junior in 1824. He was the son of Sir Richard Arkwright who invented the water frame and had a major involvement in the cotton industry.
The Arkwright family lived in the hall until it was auctioned off in 1919, it was bought by a group of local businessmen who asset-stripped the house, this went as far as removing the roof in 1920. Some parts of the building were shipped to the United States were oak panelling from the hall is now in the Philadelphia Museum of Art.
In 1946, the estate was bought by Sir Osbert Sitwell of nearby Renishaw Hall, with the intention of preserving the remaining shell as a ruin. The hall was designated as a Grade I listed building in 1951, and is now in the care of English Heritage.
The Wazir Khan Mosque (Punjabi/Urdu: مسجد وزیر خان Masjid Wazīr Khān) in Lahore, Pakistan, is famous for its extensive faience tile work. It has been described as ' a mole on the cheek of Lahore'. It was built in seven years, starting around 1634-1635 A.D., during the reign of the Mughal Emperor Shah Jehan. It was built by Shaikh Ilm-ud-din Ansari, a native of Chiniot, who rose to be the court physician to Shah Jahan and later, the Governor of Lahore. He was commonly known as Wazir Khan. (The word wazir means 'minister' in Urdu language.) The mosque is located inside the Inner City and is easiest accessed from Delhi Gate.In his published notes, F H Andrews, former Principal of the Mayo School of Arts, describes the mosque thus: 'The material used in the construction of the Mosque is a small tile-like brick universally used by the Mughals when stone was unusable or too costly. The only stone used in the building is used for brackets and some of the fretwork (pinjra). The walls were coated with plaster (chunam) and faced with a finely-soft quality of the same material tooled to a marble-like surface and coloured. All the external plasterwork was richly coloured a rich Indian red, in true fresco, and the surface afterwards picked out with white lines in the similitude of the small bricks beneath. The extreme severity of the lines of the building is relieved by the division of the surfaces into slightly sunk rectangular panels, alternatively vertical and horizontal, the vertical panels having usually an inner panel with arched head or the more florid cusped mihrab. These panels, where they are exposed to weather, are generally filled with a peculiar inlaid faience pottery called kashi, the effect of which must have been very fine when the setting of deep red plaster of the walls was intact.'
'The facade of the sanctuary is practically covered with kashi and is divided into the usual oblong panels. A beautiful border is carried rectangularly round the centre archway, and inscriptions in Persian characters occur in an outer border, in a long panel over the archway, and in horizontal panels along the upper portions of the lower walls to right and left. The spandrels are filled in with extremely fine designs.'
'With the minars, however, the facade of the sanctuary, and the entrance gateway, where a small portion of the surface was left for plaster, the effect of the gorgeous colours against the soft blue of a Punjabi sky, and saturated with brilliant sunlight and glowing purple shadow is indescribably rich and jewel-like.'
Tomb of Syed Muhammad Ishaq, within Wazir Khan Mosque
'Right and left of the sanctuary are two stately octagonal minars 100 feet in height. On the long sides of the quadrangle are ranged small khanas or cells, each closed by the usual Indian two-leaved door set in a slightly recessed pointed arch, of which there are thirteen on each side by a pavilion rising above the general level, containing larger apartments and an upper story reached by two flights of steps, which also give access to the roof of the arcading and pavilions...these pavilions occur, in the centre of the north and south sides of the lower level of the pavement. In the pavilion on the south side is a fountain set in a circular scalloped basin, and served from the main which supplies the tank in the quadrangle.'
Within the inner courtyard of the mosque lies the subterranean tomb of Syed Muhammad Ishaq, known as Miran Badshah, a divine from Iran who settled in Lahore during the time of the Tughluq dynasty. The tomb, therefore, predates the mosque........
The Gaiety Picture House opened on 15th April 1922 with 1,480 seats and was one of three cinemas in Whitehaven. It is now the only survivor (the Queens Cinema and the Empire Theatre having bitten the dust).
The style of the cinema - 1,030 seats in the stalls and 450 in the single balcony - was Greek and it had an elaborate fluted barrel-vaulted roof.
It was split into 2 horizontally in 1980 with the circle, which retains its original plasterwork, becoming a 264-seat cinema. The stalls were transformed into a bingo hall. The cinema section closed with “Pirates of the Caribbean” in 2003, leaving the bingo operation in the former stalls to continue to operate successfully. The cinema section was re-opened 24th October 2015. [Cinema Treasures Website]
Herstmonceux Castle, East Sussex
Grade l listed.
List Entry Number: 1272785
Listing NGR: TQ6463810388
Details
This list entry was subject to a Minor Amendment on 24/04/2020
TQ 61SW 13/406
HERSTMONCEUX HERSTMONCEUX PARK Herstmonceux Castle, with attached bridges to north and south and causeway with moat retaining walls to west.
GV I Castle/country house. c1441 (when licence to crenellate was granted) for Sir Roger Fiennes; further embellished mid C16 for Baroness and Lord Dacre; altered mid-late C17 for Lord Dacre; part demolished 1776-1777 for Robert Hare; restored and rebuilt early C20, mostly 1911-1912, for Lieutenant Colonel Claude Lowther and 1930s for Sir Paul Latham.
Red brick in English bond with some blue header diaper work; stone dressings; plain tile roofs. Square on plan with inner courtyard, this originally divided into four courts and containing Great Hall, but these and the internal walls of the castle demolished C18; south range and south ends of east and west ranges restored by Lowther, the remainder restored by Latham. Two storeys with attic and basement in parts; five x four wide bays with tapering polygonal towers at corners and between bays, taller at angles and centre. Built and restored in C15 style: exterior has one-light or two-light windows, some transomed; courtyard has more wider windows and some with cusped or round-headed lights; four-centred-arched or segmental-arched moulded or chamfered doorways with C20 studded board doors; tall plinth with moulded offset; moulded string below embattled parapet with roll moulded coping; rainwater pipes with decorative initialled heads; stacks with ribbed and corniced clustered flues; steeply-pitched roofs with roll-moulded coping, some with hipped ends.
South (entrance) elevation: three-storey central gate tower has tall recess containing wide, panelled door, window of two cusped, transomed lights above, and grooves for former drawbridge arms; on second floor two transomed windows of two round-headed lights flank coat of arms of Sir Roger Fiennes; flanking towers have gun ports at base, looped arrow slits, machicolated parapets with arrow slits to merlons, and towers rising above as drums. Projecting from gate tower is long bridge (mostly C20) of eight arches, that to centre wider and shallower, with cutwaters, stone parapet, and central corbelled embrasure with flanking tower buttresses.
North side: central gate towers formerly had rooms on lower floors, of which truncated walls and first-floor fireplace fragment remain; machicolated parapet; at left end of range C17 window openings with later eighteen-pane sashes. West side: attached causeway containing basement room and with three half-arched bridge on south side, walling returning as moat retaining walls; main range has a basement doorway with side-lights in chamfered embrasure.
East side: the second tower has C16 first-floor bow window; tall windows to central tower (which contains chapel); right half of range has older windows blocked and larger C17 replacement openings with later eighteen-pane sashes.
Courtyard: seven-bay arcade to north side and central corbelled stack with clock; three-bay 1930s Great Hall (now library) on west side with decorative tracery to windows and offset buttress; gable of former chapel on east side, has perpendicular tracery to window, a two-storey bay window and two crow-stepped gabled attic windows to its left; several doorways and a two-storey bay window to south side; hipped-roofed dormers; brick-lined well in south-west corner.
Interior: some original features survive, including fireplaces, privies, doorways, dungeon and brick-lined dovecote in south-east tower; other old features were brought in from elsewhere, including doors, fireplaces, panelling. In south range: porter's room has old fireplace and relocated linenfold door (found in cellar); reused traceried wood panelling in rebuilt dining room fireplace; stair hall has fine early C17 wooden stair (brought from Theobalds, Herts) with strapwork roundels between square vase balusters, elaborate relief decoration, and lion finials holding shields; at head of stair; elaborate doorcase of same period ribbed ceiling with pendant finials. Drummers Room has reused panelling, part dated 1697, with fluted pilasters and frieze and elaborately arcaded and fluted-pilastered overmantel. Green Room, on second floor, has restored fireplace with crests and beasts on hood; moulded beams and bosses; and reused traceried panel below courtyard window.
North range: very fine late C17 stair (brought from Wheatley Hall, Doncaster; possibly from the workshop of Grinling Gibbons) with baskets-of-flowers and pendant finials to newels, balustrades of open, leafy, scrollwork with flower roundels, and at head of stair two elaborately carved doorcases in similar style with shields in broken pediments. Former ball room has arched ceiling with decorative plasterwork; C17-style panelling; reused elaborately-decorated C17 wooden fireplace overmantel (from Madingley Hall, Cambs.) with two orders of caryatids and embossed panels.
East range: former chapel has reused C15 wooden screen (from France) set in west wall; former Drawing room has elaborate stone fireplace, 1930s in C16 style, and in ante room a reused richly decorated fireplace with griffins and portrait roundels. The C15 castle was well restored in the early C20 and the many fine features which were brought in at that time add to its importance.
Listing NGR: TQ6463810388
Sources
Books and journals
Calvert, D , The History of Herstmonceux Castle
Pevsner, N, Nairn, I, The Buildings of England: Sussex, (1965), 534-6
'Country Life' in 18 May, (1929), 702-709
'Country Life' in 7 December, (1935), 606-612
'Country Life' in 14 December, (1935)
Other
Register of Parks and Gardens of Special Historic Interest in England, Part 14 East Sussex,
historicengland.org.uk/listing/the-list/list-entry/1272785
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Before 1066 Herst (meaning forest or wood) was the name of a prominent local Anglo-Saxon family and ownership of the family's estate passed into the hands of the victorious Normans. In 1131 the manor and estates were transferred to Drogo de Monceux, a great grandson of William the Conqueror . Drogo's son Ingleram married Idonea de Herst, thus founding the Herstmonceux line.
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Herstmonceux Castle Gardens and Grounds is a 300 acre estate including woodland, formal themed gardens and of course a 15th century moated castle.
Made from red brick Herstmonceux Castle is one of the earliest examples of a brick built building in England.
Read more about the history here:-
Floweree, as it is called today, is on the National Register. It is named for Charles C. Floweree who was born on October 26, 1842 in Fauquier County Virginia. After serving with distinction in the Civil War, he received the honor of being a Colonel before reaching the age of eighteen. Colonel Floweree made his home in Vicksburg in 1866. He purchased the property and improvements from John A. Klein in 1877. The high price of $3,000.00 indicated that there were buildings on the property at the time. With a view of the Mississippi River, the house makes a most imposing site. Information with might identify the architect and contractor has not yet come to light. It is assumed that the plasterwork, some of the finest in the state, was done by Bavarian immigrants who were living in the area at the time. The formal exterior may be assigned to a local builder, while notable features of the interior such as the bronze hinges and the one original mantle were probably ordered from New Orleans, Memphis, or Cincinnati. The dwelling served as the Floweree residence until 1929 when it was sold to Senator S.J. McCauley. At this time, the furniture and marble mantles were removed and sold. Through the years it served as a boarding house and fell into a state of disrepair. The house underwent thorough repair after present owner Mr. S.J. Tuminello, A.I.A., purchased the property in 1961. Deteriorated wood columns on the front portico were replaced with brick, and in 1970 an Italianate bay was added in the rear.
- Unprocessed Field note material exists for this structure: FN-31
- Survey number: HABS MS-167
- National Register of Historic Places NRIS Number: 75001058
The Torre dell'Orologio is a 15th-century renaissance tower on the Piazza delle Erbe in Mantua, Italy. It is attached to the Palazzo della Ragione, and next to the Rotonda di San Lorenzo. It houses an astronomical clock.
The tower, with a square ground-plan, was constructed in 1472–1473 by Luca Fancelli, a Florentine architect working for Ludovico III Gonzaga, Marquis of Mantua, on the foundations of a previous 13th-century construction. A door at ground floor level gives access to the Palazzo della Ragione.
In 1473 the astronomical clock was installed, the work of Mantuan mathematician Bartolomeo Manfredi. The clock ran without incident for nearly a century, until the mechanism failed in 1560. It was repaired by Francesco Filopono, mathematician and astronomer. It stopped again in 1700. The mechanism was restored in 1989 by Alberto Gorla.
The statue of the Immaculate Madonna under the clock dates from the early 17th century, as does the marble balcony.
The bell above the tower strikes the hours.
The Emilia earthquakes of 2012 damaged the tower, which was closed while repairs were carried out. Within the tower, the Museum of Time exhibits old components of the clock. The top of the tower offers views of the city and the surrounding lakes.
The clock dial, at a height of approximately 15 metres, is protected by an arched canopy. It was once surrounded by 12 circular frescoes depicting the arts of the quadrivium: as the plasterwork has fallen away, only the four underneath the canopy are now visible. The fresco position at the top of the dial was later replaced by a metallic moon sphere.
The outer ring numbers the hours from I to XXIIII. The next ring, inset, has 24 divisions (12 white and 12 black), representing the unequal hours (with the period of daylight divided into 12 "hours" and the nighttime divided into 12 "hours").
In the centre of the inset is a protruding disc, showing the twelve signs of the zodiac. Inside the zodiac, another overlaid disc, numbered up to 29 in threes, represents the date of the lunar month. At the centre of the dial, the goddess Latona (mother of Apollo and Diana – the Sun and Moon) sits with open arms, a deer at her feet. Her left hand rests on a circular aperture which shows the lunar phase. Outside the aperture, a pointer indicates the Moon's position in the zodiac. Latona's right hand, holding a sickle in the shape of the crescent moon, indicates the date of the lunar month.
The clock's off-centre blue semicircle with thirty golden studs, fixed to the zodiac ring between Libra and Pisces, represents the celestial equator.
The dial has two hands. The longer hand, with a star and pointer, indicates the time. (Traditionally time showed was Italian hours, counting from sunset. Today, for ease of reading, the time shown is from midnight to midnight.) The other hand shows the sun and indicates solar time, permitting calculation of the equation of time, the difference between solar and conventional time.
This semicircle and the lunar indications, in combination with the dial's other indications, enable the calculation of planetary hours, and therefore facilitate astrological predictions.
The clock mechanism is in wrought iron; the mechanism stands on a wooden base.
Sutton Scarsdale Hall is a Grade I listed Georgian ruined stately home in Sutton Scarsdale, close to the town of Chesterfield in Derbyshire.
Construction on the present building started in 1724 by architect Francis Smith for the 4th Earl of Scarsdale and incorperated a previous building that stood on the site.
The building was complete by 1729 on a scale and quality with nearby Chatsworth House, internally it featured both oak ornamental panels, stucco plasterwork, carved fireplaces in both marble and Blue John, and a carved mahogany staircase.
The house was purchased by Richard Arkwright Junior in 1824. He was the son of Sir Richard Arkwright who invented the water frame and had a major involvement in the cotton industry.
The Arkwright family lived in the hall until it was auctioned off in 1919, it was bought by a group of local businessmen who asset-stripped the house, this went as far as removing the roof in 1920. Some parts of the building were shipped to the United States were oak panelling from the hall is now in the Philadelphia Museum of Art.
In 1946, the estate was bought by Sir Osbert Sitwell of nearby Renishaw Hall, with the intention of preserving the remaining shell as a ruin. The hall was designated as a Grade I listed building in 1951, and is now in the care of English Heritage.
A round single-roomed building in the grounds, a bit like a grand summer house, quite a walk from the house. It was used as a banqueting hall in the 18th Century - presumably for cold food only...
HWW!
The Pere Marquette Motel, currently operating as the Peoria Marriott Pere Marquette, is a 14-story hotel in downtown Peoria, Illinois, United States. Built in 1926, the building is Peoria's only surviving example of an upscale 1920s hotel. The hotel has passed through several owners and is currently owned by Marriott. It was listed on the National Register of Historic Places in 1982.
The original first floor included a grand lobby and three large meeting rooms. The Cotillion Room, the hotel's original ballroom, features a high domed ceiling, French window mirrors, and decorative plasterwork. The LaSalle Room and the Cheminee Lounge both originally featured high ceilings with crystal chandeliers, though the original crystal was removed from the Cheminee Lounge. The lobby and the Cotillion Room both originally had murals by George Matthews Harding; the lobby mural depicted Pere Marquette landing at Peoria, while the Cotillion Room mural showed Sieur de La Salle leaving France.[2] The hotel features 288 guest rooms
The Vyne
Summerhouse which is possibly the earliest domed garden building in England, dating from c1635. Designed by John Webb, and built in the shape of a Greek cross, it is thought to be one of a pair planned for the garden. Originally, the Summerhouse was ornately decorated with plasterwork and richly painted. It was variously used as a banqueting house, a 'lust' house and a dovecote.
Sutton Scarsdale Hall is a Grade I listed Georgian ruined stately home in Sutton Scarsdale, close to the town of Chesterfield in Derbyshire.
Construction on the present building started in 1724 by architect Francis Smith for the 4th Earl of Scarsdale and incorperated a previous building that stood on the site.
The building was complete by 1729 on a scale and quality with nearby Chatsworth House, internally it featured both oak ornamental panels, stucco plasterwork, carved fireplaces in both marble and Blue John, and a carved mahogany staircase.
The house was purchased by Richard Arkwright Junior in 1824. He was the son of Sir Richard Arkwright who invented the water frame and had a major involvement in the cotton industry.
The Arkwright family lived in the hall until it was auctioned off in 1919, it was bought by a group of local businessmen who asset-stripped the house, this went as far as removing the roof in 1920. Some parts of the building were shipped to the United States were oak panelling from the hall is now in the Philadelphia Museum of Art.
In 1946, the estate was bought by Sir Osbert Sitwell of nearby Renishaw Hall, with the intention of preserving the remaining shell as a ruin. The hall was designated as a Grade I listed building in 1951, and is now in the care of English Heritage.
Royal Alcazar of Seville - Real Alcázar de Sevilla
According to its Wiki entry.....
The Ambassadors Hall is the ancient throne room built during the reign of Al-Mu'tamid in the C11th. In the C14th, Pedro I of Castile remodelled the hall to make it a centrepiece of his royal palace. Plant motifs in plasterwork were added in the corners of the room and spandrels of the arches. Windows were traced with geometric elements. Walls were covered with tiled panels. The orientation of the hall was also changed from facing Mecca to north-east.
It's that time of year again when the redback sightings become more frequent - this is the first one I've seen this season here at my home...right by the back door.
I'll be keeping an eye on her, watching her progress.
She's made her home in an aeration vent in the plasterwork (to the left of her in this shot) and after hiding in there during the hotter days, will come out at dusk and through the evening to hunt.
Once females find a suitable place, they make themselves at home and do not leave the location/web.
Ventral/lateral view.
Female 7 mm body length
© All rights reserved.
Step inside the Gielgud Theatre and you step into Edwardian opulence on a perfectly theatrical scale. Seating 986 patrons across three levels — stalls, dress circle, and upper circle — the auditorium is an exquisite showcase of W.G.R. Sprague’s architectural genius: rococo plasterwork, sweeping balconies, and a grand domed ceiling wreathed in garlands and gold.
Opened in 1906, the Gielgud (originally the Hicks Theatre) was built as one half of a theatrical twinset. Next door, the Queen’s Theatre (now the Sondheim) was also designed by Sprague and opened just eight months later. Though both buildings have lived through name changes, renovations, and generations of stars, they remain intrinsically linked — now quite literally via the recently created Sprague Terrace, an elegant internal event space that connects the two venues.
The Gielgud’s most recent restoration has sensitively preserved its period charm while updating facilities for modern audiences — including state-of-the-art lighting, sound, and accessibility. But it’s the original curves, the plush red velvet, and the hushed anticipation that keep drawing crowds back.
To sit here is not just to watch a play. It is to be part of the living story of the West End.
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Pénétrer dans le Gielgud Theatre, c’est entrer dans un écrin édouardien, somptueux et pensé pour le théâtre. Avec ses 986 places réparties sur trois niveaux — orchestre, corbeille et balcon supérieur — l’auditorium est une œuvre d’art signée W.G.R. Sprague : moulures rococo, balcons en courbes gracieuses et coupole centrale ornée de guirlandes dorées.
Inauguré en 1906 sous le nom de Hicks Theatre, le Gielgud a été conçu comme le jumeau théâtral du bâtiment voisin : le Queen’s Theatre (aujourd’hui le Sondheim), également signé Sprague et ouvert quelques mois plus tard. Récemment, les deux théâtres ont été réunis par une élégante liaison intérieure baptisée Sprague Terrace, permettant une circulation fluide entre les coulisses.
La restauration récente du Gielgud a su préserver tout le charme historique du lieu, tout en intégrant les technologies modernes d’éclairage, de son et d’accessibilité. Mais ce sont les lignes d’origine, le velours rouge profond et cette sensation d’attente fébrile qui font de chaque représentation une expérience unique.
Ici, on ne fait pas que voir un spectacle. On entre dans l’histoire vivante du West End.
The Summerhouse which is possibly the earliest domed garden building in England, dating from c1635. Designed by John Webb, and built in the shape of a Greek cross, it is thought to be one of a pair planned for the garden. Originally, the Summerhouse was ornately decorated with plasterwork and richly painted. It was variously used as a banqueting house, a 'lust' house and a dovecote.
Found this story about the building:
The Ramova Theater opened in 1929 on Halsted Street at 35th Street, as a "sister" to the Music Box Theater in Lake View, which was opened that same year. The architect of the Ramova was Meyer O. Nathan.
Like the smaller Music Box, which seats about half as many as the 1500-seat Ramova, both were designed in atmospheric style inside, their auditoriums built to resemble Spanish-courtyards. On the deep blue ceiling of the Ramova, "stars" glittered before each movie, and through the archways along the side walls were scenes of the Spanish countryside. Like the Music Box's lobby, the blue sky with stars motif also continued into the ceiling. Faux-marble and gilded plasterwork were also in abundance, even more so than at the Music Box.
The highlight of the Ramova's life came in 1940, when Charlie Chaplin had the Chicago premiere of his "The Great Dictator" at the Ramova and Music Box theaters, since the Loop palaces which would normally host such events were uncomfortable with the sensitive subject matter of the film and wouldn't play it on their screens.
By the 1950s, the Ramova was no longer a first run house, but began to show second-run features. In its last years, it was showing Spanish-language films, as the Bridgeport neighborhood had gone from solidly Irish and Lithuanian, when the Ramova opened, to mostly Hispanic today.
The theater was closed around the mid-1980s, and has since sat vacant, but very much intact; a reminder of the neighborhood's past and a viable and eminently restorable venue for Bridgeport's future.
Contributed by Bryan Krefft
blogged:
www.urbanghostsmedia.com/2010/02/silent-cinema-8-abandone...
chicago.curbed.com/archives/2012/11/08/ruin-porn-the-ramo...
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.
A throwback of the main hall/ballroom of quite a famous derelict asylum in the north of the UK. Much of the site has now been redeveloped into a housing estate and the hospitals main hall and admin/services are now receiving some much needed attention in the way of renovation. It's good to see such grand and historical buildings retained and put to new use : )
Yet the seemingly endless forest of arches creates a sense of infinite majesty and intimate privacy, while the simplicity of the design complements the finely decorated niches, pulpit and outer courtyard, with its superb tiles, plasterwork, woodcarvings and paintings
Taken @al-Qarawiyyin, Fez El Bali, Morocco, North Africa.
Canons Ashby is an Elizabethan manor house located about 11 miles south of Daventry, Northants. The house had been the home of the Dryden family since its construction in the 16th century; the house was built in approximately 1550, with additions in the 1590s, in the 1630s and 1710, and has remained essentially unchanged ever since. The interior of Canons Ashby is noted for its Elizabethan wall paintings and its Jacobean plasterwork.
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.