View allAll Photos Tagged plasterwork
Ocupan el espacio de una de las capillas de la girola; fue construida en 1765 con los proyectos de Fray José de San Juan de la Cruz, en estilo barroco del período rococó. Llama la atención su cúpula y cascarones con yeserías pintadas y, sobre todo, la gran cajonería y retablos en los que trabajaron José Cortés, Manuel Romero y en las pinturas de los frontales, sobre temas de la Virgen, Lucas Jordán y artistas de su taller.
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This was built on the site of one of the chapels of the ambulatory; it was built in 1765 using projects drawn up by Fray José de San Juan de la Cruz, in the baroque style of the rococo period. Particularly noteworthy are the dome and the cascarones (vaults in quarter spheres) with painted plasterwork and above all the grand chest of drawers and altarpieces which were the work of José Cortés and Manuel Romero. The paintings on the front relate to the Virgin Mary and were painted by Lucas Jordán and artists from his workshop.
On the main staircase of Royal Fort House in Bristol. The light was poor and I shall have to go back on a better day.
An interior view of the richly decorated Chapel in Queen Mary Court at the Old Royal Naval College. The intricate plasterwork of the ceiling and underside of the balconies was created by master plasterer John Papworth, while the large painting above the altar was done by American artist Benjamin West and depicts the story of St Paul’s shipwreck on the island of Malta. It took West seven years to complete the huge canvas, and it is the only one of his altarpieces to remain in the same place for which it was commissioned.
A few additional details on the Chapel of St Peter and St Paul from the ORNC website and guide (for more information, download the Chapel PDF brochure):
The Chapel of St Peter and St Paul, constructed by Thomas Ripley to the designs of Sir Christopher Wren, was the last major part of the Royal Hospital for Seamen to be built. Following a disastrous fire in 1779, it was redecorated by James ‘Athenian’ Stuart in the Greek revival style, and today is a wonderful example of a complete neoclassical interior.
The interior of the original chapel was much plainer than today, with a flat panelled ceiling, an apse (alcove) at the east end, and much smaller galleries. For many years there were no pews, and the injured sailors had to stand during their daily service. At 6am on 2 January 1779, a tremendous fire gutted the building, leaving only a shell.
James Stuart, as Surveyor at the Royal Hospital for Seamen, was appointed to re-design the Chapel in 1781. The Chapel reflects his influences of ancient Greek architecture and design. Stuart left much of the work to his Clerks of Works, Robert Mylne and William Newton who deserve much of the credit for the way the Chapel looks.
Dating from the C14th, the pargetting was added in the C17th. It was built as houses, became an inn, and was a bookshop when we visited in 2016 . It's probably the oldest surviving building in Saffron Walden and a fine example of pargetting.
Samuel Pepys, writer John Evelyn and Oliver Cromwell are all said to have stayed there.
La capilla de Santa Ana, patrona de la ciudad de Tudela, se encuentra aneja a la nave del Evangelio de la Catedral. Su origen se remonta al año 1712, cuando el Concejo, como patrono, acepta para su construcción una capilla que Don Francisco de Murgutio Aybar y Pasquier tenía entre la sacristía de los capellanes y la actual capilla de la Soledad, a la par que acuerda ceder terreno de la plaza contigua con el mismo fin; también el Cabildo Catedralicio donó la sacristía de los capellanes.
Se iniciaron las obras en 1716, según la traza presentada por los arquitectos Juan de Lazcano y Juan de Estanga, estando concluidas en 1724 e inaugurándose la nueva capilla en la festividad de Santa Ana del año siguiente.
Presenta una planta central, basándose en un octógono irregular, cuyos lados menores en sus alzados recuerdan los machones escorzados de los cruceros, sucediéndose hornacinas cubiertas con veneras en los paños y tondos en las pechinas que montan directamente sobre ellos; se cubre por cúpula con tambor jalonado por ocho ventanas de medio punto y linterna, también horadada por otras tantas ventanas, procediendo de estos vanos una intensa iluminación, que contrasta teatralmente con la más tenue de la nave a que se adosa la capilla.
Este esquema tiene su origen en la capilla Chiggi, y fue utilizado ampliamente en otras construcciones del Barroco español, en particular en los sagrarios andaluces del siglo XVIII con los que la capilla de Santa Ana guarda evidente relación y especialmente con el de la Iglesia parroquial de San Mateo de Lucena.
Su abundante decoración, que le confiere su carácter barroco, se basa en la combinación de mármoles y yeserías, como también sucede en las capillas barrocas de la Seo de Zaragoza. Los mármoles se utilizan en las zonas bajas, formando un zócalo de fondo negro, sobre él y en el resto de la superficie, se desarrollan las yeserías, muy abultadas y profusas, que tienden a cubrirlo todo, aunque dejen libres algunas áreas; cuentan con un entramado de motivos geométricos, desempeñando un papel importante los placados, encima de los cuales aparecen una multitud de ángeles y querubines, ficticios cortinajes, follajes y ensartos florales.
Preside la capilla un magnífico retablo barroco realizado entre 1751 y 1753 por José Ortiz. De traza mixtilínea muy dinámica, se eleva sobre basamento de mármoles negros y rosas. El gran cuerpo se centra por la hornacina donde podemos admirar en el camarín a la patrona de Tudela desde 1530, Santa Ana. Esta imagen gótica, convertida en imagen de candelero en el siglo XVIII, representa a Santa Ana Triplex, es decir, a Santa Ana, la Virgen y el Niño.
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.
Kumiko Zaiku Asa-no-ha grillwork, and Kyo Kabe plasterwork. Michener Art Museum, Doylestown, PA. Photo by Wayne Stratz.
The upper level of the former Center / Globe / Pagoda Theatre is now a chinese restaurant, preserving the ornate plasterwork and frescos
Although subdivided inside much of the auditorium ceiling plasterwork survives intact at the Horn in Hand Pub Nottingham, formerly the Goldsmith Picture House / Nottingham Playhouse / Tivoli.
Nottingham
February 2010
An interior view of the richly decorated Chapel in Queen Mary Court at the Old Royal Naval College. The intricate plasterwork of the ceiling and underside of the balconies was created by master plasterer John Papworth, while the large painting above the altar was done by American artist Benjamin West and depicts the story of St Paul’s shipwreck on the island of Malta. It took West seven years to complete the huge canvas, and it is the only one of his altarpieces to remain in the same place for which it was commissioned.
A few additional details on the Chapel of St Peter and St Paul from the ORNC website and guide (for more information, download the Chapel PDF brochure):
The Chapel of St Peter and St Paul, constructed by Thomas Ripley to the designs of Sir Christopher Wren, was the last major part of the Royal Hospital for Seamen to be built. Following a disastrous fire in 1779, it was redecorated by James ‘Athenian’ Stuart in the Greek revival style, and today is a wonderful example of a complete neoclassical interior.
The interior of the original chapel was much plainer than today, with a flat panelled ceiling, an apse (alcove) at the east end, and much smaller galleries. For many years there were no pews, and the injured sailors had to stand during their daily service. At 6am on 2 January 1779, a tremendous fire gutted the building, leaving only a shell.
James Stuart, as Surveyor at the Royal Hospital for Seamen, was appointed to re-design the Chapel in 1781. The Chapel reflects his influences of ancient Greek architecture and design. Stuart left much of the work to his Clerks of Works, Robert Mylne and William Newton who deserve much of the credit for the way the Chapel looks.
Lanhydrock is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. 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. Boasting the best in country-house design and planning, 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 Chapel of our Lady of the Dawn (Capilla de Nuestra Señora de la Aurora) was built by the Infante Felipe in the 1255 and is notable for its cupola decorated with mudejar plasterwork.
Ickworth House in Suffolk is a vast Neoclassical mansion, and is visited for its state rooms, gardens and deer park. I was drawn to the muted colours of the servants' quarters 'below stairs', where the bright sunlight created wonderful shadows and reflections.
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.
St. Lazarus Church, also known as Church of Our Lady of Hope, is one of the three oldest churches in Macau. It was erected in 1569 by Dom Belchior de Carneiro, the first bishop of Macau. At first it was a simple wooden chapel. The present church was renovated in 1886 and the plasterwork was renewed in 1957, when further major renovations were carried out.
The location of St Lazarus' Church was in the district where the leper colony situated since it was a rather remote place outside the city walls. In 1558, right after his arrival in Macau, Bishop Belchior Carneiro, using this church as his base, founded the Holy House of Mercy, St. Raphael's Hospital, and the St. Lazarus Asylum for Lepers, preaching among the Chinese, providing relief of the needy, taking care of the sick and saving their lives. He also set up a small chapel, which was the precursor of the church. In its early days, the chapel was dedicated to Our Lady of Hope, but the local Chinese citizens called it the lepers temple (瘋人廟).
When Pope Gregory XIII declared the establishment of diocese in Macau, the bishop’s seat was set here. So St. Lazarus was also the first cathedral in Macau. Later, however, it was deemed inappropriate to have the seat inside a lepers chapel, so plans were drafted to build the Cathedral. Still, St. Lazarus Church, enjoyed a lot of prestige within Catholic circles in Macau. Whenever a new bishop was inaugurated, he would come to St. Lazarus Church to receive his crosier with which he would be allowed to exercise his power. As the earliest church for evangelization of Chinese in Macau, the Chinese converts settled around the church. In 1818, a new church called “Our Lady of Hope” was built near the original church so the parishioners needed not to use the same church with lepers. The leper asylum was then moved away, the church was renovated to present feature. In St. Lazarus Square, there is a stone cross, inscribed with the following words “Crux da Esperanca Anno de 1637” meaning “Cross of Our Lady of Hope, in the year 1637”.
望德聖母堂又稱聖拉匝祿堂，為澳門三座最古老的教堂之一，始於1569年，由澳門第一位主教賈尼勞興建。最初是一座用木建成的簡陋聖堂，今日之規模是於1886年重建時奠定，1957年修葺時鋪上石米批蕩。昔日此地位於澳門城牆之外，地處偏僻，且毗連痲瘋病院。1558年賈尼勞主教甫抵澳門，即在現址興建教堂，並以此堂為基礎，建立仁慈堂、聖辣菲醫院和聖拉匝祿痲瘋病院，向華人傳道，提供慈善服務，救病扶危，他又建了一座小聖堂，奉望德聖母為主保，但當地居民習慣稱之為「瘋人廟」、「瘋堂廟」或「發瘋寺」。在1576年1月，教宗額我略十三世宣佈將澳門升為天主教教區，望德聖母堂成為首座主教座堂。後來發覺主教座堂不宜設於麻瘋院附近，遂另建大堂為主教座堂。以後每逢新任主教到澳就職，必先到望德聖母堂領取法杖，以行使其權責。因此，望德聖母堂在澳門天主教人士中享有崇高之地位。這教堂是澳門最早的一間華人教堂，華人教徒聚居於教堂附近，稱為「進教圍」。1818年，在原堂附近又另建望德堂，供居住在附近的教友祈禱，以避免與麻瘋病人混雜。由於來澳葡人日見增多，加之華人教徒不斷增加，無法容納，就拆除了舊堂，於1885年建成新堂開始啟用，奠定了今日望德聖母堂之規模。這之後，隨著麻瘋病院遷往他處，有關設施也拆卸改建了。現時的規模，聖堂前的石米批盪是在1957年重新修時所鋪上的。現在望德堂前還存有一個刻著拉丁文「望德十字架，1637年立」的石製十字架。
Abandoned beach villas along the N coast of Jamaica, roofs stripped off, paint peeling, security grilles turning to rust…..
The Long Gallery, with its fine ceiling plasterwork.
Constructed in Tudor tomes as a place where the ladies could exercise indoors in bad weather.
Closer view: The plaster ceiling of the music room. The room on the sixth floor is also decorated with plasterwork, representing pots and vessels and one is famous as the music and sound room. It is certainly well worth visiting for the cut out decorations round the room, which represent a considerable artistic feat. These cut out shapes were not placed there to act as cupboards: the stuccowork is most delicate and falls to pieces at the highest touch. So we conclude that it was placed in position in these rooms for ornament and decoration. The rooms were used for private parties and for the King's musicians, and these hollow places in the walls retained the echoes and produced the sounds of the singing and musical instruments clearly in all parts.
Lanhydrock is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. 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. Boasting the best in country-house design and planning, 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
Patio de la Acequia (Court of the Main Canal).
Originally, the central observation point must have been the only opening to the outside in the court, which to this day preserves the lavish plasterwork decoration from the time of Sultan Ismaâil I (1314-1325). Some of the plasterwork, though, was removed and mounted on other plasterworks during the reign of Muhammad III (1302-1309).
The low windows of the observation point are a characteristic of Nasrid architecture. People could lounge on the floor, and with their arm on the sill, contemplate the landscape around the Palace and its gardens, the hill on which the Alhambra stands, and the city of Granada in the background.
Granada, Spain. 2015
Inside the gate house to the gardens at Mahan was one of the most elaborate ceilings I have ever seen. The geometric plasterwork was exquisite.
Part of the dining room ceiling by Francesco Vassalli c1724.
Built in the late 1600s on the site of previous buildings by the Anson brothers. Shugborough's later owners were their descendents - the Earls of Lichfield. Patrick Lichfield handed it over to the National trust.
partial view of the ceiling of the amazing music room in the recently restored Monserrate Palace in Sintra Portugal seen from the corridor.
St. Lazarus Church, also known as Church of Our Lady of Hope, is one of the three oldest churches in Macau. It was erected in 1569 by Dom Belchior de Carneiro, the first bishop of Macau. At first it was a simple wooden chapel. The present church was renovated in 1886 and the plasterwork was renewed in 1957, when further major renovations were carried out.
The location of St Lazarus' Church was in the district where the leper colony situated since it was a rather remote place outside the city walls. In 1558, right after his arrival in Macau, Bishop Belchior Carneiro, using this church as his base, founded the Holy House of Mercy, St. Raphael's Hospital, and the St. Lazarus Asylum for Lepers, preaching among the Chinese, providing relief of the needy, taking care of the sick and saving their lives. He also set up a small chapel, which was the precursor of the church. In its early days, the chapel was dedicated to Our Lady of Hope, but the local Chinese citizens called it the lepers temple (瘋人廟).
When Pope Gregory XIII declared the establishment of diocese in Macau, the bishop’s seat was set here. So St. Lazarus was also the first cathedral in Macau. Later, however, it was deemed inappropriate to have the seat inside a lepers chapel, so plans were drafted to build the Cathedral. Still, St. Lazarus Church, enjoyed a lot of prestige within Catholic circles in Macau. Whenever a new bishop was inaugurated, he would come to St. Lazarus Church to receive his crosier with which he would be allowed to exercise his power. As the earliest church for evangelization of Chinese in Macau, the Chinese converts settled around the church. In 1818, a new church called “Our Lady of Hope” was built near the original church so the parishioners needed not to use the same church with lepers. The leper asylum was then moved away, the church was renovated to present feature. In St. Lazarus Square, there is a stone cross, inscribed with the following words “Crux da Esperanca Anno de 1637” meaning “Cross of Our Lady of Hope, in the year 1637”.
望德聖母堂又稱聖拉匝祿堂，為澳門三座最古老的教堂之一，始於1569年，由澳門第一位主教賈尼勞興建。最初是一座用木建成的簡陋聖堂，今日之規模是於1886年重建時奠定，1957年修葺時鋪上石米批蕩。昔日此地位於澳門城牆之外，地處偏僻，且毗連痲瘋病院。1558年賈尼勞主教甫抵澳門，即在現址興建教堂，並以此堂為基礎，建立仁慈堂、聖辣菲醫院和聖拉匝祿痲瘋病院，向華人傳道，提供慈善服務，救病扶危，他又建了一座小聖堂，奉望德聖母為主保，但當地居民習慣稱之為「瘋人廟」、「瘋堂廟」或「發瘋寺」。在1576年1月，教宗額我略十三世宣佈將澳門升為天主教教區，望德聖母堂成為首座主教座堂。後來發覺主教座堂不宜設於麻瘋院附近，遂另建大堂為主教座堂。以後每逢新任主教到澳就職，必先到望德聖母堂領取法杖，以行使其權責。因此，望德聖母堂在澳門天主教人士中享有崇高之地位。這教堂是澳門最早的一間華人教堂，華人教徒聚居於教堂附近，稱為「進教圍」。1818年，在原堂附近又另建望德堂，供居住在附近的教友祈禱，以避免與麻瘋病人混雜。由於來澳葡人日見增多，加之華人教徒不斷增加，無法容納，就拆除了舊堂，於1885年建成新堂開始啟用，奠定了今日望德聖母堂之規模。這之後，隨著麻瘋病院遷往他處，有關設施也拆卸改建了。現時的規模，聖堂前的石米批盪是在1957年重新修時所鋪上的。現在望德堂前還存有一個刻著拉丁文「望德十字架，1637年立」的石製十字架。
Late Georgian plasterwork of the nave ceiling at the small church of St James in the grounds of Walton Hall Hotel.
Originally uploaded or the Guess Where UK group.
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.
This is the doorway to what was René Lalique's house at 40 Cours Albert 1e. The branches in the plasterwork continue into the glass of the door. Not in a great state of repair, unfortunately.
Circle foyer and bar. This is the only part of the theatre which has some original decorative plasterwork still in situe. In the cinema days it was also the cafe area.
tower, 1668-70
upper tower and spire, 1719-20 by James Gibbs
restored 1955-8 by Antony Lloyd
Plasterwork by Robert Powell and Edward Goudge
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.
Ickworth House in Suffolk is a vast Neoclassical mansion, and is visited for its state rooms, gardens and deer park. I was drawn to the muted colours of the servants' quarters 'below stairs', where the bright sunlight created wonderful shadows and reflections.
The Plasterwork ceiling was executed by Joseph Rose the elder in 1748; the wall panels are Adam, while the painted roundels are by Zucchi. The table is probably by Gillow of Lancaster.
The ugliest items in the room (in my opinion) are the candelabra lamp standards - two at each end, introduced in about 1819, they had to be solid to avoid nasty accidents, but surprisingly were not removed with the onset of electricity but adapted!
Lanhydrock is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. 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. Boasting the best in country-house design and planning, 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