View allAll Photos Tagged plasterwork
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
Walton's church of St James is a small and neat structure dating from 1750, sitting next to Gilbert Scott's Victorian Gothic Walton Hall. The presence of stained glass in the windows however indicates that the church did not come through the Victorian period untouched (Pevsner says it was enlarged in 1842).
Inside the church is very attractive with decorative plaster ceilings though the stained glass diffuses the Georgian atmosphere somewhat. The 'Venetian' east window and flanking lights in the tiny projecting chancel are the work of Clayton & Bell and centres on a crucified Christ who looks somewhat older than 33! Two later pictoral north nave windows are rather heavily ornamented and along with the ornamental glazing opposite subdue what must have originally been a very light interior.
The church is generally kept open to visitors during normal daylight hours.
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
Ceiling plasterwork, Whinburn, Utley. Photographed by Barbara Klempka on a visit to Whinburn in September 2005.
Whinburn is a Grade II listed building on Hollins Lane, Utley. The main hall consists of a baronial hall, seven reception rooms and thirteen bedrooms, with adjoining outbuildings, coach house, dilapidated gatehouse, and detached bungalow, and stands in approximately seven acres of gardens. Fittings of the highest standard were used throughout Whinburn both externally and internally, so creating an Arts & Crafts house of supreme quality.
It was built in 1897 (designed by James Ledingham) for Prince Smith III (later Sir Prince Prince-Smith), a partner in the textile machinery manufacturing business of Prince Smith and Son. In 1912, a redesign was undertaken by London architects John W. Simpson and Maxwell Ayrton, including the addition of a four storey tower and the building of the Great Hall. By 1919 a setting of formal terraces had been laid out to the north-east of the house, with water features, follies, three rhododendron walks and a tennis lawn. The grounds include a stable block with coach house, gate lodge and garden pavilion. All these are also listed properties.
Following the death of Sir Prince Prince-Smith in 1940, Whinburn was used as a training centre by the National Institute of House-workers and in the early 1950s was purchased by the Local Authority for use as a school, initially residential. A bungalow and school classroom buildings were also added during this time. The school closed in mid-2002 and the house and gardens received listed status. In 2006, Keighley Area Planning Panel sharply criticised Bradford Council's asset management department for failing to maintain the historic property. They also turned down proposals from a Lancashire-based building firm, GCG Construction, who wanted to convert the main part of the mansion into nine apartments and build four more flats in the courtyard area.
The house remained empty until 2008 when the City of Bradford Metropolitan District Council sold it to businessman James Sheldon. Sheldon bought the estate with the intention of developing the house and reclaiming the gardens, with advice from English Heritage. Sheldon, 42, died from multiple injuries having jumped from the tower on 23rd June 2015 due to rising business debts. The house was up for sale again in 2017 (handled by Dacre, Son & Hartley) for around £1,250,000. According to online listings, it sold for £660,000 in December 2019.
The original print is held in the physical archive of Keighley and District Local History Society and was scanned by Billy Stride in February 2021.
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
By Major Andrew Frazer, 1782-4. This is the interior of the 2-storey, elliptical plan neo-classical church. First important example of a church built on this plan in the UK. Very fine plasterwork and joinery. Organ at centre of gallery with fine tripartite case by Peter Conacher of Huddersfield, 1881; rebuilt by Rushworth & Dreaper, 1967.
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 column is believed to be in the oldest part of the mosque. The stamped designs are thought to be the precursors of later designs executed with glazed tiles.
Seen in the Friday Mosque, Esfahan, Iran.
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 beautiful ceiling gives the feeling of a garden.
Sorry these photos are lousy, I didn't have my good camera with me. :(
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
Murals and plasterwork from the 1920s in the former Tivoli Theater lobby, now a Z Burger restaurant.
Built in 1398 as a border fortress to keep the troublesome Welsh in line, Chirk Castle has been rebuilt several times over the centuries to turn it into a luxurious and comfortable country house. The medieval towers were largely hollowed-out to provide expansive rooms which were then decorated in the neo-classical style with Robert Adam-style plaster ceilings, Mortlake tapestries and the finest furniture. Today the castle retains the stolid outlook of a fortress, but the walls which were originally 15ft thick are now pierced by the delicate tracery of Elizabethan and later windows. The setting, on top of a granite outcrop on part of Offa's Dyke, and 828ft elevation give commanding views across the Cheshire plain to distant Beeston Castle to the East and south across Shropshire to the Wreakin, Long Mynd and beyond.
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
Master bathroom venetian plasterwork. Polished to a soft sheen. Tampa, Florida. The double glassed-in shower area is to the left.
William Henry (Bill) Kibby VC (15 April 1903 – 31 October 1942)
Kibby was born at Winlaton, County Durham, England.
In early 1914, the family emigrated to Adelaide, where Bill attended Mitcham Public School. After leaving school he was employed at a plasterworks in Edwardstown, where he designed and fixed plaster decorations. In 1926, he married Mabel Sarah Bidmead Morgan; they lived at Helmsdale and had two daughters.
Although he was diminutive (5 ft 6 in), Kibby was a strong man and loved outdoor activities. In 1936, he joined the Militia, and was assigned to the 48 Field Battery, Royal Australian Artillery.
Kibby joined the Australian Imperial Force during Second World War. In 1942, he was a Sergeant in the 2/48th Infantry Battalion (South Australia), during the North African campaign.
At the Battle of El Alamein, during the period of 23–31 October 1942, Kibby distinguished himself through his skill in leading a platoon, after his commander had been killed, during the initial attack at Miteiriya Ridge. On 23 October, he charged a machine gun position, firing at it with his Thompson submachinegun; Kibby killed three enemy soldiers, captured 12 others and took the position. His company commander intended to recommend him for the Distinguished Conduct Medal after this action, but was killed. During the following days, Kibby moved among his men directing fire and cheering them on. He mended his platoon's telephone line several times under intense fire. On 30–31 October, the platoon came under intense machine gun and mortar fire. Most of them were killed or wounded. In order to achieve his company's objective, Kibby moved forward alone, to within a few metres of the enemy, throwing grenades to destroy them. Just as his success in this endeavour appeared certain, he was killed.
His Victoria Cross is displayed at the Australian War Memorial.
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
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
Have to say that they have obviously made it look much bigger than it really was.
No, not that..... the bed (don't know what you were thinking of).
See my other picture - the beds were tiny!
Inside there is not much to be seen. The line of the stair can still be seen in the surviving plasterwork of the stair tower.
This was taken through the doorway from the Closet into the State Bedroom. I have marked with a note box where the wall between the State Bedroom and the Entrance Hall was. This part of the house contains the only remnants of the plasterwork for which the house was admired. The doorway ahead would have taken you through to the Dining Room. A doorway on the right between the two fireplaces took you through to the main stairs.
The house was designed by the architect Francis Smith from 1724. The ruin encases an earlier house that stood on the site.
Edward Poynton of Nottingham carved the exterior stonework. The house contained some very fine stucco plasterwork made by two Italian master craftsmen Arturi and Vasalli. It is thought that Grinling Gibbons contributed some of the interior wood carvings.
In 1919 the estate was broken up and the house sold. The buyers sold the internal features as architectural salvage. The house was quickly reduced to being a shell. Some rooms still exist in the United States. Three interiors are displayed at the Museum of Art in Philadelphia. It is also possible to see a pine-panelled room from this house at the Huntington Library, California.
The details of the rooms that are locally said to have gone to Philadelphia can be seen here www.philamuseum.org/collections/permanent/42068.html?mulR...|1 . Although I note that the Museum is less certain than the information boards on site and local knowledge.
The house was saved by the writer Sir Osbert Sitwell in the 1940's. When Sir Osbert died in 1969 the ruins were given to the Ministry of Works and are now in the care of English Heritage. When I first visited here in the 1980's you were not able to enter the ruins. The interior of the ruin was littered with fallen masonry, beams and lumps of plaster and general debris. The debris was cleared out and the ruin made safe so that it has been possible to walk through the interior since the late 1990's.
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
Decorative plasterwork adorning the upper storey of a building in Corporation Street, Lincoln.
Uploaded originally for 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.
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
Ameha’s talent for plasterwork was spotted last year by an HLF-supported scheme, Re-Making Leeds. The scheme was developed to train young people in specialist crafts and Ameha is now benefiting from a year’s placement at Ornate Interiors, working on restoration projects including York Theatre Royal. In November 2016, Ameha was entered into national construction competition, SkillBuild, and won the gold prize!
Read more: bit.ly/2i6eICX
© Graham Fotherby
Fragment of the richly decorated half-rotunda with elegant Corinthian columns, plasterwork with angels and murals inside the Cathedral of the Resurrection after recently finished restoration works.Built in the 17th century (1656—1685), this cathedral was the biggest architectural idea of Patriarch Nikon to make a Russian model of the Resurrection Cathedral (also called the Basilica of the Holy Sepulcher) in Jerusalem.
Read more: goo.gl/xzepqp
Photo #252 taken on June 01, 2016
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