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Lanhydrock, near Bodmin, is a magnificent late Victorian country house with extensive servants quarters, gardens and a wooded estate.
It is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. The kitchens, nurseries and servants' quarters offer a thrilling glimpse into life 'below stairs', while the spacious dining room and bedrooms are truly and deeply elegant.
The house is set in wooded parkland of 1,000 acres and encircled by a garden of rare shrubs and trees.
Follow in the footsteps of generations of the Robartes family, walking in the 17th-century Long Gallery among the rare book collection under the remarkable plasterwork ceiling. After a devastating fire in 1881 the house was refurbished in the high-Victorian style, with the latest mod cons.
Don't miss
* There are 50 rooms to explore – allow plenty of time!
* Play the Steinway piano in the Long Gallery
* Look out for the museum and second-hand bookshop
The gardens
The historical garden with its 30-acres of woodland was laid out back in 1857, but its present format was actually established later on in the Victorian period, and many of the plants are no more than 70 years old. However, a grand atmosphere permeates the entire setting and compliments the brilliant planting of more modern times.
Explore formal parterres of dazzling bedding plants and wander along paths that wind through a woodland landscape planted in a semi-formal Cornish fashion - rhododendrons and Himalayan magnolias lurching to their full-size in the fresh Cornish air. Because the grounds lie inland and rise up to 130-metres above sea level, the plants have to cope with harsher climates than the lush valley gardens of the south coast. In spite of this, Lanhydrock still puts on one of the county's most colourful spring shows, with over 120 species of cream and white magnolias featuring amongst a flurry of wild blooms that carpet the woodland.
Learn more about the history and the work involved to keep the magnificent gardens maintained via the new interpretation on permanent display in the garden's thatched cottage.
Take-in the sweeping views over the gardens and the valley landscape, and it's pretty obvious that this is prime garden for walkers. Not only is there 30-acres of formal and informal woodland to explore, but the garden opens onto an extensive network of footpaths zig-zagging through 900-acres of beautiful countryside.
And with so much space to roam, Lanhydrock makes a very family friendly day out. Whilst the fresh air and colourful surroundings will captivate the kids' imaginations and wear them out, the restaurant has a fantastic children's menu and there are excellent baby-changing facilities on-site.
(visitcornwall.com)
Lanhydrock House (kornisch Lannhydrek) ist ein Herrenhaus nahe der englischen Stadt Bodmin in Cornwall. Es liegt fast 13 Kilometer von der Südküste Cornwalls entfernt im waldreichen Tal des Flusses River Fowey, inmitten eines 367 Hektar großen Anwesens, das bis zu 130 Metern Höhe ansteigt.
Lanhydrock House ist von einem attraktiven formalen Garten und einem Landschaftspark umgeben. Der angrenzende Hügel ist mit ausgewählten Bäumen und Sträuchern bepflanzt. Viele Teile des heutigen Hauses sind viktorianischen Ursprungs, einige sind jedoch mehr als 200 Jahre älter, sie datieren etwa um das Jahr 1620.
Fünfzig Jahre nach dem Bau von Lanhydrock House wurde im Jahr 1690 der erste geometrische Garten neben dem Haus angelegt, er wird erstmals im Lanhydrock-Atlas von 1694 bis 1697 erwähnt. Der Garten bestand aus einer Rasenfläche für Kegel- oder Ballspiele, dem Bowling Green, einem Blumengarten, der von einem Weg entlang der Baumlinie umsäumt war, einer Fasanerie, einem Küchengarten, einem Birnen- und Obstgarten sowie einem an der Nordseite des Hauses angrenzenden Natur- oder Wildgarten. Mit dem Abriss des Ostflügels des Hauses 1780 durch George Hunt wurde auch diese Gartenanlage beseitigt, so dass das Parkgelände bis an das Gebäude reichte.
Um das Jahr 1860 legte man oberhalb des Hauses einen Staudengarten an, den „Oberen Garten“ oder „Hochgarten“. Nach 1858 erstellte Richard Coad basierend auf Plänen des Architekten George Truefitt, die dieser ab 1854 entworfen hatte, einen neuen, heute noch zu besichtigenden geometrischen Garten an der Ost- und Nordseite von Lanhydrock House. Er ist umgeben von niedrigen zinnenbewehrten Brüstungen und Obelisken im Stil des Hauses. Truefitt sah für Lanhydrock Wasserspiele, Terrassen, Kieswege und eine Promenade zum Torhaus vor, die Coad um eigene Ideen, wie die Granitstufen zur Kirche und eine Sitzgelegenheit, ergänzte. Etwa 1933 erfolgte eine Vereinfachung der viktorianischen Beetaufteilung und die Anpflanzung erster Magnolien.
Lanhydrock Gardens besteht heute aus mehreren, unterschiedlich stark voneinander abgetrennten Bereichen. Im Innenenhof oder Vorhof von Lanhydrock House ist eine durch einen Kiesweg begrenzte runde Rasenfläche angelegt. An den Hauswänden neben dem Weg stehen Immergrüne Magnolien (Magnolia grandiflora) und im Juli und August blühende Hortensiengewächse der Sorte Schizophragma integrifolium. Östlich in Richtung Torhaus schließt sich der „Geometrische Garten“ an, der durch 23 beschnittene Säuleneiben (Taxus baccata ‘Fastigiata’) dominiert wird. Zwischen ihnen sind Rosenbeete angelegt, die vornehmlich mit den Sorten ‘Octavia Hill’, ‘Bright Smile’, ‘Escapade’, ‘Wheelhorse Classic’ und ‘Margaret Merril’ bepflanzt sind.
Im Norden des geometrischen Gartens, und hinter der niedrigen Nordmauer außerhalb der eigentlichen Gartenanlage gelegen, befindet sich eine bepflanzte Freifläche, die vormals als Krocket- und Tennisplatz genutzt wurde. Der Tennisplatz nahm dabei die östliche Seite der Freifläche ein. Neben einigen Büschen, wie Gwillimia (Magnolia delavayi), stehen hier zwei Blutbuchen und eine jüngere Korkeiche. Die Blutbuchen wurden von prominenter Seite gepflanzt, die größere 1889 durch den ehemaligen britischen Premierminister William Ewart Gladstone, die kleinere 1905 durch Archibald Philip Primrose, dem 5. Earl of Rosebery. Auf dem westlich angrenzenden ehemaligen Krocketrasen stehen Rhododendren der Sorten ‘Mother of Pearl’, ‘Hugh Koster’ und ‘Pink Pearl’.
Nordwestlich des geometrischen Gartens, nördlich der Gebäude von Lanhydrock House, geht die Gartenanlage ins „Parterre“ über. Hier werden im Frühling und im Sommer verschiedene Blumen innerhalb von Buchsbaumhecken gepflanzt, die in einem komplizierten Muster auf ebener Fläche angelegt sind. Südlich und östlich davon stehen sechs den Bäumen im geometrischen Garten im Schnitt gleiche Säuleneiben. Eine Terrassenstufe höher in Richtung der kleinen Kirche sind die Blumenrabatten als Muster direkt in die Rasenfläche gesetzt.
Beide Bereiche, deren Höhenunterschied keinen Meter ausmacht, haben je eine Bronze-Urne als Mittelpunkt. Diese Urnen, von denen auch einige den geometrischen Garten schmücken, sind Erwerbungen Francis Gerald Agar-Robartes’, des 7. Viscount Clifden, aus der Sammlung von Lord Hertford im Pariser Château de Bagatelle. Sie wurden vom Goldschmied Ludwigs des XIV., Louis Ballin, geschaffen. Nach Westen wird das „Parterre“ durch die Umfassungsmauer begrenzt, in der zwei Durchgänge ausgespart sind. Neben dem Herrenhaus erreicht man über eine Treppe die Kirche St Hydroc, daneben führt ein Weg an der Kirche vorbei in Richtung „Hochgarten“. Unterhalb der Mauer ist ein erhobenes Beet mit Schmucklilien-Hybriden der Sorte ‘Headbourne’, Fuchsien und Waldreben angelegt.
Der Weg zum Hochgarten kreuzt den in Nord-Süd-Richtung verlaufenden Kirchweg, neben dem Fächer-Ahorn (Sorte ‘Sango-kaku’) und laubabwerfende Hybriden der Westlichen Azalee stehen. Direkt vor der Kirche sind verschiedene Kamelien-Sorten, Rhododendren (Rhododendron arboreum var. roseum) und Stern-Magnolien-Hybriden (Magnolia kobus × loebneri ‘Leonard Messel’) gepflanzt, in der Ecke des Kirchhofs eine baumartige Magnolia hypoleuca (obovata). Den nördlichen Abschnitt des Kirchwegs flankieren einige Hortensien, dahinter Magnolia campbellii ‘Charles Raffill’, Rhododendron fictolacteum und Rhododendron rex.
Den Eingang zum Hochgarten markiert ein durch eine Magnolia kobus × loebneri ‘Leonard Messel’ verdecktes gewölbtes Tor. Der hinter dem Tor liegende Gartenbereich wurde ab 1933 durch den 7. Viscount Clifden mit verschiedensten Arten von Magnolien bepflanzt, die heute eine Höhe bis zu 25 Metern erreichen. Durch den Hochgarten fließt der Borlase stream („Bach von Borlase“), der die Wasserversorgung für Lanhydrock House sichert. In und an ihm gedeihen Kandelaberprimeln, Astelia, Aronstab, Schaublatt und Kirengeshoma
Im Norden des Hochgartens gelangt man über die „Magnolienlichtung“ zum „Staudenkreis“. Dieser bildet erst seit 1972 einen Vollkreis, nachdem auf der nördlichen Hälfte die Ruinen eines Gewächshauses und eines Schuppens abgerissen wurden. Den südlichen Halbkreis hatte Lady Clifden schon vor 1914 gestaltet. Die hier gepflanzten Stauden blühen vom Ende des Sommers bis in den Herbst. An der Nordwestecke des Hochgartens wurden nach dem zerstörerischen Sturm von 1979 zum Schutz des Gartens Eichen und Edelkastanien angepflanzt.
Lanhydrock war 1996 der Hauptdrehort für den Film Twelfth Night, or What You Will. Regie führte Trevor Nunn, Hauptdarstellerin war Helena Bonham Carter als Olivia. Weiterhin dienten Haus und Garten als Drehort für die Rosamunde-Pilcher-Verfilmungen Klippen der Liebe (1999) und Im Zweifel für die Liebe (2009).
(Wikipedia)
Spot the differences (apart from the paintwork :-) between these neighbouring windows.
I keep meaning to start a serious collection of the plasterwork window and door frame plinth details - there are some wonderful ones in the area.
I may even go and take these again properly to do a better triptych where they’re all the same angle etc.
taken here of the rooves on the opposite side of the road [?]
The top-lit assembly room is decorated in a moderne style. The beamed ceiling has ridge-and-furrow glazing. The lower walls are lined with walnut panelling, with fluted plasterwork above and a stylised modillion cornice. The stage is flanked by tall decorative grilles.
Inside the former ABC cinema, much of the plasterwork of the cinema has been retained in the conversion to a pub - particularly the barrel vaulted ceiling. Opened as the Deansgate Picture Theatre in 1914 rebuilt 1930 with 870 seats in stalls and balcony levels. Renamed ABC around 1960, 2nd screen added in former cafe 1971. Renamed Cannon. Closed 1990 and after a period of disuse converted to a Wetherspoons pub - The Moon Under Water.
City of Manchester, Lancashire, Greater Manchester - former ABC (Cannon) Cinema / Moon Under Water pub, Deansgate
November 2006 (image reworked 2020)
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.
Here is another example of the amazing plasterwork that one finds on the undersides of domes in some Islamic countries.
What could have been a smooth, rounded surface has instead become a display of the most intricate geometric designs, in which shapes morph into other shapes across the expanse of the dome.
The only natural comparison I can think of would be the interior section of a pomegranate when the seeds have been removed. Honeycombs are another natural object that come to mind, but the geometry of honeycombs is more consistent than the underside of a dome such as the one shown here.
At the bazaar in Kerman, Iran.
Ceiling of the historic State Theater in Uniontown Pa
STATE THEATRE - PAST, PRESENT, FUTURE
The State Theatre was hailed as "the largest, finest and most beautiful playhouse in Western Pennsylvania," upon its opening in the fall of 1922. With many accolades it became a "picture place," showing silent movies and presenting vaudeville's finest acts from the B.F. Keith Circuit.
Thomas Lamb, a nationally known theater architect, designed the State. He is best known for his work in the 18th century Robert Adam's style of architecture and for his fine acoustical planning. The Ingstrip-Burke Company of Chicago, Art Designers, decorated the interior of the Moderne structure in the Adam's style. The theme was that of "refinement of line and chasteness of ornamentation." The artist in charge, Michael Tomlin, educated at the School of Fine Arts in St. Petersburg, Russia, pronounced himself well-satisfied: "It is better than I hoped, it is what I dreamed."
The State Symphony Orchestra held forth in the pit with a $40,000.00 Pleubet Master Organ at the left front of the main floor - accompanying the silent films to fit the mood. As the Big Band sound emerged, the State hosted some of the country's greatest musical attractions including Paul Whitman, Glen Gray and the Dorsey Brothers.
The popularity of "talkies" signaled the end for in-house musicians and the end of vaudeville. Although the greatest names in Hollywood flickered across the screen and epics such as Gone With the Wind drew packed audiences, the State's days as a movie palace were numbered. Television took away a sizable audience and the movie theatre trend turned to multiple screens and smaller auditoriums: The State Theatre closed in June 1973.
After a number of years the theatre reopened as The State Music Hall, featuring county and western music legends like Johnny Cash, Slim Whitman, Waylon Jennings and The Statler Brothers. Though popular for a time, the State Music Hall concept did not work out and the theatre closed again.
In 1988, The Greater Uniontown Heritage Consortium purchased the theatre, restored its old name and began presenting aseries of professional programs ranging from Broadway musicals to big bands, symphonies to country music superstars. The State Theatre offers a children's series of shows and provides educational programming for school groups. A multi-million dollar restoration project is currently underway to restore the "Grand Old Lady of Main Street" to her original splendor.
Pedimented door 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.
The classical church at Gunton, tucked away in the grounds of the private Gunton Hall, but accessible to visitors and cared for by the Churches Conservation Trust.
The church was commissioned in 1767 from the great architect Robert Adam (the only church he ever designed) to replace a previously demolished medieval building. The classical temple facade and portico along with the clean simplicity of the interior (which would look more at home in a City of London church) are a real surprise in this very rural Norfolk setting.
The church is usually kept open and welcoming for visitors, though requires access via otherwise very private looking lanes in the grounds of neighbouring Gunton Hall.
For more see below:-
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.
I was really surprised how much of interest remained in the back stage areas. I thought the theatre would be all about the plasterwork but i think i spent more time back here.
London Hippodrome - detail of the elaborate plasterwork above the proscenium.
Hippodrome Theatre London
January 2012
Vilnius, Lithuania. May 2010.
Best viewed at original size.
Please visit my website - www.timsaxonphotography.co.uk/
Note the exquisite plaster medallion of magnolia blossoms and leaves. After all, it IS Magnolia Hall, isn't it?
I don't know for sure, but the chandelier was possibly made by Cornelius & Baker. Lighting one's mansion with beautiful and EXPENSIVE gasoliers made by this prestigious firm in Philadelphia seems to have been "de rigor" for the wealthy of Natchez.
For a photograph Magnolia Hall and to read it's fascinating history:
www.flickr.com/photos/sunnybrook100/556962375/in/set-7215...
Visit Magnolia Hall's website for more information www.natchezgardenclub.com/mag.htm
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.
Rundāle Palace, Latvia.
I love that combination of pink and blue. The frosting-like plasterwork looks good enough to eat!
What you're seeing here is part of the recreation of the interior of the Rundāle Palace, Latvia.. The restoration cost over 8 million Euros, which, when you see the results, doesn't seem nearly enough to produce the splendors one encounters at every turn.
What's not clear to me is whether any of decoration is original and restored and how much is brand new. This always frustrates me because I'm hung up on the concept of authenticity. I'll just come right out and say I don't get the same satisfaction from replicas that I do from originals.
One way to resolve this conundrum is to say this is an authentic replica of an 18th century palace that was, as the text below explains, "demolished in 1812 during the Franco-Russian [Napoleonic] War," and then "demolished [again in 1919] by the men of the Bermondt-Avalov army," which was commanded by a Cossack warlord who decided to take over newly-independent Latvia instead of fighting the Bolsheviks.
Still, this begs the question of the meaning of such a place. A hot take is that it's an expression of Latvian nationalism. However, in the 18th century this region was ruled by Germans and then by Russians. Most ethnic Latvians were serfs. Perhaps the nationalist message is that the Latvians, once free from the rule of Baltic Germans, Czarist Russians, Nazis and the Soviets, had the wherewithal to recreate a palace once owned by an overlord and make it their own. To further make the point, the compound is now a major tourist attraction, so interiors once intended solely for the aristocracy, royalty and their hangers-on and servants are today filled to the brim with tourists like us.
Is is also a acknowledged center for the study of 18th-century interior design? The devil is in the details, and I haven't yet had time to delve into that.
If you're wondering why the point of view in these photos is from the top of the windows to the ceiling, it's because there were mobs of visitors that made it almost impossible to photograph whole walls, much less floors.
Here is the whole history of the construction of the palace from the palace's informative Web site. I recommend visiting it if for no other reason than to see the rooms devoid of visitors. Also, there's a section on the restoration.
The name of Rundāle comes from the German place-name Ruhenthal (Valley of Peace).
The Rundāle Palace built during the 16th century was located on the northern side of the pond. It can be seen in the design of F. B. Rastrelli as a small square field with towers in the corners.
Rundāle Manor was already created at the end of the 15th century. It belonged to the Grotthus family from 1505 to 1681 and the palace was mentioned in the list of Livonian castles in 1555.
Facade finishing components have been found in the territory of the palace – cast fragments and fragments of coats of arms carved in stone dating to the middle of the 17th century. In 1735 Ernst Johann von Biron bought the Rundāle property for 42 000 thalers.
The old palace was completely torn down, and the stones, bricks and even the mortar were used in the construction of the new palace.
Duke Ernst Johann died in 1772, and the palace was inherited by his widow Duchess Benigna Gottlieb; during her time orchards were formed around the palace. Duke Peter did not come to Rundāle often, he mostly resided in the smaller Vircava Palace near Jelgava.
In 1795 Duke Peter gave up his throne and the Duchy of Courland and Semigallia was added to the Russian Empire. Catherine II gave Rundāle Manor as a present to Count Valerian Zubov who died in 1804.
During the distribution of inheritance Rundāle became the property of his brother Prince Platon Zubov, the last favourite of Catherine II.
During the time of Zubov the palace was refurnished, however the building itself remained untouched, only entrance porticos were added to the central building and several fireplaces were built inside.
The palace was demolished in 1812 during the Franco-Russian War – mirrors were smashed, silk wallpaper was torn down, the library given as a present from Catherine II was destroyed.
Prince Platon Zubov died in Rundāle Palace on 7 April 1822. His widow married Count Andrey Shuvalov, and Rundāle Manor belonged to this family until the agrarian reform of the Republic of Latvia in 1920.
The Shuvalovs rarely stayed in the palace, excluding the time period from 1864 to 1866 when Count Pyotr Shuvalov was the governor-general of the Baltic region and used Rundāle Palace as his official summer residence.
During this time unsuccessful renovation of the palace rooms was carried out, however during the 1880’s careful renovation of the interior design was performed. At the end of the 19th century part of the palace’s furniture and works of art was taken to Saint Petersburg.
During the time from 1915 to 1918 a German army commandant’s office and an infirmary was established in the palace. In 1919 the palace was demolished by the men of the Bermondt-Avalov army.
The palace was renovated in 1923 and some of its rooms were used as the primary school of Rundāle Parish. In 1924 Rundāle Palace was handed over to the Latvian Union of Disabled Veterans, but in 1933 it was taken over by the Board of Monuments which started the renovation of the building and the restoration of some of the rooms, and the western building was constructed for the needs of the primary school.
In 1938 the palace was handed over to the State Historical Museum that was planning to create a church art and decorative art museum there. The palace was also open to the public during World War II.
In 1945 a grain storage was formed in the halls of the palace, and the palace was closed to the public after that.
In 1963 some of the palace’s rooms were given to the Museum of Regional Studies and Art of Bauska, but in 1972 a permanent Rundāle Palace Museum was created and its main aim was to renew the whole ensemble of the palace by mainly orientating towards the condition of the palace during the second part of the 18th century.
The first restored rooms in the eastern building of the palace were opened to the public in 1981, gradually being followed by new interiors. Restoration of the palace was finished in 2014.
Construction history
Count Ernst Johann von Biron bought the Rundāle manor complex on 26 June 1735. In August of the same year the court architect of Russia Francesco Rastrelli came to Courland. From September until December agreements were being concluded with carpenters, masons, brickmakers, construction material suppliers, potters – stove makers.
The construction project was ready in January of 1736. The eight pages of the project are located in the graphic art collection “Albertina” in Vienna. It consists of a situation plan, two floor plans, a sketch of four facades and the altar of the palace church.
The first construction period from 1736 to 1740.
On 24 May 1736 the foundation-stone of the palace was set. Construction of the foundation was completed on 6 July, whereas on 13 October the central building was built to the level of the windowsill of the second floor. The construction of 12 brick-kilns and 12 brick storages was finished in June. 268 masons were working in the palace, but Rastrelli requested 500 men.
Construction was stopped on 1 November due to cold.
The construction works were restarted on 12 April 1737. On 28 May the central building was finished, and on 18 June covering was started to be placed on the side buildings, whereas the construction of the central building roof was finished at the end of June.
When the works were stopped on 10 October, one side building was roofed over, and the other one was covered with a temporary roof. The foundations of the stables were also ready. The bricklaying works were finished on 1 October 1737.
After Biron was elected Duke, he ordered to simplify the building. The finishing materials were produced by the master carpenters and woodcarver A. Kamaev of the Imperial Construction Bureau of Saint Petersburg, master potter I. Ushakov of the Neva brick factory with his team and painters I. Mizinov, I. Pilugin and I. Yevdokimov. Austrian potters were working in Vircava. The finishing materials were also being produced in Saint Petersburg.
In 1738 the volume of work in Rundāle decreased, as construction works of Jelgava Palace began. Some of the produced components were also taken to Jelgava. However, the works were moving forward – chimneys and room arches were being built, roofs were being finished.
From 14 June, when the construction of the main residence in Jelgava began, the construction works in Rundāle were moving at a slower pace. Master carpenter Eger had finished oak-wood panels for 33 rooms, as well as 13 oak-wood parquet floors. Ceilings boards were put up in the rooms, so that the plastering works could be started. In September the carpenters started working on the outside staircases. The construction of the gate tower was also started.
Entwurf von Rastrelli: die Nordfassade des Schlosses Rundāle mit dem Torturm
Rastrelli’s design, nothern facade of the palace with the gate tower.
In 1739 the interior plastering works were supposed to be carried out, but the Duke ordered to decrease the amount of plasterers and to simplify the work. Stucco formations were made only for the main staircase rooms and halls, the other rooms were left with smooth ceilings. Only ten craftsmen were working in Rundāle.
On 1 February after the order of Empress of Russia Anna Ioannovna all of the Saint Petersburg Construction Office masons were sent to Courland.
The components made for Rundāle, including carved doors, panels, parquet, Austrian potter stoves, plafonds painted on canvas and cast-iron facade decorations made by Bartolomeo Tarsia that can be seen in the Jelagava Palace facade, were transported to the main residence in Jelgava.
N. Vasilyev assisted Rastrelli in managing the construction works. Russian chamberlain Ernst Johann von Buttlar was in charge of finances and organisation and he was sending reports to Saint Petersburg regarding the work process.
In 1740 the woodcut altar of the palace church was transported to Jelgava. Supposedly the room decoration in the palace had been finished, but not all of the wall panels had been mounted and some of the stoves were also not set up, as a lot of the materials were in storage.
Work was stopped after the palace revolution of 20 November in Russia and the arrest and exile of Duke Ernst Johann. The prepared finishing materials and construction components were sent to Saint Petersburg, and some of the built-in components, such as doors, wall panels and parquet, were broken.
Overall more than a thousand different profession craftsmen and workers were employed in the construction works of the palace.
The second construction period from 1764 to 1770.
In 1762 Ernst Johann von Biron was granted mercy and returned to Courland in January of 1763.
In January of 1764 Johann Gottfried Seidel was appointed the court architect of the Duke, but in August Francesco Rastrelli returned to work for the Duke and was appointed to the position of main administrator of the Duke’s buildings.
During this time he arranged his construction designs and carried out general supervision of the Duke’s construction works.
The unfinished gate tower was torn down and the stable building construction was started. Latvian carpenters and woodworkers were sent from the Duke’s domain manors to Rundāle up until 1768. In 1765 woodworker Blanks, sculptor Zībenbrods, locksmith Šreibfogels, gold plating master Johans Endress, potter Šēfers, locksmith Horstmanis and coppersmith Mēmels were working in the palace.
In 1766 Severin Jensen from Denmark started working as the court architect. His style can be seen in the gateposts and in the stable buildings, which obtained a semicircular shape in contrast to Rastrelli’s rectangular design. A dating – 16 May 1766 – has been made in the keystone of the northern facade window.
In 1768 the gate was built and the forgings were placed.
The palace interior planning was changed slightly. By merging five smaller rooms the grand dining-room – the Grand Gallery – was created, whereas a dance hall known as the White Hall was created in the place of the palace church. Both front staircases, the Small Gallery, the lobby and galleries of the first floor were preserved from the original interiors of the first construction period.
The stucco decorative finishing of the interiors was carried out by the Berlin sculptor and stucco marble master Johann Michael Graff together with his team – his brother Josef and assistants Bauman and Lanz – from 1765 to 1768.
Sculpturesque decorations were made in twenty-seven rooms, but in two rooms of the Duke’s apartments and in the hall – synthetic marble panels. Works were started in the central building first.
The Marble Hall and the marble panel of the Gold Hall in which the dating has been engraved on the door lining, were finished in 1767. In July of 1768 Graff received payment for his final works – the White Hall, Oval Cabinet, Duchess’ Boudoir and vases for the 22 stair banisters.
The ceilings were painted by the Italian painters Francesco Martini and Carlo Zucchi from Saint Petersburg. They started working in August of 1766, but only the name of Martini is mentioned in documents starting with March of 1768. Francesco Martini received his last payment in March of 1769.
Ceilings of eight rooms, as well as the walls of two rooms were painted. One of the ceiling paintings got destroyed. The repainted wall paintings were later uncovered in the Grand Gallery and in the second study of the Duke.
The Duke came to Rundāle Palace in April of 1767 and stayed there until December with interruptions, although the finishing works were still in progress. The palace was also inhabited in 1768. The final works were carried out in 1770 when a fellow of J. M. Graff placed mirrors in the White Hall.
20.04.2018
Hardwick Hall, Derbyshire, 1590-97.
Probably by Robert Smythson (1535-1614).
For Elizabeth, Countess of Shrewsbury - Bess of Hardwick (1527-1608).
Grade l listed.
The High Great Chamber.
Plasterwork Frieze - Summer.
This is the most individually Elizabethan room in Hardwick, and the most magnificent. The decoration was not completed until 1599, two years after Bess had moved into the house. The room was designed as a unity, with freeze, tapestry and chimney peace fitted together into a whole glowing with incident and rich colour. The colours have faded and the contrast between the sophistication of the tapestry and the crude but immensely provocative realism of the freeze is less strong that must once have been.
Hardwick was home to Bess of Hardwick (1527-1608), one of the most formidable women of Elizabethan England. She was the matriarch of the Cavendish family, building Chatsworth with her second husband and returning to build the two great halls at Hardwick after her separation from her fourth husband the 6th Earl of Shrewsbury.
Levens Hall & Topiary Gardens
The core of this delightful Elizabethan manor is a pele tower built in 1350 as a defense against Scottish raiders. The later Elizabethan home was built around the tower by the Bellingham family, who created a comfortable home with paneled rooms decorated with fine plasterwork ceilings. The dining room is worthy of special note; it has unusual embossed leather wall coverings from Cordova.
The house was expanded in 1694 by Col. James Grahme, former Privy Purse to James II. Rooms feature the family collections of paintings and memorabilia, including the earliest known example of English patchwork. Among the various items on display are Beau Brummel's snuff box, paintings by Van Dyck, Brueghel the Elder, and Rubens, and items associated with the Duke of Wellington and Admiral Nelson.
Levens Hall is home to several resident ghosts; a Grey Lady is known to appear in front of cars on the driveway, a woman in a print dres and cap appears before children, and a small black dog wanders the hall.
THE TOPIARY GARDENS
The gardens were laid out in 1694 by Guillaume Beaumont, who trained under Andre Le Notre at Versailles. Beaumont had only recently finished laying out gardens at Hampton Court Palace. Very little has been altered since that time, which is all to the good, as Beaumont created a wonderful experience with his imaginative use of topiary and garden walks. The gardens also feature the earliest known example in England of a "ha-ha", or sunken ditch.
The topiary of clipped yew and box hedges is underplanted with bedding plants in spring and summer, making for excellent colour. A rose garden, herbaceous borders, and a nuttery complete a most enjoyable garden. The most recent addition at Levens Hall is a fountain, approached by an avenue of pleached lime planted to celebrate 300 years of the gardens. Best viewed in: summer.
Harlaxton Manor, near Grantham, Lincs, was built between 1832 and 1844 in Elizabethan style. The interior is very ornate.
It is now the British campus of Evansville University.
There are more here:
www.flickr.com/photos/belincs/sets/72157634755903846/with...
Restored Decor: CARPET (left), PLASTERWORK (right)
Proposed design for uniforms for 2008-2009 renovation of the Beacon Theatre, NYC.
Hardwick Old Hall, Derbyshire, early C16 & 1587-90.
For Elizabeth, Countess of Shrewsbury - Bess of Hardwick (1527-1608).
Grade l listed.
The house had two full scale great chambers and there are substantial remains of decorative plasterwork by Abraham Smith.
The Kitchen.
The pastry - with bread ovens for baking.
Hardwick was home to Bess of Hardwick (1527-1608), one of the most formidable women of Elizabethan England. She was the matriarch of the Cavendish family, building Chatsworth with her second husband and returning to build the two great halls at Hardwick after her separation from her fourth husband the 6th Earl of Shrewsbury.
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 Stephen Joseph Theatre in Scarborough, formerly the Odeon Cinema. McCarthy Auditorium detail of plasterwork moved from former font stalls side walls of the cinema. Designed by Mollo & Egan and installed in 1936. Moved to its present location in 1996.
The Odeon Cinema opened in March 1936, designed by Cecil Clavering from the Harry Weedon Practise. It was one of the most ornate of the original Odeons, and continued as a single screen cinema until closure in October 1988. After laying largely empty (a social club used the former café area), it was partially restored, partially rebuilt as the Stephen Joseph Theatre (architect Osbourne Christmas), and reopened in 1996. It is grade 2 listed.
Scarborough, North Yorkshire, England - Stephen Joseph Theatre (Odeon), Westborough / Northway
April 2009, image reworked 2024.
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 New Oxford was gutted internally - although the plasterwork and barrel vaulted ceiling MAY survive above the McDonalds outlet. Originally had over 1,100 seats in stalls and balcony levels, reduced t o 854 by the time it closed. Opened as the Oxford Picture House in 1911 and renamed New Oxford in 1966, closed 1980.
City of Manchester, Lancashire, Greater Manchester - New Oxord Cinema (McDonald's), Oxford Street
November 2006 (image reworked 2020)
The Fridge Nightclub in Brixton opened as the Palladium in 1913. It was richly embellished with Edwardian plasterwork.
Brixton ABC / Fridge
A scanned negative from 1985
The main court room of Northampton Sessions House, below which were cells and above which was the elaborate plasterwork ceiling of Edward Goudge, Chief Plasterer to Christopher Wren. The court room was used for its original purpose from 1678 until 1991.
Here were tried the more serious criminal cases, when a circuit judge would arrive from London. The last two women to be hanged in England accused of witchcraft would have been tried in this room in 1705 - Elinor Shaw and Mary Phillips of Oundle.
Here too was tried, according to a report in the local press, before Mr Justice Coleridge at the Lent Assizes of 1851, one of my own relatives ; Thomas Skinner, a stone mason and brother of my great, great grandfather. Accused of highway robbery, he was sentenced to five months hard labour.
Young Thomas, no doubt having taken the chance to slake the notorious stone mason's thirst, was walking home from the pub in Nassington when he and a companion relieved an acquaintance of a small amount of money. Unfortunately one of Thomas's brothers and the father of the other accused, returned the money to the rightful owner next day and thus confirmed the guilt of the parties on trial.