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Probably some of the finest examples of Moroccan zellige, plasterwork, and carved cedar in the world.
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
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.
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
High above the Main Auditorium stage the ornate plasterwork has been restored and repainted. Gilding has been used to accentuate important parts of the plasterwork, and promises to be a standout feature when the building reopens.
Painters are making their way around the building not only to put some colour on the restored walls and plasterwork, but also to stain timberwork that was restored off-site and brought back into the building.
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 four churches of STANTA have had no congregations since 1943, and in the intervening years, have just sat there letting time and the occasional bored squaddie do their worst.
Over the past ten years, work has been undertaken to ensure the churches are dried out, with long an elaborate guttering and down pipes to get rain water away from the foundations of the the buildings.
It was almost too late for All Saints, as the plasterwork added to the church by a Victorian Vicar on the Chancel arch began to sag and break.
The Norfolk Churches Trust paid to have a scaffold frame put in the nave to support the plasterwork, and it has been like that for the best part of the decade.
Most of the nave is fenced off for safety reasons, meaning we all were squeezed into a small part of the west end as we were told the history of the building and plans for the future.
All Saints is the only round-towered church in the STANTA area. Te nave and ailses seem wider than the nave and chancel is long. A striking combination.
-------------------------------------------
Stanford is at the very heart of the training area, and so far from civilisation that the silence in the air is stunning. I had not heard such a silence in England before. The sheep were fearless, inquisitive as we let ourselves into the churchyard; their lambs hid behind, chins tilted upwards as they watched. As at Tottington, the roofs are blast-proof panels rather than tiles, but this is so well done that you wouldn't know unless you looked carefully.
This is the only round-towered church in the training area, although there are several more just outside, including Threxton and Merton. Here, the Norman round part is surmounted by an octagonal belfry stage, as at nearby Breckles. It probably dates from the 15th century.
As I wandered about the graveyard, tiny spring rabbits bolted from beneath my feet. At first, this was startling, and then comical; they had never seen a human before, and so they waited until I was right on top of them before running for the scrub. I became wary lest I step on one, but I don't think they were ever in any real danger.
As at West Tofts, this church underwent a considerable 19th century restoration, but the difference here is that it seems to have been carried out by the Rector. You might even say that it was an amateur restoration. His is the chancel with its pastel murals, his the great rood, his even the painted glass in the north aisle window, which Pevsner thought worthy of mention, but which is mostly now lost. The arcades rest on elegant, fluted columns, and something very odd has happened at the east end of the south aisle, where a fomer archway appears to have been truncated by the eastern wall. Or was it begun and never finished? Curious.
Again, the roof tiles are stored here, but the benches are gone, the bells have gone. And yet this still feels as if it must have been a very warm and welcoming building, busy in the years of its restoration, and still a touchstone for generations.
Outside, Quantrills and Clarks, Rudds and Gathercoles. One Quantrill memorial has a very curious inset relief which must have been the height of fashion in the early 19th century. A badly eroded Gathercole memorial is profoundly evangelical: Weep not for us our children dear, because we die and leave you here. But look to Christ the crucified, that you may feel his blood applied.
Another for a Quantrill wife hopes that God shall wipe away all the tears from their eyes. All about, the silence continues.
Simon Knott, May 2004
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.
Has been described as the 'finest Elizabethan town house in Britain'. Built by Robert Wynn,1576-85. Family Parlour - plasterwork detail
Ganjali Bazaar - Square - Malek Mosque
The bazaar is located in southern part of Ganjali Square. Inside, the bazaar is decorated with exquisite plasterwork and wall paintings and although they are 400 years old, they are still well-preserved. The bazaar is 93 meters long and is connected to Ganjali square through 16 iwans and vaults.
Ganjali Caravanserai and Mosque
The caravanserai is located on the east side of the Ganjali Square. Its portal bears a foundation inscription from 1598 composed by calligrapher Alireza Abbasi. The plan of the caravanserai is based on the four-iwan typology, with double-story halls centered on tall iwans enveloping four sides of an open courtyard. There is an octagonal fountain at the center of the courtyard which is chamfered at the corners. The caravanserai measures thirty-one and a half by twenty-three meters. It has a small domed mosque at one corner that measures five and a half by five meters
This mosque is a construction of the 5th century AH. (the Saljuqi period). Various portions of this mosque, specially the main platform was constructed in the times of Vakil-ol-Molk (1285 AH.), and the eastern porch was repaired in the last century by the late Deylamqani which is a remnant of the Saljuqi period. There is the brick tower in the north eastern section, which was formerly in a state of ruin, but has since then been repaired. Besides which there are three altars worked in plaster.
The George Hotel has existed at 25 Lydiard Street, Ballarat, since 1853. The present building was constructed in 1902 to designs of architects E. and B. Smith.
The principal feature of the three storey building is the triple storey, six bay, cast iron verandah. The main facade was originally face brickwork. The first floor facade is characterised by archivolts to the row of windows. The balustraded parapet has a semicircular tympanium.
The interior of the George Hotel has changed greatly over the years since it was built. The most damage was not caused by the ravages of time and the fickle nature of fashion, but a fire in 1988. However the interiors have been lovingly restored, and original features survive to this day.
The ground floor has marble facings, white above the height of the sill and red below; this was an unusual design feature at the time, as most facades were tiled then. The threshold of the main Lydiard Street entrance has the black marble words "George Hotel" inlaid into white marble.
The George's public rooms feature high ceilings with ornate plasterwork, grand chandeliers and fine cornices.
An obvious, frequently-photographed view through from the main entrance to St John's Cathedral.
The cross-street in the foreground in Ul. ÅšwiÄ™tojaÅ„ska, with Ul. Piwna passing in front of the church; these are two of the main streets of the Stare Miasto (Old Town), giving some idea of its mediæval scale and curious details.
Founded alongside an Augustinian monastery in 1353, the original Church of St. Martin was virtually destroyed by fire in 1478, its redundant courtyard then becoming appropriated by the local government. Its current rococo appearance (and reconsecration) dates from 1744, but the interior is entirely modern, having been destroyed in the 1944 Warsaw Uprising. More recently, it accommodated a 1977 hunger strike demanding the release of arrested workers, and meetings of the Solidarność (Solidarity) trade union in the 1980s.
Better On Black?
The four churches of STANTA have had no congregations since 1943, and in the intervening years, have just sat there letting time and the occasional bored squaddie do their worst.
Over the past ten years, work has been undertaken to ensure the churches are dried out, with long an elaborate guttering and down pipes to get rain water away from the foundations of the the buildings.
It was almost too late for All Saints, as the plasterwork added to the church by a Victorian Vicar on the Chancel arch began to sag and break.
The Norfolk Churches Trust paid to have a scaffold frame put in the nave to support the plasterwork, and it has been like that for the best part of the decade.
Most of the nave is fenced off for safety reasons, meaning we all were squeezed into a small part of the west end as we were told the history of the building and plans for the future.
All Saints is the only round-towered church in the STANTA area. Te nave and ailses seem wider than the nave and chancel is long. A striking combination.
-------------------------------------------
Stanford is at the very heart of the training area, and so far from civilisation that the silence in the air is stunning. I had not heard such a silence in England before. The sheep were fearless, inquisitive as we let ourselves into the churchyard; their lambs hid behind, chins tilted upwards as they watched. As at Tottington, the roofs are blast-proof panels rather than tiles, but this is so well done that you wouldn't know unless you looked carefully.
This is the only round-towered church in the training area, although there are several more just outside, including Threxton and Merton. Here, the Norman round part is surmounted by an octagonal belfry stage, as at nearby Breckles. It probably dates from the 15th century.
As I wandered about the graveyard, tiny spring rabbits bolted from beneath my feet. At first, this was startling, and then comical; they had never seen a human before, and so they waited until I was right on top of them before running for the scrub. I became wary lest I step on one, but I don't think they were ever in any real danger.
As at West Tofts, this church underwent a considerable 19th century restoration, but the difference here is that it seems to have been carried out by the Rector. You might even say that it was an amateur restoration. His is the chancel with its pastel murals, his the great rood, his even the painted glass in the north aisle window, which Pevsner thought worthy of mention, but which is mostly now lost. The arcades rest on elegant, fluted columns, and something very odd has happened at the east end of the south aisle, where a fomer archway appears to have been truncated by the eastern wall. Or was it begun and never finished? Curious.
Again, the roof tiles are stored here, but the benches are gone, the bells have gone. And yet this still feels as if it must have been a very warm and welcoming building, busy in the years of its restoration, and still a touchstone for generations.
Outside, Quantrills and Clarks, Rudds and Gathercoles. One Quantrill memorial has a very curious inset relief which must have been the height of fashion in the early 19th century. A badly eroded Gathercole memorial is profoundly evangelical: Weep not for us our children dear, because we die and leave you here. But look to Christ the crucified, that you may feel his blood applied.
Another for a Quantrill wife hopes that God shall wipe away all the tears from their eyes. All about, the silence continues.
Simon Knott, May 2004
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
Detail of side wall (note the faint sunburst pattern in the plasterwork above the sheilds). A scanned image from 1987.
A recent trip to Chernobyl - A visit to Pripyat is a real eye opener and certainly not something I'll ever forget.
"GV II* Town Hall. Design of 1891, opened 1897 (incorporating C15 undercroft); extension of 1932. 1891 architect Henry T. Hare. Externally of Clipsham stone for dressings and carved work, Bladon Stone for rubble work on Blue Boar Street. Rear elevations in red brick. Cumbrian slate has replaced the failed, original, Northamptonshire Collyweston roofing slates. Internally Bath stone walls with polished Hopton Wood stone and Black Birdseye marble dado rails and balustrades. Oak and pine floors, panelling and roofs, Ashbee and Co of Gloucestershire provided the flooring and G Hawkings the woodcarving. Internal walls and staircases to the main circulation spaces are ornamented with stone carved beasts and cartouches by Butcher and Axtell. Ceilings are covered with plasterwork. Corridors are often wood panelled with vaulted stone and plaster ceilings. Fibrous plasterwork is by George Jackson and Sons. PLAN: Roughly square, occupying the south-west corner of the Carfax crossroads. Major rooms at first-floor level marked by tall, high windows on the St Aldate's frontage. The Town Hall (the Main Hall) and Assembly Room were placed centrally, with City Council Offices and Council Chamber to the left (north). The Court and Police functions were to the right of the entrance hall, with Public Library occupying the corner. The ground-floor Police Headquarters and Library were accessed from Blue Boar Street. The Reference Library is now in use as a public meeting/exhibition room renamed the Old Reference Library; the Museum of Oxford inhabits from basement to elevated ground floor levels on the south-west corner of the site (once the public library) while the Print Room and other offices are housed on the east of the Police Drill corridor behind the St Aldate's frontage. EXTERIOR: Main façade of stone. Influenced by Oxford University's rejection of Gothic in favour of Renaissance design, Hare's scheme for the city took its inspiration from an Elizabethan-Jacobean style and confidently and flamboyantly displayed embellished Elizabethan-Renaissance gables, and exuberant fenestration to St Aldate's. The north-west corner of the Town Hall, extending up to the Carfax corner, is an extension of 1932. Stone-faced, consciously austere. INTERIOR: Plan and original fixtures and fittings survive little altered despite some changes of use. Entrance hall, with central grand staircase leading to first-floor landing hall with stone and plaster detailing in a broadly Jacobean style. Landing hall gives access to the principal, first-floor, public rooms. To east the Main Hall (the Town Hall of the original brief), much the biggest room in the building, apsed at the staged, east end at the back of which stands the Henry (Father) Willis organ built in 1896-7 in a plain Rococo style case. Balconies, with heavily enriched, stucco fronts on the north, west and south of this room. Carvings abound and the ceiling is richly plastered and decorated. Allegoric sculpted figures in the spandrels depicting subjects such as Sloth and Industry by F.E.E. Schenck. West off the landing hall is The Assembly Room, lit from the west by three tall, wide, multi-leaded windows. Walls covered in carved wood panelling to about half their height with plain ashlar walling rising to ceiling level above. Decorative fireplace of 1895. Pillars of Fosterley marble from County Durham support a musician's gallery. Beneath this gallery the hearth to the fireplace contains red lustre William de Morgan tiles and a cast iron fire back dated 1896. The most ornate plasterwork is in the coved part of the ceiling and at the north and south ends of the room. North of the landing hall is The Council Chamber. Three seats on the left mounted on a dais for the Lord Mayor (centre), the Deputy Lord Mayor to the right and the Chief Executive to the left. A carved, wooden canopy rises above the central seat, which has a high back inset with the painted arms of the city. Directly opposite the Lord Mayor's seat at the far end of the chamber is the Sheriff's seat with a plain, high curved back. Public gallery to rear of Sheriff's seat. Walls with a mix of panelling and ashlar stone; ceiling separated into panels by a grid of timber beams supported on carved, stone corbels, with pendants on the intersections. Within the coved panels are plasterwork shields, each with a different sign of the zodiac, surrounded by mantling. In the north-west corner of the 1890s building, in the angle between the Council Camber and Assembly Room, are the Lord Mayor's Parlour, a paneled room incorporating a Jacobean overmantle from the old parlour of the Guildhall, and the Committee Room. Both overlook St Aldgate's. The Old Reference Library is south off the Assembly Room. On its eastern side it retains the galleried spaces and principal bookcases from the original lending library. It has a lofty ceiling with heavily moulded cark, timber beams and carved bosses having painted shields. The timber ceiling ribs are thin by comparison. The walls are painted and there is no decorative plaster. The south-east quarter of the first floor is occupied by the Courtroom (whose judicial functions have eased; now used for meetings etc.). Built as the Magistrates Court, it has also served as the Court of Quarter Sessions and as a Crown Court. Austere room befitting its original function, with dark wall panelling, fixed benches and furniture. The dock connects by stairs to cells beneath. In the stained glass on the south wall are the Royal Arms with, to the left, the Arms of Henry I and, on the right-hand side the Arms of Richard I. The Judge' s Room lies off the south-west corner of the Courtroom and overlooks Blue Boar Street. Wood panelled walls. Carved stone chimneypiece of classical design. Ceiling comprises decorative plaster panels set between moulded timber beams.
Beneath, and accessed from the Town Hall, some 37 metres south of High Street is a probable C15 century, 3-bayed, quadripartite, vaulted space in rubble and ashlar comprising the undercroft to the former Knapp Hall. Hollow-chamfered ribs spring from shafts with moulded capitals and chamfered bases. In the west wall is an original doorway, now blocked, with chamfered jambs and two-centred head.
HISTORY: The site was previously occupied by C18 Town Hall, and other buildings including the Corn Exchange, Nixon's School, and houses. The architect Henry T. Hare won an open architectural competition of 1891, which drew over 130 entries. His brief was to provide accommodation for municipal offices, Town Hall, Council Chamber, Committee Room, Mayor's Parlour, Banqueting Hall (Assembly Room), Public Library, Sessions Court (linked to prisoners' cells beneath) and Headquarters for the Police.
The Town Hall was constructed on up-to-date structural and ventilating principles. John Chappell of Pimlico undertook the main building work with Richard Evans of Uppingham as clerk of works. Steel, used in the roofs, was supplied by William Lindsay and Co. (London) and constructional steel used in floors supplied by Dorman, Long and Co (Middlesborough). The largest basement room has 3 steel stanchions. Electricity, a great innovation at the time, came from the Oxford Electric Supply Company and lit 1,100 electric lights. It also drove large fans which ventilated the building.
The surviving part of the unlisted Ebor House in Blue Boar Street that was incorporated into and extended for modern Blue Boar Street offices is not covered by the listing.
EVALUATION OF IMPORTANCE: Oxford's Town Hall of 1897, designed by the notable architect H.T. Hare in an Elizabethan-Jacobean Revival style, incorporated a wide range of municipal and judicial functions, all accommodated within a single building set prominently in the centre of the city. Both outwardly in its architectural form, and especially internally with its high-quality materials, fixtures, and fittings, civic pride and aspirations were expressed in an architecturally impressive manner that survives very well. " Historic England listing.
The four churches of STANTA have had no congregations since 1943, and in the intervening years, have just sat there letting time and the occasional bored squaddie do their worst.
Over the past ten years, work has been undertaken to ensure the churches are dried out, with long an elaborate guttering and down pipes to get rain water away from the foundations of the the buildings.
It was almost too late for All Saints, as the plasterwork added to the church by a Victorian Vicar on the Chancel arch began to sag and break.
The Norfolk Churches Trust paid to have a scaffold frame put in the nave to support the plasterwork, and it has been like that for the best part of the decade.
Most of the nave is fenced off for safety reasons, meaning we all were squeezed into a small part of the west end as we were told the history of the building and plans for the future.
All Saints is the only round-towered church in the STANTA area. Te nave and ailses seem wider than the nave and chancel is long. A striking combination.
-------------------------------------------
Stanford is at the very heart of the training area, and so far from civilisation that the silence in the air is stunning. I had not heard such a silence in England before. The sheep were fearless, inquisitive as we let ourselves into the churchyard; their lambs hid behind, chins tilted upwards as they watched. As at Tottington, the roofs are blast-proof panels rather than tiles, but this is so well done that you wouldn't know unless you looked carefully.
This is the only round-towered church in the training area, although there are several more just outside, including Threxton and Merton. Here, the Norman round part is surmounted by an octagonal belfry stage, as at nearby Breckles. It probably dates from the 15th century.
As I wandered about the graveyard, tiny spring rabbits bolted from beneath my feet. At first, this was startling, and then comical; they had never seen a human before, and so they waited until I was right on top of them before running for the scrub. I became wary lest I step on one, but I don't think they were ever in any real danger.
As at West Tofts, this church underwent a considerable 19th century restoration, but the difference here is that it seems to have been carried out by the Rector. You might even say that it was an amateur restoration. His is the chancel with its pastel murals, his the great rood, his even the painted glass in the north aisle window, which Pevsner thought worthy of mention, but which is mostly now lost. The arcades rest on elegant, fluted columns, and something very odd has happened at the east end of the south aisle, where a fomer archway appears to have been truncated by the eastern wall. Or was it begun and never finished? Curious.
Again, the roof tiles are stored here, but the benches are gone, the bells have gone. And yet this still feels as if it must have been a very warm and welcoming building, busy in the years of its restoration, and still a touchstone for generations.
Outside, Quantrills and Clarks, Rudds and Gathercoles. One Quantrill memorial has a very curious inset relief which must have been the height of fashion in the early 19th century. A badly eroded Gathercole memorial is profoundly evangelical: Weep not for us our children dear, because we die and leave you here. But look to Christ the crucified, that you may feel his blood applied.
Another for a Quantrill wife hopes that God shall wipe away all the tears from their eyes. All about, the silence continues.
Simon Knott, May 2004
Sudbury Hall, was the country home of the Lords Vernon, containing 17th-century craftsmanship, featuring plasterwork, wood carvings and classical story-based murals.
The Museum of Childhood within the Hall is a delight for all ages with something for everyone. Watch your children discovering something new, or relive nostalgic memories by exploring the childhoods of times gone by.
The Parish Church of All Saints,which is adjacent to the house, was restored for the 6th Lord Vernon by George Devey.
The house was used by the BBC to film "Pride & Prejudice".
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.
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 whole interior is richly decorated with plasterwork. Opened as an extension to the now demolished (1950s) Town Hall in 1932, to the design of Bradshaw Gass & Hope, it was originally known as the Town Hall Extension, later Lewisham Concert Hall (1965) and Lewisham Theatre (1980s). It was refurbished in 2001 and the name changed to the Broadway Theatre, at which point retractable seating was introduced in the front stalls, rising upto the balcony, with the rear stalls taken out of use. It then seated 850 (down from 1,032) with a studio theatre seating 102. A further extensive refurbishment was completed in 2023. It is grade 2 listed.
London Borough of Lewisham, South London, England - Broadway Theatre, Rushey Green, Catford
September 2007, image reworked 2023
Most people are drawn to this attractive Suffolk town by the profusion of half-timbered medieval cottages, beloved of calendar photographers. Lavenham has been called "the most complete medieval town in Britain", a tribute to its fine collection of medieval and Tudor architecture.
Here you will see cottages where the decorative exterior plasterwork or ‘pargetting’ depicts the fleur-de-lys and other designs relating to the wool and cloth industry. Pargetting was popular in the east of England and, while the simplest patterns were indented using sticks, more complex designs required great skill with the lime-based plaster being cast or built up layer by layer.
The George Hotel has existed at 25 Lydiard Street, Ballarat, since 1853. The present building was constructed in 1902 to designs of architects E. and B. Smith.
The principal feature of the three storey building is the triple storey, six bay, cast iron verandah. The main facade was originally face brickwork. The first floor facade is characterised by archivolts to the row of windows. The balustraded parapet has a semicircular tympanium.
The interior of the George Hotel has changed greatly over the years since it was built. The most damage was not caused by the ravages of time and the fickle nature of fashion, but a fire in 1988. However the interiors have been lovingly restored, and original features survive to this day.
The ground floor has marble facings, white above the height of the sill and red below; this was an unusual design feature at the time, as most facades were tiled then. The threshold of the main Lydiard Street entrance has the black marble words "George Hotel" inlaid into white marble.
The George's public rooms feature high ceilings with ornate plasterwork, grand chandeliers and fine cornices.
The four churches of STANTA have had no congregations since 1943, and in the intervening years, have just sat there letting time and the occasional bored squaddie do their worst.
Over the past ten years, work has been undertaken to ensure the churches are dried out, with long an elaborate guttering and down pipes to get rain water away from the foundations of the the buildings.
It was almost too late for All Saints, as the plasterwork added to the church by a Victorian Vicar on the Chancel arch began to sag and break.
The Norfolk Churches Trust paid to have a scaffold frame put in the nave to support the plasterwork, and it has been like that for the best part of the decade.
Most of the nave is fenced off for safety reasons, meaning we all were squeezed into a small part of the west end as we were told the history of the building and plans for the future.
All Saints is the only round-towered church in the STANTA area. Te nave and ailses seem wider than the nave and chancel is long. A striking combination.
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Stanford is at the very heart of the training area, and so far from civilisation that the silence in the air is stunning. I had not heard such a silence in England before. The sheep were fearless, inquisitive as we let ourselves into the churchyard; their lambs hid behind, chins tilted upwards as they watched. As at Tottington, the roofs are blast-proof panels rather than tiles, but this is so well done that you wouldn't know unless you looked carefully.
This is the only round-towered church in the training area, although there are several more just outside, including Threxton and Merton. Here, the Norman round part is surmounted by an octagonal belfry stage, as at nearby Breckles. It probably dates from the 15th century.
As I wandered about the graveyard, tiny spring rabbits bolted from beneath my feet. At first, this was startling, and then comical; they had never seen a human before, and so they waited until I was right on top of them before running for the scrub. I became wary lest I step on one, but I don't think they were ever in any real danger.
As at West Tofts, this church underwent a considerable 19th century restoration, but the difference here is that it seems to have been carried out by the Rector. You might even say that it was an amateur restoration. His is the chancel with its pastel murals, his the great rood, his even the painted glass in the north aisle window, which Pevsner thought worthy of mention, but which is mostly now lost. The arcades rest on elegant, fluted columns, and something very odd has happened at the east end of the south aisle, where a fomer archway appears to have been truncated by the eastern wall. Or was it begun and never finished? Curious.
Again, the roof tiles are stored here, but the benches are gone, the bells have gone. And yet this still feels as if it must have been a very warm and welcoming building, busy in the years of its restoration, and still a touchstone for generations.
Outside, Quantrills and Clarks, Rudds and Gathercoles. One Quantrill memorial has a very curious inset relief which must have been the height of fashion in the early 19th century. A badly eroded Gathercole memorial is profoundly evangelical: Weep not for us our children dear, because we die and leave you here. But look to Christ the crucified, that you may feel his blood applied.
Another for a Quantrill wife hopes that God shall wipe away all the tears from their eyes. All about, the silence continues.
Simon Knott, May 2004
The four churches of STANTA have had no congregations since 1943, and in the intervening years, have just sat there letting time and the occasional bored squaddie do their worst.
Over the past ten years, work has been undertaken to ensure the churches are dried out, with long an elaborate guttering and down pipes to get rain water away from the foundations of the the buildings.
It was almost too late for All Saints, as the plasterwork added to the church by a Victorian Vicar on the Chancel arch began to sag and break.
The Norfolk Churches Trust paid to have a scaffold frame put in the nave to support the plasterwork, and it has been like that for the best part of the decade.
Most of the nave is fenced off for safety reasons, meaning we all were squeezed into a small part of the west end as we were told the history of the building and plans for the future.
All Saints is the only round-towered church in the STANTA area. Te nave and ailses seem wider than the nave and chancel is long. A striking combination.
-------------------------------------------
Stanford is at the very heart of the training area, and so far from civilisation that the silence in the air is stunning. I had not heard such a silence in England before. The sheep were fearless, inquisitive as we let ourselves into the churchyard; their lambs hid behind, chins tilted upwards as they watched. As at Tottington, the roofs are blast-proof panels rather than tiles, but this is so well done that you wouldn't know unless you looked carefully.
This is the only round-towered church in the training area, although there are several more just outside, including Threxton and Merton. Here, the Norman round part is surmounted by an octagonal belfry stage, as at nearby Breckles. It probably dates from the 15th century.
As I wandered about the graveyard, tiny spring rabbits bolted from beneath my feet. At first, this was startling, and then comical; they had never seen a human before, and so they waited until I was right on top of them before running for the scrub. I became wary lest I step on one, but I don't think they were ever in any real danger.
As at West Tofts, this church underwent a considerable 19th century restoration, but the difference here is that it seems to have been carried out by the Rector. You might even say that it was an amateur restoration. His is the chancel with its pastel murals, his the great rood, his even the painted glass in the north aisle window, which Pevsner thought worthy of mention, but which is mostly now lost. The arcades rest on elegant, fluted columns, and something very odd has happened at the east end of the south aisle, where a fomer archway appears to have been truncated by the eastern wall. Or was it begun and never finished? Curious.
Again, the roof tiles are stored here, but the benches are gone, the bells have gone. And yet this still feels as if it must have been a very warm and welcoming building, busy in the years of its restoration, and still a touchstone for generations.
Outside, Quantrills and Clarks, Rudds and Gathercoles. One Quantrill memorial has a very curious inset relief which must have been the height of fashion in the early 19th century. A badly eroded Gathercole memorial is profoundly evangelical: Weep not for us our children dear, because we die and leave you here. But look to Christ the crucified, that you may feel his blood applied.
Another for a Quantrill wife hopes that God shall wipe away all the tears from their eyes. All about, the silence continues.
Simon Knott, May 2004
The four churches of STANTA have had no congregations since 1943, and in the intervening years, have just sat there letting time and the occasional bored squaddie do their worst.
Over the past ten years, work has been undertaken to ensure the churches are dried out, with long an elaborate guttering and down pipes to get rain water away from the foundations of the the buildings.
It was almost too late for All Saints, as the plasterwork added to the church by a Victorian Vicar on the Chancel arch began to sag and break.
The Norfolk Churches Trust paid to have a scaffold frame put in the nave to support the plasterwork, and it has been like that for the best part of the decade.
Most of the nave is fenced off for safety reasons, meaning we all were squeezed into a small part of the west end as we were told the history of the building and plans for the future.
All Saints is the only round-towered church in the STANTA area. Te nave and ailses seem wider than the nave and chancel is long. A striking combination.
-------------------------------------------
Stanford is at the very heart of the training area, and so far from civilisation that the silence in the air is stunning. I had not heard such a silence in England before. The sheep were fearless, inquisitive as we let ourselves into the churchyard; their lambs hid behind, chins tilted upwards as they watched. As at Tottington, the roofs are blast-proof panels rather than tiles, but this is so well done that you wouldn't know unless you looked carefully.
This is the only round-towered church in the training area, although there are several more just outside, including Threxton and Merton. Here, the Norman round part is surmounted by an octagonal belfry stage, as at nearby Breckles. It probably dates from the 15th century.
As I wandered about the graveyard, tiny spring rabbits bolted from beneath my feet. At first, this was startling, and then comical; they had never seen a human before, and so they waited until I was right on top of them before running for the scrub. I became wary lest I step on one, but I don't think they were ever in any real danger.
As at West Tofts, this church underwent a considerable 19th century restoration, but the difference here is that it seems to have been carried out by the Rector. You might even say that it was an amateur restoration. His is the chancel with its pastel murals, his the great rood, his even the painted glass in the north aisle window, which Pevsner thought worthy of mention, but which is mostly now lost. The arcades rest on elegant, fluted columns, and something very odd has happened at the east end of the south aisle, where a fomer archway appears to have been truncated by the eastern wall. Or was it begun and never finished? Curious.
Again, the roof tiles are stored here, but the benches are gone, the bells have gone. And yet this still feels as if it must have been a very warm and welcoming building, busy in the years of its restoration, and still a touchstone for generations.
Outside, Quantrills and Clarks, Rudds and Gathercoles. One Quantrill memorial has a very curious inset relief which must have been the height of fashion in the early 19th century. A badly eroded Gathercole memorial is profoundly evangelical: Weep not for us our children dear, because we die and leave you here. But look to Christ the crucified, that you may feel his blood applied.
Another for a Quantrill wife hopes that God shall wipe away all the tears from their eyes. All about, the silence continues.
Simon Knott, May 2004
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 plasterwork is actually located on the ceiling above the organ inside the Main Auditorium. 23 metres above the ground, its usually only photographed from a distance, but thanks to the scaffold we were able to get up close. This area is yet to be painted before the gold leaf is applied.
The Chancel at All Saints, Lamport, Northamptonshire, was built by Francis Smith of Warwick after 1737. The reredos below the east window is divided into three sections divided by plasterwork cherubs. The plasterwork is by John Woolston, alderman of Northampton.
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
Sondheim Theatre, London. The ceiling above the dress circle has had plasterwork added for the first time in 75 over years, in addition to the reclining semi-nudes at the sides, there is the Sondheim initial, inspired from Sprague details elsewhere in the theatre. The Sondheim and Gielgud Theatres in London, were conceived as a block, designed by W G R Sprague and the Sondheim opened as the Queen's in 1907. The Queen's became the Sondheim in 2019. Both theatres have been significantly restored in 2010 and again in 2019. This included the building of the Sprague Terrace, linking the two theatres at an upper level, and also major works on the dressing rooms. The theatre seats 1,137 on three levels, with row D of the Dress Circle being at street height. The 2019 refurb included the creation of two rear Dress Circle boxes, named after Dames Maggie (Smith) and Judi (Dench), together with enhanced loges near the stage, named after Boublil and Schonberg (the writers of Les Mis, the theatres longest ever run. It is grade 2 listed.
www.delfontmackintosh.co.uk/theatres
City of Westminster, West End, London, England - Sondheim Theatre, Shaftesbury Avenue / Winnett Street / Wardour Street
December 2024