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Excerpt from historicalhamilton.com:
Lister Block
Address: 28 - 50 James Street North
Date Built: 1923
The current Lister Block was erected on the site of the old Lister Chambers, built by Joseph Lister in 1886 as one of Hamilton's first multipurpose commercial office/retail buildings. When the Chambers were ravaged by fire in 1923, in less than a year the current block was built over the ruins to house a wide range of merchants, businesses, professionals, and agencies.
The Block, designed by the architectural firm of Bernard Prack in the Classical Renaissance style,was built by Pigott Construction Company who took only 37 1/2 working days to pour the reinforced concrete skeleton of the seven storey building.The latest construction technology was used to provide up-to-date qualities of fire resistance, ventilation, and natural light.
The new Lister Block had a double storey base with large retail glazing on both levels. The lower two storeys and the cornice were decorated in white terracotta, with fluted pilasters, medallions and cartouches, and projecting cornices. The storefronts, along James and King William streets, had expansive glass bay windows with copper and bronze detailing, decorative steel grilles, and leaded transoms. The intermediate storeys boasted wood double-hung windows with copper-alloy transom panels, and dark red rug-finish brick on the pilasters. The building was crowned with an elaborate white terracotta cornice above the sixth floor.
Inside, the first floor L shaped arcade, with its marble floor and arched ceiling with decorative plasterwork, housed a number of store fronts with large glass windows and decorative wood trim. The skylights provided natural light to the interior, and so strolling past the stores had an outdoor feel to it. The second floor arcade in a reverse L shaped design was reached by north and south staircases, with steel stringers, newels and balusters, oak handrails, and terrazzo treads and landings.
One of Hamilton's most successful commercial establishments, the Block prospered until the 1950s, when it gradually succumbed to the ambitious downtown renewal schemes that followed, and to the expanding suburbs with their convenient malls and parking. The building did remain largely occupied until the mid-1970s, with long-standing tenants like the Anne Foster Music Shop, but finally closed in 1995.
As a footnote, the Lister Block was once considered as an annex for the old City Hall which was in need of expansion, but when the new City Hall was erected on Main Street, this idea was abandoned. Now decades later, the City has brokered a deal with Block developers to rent space in a refurbished Lister Block to house City offices.
The first house on the site was a pele tower built by the Redman family in around 1350. Much of the present building dates from the Elizabethan era, when the Bellingham family extended the house. The Bellinghams, who were responsible for the fine panelling and plasterwork in the main rooms, sold the house and estate in 1689 to Colonel James Grahme, or Graham, Keeper of the Privy Purse to King James II. Grahme made a number of additions to the house in the late 17th century. His son Henry Graham was a knight of the shire for Westmorland.
Further additions were made in the early 19th century.
Levens is now owned by the Bagot family and is open to the public. The small collection of steam road vehicles includes several traction engines which are usually steamed on Sundays and Bank Holidays.
In October 2021, the building was one of 142 sites across England to receive part of a £35-million injection into the government's Culture Recovery Fund.
In the 1960s, Levens Hall was reportedly haunted by a Grey Lady.
España - Toledo - Palacio de Galiana
www.palaciodegaliana.es/en/index.html
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ENGLISH:
The building, located on the northeast outskirts of Toledo's historic center, most likely formed part of the almunia (fortress) built by Al-Mamun of Toledo, king of the Taifa of Toledo (1043-1075). Following the Christian conquest, the site was called the "royal almunia," which was still used in 1294, although by this time the Castilianization of the name "Huerta del Rey" (King's Garden) had taken hold. The name Galiana became popular from the 16th century onwards due to the disappearance of the authentic Galiana palaces, located in the Alficén complex next to the Alcázar.
During the Mudejar period, the north and south facades were rebuilt. According to Gómez-Moreno, at the beginning of the 20th century, when the building was in poor condition, the windows with lobed arches, the plasterwork of the framing—dating from the 14th century—and remains of paintings—which he considers to be earlier—were still visible in the rooms on the second floor. Few fragments of this decoration remain today, but Gómez-Moreno's testimony seems to indicate two renovations. First, the painted plinths and some of the plasterwork were completed in the mid-13th century. Later, John I donated this royal possession to the Jerónimos convent of La Sisla in 1385. Almost a decade later, it was purchased by Beatriz de Silva, who married Alvar Pérez de Guzmán in 1397. It was shortly afterward that the second renovation of the building was undertaken, as evidenced by the Guzmán and Silva coat of arms featured in the plasterwork.
Due to successive inheritances, the orchard was divided among various owners. The majority continued to belong to the Guzmán y Montijo family, while other areas belonged to the Chapel of Santo Tomás and the Brotherhood of Santa Caridad. After the confiscations of the 19th century, the House of Montijo acquired the undivided shares of the entities whose real estate assets were sold to the State. Empress Eugenie was interested in restoring the palace, which ultimately did not happen. As time passed, the site fell into disrepair.
It was declared a historic-artistic monument, belonging to the National Artistic Treasure, on June 3, 1931, by a decree published in the Gaceta de Madrid with the signature of the provisional president of the republic, Niceto Alcalá-Zamora, and the Minister of Public Instruction and Fine Arts, Marcelino Domingo y Sanjúan. In the 20th century, the Duke of Peñaranda sold the estate to Alejandro Fernández de Araoz and Carmen Marañón, who began the rehabilitation in 1959.
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ESPAÑOL:
El edificio, situado en las afueras, al noreste del casco histórico de la ciudad de Toledo, muy probablemente formó parte de la almunia construida por Al-Mamún de Toledo, rey de la taifa de Toledo (1043-1075). A raíz de la conquista cristiana, el lugar se denominó «almunia real», aplicándose todavía en 1294, aunque por estas fechas se impone la castellanización de «Huerta del Rey». El nombre de Galiana se popularizó a partir del siglo XVI a consecuencia de la desaparición de los auténticos palacios de Galiana, situados en recinto del Alficén, junto al alcázar.
En época mudéjar se rehicieron las fachadas norte y sur. Según recoge Gómez-Moreno, a principios del siglo XX, cuando el edificio se encontraba en mal estado, aún se apreciaban las ventanas con arquillos lobulados, las yeserías de los encuadramientos –que data en el siglo XIV– y restos de pinturas –que considera anteriores– en las habitaciones del segundo piso. En la actualidad quedan escasos fragmentos de dicha decoración, pero el testimonio de Gómez-Moreno parece indicar dos reformas. Por un lado, a mediados del siglo XIII se realizarían los zócalos de pinturas y algunas de las yeserías. Posteriormente, Juan I donó esta posesión real al convento de jerónimos de la Sisla en 1385. Casi una década después fue comprada por Beatriz de Silva, quien contrae matrimonio en 1397 con Alvar Pérez de Guzmán. Sería poco tiempo después cuando se acometió la segunda reforma del edificio, como atestiguan los escudos de Guzmán y Silva que figuraban en las yeserías.
Por las sucesivas herencias, la huerta se fraccionó en diversos propietarios. La mayor parte siguió perteneciendo a la familia Guzmán y Montijo, mientras que otras zonas pertenecían a la capilla de Santo Tomás y a la cofradía de la Santa Caridad. Tras las desamortizaciones del XIX, la Casa de Montijo adquirió las partes proindiviso de las entidades cuyo patrimonio inmueble enajenó el Estado, interesando a la emperatriz Eugenia la restauración del palacio, lo que finalmente no ocurrió. Conforme pasó el tiempo, el lugar fue cayendo en el abandono.
Fue declarado monumento histórico-artístico, perteneciente al Tesoro Artístico Nacional, el 3 de junio de 1931, mediante un decreto publicado en la Gaceta de Madrid con la rúbrica del presidente provisional de la república, Niceto Alcalá-Zamora, y del ministro de Instrucción Pública y Bellas Artes, Marcelino Domingo y Sanjúan. En el siglo XX el duque de Peñaranda vendió la finca a Alejandro Fernández de Araoz y Carmen Marañón, quienes en 1959 emprendieron la rehabilitación.
Bil-Bil Castle has a romantic history. It was built by a Spanish merchant for his moorish bride who was pining for her homeland across the Mediterraen Sea. He reproduced a moorish house to make his bride feel at home.
It is a beautiful example of a well to do Moorish house, complete with indoor courtyard, Fine plasterwork and a wonderful garden filled with fountains and running water .
There are regular art exhibitions held there now. It isd situated on a headland with the waves crashing all around., looking across to her beloved North Africa.
Bil-Bil Castle is a Neo-Arab style building that Leon and Fernanda Hermann ordered built. The architect was Enrique Atencia and the building was finished in 1934. However the owners were never able to live in it because the Spanish Civil War started in 1936. Later an American bought it and lived in it with his family. His first name was William and he had a son with the same name. Since his nickname was Bill, the neighbors started calling the building Bil-Bil. The building was remodeled in the 1990’s.
The building is painted red and the exterior is decorated with attractive tile. There are gardens with fountains and there is a beautiful view of the beaches.
texture by lenabemanna
Excerpt from www.gpsmycity.com/attractions/dr-anton-philipszaal-28224....:
Dr. Anton Philipszaal, Hague
The Dr. Anton Philipszaal in The Hague holds a significant place in the city's cultural landscape due to its unique architecture and historical significance. This concert hall and theater, located on Spuiplein, opened its doors in 1987, coinciding with the inauguration of the nearby Lucent Dance Theater. The architectural minds behind this project were Dick van Mourik and Peter Vermeulen, and the hall can accommodate up to 1800 people.
A pivotal aspect of the Dr. Anton Philipszaal's history is its close association with the Residentie Orchestra. This orchestra, in dire need of a suitable concert hall following the K & W Building fire in 1964, played a vital role as the primary performer and main supporter during the construction of the hall. The orchestra's dedication extended to funding the construction partially through public campaigns and the sale of gramophone records featuring lesser-known Dutch music.
The architects faced significant budgetary constraints while designing both the Dr. Anton Philipszaal and the adjacent Dance Theater. Despite these limitations, they succeeded in creating a building with a unique and representative design. One of the hall's most distinctive features is its main hall, which is visually represented as a 'pink box' from the exterior. This architectural element generated considerable discussion, especially when the original plasterwork deteriorated and was replaced with a bright red color. Encircling this central box, the architects incorporated secondary functions within a dark glass shell, creating a striking contrast in materials and colors.
Nathaniel Russell arrived in Charleston from Bristol, Rhode Island in 1765 and, thanks to extensive contacts in his home colony, established himself as a successful merchant and slave trader. His 1789 marriage to Sarah Hopton Russell produced two daughters, Alicia and Sarah, and in 1808 the Russell family moved to their new townhome at 51 Meeting Street. Accompanying them were as many as eighteen enslaved people who toiled in the work yard, gardens, stable and kitchen. Russell spared little expense in the construction of his home, regarded as one of Charleston’s finest in its era with geometrically shaped rooms, elaborate plasterwork ornamentation and formal gardens. The defining architectural feature of the home is a three-story, cantilevered, flying staircase whose “…sweep is broad, treads are deep, and the rise perfectly proportioned and easy of ascent,” according to Nathaniel Russell’s great-granddaughter Alicia Hopton Middleton.
Sutton Scarsdale Hall is a Grade I listed Georgian ruined stately home in Sutton Scarsdale, close to the town of Chesterfield in Derbyshire.
Construction on the present building started in 1724 by architect Francis Smith for the 4th Earl of Scarsdale and incorperated a previous building that stood on the site.
The building was complete by 1729 on a scale and quality with nearby Chatsworth House, internally it featured both oak ornamental panels, stucco plasterwork, carved fireplaces in both marble and Blue John, and a carved mahogany staircase.
The house was purchased by Richard Arkwright Junior in 1824. He was the son of Sir Richard Arkwright who invented the water frame and had a major involvement in the cotton industry.
The Arkwright family lived in the hall until it was auctioned off in 1919, it was bought by a group of local businessmen who asset-stripped the house, this went as far as removing the roof in 1920. Some parts of the building were shipped to the United States were oak panelling from the hall is now in the Philadelphia Museum of Art.
In 1946, the estate was bought by Sir Osbert Sitwell of nearby Renishaw Hall, with the intention of preserving the remaining shell as a ruin. The hall was designated as a Grade I listed building in 1951, and is now in the care of English Heritage.
Granada Theatre, Walthamstow - Main entrance foyer. Unfortunately the main lights had failed on the morning I went around, causing a few problems!
Opened on the 15 September 1930, designed by Cecil Masey with interiors by Theodore Komisarjevsky, and built on the enlarged site of the earlier Victoria Cinema. The Granada had 2,697 seats in stalls and balcony, with a stongly Moorish influence to the spectacular foyers and auditorium. It was tripled in 1974, with two mini cinemas under the balcony - the front stalls were removed and the stage lost live usage. The theatre was grade 2 listed in 1987 (upped to Grade 2* in 2000). Later known as ABC, MGM and EMD Cinemas, the venue closed in 2003 and was sold to a church, who were refused planning consent for change of use on several occasions. It was sold again, in a derelict state, in 2014 and parts of the building were reopened as a bar and live entertainment venue known as Mirth. In 2019 it was bought by Waltham Forest Borough Council and, in conjunction with the Soho Theatre, they have begun a restoration process. This will see the main auditorium restored as a 1,000 theatre, the rear stalls will, with original plasterwork restored, become a unique bar, the rear of the circle, again with original features, will become a community room, the circle foyer will be converted to a stylish restaurant, and the foyers restored (with full disabled access adaptations) to original splendour. The architects for the scheme are Pilbrow & Partners, and the main contractor is Wilmott Dixon.
London Borough of Waltham Forest, Walthamstow, London, UK - former Granada Cinema, Hoe Street
August 2020
Levens Hall & Topiary Gardens
The core of this delightful Elizabethan manor is a pele tower built in 1350 as a defense against Scottish raiders. The later Elizabethan home was built around the tower by the Bellingham family, who created a comfortable home with paneled rooms decorated with fine plasterwork ceilings. The dining room is worthy of special note; it has unusual embossed leather wall coverings from Cordova.
The house was expanded in 1694 by Col. James Grahme, former Privy Purse to James II. Rooms feature the family collections of paintings and memorabilia, including the earliest known example of English patchwork. Among the various items on display are Beau Brummel's snuff box, paintings by Van Dyck, Brueghel the Elder, and Rubens, and items associated with the Duke of Wellington and Admiral Nelson.
Levens Hall is home to several resident ghosts; a Grey Lady is known to appear in front of cars on the driveway, a woman in a print dres and cap appears before children, and a small black dog wanders the hall.
THE TOPIARY GARDENS
The gardens were laid out in 1694 by Guillaume Beaumont, who trained under Andre Le Notre at Versailles. Beaumont had only recently finished laying out gardens at Hampton Court Palace. Very little has been altered since that time, which is all to the good, as Beaumont created a wonderful experience with his imaginative use of topiary and garden walks. The gardens also feature the earliest known example in England of a "ha-ha", or sunken ditch.
The topiary of clipped yew and box hedges is underplanted with bedding plants in spring and summer, making for excellent colour. A rose garden, herbaceous borders, and a nuttery complete a most enjoyable garden. The most recent addition at Levens Hall is a fountain, approached by an avenue of pleached lime planted to celebrate 300 years of the gardens. Best viewed in: summer.
The remains of the proscenium and stage at the London Hippodrome. In 1909 when the proscenium was brought forward, ending the use of the building as a circus, part of the water tank had to be demolished. Frank Matcham, the original 1900 architect was called back to effect the change to a variety theatre.
In 1958 much of the plasterwork was stripped out and the upper levels hidden away when it was converted to the Talk Of The Town, a cabaret restaurant.
London Hippodrome - Circus and Theatre
March 2010
The Saloon
This room once commanded an excellent view across an orchard to the River Ouse. Here the plasterwork ceiling is the finest in the house. The foliage seems to be in perpetual motion, swirling across the ceiling towards a frieze of lions and leaves.
Rio Cinema Dalston - the spacious balcony. Above the ceiling are the remains of the 1915 plasterwork which was designed by the form of Adams and Coles. The cinema is remarkable in that three of the great cinema architects, W E Trent, George Coles and F E Bromige have, at some time, worked on the plans for the building.
Dalston Rio Cinema
August 2011
Built in 1900-1902, this Renaissance Revival-style building was designed by Charles Alling Gifford for Joseph Stickney, a coal broker, to serve as a resort hotel in the White Mountains, within sight of Mount Washington, the tallest mountain in the Northeastern United States, for which the hotel is named. The building is a long, sprawling structure with a Y-shaped footprint, and is clad in white-painted stucco with a rough-hewn stone base, a red standing seam metal hipped roof, one-over-one double-hung windows, decorative reliefs, large porches with doric columns, wooden balconies, a utilitarian service wing to the north, a large porch on the east side of the building with views of Mount Washington to the east, and a more modern wing to the east, which features a large rooftop terrace, a modern guest room wing, and an outdoor swimming pool. Inside, the building features a lobby with wooden columns, a grand staircase, historic elevators, lounges with decorative plasterwork on the ceilings, chandeliers, ballrooms and conference rooms, and a large dining room. The building was listed on the National Register of Historic Places in 1978, and designated a National Historic Landmark in 1986. Today, the hotel is affiliated with Omni Hotels and Resorts, and remains in operation as a luxury resort hotel.
The Georgian Library
Temple Newsam is a Tudor-Jacobean house located 4 miles from Leeds city centre in West Yorkshire. The house was given a Grade I listed in 1951 and is currently in the care of Leeds City Council and is open to the public.
The house was built for Thomas Darcy, 1st Baron Darcy de Darcy between 1500 and 1520 as a grand Tudor manor house. In 1537 Thomas, Lord Darcy was executed for the part he played in the Pilgrimage of Grace and the property was seized by the Crown. In 1544 Henry VIII gave it to his niece Lady Margaret Douglas (Countess of Lennox), and she lived there with her husband Matthew Stewart, 4th Earl of Lennox. Their son Henry Stuart, Lord Darnley, who was born in the house in 1545, married Mary, Queen of Scots, and was the father of King James VI of Scotland and I of England.
In the 17th century, the south and north wings were rebuilt and the east wing demolished, replaced by a low wall with an arched gateway, giving the house a fashionable 'half-H' appearance.
The Georgian Library at Temple Newsam is known for its elaborate interior and impressive collection of books. Built in 1743, the library's impressive features include Corinthian columns, ornate plasterwork, and plaster busts of classical authors.
The minstrels gallery high above the water tank of the Hippodrome Circus was used for the launching of the trapeze artists and also for diving displays into the tank below. In 1958 this was hidden behind a false ceiling, but later the collapse of some of the original plasterwork through the new ceiling caused all of the remaining plaster to be removed.
London Hippodrome Theatre
Hippodrome London
March 2010
Mezquita almohade de 900 años en Fiñana (Almería). Se construyó a finales del siglo XII, conservándose el oratorio y la quibla, en la que se puede ver una parte de la decoración del mihrab en yesería con caligrafía árabe. Tales elementos hacen que se trate de un edificio único en la península…
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Almohad mosque of 900 years in Fiñana (Almería). It was built at the end of the 12th century, conserving the oratory and the quibla, in which you can see part of the decoration of the mihrab in plasterwork with Arabic calligraphy. Such elements make it a unique building.
Houghton House was built in the early 17th century by Mary Herbert, Countess of Pembroke, as an elaborate hunting lodge. An unusual mix of Jacobean and classical design, it retains two important early elements of classical architecture in the form of its two loggias, which have been attributed to Inigo Jones. The house may have been the inspiration for the ‘Palace Beautiful’ in the 17th-century Christian writer John Bunyan’s religious epic, The Pilgrim’s Progress. When it was dismantled in 1797, the ruins survived as a garden feature in the grounds of nearby Ampthill Park.
Mary Herbert, Dowager Countess of Pembroke, was a well-connected member of the royal court. She commissioned Houghton House in 1615 on land granted to her by James I (r.1603–25). The building was very likely the work of two architects: John Thorpe, who represented the Jacobean tradition, and another, widely thought to have been Inigo Jones, who was responsible for introducing the classical style into England. The building was completed by 1621 when James I honoured Mary with a visit to Houghton.
Mary died later that year, and the estate was granted by James I to the Bruce family. Robert Bruce, Earl of Ailesbury, was a key figure in the restoration of Charles II in 1660. Whereas previously Houghton had only been occupied during the summer months, the Bruces made it their main country seat, and occupied it throughout the year. The original staircases were in the corner turrets, but they inserted a grand staircase in the hall to create a ceremonial route between the hall and the great chamber above. The staircase was made of elaborately carved wood; the decorative plasterwork, including niches at mezzanine level, is still visible. When the house was dismantled in the late 18th century, the great stair was moved to the Swan Inn in Bedford, where it can still be seen.
In 1738 the 4th Duke of Bedford bought Houghton. His son, the Marquis of Tavistock, lived there from 1764 until he died in a hunting accident in 1767. The 5th Duke of Bedford rented the hunting park to a neighbour. Subsequently unable to let the house without the park, he ordered Houghton to be dismantled in 1794. The interior was completely gutted, leaving no hint of its former glory.
In the early 1770s the Earl of Upper Ossory commissioned Lancelot 'Capability' Brown to landscape nearby Ampthill Park. He included Houghton House as a feature in the design though it lay outside the boundaries of his estate. Later, in 1804 the Earl acquired the park and the ruins of Houghton House. Today the house still dominates the landscape, providing wonderful views over its former hunting park.
Excerpt from alhambradegranada.org:
The Hall of the Two Sisters (Sala de Dos Hermanas) did not receive this name because of a legend or an event that took place in it, as many tend to believe.
The hall was so called because of two big twin marble flagstones that are part of the floor. This hall was in the centre of a series of chambers where the sultana and her family lived. Boabdil's mother also lived there with her children, after being repudiated by Muley Hacén.
The hall was built by order of Mohammed V. It is square, has bedchambers with interlacing ceilings connected with the Emperor's Chambers (Habitaciones de Carlos V) and, through a balcony, with the Gardens of the Partal (Jardines del Partal). Visitors may access the hall through a semicircular festooned arch, where the original wooden doors are still preserved. A passageway leads to the high chambers, with ceilings carved in the 16th century. Three little arches, with mocarabes on the lateral arches and arch scallops on the central arch, lead to the mirador's chamber. You can look at the Patio of the Lions (Patio de los Leones) from there.
The hall's paving is made of marble and has a small fountain with a jet and a little channel that carries the water to the Patio of the Lions (Patio de los Leones). The most impressing element of the hall is the beautiful and perfect dome of mocarabes. Its lighting was carefully considered and it receives the light from lateral little windows. The dome is therefore a beautiful and exquisitely rich flower. Ibn Zamrak wrote a poem about this dome and some of its verses are reproduced on a tile skirting board that has metallic iridescence. The hall's walls are covered with extremely fine plasterwork on different themes, among which we count the classical Nasrid motto «Only God is Victor» and, for example, a pair of closed hands.
Lovely place to visit. Have been before but this part was locked...Really worth a visit if you're in the area - extremely peaceful inside...
www.english-heritage.org.uk/visit/places/st-olaves-priory/
The following words have been taken from the English Heritage website...
This small Augustinian priory was founded by Roger FitzOsbert in about 1216. It is dedicated to Olaf, the 11th-century king and patron saint of Norway whose stark Christian message was ‘baptism or death’.
An inventory taken in 1536 records little of value and the priory was probably already in decline when it was suppressed a year later. In 1547 Sir Henry Jerningham converted the buildings to the north of the cloister into a private house, but little of this survived when the priory was dismantled in 1784.
Around 1825 the floor of the refectory undercroft was raised and the building was converted into a cottage which was occupied until 1902.
The hidden gem in this unassuming ruin is its 14th-century refectory undercroft. Its vaulted brick ceiling is an important early example of the use of brick in England. Supported on Purbeck marble columns, it is still almost complete and retains much of its original plasterwork.
The only parts of the church to survive are a stretch of the south aisle, the west wall and parts of the north wall. The foundations of some of the brick-faced piers that supported the cloister arcade are visible, but nothing remains of the west range except the flintwork cloister wall, which is pierced near the north end by a 14th-century doorway.
At the back of the refectory is a fragment of Jerningham’s 16th-century house that escaped destruction, which includes a reused 14th-century doorway.
Gu Byaukgyi Paya (Wet Kyi Inn) which means “Great Painted Cave Tempe” off Anawrahta Rd just south of Nyaung-U (should not be confused with identically named temple in Myinkaba). Traces of fine plasterwork can still be seen on the exterior. This was build in the early 12th century. Bagan Myanmar
No 14 Krāsotāju Street is a perfect example of the constructive style. The house was built according to a design by the engineer-architect Arturs Braunfelds, which was approved on 16 October 1934. It was commissioned by the owners of the "Kalna Veģeri" of the Veselauska parish, Jānis and Berta Zilveri. The building was completed on 3 August 1935. The architect A. Braunfelds was one of the founders of the pure Constructivism/Functionalism style in Riga. This is a four-storey building with small two-room apartments and a bathroom. The building has a two-level pediment, which is flanked and emphasised by eaves, forming horizontal lines on the façade, together with eaves between the floors and recesses in the plasterwork at window level. The sunken buttress in the centre of the house, with a vertical three-storey window to light the staircase, divides the building into equal parts.
The seemingly endless forest of arches creates a sense of infinite majesty and intimate privacy, while the simplicity of the design complements the finely decorated niches, pulpit and outer courtyard, with its superb tiles, plasterwork, woodcarvings and paintings
Taken @al-Qarawiyyin, Fez El Bali, Morocco, North Africa.
Royal Alcazar of Seville - Real Alcázar de Sevilla
According to its Wiki entry.....
The Ambassadors Hall is the ancient throne room built during the reign of Al-Mu'tamid in the C11th. In the C14th, Pedro I of Castile remodelled the hall to make it a centrepiece of his royal palace. Plant motifs in plasterwork were added in the corners of the room and spandrels of the arches. Windows were traced with geometric elements. Walls were covered with tiled panels. The orientation of the hall was also changed from facing Mecca to north-east.
Construction date: 1879 - Architect: Richard Keals and Sons - Architectural style: Victorian Italianate
Blackett's Building is one of the earliest surviving structures in Queen Street, the main commercial thoroughfare of colonial Auckland. Erected in a prime corner location close to the wharf in 1878-1879, the building housed the head office of the South British Insurance Company Limited. The firm had been founded by a group of wealthy Auckland businessmen in 1872 to provide fire and marine insurance. In a town built of timber and supplied largely by sea, this was a profitable enterprise that expanded rapidly to become a worldwide venture.
The nature and prosperity of the business was reflected in the building, which was built of fireproof brick and decorated with unusually ornate plasterwork for the period. The three-storey building was raised by a floor (designed by Edward Bartley) in the early 1900s as the business expanded. The addition was built in a similar Italianate style to the original construction, reflecting continuity in the function and tenancy of the office. The company vacated the premises for a much larger headquarters building in 1929 (the South British Insurance Company Building). The building was subsequently leased to a variety of tenants, and is currently used as offices and shops....
Information sourced from the former New Zealand Historic Places Trust Register - now Heritage New Zealand Pouhere Taonga List
List Number: 4483
Blackett's Building
Aquí os dejo una imagen de geometría hecha belleza.
PALACIOS NAZARÍES EN LA ALHAMBRA.
Oratorio Alhambra Granada
La Sala de los Reyes la encontraremos al este del Patio de los Leones, tras acceder por tres magníficos arcos triples de mocárabes y al norte, la Sala de Dos Hermanas nos espera, lugar que fue residencia de la sultana y su familia real; aquí vivió la madre de Boabdil con sus hijos tras ser repudiada por Muley Hacén. La cúpula que encontramos en esta sala es de una extraordinaria belleza así como sus paredes cubiertas de finas yeserías.
The Hall of the Kings will find it east of the Patio de los Leones, after having access to three magnificent triple arches of mocarabes and to the north, the Dos Hermanas Room awaits us, a place that was the residence of the Sultana and her royal family; Here lived the mother of Boabdil with her children after being repudiated by Muley Hacén. The dome that we find in this room is of extraordinary beauty as well as its walls covered with fine plasterwork.
Beneath the dazzling chandelier and gilded grandeur, the Royal Lyceum Theatre in Edinburgh waits for the magic to begin. Opened in 1883 and named for Aristotle’s ancient school of philosophy (because why not aim high?), this Victorian gem has been charming audiences for over a century. With its plush red velvet, ornate plasterwork, and a ceiling that deserves its own ovation, the Lyceum remains a jewel in Scotland’s theatrical crown — where drama, beauty, and a well-timed interval gin all come together in perfect harmony.
Toledo Ciudad de las Tres Culturas
A lo largo de toda su extensa historia, Toledo ha sido conocida siempre por ser la Ciudad de la Tolerancia o la Ciudad de las Tres Culturas, con la convivencia de judíos, musulmanes y cristianos.
La ciudad nunca estuvo dividida de una manera clara por barrios de cada una de las religiones, pero sí existen zonas de una mayor influencia de cada una de ellas.
Toledo cristiano
Toledo fue cristiana desde el siglo IV, siendo parte del imperio de Roma, lo fue durante el reino visigodo (pugnando con la doctrina arriana) y pasó los siglos de convivencia entre las tres religiones, la musulmana, la judía y la católica, hasta la llegada de la Reconquista.
En el siglo XVII la entonces "ciudad convento" contaba con casi setenta edificios de usos eclesiásticos o afines como colegios, hospicios, hospitalitos, capillas.
Las iglesias de fundación más antigua como Santa Justa y Rufina, fueron remodeladas varias veces, según las necesidades y gustos de sus protectores. Después de las desamortizaciones decimonónicas, muchos de estos edificios pasaron a tener usos civiles, privados o administrativos.
Toledo árabe
La estructura urbana de Toledo es árabe, con sus calles estrechas y sinuosas, sus casas cuyos tejados casi se tocan, pero las ventanas nunca se miran de frente. Edificios que encierran a la vista pública sus joyas más preciadas, los patios llenos de verdor, azulejos y fuentes de agua. De la docena de mezquitas que existieron quedan dos, la del Cristo de la Luz, del año 999 y la de Tornerías, algo posterior.
La mezquita mayor estaba en el emplazamiento actual de la catedral, pero parece ser que no fue un edificio notable, sólo espacioso para poder acoger a todos los habitantes varones de la ciudad. La zona de el Alcázar y el actual Museo de Santa Cruz con su zona adyacente hasta el Puente de Alcántara, tenía muralla propia que separaba la alcazaba, su guarnición y los palacios, del resto de la ciudad.
Los barrios del sur, colindantes con el río, estaban ocupados por las tenerías, tintorerías y otras instalaciones relacionadas con el agua. Se supone que allí construyó su legendario reloj y calendario acuático el gran astrónomo Azarquiel.
Las puertas de Alfonso VI o Bisagra Vieja, la del Vado y la de Alcántara y de Doce Cantos tienen estructuras árabes. La noria en la orilla del Tajo, en el parque Safont, es herencia de las técnicas de regadío musulmanas. Pero sobre todo, la herencia más patente y omnipresente es la estética mudéjar en la arquitectura y decoración con el uso del ladrillo, la mampostería, los variados arcos entrelazados, las techumbres de madera y las ricas yeserías, utilizadas durante siglos en todo tipo de edificios, incluida la catedral.
Toledo judío
Las dos únicas sinagogas que permanecen en pie actualmente inducen a llamar el barrio donde se encuentran, la Judería, donde se supone hubo mayor concentración de la población hebrea, aunque en realidad en la ciudad llegó a haber un total de diez sinagogas repartidas por todo su emplazamiento.
Su límite sería la desaparecida parroquia de San Martín en las proximidades de la Puerta del Cambrón y los restos de construcciones defensivas por encima del Puente de San Martín, llamadas tradicionalmente el Castillo de los Judíos, siguiendo la línea ascendente casi recta de la calle del Ángel. Aquí podemos encontrar la Puerta del Judío del siglo XII al inicio de la cual existen casas con restos de las mikve, baños rituales, en sus sótanos. También la zona de la calle de Comercio y el solar ocupado desde el siglo XIV por el claustro catedralicio era conocida como la Judería o Alcanáa.
El comercio era una de las actividades principales de los judíos, que vivían encima de sus tiendas y talleres. No se puede descartar que no hubiera judíos en la calle de la Plata, pues eran reconocidos plateros, o en cualquier otra parte de la ciudad.
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Toledo City of the Three Cultures
Throughout its extensive history, Toledo has always been known for being the City of Tolerance or the City of Three Cultures, with the coexistence of Jews, Muslims and Christians.
The city was never divided in a clear way by districts of each one of the religions, but there are zones of greater influence of each one of them.
Christian Toledo
Toledo was a Christian from the fourth century, being part of the empire of Rome, it was during the Visigothic kingdom (striving with the Arian doctrine) and spent centuries of coexistence between the three religions, Muslim, Jewish and Catholic, to the Arrival of the Reconquest.
In the seventeenth century the then "convent city" had almost seventy buildings of ecclesiastical or related uses such as schools, hospices, hospitals, chapels.
The oldest established churches such as Santa Justa and Rufina were remodeled several times, according to the needs and tastes of their protectors. After the nineteenth century confiscations, many of these buildings became civil, private or administrative uses.
Toledo Arabic
The urban structure of Toledo is Arabic, with its narrow winding streets, houses whose roofs almost touch, but the windows never look straight. Buildings that enclose in public sight their most precious jewels, the patios full of greenery, tiles and water fountains. Of the dozen mosques that existed are two, the one of the Christ of the Light, of year 999 and the one of Tornerías, something later.
The main mosque was on the current site of the cathedral, but it seems that it was not a remarkable building, only spacious to accommodate all the male inhabitants of the city. The area of the Alcázar and the present Museum of Santa Cruz with its zone adjacent until the Bridge of Alcántara, had own wall that separated the alcazaba, its garrison and the palaces, of the rest of the city.
The neighborhoods of the south, adjacent to the river, were occupied by the tanneries, dry cleaners and other installations related to the water. It is supposed that there built his legendary clock and aquatic calendar the great astronomer Azarquiel.
The doors of Alfonso VI or Bisagra Vieja, the Vado and the Alcántara and Doce Cantos have Arab structures. The ferris wheel on the edge of the Tagus, in Safont Park, is an inheritance of Muslim irrigation techniques. But above all, the most obvious and omnipresent legacy is the Mudejar aesthetics in architecture and decoration with the use of brick, masonry, interlocking arches, wooden ceilings and rich plasterwork, used for centuries in all types of buildings , Including the cathedral.
Toledo Jewish
The only two synagogues that remain standing now lead to call the neighborhood where they are, the Judería, where there is supposed to be more concentration of the Hebrew population, although actually in the city there were a total of ten synagogues spread throughout its site.
Its limit would be the disappeared parish of San Martín in the vicinity of the Gate of the Cambrón and the rest of defensive constructions above the Bridge of San Martín, traditionally called the Castle of the Jews, following the almost straight ascending line of the street of the Angel . Here we can find the 12th century Jewish Gate at the beginning of which there are houses with remains of the mikve, ritual baths, in their basements. Also the area of the street of Commerce and the manor occupied since the XIV century by the cathedral cloister was known as the Judería or Alcanáa.
Trade was one of the chief activities of the Jews, who lived above their tents and workshops. It can not be ruled out that there were no Jews in the street of the Silver, because they were recognized silversmiths, or in any other part of the city.
Taking a stroll on the Asbury Park Boardwalk is a good way to remember the historic sights to be seen and enjoyed. The remarkable artwork and design of the Carousel Building is one of a kind and of course the remains of the Casino building.
Built in 1929, the casino and its accompanying arcade made Asbury Park one of NJ’s premier resort towns. The complex boasted a wide range of amusements, from rides and concessions to year-round accommodations. It was also a popular place for entertainment like movies, theater, and concerts. With visitors flocking from all over the tri-state area, the city quickly became a beloved cultural destination.
When the 1960s rolled around, suburbs, TV, highways, and shopping malls pulled tourists away from Asbury Park. Like many urban areas, the city saw hard times from the 1970s to the turn of the century. Many buildings were abandoned and left to decay; some were even demolished, including part of the casino. Today, the casino’s original polished terrazzo and plasterwork are still visible, a hauntingly beautiful reminder of the town’s glory days.
Excerpt from alhambradegranada.org:
The Hall of the Two Sisters (Sala de Dos Hermanas) did not receive this name because of a legend or an event that took place in it, as many tend to believe.
The hall was so called because of two big twin marble flagstones that are part of the floor. This hall was in the centre of a series of chambers where the sultana and her family lived. Boabdil's mother also lived there with her children, after being repudiated by Muley Hacén.
The hall was built by order of Mohammed V. It is square, has bedchambers with interlacing ceilings connected with the Emperor's Chambers (Habitaciones de Carlos V) and, through a balcony, with the Gardens of the Partal (Jardines del Partal). Visitors may access the hall through a semicircular festooned arch, where the original wooden doors are still preserved. A passageway leads to the high chambers, with ceilings carved in the 16th century. Three little arches, with mocarabes on the lateral arches and arch scallops on the central arch, lead to the mirador's chamber. You can look at the Patio of the Lions (Patio de los Leones) from there.
The hall's paving is made of marble and has a small fountain with a jet and a little channel that carries the water to the Patio of the Lions (Patio de los Leones). The most impressing element of the hall is the beautiful and perfect dome of mocarabes. Its lighting was carefully considered and it receives the light from lateral little windows. The dome is therefore a beautiful and exquisitely rich flower. Ibn Zamrak wrote a poem about this dome and some of its verses are reproduced on a tile skirting board that has metallic iridescence. The hall's walls are covered with extremely fine plasterwork on different themes, among which we count the classical Nasrid motto «Only God is Victor» and, for example, a pair of closed hands.
Jaulian (Urdu: جولیاں; meaning Seat of Saints[1]) is a ruined Buddhist monastery dating from the 2nd century CE,[2] located in Pakistan. Jaulian is located in Haripur District, Khyber Pakhtunkhwa province, near the provincial border with Punjab and the city of Taxila.
Jaulian, along with the nearby monastery at Mohra Muradu, form part of the Ruins of Taxila – a collection of excavations that were inscribed as a UNESCO World Heritage Site in 1980.
Location
Jaulian is located on a hill 100 metres above the nearby modern village of Jaulian. The cities of Rawalpindi and Islamabad are approximately 35 km and 45 km to the southeast, respectively and situated near Khanpur Taxila road; a picnic place near Khanpur Dam. Jaulian is located near the Mohra Muradu monastery, and the ancient Taxilan city of Sirsukh. Moreover, Piplan Remains, Badalpur Stupa and Jinnah Wali Dheri Stupa are nearby places.
History
Jaulian was built by the Kushans in the 2nd century CE – around the same time as the nearby Mohra Muradu[3] Jaulian, along with the rest of Ancient Taxila, was devastated in the 450s CE during the invasion of the White Huns, and later abandoned. Subsequent rulers, such as the Hun King Mihirakula, persecuted the region's Buddhists,[4] and the site never recovered.
Excavations
The ruins at Jaulian are situated on a hill top, and consist of: a main central stupa, 27 peripheral smaller stupas, 59 small chapels displaying scenes from the life of Buddha, and two quadrangles around which monastic living quarters were arranged. The form and building of Jaulian is similar to that of the nearby Mohra Muradu.[3]
Main stupa
The main stupa at Jaulian was much smaller than that of Mohra Muradu or the Dharmarajika Stupa,[3] and is badly damaged. It was extensively coated in stucco plaster, as are almost all the sculptures and architectural details.[3] Despite the use of an easily moldable material, the quality of decoration at Jaulian is considered to be less impressive than that of Mohra Muradu.[3] The original plaster is preserved at some places.
The main stupa is surrounded by 21 smaller "votive stupas" that contained religious iconography – though some posit that some of the votive stupas were actually built as tombs for revered monks. The statues located in the votive stupas are mostly preserved; though a number of have been removed and are housed in museums.the original fabric of the main stupa itself which stands in the middle of the upper court
A statue of Buddha in a votive stupa with a hole in the navel was called the "Healing Buddha". Pilgrims would put their fingers in the icon's navel, and pray for cures of various ailment. A 5th century inscription preserved under the statue shows that it was given by a friar Budhamitra Dharmanandin.[5]
Monastery
The monastery at Jaulian is similar to that of nearby Mohra Muradu.[3] Jaulian monastery was a two-level building that contained 28 students' rooms on the first floor, and 28 more on the second floor. The two levels are connected by stone stairs which are still preserved. Some of the rooms contain preserved statues of the Buddha. Each room had a niche to hold lamps, and a window offering a source of fresh air and natural light. The windows were designed to be narrower at the outer edge, of and larger at the inner edge in order guard against wild animals. The rooms were plastered and decorated with plasterwork and paintings.
As was common at other large monasteries in the Gandhara region such as Takht-i-Bahi and Dharmarajika, a section of the monastery was set aside specifically for the production of Buddhist manuscripts, typically on birch bark,[3] a highly perishable material.
The monastery further contained a large pool that was used for washing, and a kitchen. A stone for grinding spices is well- preserved at the site, as well as two stone mills that were used to grind grains.
Excerpt from Wikipedia:
The Royal Chapel of the Mosque-Cathedral of Córdoba is a chapel located inside the Mosque-cathedral of Córdoba.
It was founded by Enrique II of Castilla to bury in it the remains of Fernando IV and Alfonso XI , kings of Castilla y León , although currently the mortal remains of both monarchs rest in the church of San Hipólito de Córdoba.
The Royal Chapel is Mudejar in style , as it was built by Christians but incorporating Arabic-style ornamentation. West flank of the Royal Chapel is placed the foundation inscription of the Royal Chapel:
This is the very high king Don Enrique for honor of the body of the king his / her father this capiella sent facer. It ended in the era of M and CCCCIX ans.
The upper enclosure of the chapel measures 8.92 by 5.59 meters, and its height from the pavement of the cathedral is 19 meters. Access to the upper floor of the chapel was made through two doors located on the western side, which were accessed from the presbytery of the Villaviciosa chapel, which has now disappeared.
The chapel is rectangular and is covered by a vault of crisscrossing arches with mocarab pleyery . The walls on the lesser sides are adorned with polylobed arches, while on the greater sides of the chapel there are three arches identical to each other that support a rich plasterwork decoration, which runs the length of all the walls of the chapel.
The lower part of the interior of the chapel is decorated with plasterwork of various motifs in the Nasrid style, and they were made in the time of Enrique II of Castilla, as were the plinths and the pavement of the chapel.
An image of San Fernando , sculpted in the 18th century , is placed in the central niche of the chapel.
Estamos en la Sinagoga del Tránsito de Toledo. Rodeado de gente que admiraban la yesería y artesonado del bellísimo salón, me fijé en estos Arcos que tuve que recortar por la mucha gente. Bellísima la Sinagoga y Toledo.
Si te gusta: ABRE LA FOTO
Synagogue of the Transit of Toledo. Surrounded by people who admired the plasterwork and coffered ceiling of the beautiful room, I noticed these Arches that I had to cut out because of the many people. The Synagogue and Toledo are beautiful.
If you like it: OPEN THE PHOTO
Litomyšl’s long, narrow main square is ringed with the arcade-fronted houses typical of renaissance buildings in central Europe.
The square grew up along the old trade road that ran alongside the river beneath the chateau hill. At almost half a kilometre it’s possibly the longest square in the Czech lands and is similar in some ways to the famous main square at Telč in Southern Moravia.
Tall narrow houses on the main square of LitomyšlThe houses are on narrow gothic plots, but have changed appearance over the centuries until the last major wave of rebuilding that followed the great fire of 1814. As a result, the houses have a gothic ground plan, arcades typical of the renaissance and baroque or classicist facades and plasterwork.
The graceful curved arcades and the rhythm of the architecture along the square mean that that it is majestic when viewed as a whole, but there are also quite a few buildings that are worthy of individual attention.
The Old Town Hall Tower has proudly stood in the middle of the square Smetanovo náměstí for six centuries. But it is not the only thing that reminds passers-by of the transience of time, there is also an Art nouveau astronomical clock that was mounted on the tower in 1907.
The Litomyšl astronomical clock displays the model of the universe, as seen by our ancestors. In the center there is the Earth around which the Sun, the Moon and the universe revolve, symbolized by the twelve signs of the zodiac. On the hands, which show solar time, there is a golden sun, thanks to which you even know which zodiac we are currently in. The rafi of the month then shows which sign and phase the Moon is currently in
Source: www.visitczechrepublic.com/en-US/6599f2ad-25b3-4f06-bbba-...
Fibrous cornice plasterwork.
These plasterers are almost as skilled as bricklayers!
Excellent workmanship!
Discovered at the Rawtenstall Masonic lodge, Lancashire
iPhone XS Max
The Prince of Wales pub at 11A Cambridge Gardens, Kilburn, was originally built in the mid-19th century. It is a Grade II listed building. The pub features a three-bay facade with a recessed bay on the side, arched windows on the first floor, and a bracketed cornice. The ground floor was rebuilt with faience. The building is also noted for its group value with other historic pubs in the area. The exterior signage indicates it was originally called "The Prince of Wales 1899".
The pub's exterior also showcases the original Wenlock Brewery signage and tiling. The pub was briefly repurposed as a shisha cafe, coffee shop, and bar before reverting to its original name and function.
The pub's Grade II listing includes the original building and an inter-war single-story extension with a pediment featuring a plasterwork bust of the Prince of Wales (Ai overview)
Herstmonceux Castle, East Sussex
Grade l listed.
List Entry Number: 1272785
Statutory Address 1: Herstmonceux Castle, Herstmonceux Park
Listing NGR: TQ6463810388
National Grid Reference: TQ 64652 10335
Details
This list entry was subject to a Minor Amendment on 24/04/2020
TQ 61SW 13/406
HERSTMONCEUX HERSTMONCEUX PARK Herstmonceux Castle, with attached bridges to north and south and causeway with moat retaining walls to west.
GV I Castle/country house. c1441 (when licence to crenellate was granted) for Sir Roger Fiennes; further embellished mid C16 for Baroness and Lord Dacre; altered mid-late C17 for Lord Dacre; part demolished 1776-1777 for Robert Hare; restored and rebuilt early C20, mostly 1911-1912, for Lieutenant Colonel Claude Lowther and 1930s for Sir Paul Latham.
Red brick in English bond with some blue header diaper work; stone dressings; plain tile roofs. Square on plan with inner courtyard, this originally divided into four courts and containing Great Hall, but these and the internal walls of the castle demolished C18; south range and south ends of east and west ranges restored by Lowther, the remainder restored by Latham. Two storeys with attic and basement in parts; five x four wide bays with tapering polygonal towers at corners and between bays, taller at angles and centre. Built and restored in C15 style: exterior has one-light or two-light windows, some transomed; courtyard has more wider windows and some with cusped or round-headed lights; four-centred-arched or segmental-arched moulded or chamfered doorways with C20 studded board doors; tall plinth with moulded offset; moulded string below embattled parapet with roll moulded coping; rainwater pipes with decorative initialled heads; stacks with ribbed and corniced clustered flues; steeply-pitched roofs with roll-moulded coping, some with hipped ends.
South (entrance) elevation: three-storey central gate tower has tall recess containing wide, panelled door, window of two cusped, transomed lights above, and grooves for former drawbridge arms; on second floor two transomed windows of two round-headed lights flank coat of arms of Sir Roger Fiennes; flanking towers have gun ports at base, looped arrow slits, machicolated parapets with arrow slits to merlons, and towers rising above as drums. Projecting from gate tower is long bridge (mostly C20) of eight arches, that to centre wider and shallower, with cutwaters, stone parapet, and central corbelled embrasure with flanking tower buttresses.
North side: central gate towers formerly had rooms on lower floors, of which truncated walls and first-floor fireplace fragment remain; machicolated parapet; at left end of range C17 window openings with later eighteen-pane sashes. West side: attached causeway containing basement room and with three half-arched bridge on south side, walling returning as moat retaining walls; main range has a basement doorway with side-lights in chamfered embrasure.
East side: the second tower has C16 first-floor bow window; tall windows to central tower (which contains chapel); right half of range has older windows blocked and larger C17 replacement openings with later eighteen-pane sashes.
Courtyard: seven-bay arcade to north side and central corbelled stack with clock; three-bay 1930s Great Hall (now library) on west side with decorative tracery to windows and offset buttress; gable of former chapel on east side, has perpendicular tracery to window, a two-storey bay window and two crow-stepped gabled attic windows to its left; several doorways and a two-storey bay window to south side; hipped-roofed dormers; brick-lined well in south-west corner.
Interior: some original features survive, including fireplaces, privies, doorways, dungeon and brick-lined dovecote in south-east tower; other old features were brought in from elsewhere, including doors, fireplaces, panelling. In south range: porter's room has old fireplace and relocated linenfold door (found in cellar); reused traceried wood panelling in rebuilt dining room fireplace; stair hall has fine early C17 wooden stair (brought from Theobalds, Herts) with strapwork roundels between square vase balusters, elaborate relief decoration, and lion finials holding shields; at head of stair; elaborate doorcase of same period ribbed ceiling with pendant finials. Drummers Room has reused panelling, part dated 1697, with fluted pilasters and frieze and elaborately arcaded and fluted-pilastered overmantel. Green Room, on second floor, has restored fireplace with crests and beasts on hood; moulded beams and bosses; and reused traceried panel below courtyard window.
North range: very fine late C17 stair (brought from Wheatley Hall, Doncaster; possibly from the workshop of Grinling Gibbons) with baskets-of-flowers and pendant finials to newels, balustrades of open, leafy, scrollwork with flower roundels, and at head of stair two elaborately carved doorcases in similar style with shields in broken pediments. Former ball room has arched ceiling with decorative plasterwork; C17-style panelling; reused elaborately-decorated C17 wooden fireplace overmantel (from Madingley Hall, Cambs.) with two orders of caryatids and embossed panels.
East range: former chapel has reused C15 wooden screen (from France) set in west wall; former Drawing room has elaborate stone fireplace, 1930s in C16 style, and in ante room a reused richly decorated fireplace with griffins and portrait roundels. The C15 castle was well restored in the early C20 and the many fine features which were brought in at that time add to its importance.
Listing NGR: TQ6463810388
Sources
Books and journals
Calvert, D , The History of Herstmonceux Castle
Pevsner, N, Nairn, I, The Buildings of England: Sussex, (1965), 534-6
'Country Life' in 18 May, (1929), 702-709
'Country Life' in 7 December, (1935), 606-612
'Country Life' in 14 December, (1935)
Other
Register of Parks and Gardens of Special Historic Interest in England, Part 14 East Sussex,
historicengland.org.uk/listing/the-list/list-entry/1272785
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Before 1066 Herst (meaning forest or wood) was the name of a prominent local Anglo-Saxon family and ownership of the family's estate passed into the hands of the victorious Normans. In 1131 the manor and estates were transferred to Drogo de Monceux, a great grandson of William the Conqueror . Drogo's son Ingleram married Idonea de Herst, thus founding the Herstmonceux line.
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Herstmonceux Castle Gardens and Grounds is a 300 acre estate including woodland, formal themed gardens and of course a 15th century moated castle.
Made from red brick Herstmonceux Castle is one of the earliest examples of a brick built building in England.
Read more about the history here:-
El Patio de las Doncellas es el que divide u organiza la zona pública del palacio. Es de forma rectangular y de la construcción original, del siglo XIV, nos queda la galería baja; no así sus techos, ya que éstos son de época de los Reyes Católicos. Posteriormente, en el siglo XVI, al ser el lugar de celebración de la boda del Emperador Carlos V con Isabel de Portugal, hubo otra gran reforma con el fin de adaptarlo a la corriente renacentista de la época.
Durante ésta, se construyó la galería superior con arcos de medio punto y en la galería baja se sustituyeron los pilares de ladrillo por columnas corintias italianas pareadas obra de Antonoio Maria Aprile de Carona , Bernardino de Bissonte y los hermanos Lugano entre 1540 y 1561 añadiéndosele como decoración más yeserías de motivos clásicos.
Como ocurre en la fachada del Palacio se entrecruzan lemas nazaries como "Solo Dios vence" , con Castillos, Leones , Aguilas bicefalas de la época de Carlos I en España. La labor de yeseria es de Francisco Martinez en 1540, como asi aparece firmado en el propio patio.
Reales Alcácares de Sevilla.
The "patio de las doncellas" is the divide or organize the public area of the palace. It is rectangular and the original construction of the fourteenth century, we have the lower gallery, not their roofs, because they are Catholic Monarchs. Later in the sixteenth century, being the venue for the wedding of Emperor Charles V with Isabel of Portugal, there was another major reform to adapt to the current renaissance of the time.
During this phase, the upper gallery was built with arches and in the lower gallery were replaced by brick pillars paired Corinthian columns, Italian Maria Aprile Antonoio work of Carona, Bissonte Bernardino and siblings between 1540 and 1561 Lugano Lesnar as more plasterwork decoration of classical motifs.
As in the facade of intersecting nazaries slogans like "Only God wins, with castles, Lions, two headed eagle of the reign of Charles I in Spain. The plasterwork is Francisco Martinez in 1540, and so is signed in the backyard.
Alcázar of Seville. Spain.
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España - Toledo - Palacio de Galiana
www.palaciodegaliana.es/en/index.html
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ENGLISH:
The building, located on the northeast outskirts of Toledo's historic center, most likely formed part of the almunia (fortress) built by Al-Mamun of Toledo, king of the Taifa of Toledo (1043-1075). Following the Christian conquest, the site was called the "royal almunia," which was still used in 1294, although by this time the Castilianization of the name "Huerta del Rey" (King's Garden) had taken hold. The name Galiana became popular from the 16th century onwards due to the disappearance of the authentic Galiana palaces, located in the Alficén complex next to the Alcázar.
During the Mudejar period, the north and south facades were rebuilt. According to Gómez-Moreno, at the beginning of the 20th century, when the building was in poor condition, the windows with lobed arches, the plasterwork of the framing—dating from the 14th century—and remains of paintings—which he considers to be earlier—were still visible in the rooms on the second floor. Few fragments of this decoration remain today, but Gómez-Moreno's testimony seems to indicate two renovations. First, the painted plinths and some of the plasterwork were completed in the mid-13th century. Later, John I donated this royal possession to the Jerónimos convent of La Sisla in 1385. Almost a decade later, it was purchased by Beatriz de Silva, who married Alvar Pérez de Guzmán in 1397. It was shortly afterward that the second renovation of the building was undertaken, as evidenced by the Guzmán and Silva coat of arms featured in the plasterwork.
Due to successive inheritances, the orchard was divided among various owners. The majority continued to belong to the Guzmán y Montijo family, while other areas belonged to the Chapel of Santo Tomás and the Brotherhood of Santa Caridad. After the confiscations of the 19th century, the House of Montijo acquired the undivided shares of the entities whose real estate assets were sold to the State. Empress Eugenie was interested in restoring the palace, which ultimately did not happen. As time passed, the site fell into disrepair.
It was declared a historic-artistic monument, belonging to the National Artistic Treasure, on June 3, 1931, by a decree published in the Gaceta de Madrid with the signature of the provisional president of the republic, Niceto Alcalá-Zamora, and the Minister of Public Instruction and Fine Arts, Marcelino Domingo y Sanjúan. In the 20th century, the Duke of Peñaranda sold the estate to Alejandro Fernández de Araoz and Carmen Marañón, who began the rehabilitation in 1959.
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ESPAÑOL:
El edificio, situado en las afueras, al noreste del casco histórico de la ciudad de Toledo, muy probablemente formó parte de la almunia construida por Al-Mamún de Toledo, rey de la taifa de Toledo (1043-1075). A raíz de la conquista cristiana, el lugar se denominó «almunia real», aplicándose todavía en 1294, aunque por estas fechas se impone la castellanización de «Huerta del Rey». El nombre de Galiana se popularizó a partir del siglo XVI a consecuencia de la desaparición de los auténticos palacios de Galiana, situados en recinto del Alficén, junto al alcázar.
En época mudéjar se rehicieron las fachadas norte y sur. Según recoge Gómez-Moreno, a principios del siglo XX, cuando el edificio se encontraba en mal estado, aún se apreciaban las ventanas con arquillos lobulados, las yeserías de los encuadramientos –que data en el siglo XIV– y restos de pinturas –que considera anteriores– en las habitaciones del segundo piso. En la actualidad quedan escasos fragmentos de dicha decoración, pero el testimonio de Gómez-Moreno parece indicar dos reformas. Por un lado, a mediados del siglo XIII se realizarían los zócalos de pinturas y algunas de las yeserías. Posteriormente, Juan I donó esta posesión real al convento de jerónimos de la Sisla en 1385. Casi una década después fue comprada por Beatriz de Silva, quien contrae matrimonio en 1397 con Alvar Pérez de Guzmán. Sería poco tiempo después cuando se acometió la segunda reforma del edificio, como atestiguan los escudos de Guzmán y Silva que figuraban en las yeserías.
Por las sucesivas herencias, la huerta se fraccionó en diversos propietarios. La mayor parte siguió perteneciendo a la familia Guzmán y Montijo, mientras que otras zonas pertenecían a la capilla de Santo Tomás y a la cofradía de la Santa Caridad. Tras las desamortizaciones del XIX, la Casa de Montijo adquirió las partes proindiviso de las entidades cuyo patrimonio inmueble enajenó el Estado, interesando a la emperatriz Eugenia la restauración del palacio, lo que finalmente no ocurrió. Conforme pasó el tiempo, el lugar fue cayendo en el abandono.
Fue declarado monumento histórico-artístico, perteneciente al Tesoro Artístico Nacional, el 3 de junio de 1931, mediante un decreto publicado en la Gaceta de Madrid con la rúbrica del presidente provisional de la república, Niceto Alcalá-Zamora, y del ministro de Instrucción Pública y Bellas Artes, Marcelino Domingo y Sanjúan. En el siglo XX el duque de Peñaranda vendió la finca a Alejandro Fernández de Araoz y Carmen Marañón, quienes en 1959 emprendieron la rehabilitación.
VIEW LARGE
ISFAHAN-in progress
The unique blue tiles of Isfahan's Islamic buildings, and the city's majestic bridges, contrast perfectly with the hot, dry Iranian countryside around it, Isfahan is a sight you won't forget. Not only is the architecture superb and the climate pleasant, but there's a fairly relaxed atmosphere here, compared with many other Iranian towns. It's a city for walking, getting lost in the bazaar, walking in beautiful gardens and meeting people.
The famous half-rhyme Isfahan nesf-e-jahan (Esfahan is half the world) was coined in the 16th century to express the city's grandeur. There's so much to see that you'll probably have to ration your time and concentrate on must-sees such as the Imam Mosque, a magnificent building completely covered in Isfahan's trademark pale blue tiles; This mosque is situated to the south of Naqsh-e-Jahan sq. built in the reign of shah Abbas, tile work and architecture of this Mosque is amazingly superb. Its minarets Are 48 meters high. Naghsh-e-Jahan (world picture) Square, one of the largest town square in the world. The Chehel Sotun Museum & Palace, a marvellous 17th century pavilion and a great place for a picnic; this palace is another building dating back to the Safavid period, built amidst a vast garden covering an area of 67000 sq m. The building has a veranda with 18 pillars and a large pool in front of it. Being mirrored in the still water of the pool, the pillars create a beautiful view. The wall painting in the interior of the building is superlative in their kind.Ali Qapoo Palace Situated to the west of Naghsh-e-Jahan Sq. belongs to the Safavid period. It was used for the reception of the Ambassadors and envoys from other Countries. Ali Qapoo is a six-storied plasterwork and paintings of which are extremely impressive. and the Vank Cathedral, the historic focal point of the Armenian church in Iran. Taking tea in one of the teahouses under the bridges is also an essential part of the Isfahan experience.
Isfahan is about 400km (250ml) south of Tehran.
There are not many undecorated inches of the arcade separating it from the chancel, with its combination of stencil, gilding and plasterwork. It may be a golden salamander peering over its shoulder in the corner.
The Grand Cafe is situated at the rear of South Western House, a building with a long and fascinating history. The Restaurant itself was originally the Wedgwood Ballroom, with its traditional blue and white colour scheme seen in the plasterwork. There are only a few of these rooms still to be seen in the UK, and most of them are in London.
There is also photographic evidence that the Queen Elizabeth the Queen Mother visited the Hotel and indeed danced in the Wedgwood Ballroom.
122 pictures in 2022 (100) steps
Bore Sadwrn : Saturday Morning
"Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." [1] The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is in a very solid, sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman style furniture, including a one ton slate state bed made for Queen Victoria when she visited in 1859.
In 1951 the castle and 40,000 acres (160 km²) of land were accepted by the Treasury in lieu of death duties. It now belongs to the National Trust and is open to the public. Penrhyn's attractions include a formal walled garden, extensive informal gardens, a dolls museum, an industrial railway museum, a model railway museum and an adventure playground. It has views over the Snowdonia mountains. In 2007/08 it was the National Trust's seventh most visited paid-entry property, with 212,727 visitors."
en.wikipedia.org/wiki/Penrhyn_Castle
www.nationaltrust.org.uk/main/w-vh/w-visits/w-findaplace/...
Taking a stroll on the Asbury Park Boardwalk is a good way to remember the historic sights to be seen and enjoyed. The remarkable artwork and design of the Carousel Building is one of a kind and of course the remains of the Casino building.
Built in 1929, the casino and its accompanying arcade made Asbury Park one of NJ’s premier resort towns. The complex boasted a wide range of amusements, from rides and concessions to year-round accommodations. It was also a popular place for entertainment like movies, theater, and concerts. With visitors flocking from all over the tri-state area, the city quickly became a beloved cultural destination.
When the 1960s rolled around, suburbs, TV, highways, and shopping malls pulled tourists away from Asbury Park. Like many urban areas, the city saw hard times from the 1970s to the turn of the century. Many buildings were abandoned and left to decay; some were even demolished, including part of the casino. Today, the casino’s original polished terrazzo and plasterwork are still visible, a hauntingly beautiful reminder of the town’s glory days.
On the outskirts of Enniskillen, Co. Fermanagh stands Castle Coole, the family home of the Earls of Belmore and one of the treasures of the National Trust.
Designed by James Wyatt, this magnificent neo-classical house took ten years to build. It was completed in 1798.
The interior of the house was created by some of the leading craftsmen of the late 18th century with chimney pieces carved by Westmacott, plasterwork created by Rose, scagliola columns and pilasters created by Bartoli.
Highlights of a tour of Castle Coole are the magnificent state rooms with their sumptuous Regency furnishings. These include the State Bedroom said to have been prepared for a visit by George IV in 1821.
The surrounding 700 acre estate is a fitting setting for the house, with parkland, Lough Coole and extensive woods
Herstmonceux Castle, East Sussex
Grade l listed.
List Entry Number: 1272785
Listing NGR: TQ6463810388
Details
This list entry was subject to a Minor Amendment on 24/04/2020
TQ 61SW 13/406
HERSTMONCEUX HERSTMONCEUX PARK Herstmonceux Castle, with attached bridges to north and south and causeway with moat retaining walls to west.
GV I Castle/country house. c1441 (when licence to crenellate was granted) for Sir Roger Fiennes; further embellished mid C16 for Baroness and Lord Dacre; altered mid-late C17 for Lord Dacre; part demolished 1776-1777 for Robert Hare; restored and rebuilt early C20, mostly 1911-1912, for Lieutenant Colonel Claude Lowther and 1930s for Sir Paul Latham.
Red brick in English bond with some blue header diaper work; stone dressings; plain tile roofs. Square on plan with inner courtyard, this originally divided into four courts and containing Great Hall, but these and the internal walls of the castle demolished C18; south range and south ends of east and west ranges restored by Lowther, the remainder restored by Latham. Two storeys with attic and basement in parts; five x four wide bays with tapering polygonal towers at corners and between bays, taller at angles and centre. Built and restored in C15 style: exterior has one-light or two-light windows, some transomed; courtyard has more wider windows and some with cusped or round-headed lights; four-centred-arched or segmental-arched moulded or chamfered doorways with C20 studded board doors; tall plinth with moulded offset; moulded string below embattled parapet with roll moulded coping; rainwater pipes with decorative initialled heads; stacks with ribbed and corniced clustered flues; steeply-pitched roofs with roll-moulded coping, some with hipped ends.
South (entrance) elevation: three-storey central gate tower has tall recess containing wide, panelled door, window of two cusped, transomed lights above, and grooves for former drawbridge arms; on second floor two transomed windows of two round-headed lights flank coat of arms of Sir Roger Fiennes; flanking towers have gun ports at base, looped arrow slits, machicolated parapets with arrow slits to merlons, and towers rising above as drums. Projecting from gate tower is long bridge (mostly C20) of eight arches, that to centre wider and shallower, with cutwaters, stone parapet, and central corbelled embrasure with flanking tower buttresses.
North side: central gate towers formerly had rooms on lower floors, of which truncated walls and first-floor fireplace fragment remain; machicolated parapet; at left end of range C17 window openings with later eighteen-pane sashes. West side: attached causeway containing basement room and with three half-arched bridge on south side, walling returning as moat retaining walls; main range has a basement doorway with side-lights in chamfered embrasure.
East side: the second tower has C16 first-floor bow window; tall windows to central tower (which contains chapel); right half of range has older windows blocked and larger C17 replacement openings with later eighteen-pane sashes.
Courtyard: seven-bay arcade to north side and central corbelled stack with clock; three-bay 1930s Great Hall (now library) on west side with decorative tracery to windows and offset buttress; gable of former chapel on east side, has perpendicular tracery to window, a two-storey bay window and two crow-stepped gabled attic windows to its left; several doorways and a two-storey bay window to south side; hipped-roofed dormers; brick-lined well in south-west corner.
Interior: some original features survive, including fireplaces, privies, doorways, dungeon and brick-lined dovecote in south-east tower; other old features were brought in from elsewhere, including doors, fireplaces, panelling. In south range: porter's room has old fireplace and relocated linenfold door (found in cellar); reused traceried wood panelling in rebuilt dining room fireplace; stair hall has fine early C17 wooden stair (brought from Theobalds, Herts) with strapwork roundels between square vase balusters, elaborate relief decoration, and lion finials holding shields; at head of stair; elaborate doorcase of same period ribbed ceiling with pendant finials. Drummers Room has reused panelling, part dated 1697, with fluted pilasters and frieze and elaborately arcaded and fluted-pilastered overmantel. Green Room, on second floor, has restored fireplace with crests and beasts on hood; moulded beams and bosses; and reused traceried panel below courtyard window.
North range: very fine late C17 stair (brought from Wheatley Hall, Doncaster; possibly from the workshop of Grinling Gibbons) with baskets-of-flowers and pendant finials to newels, balustrades of open, leafy, scrollwork with flower roundels, and at head of stair two elaborately carved doorcases in similar style with shields in broken pediments. Former ball room has arched ceiling with decorative plasterwork; C17-style panelling; reused elaborately-decorated C17 wooden fireplace overmantel (from Madingley Hall, Cambs.) with two orders of caryatids and embossed panels.
East range: former chapel has reused C15 wooden screen (from France) set in west wall; former Drawing room has elaborate stone fireplace, 1930s in C16 style, and in ante room a reused richly decorated fireplace with griffins and portrait roundels. The C15 castle was well restored in the early C20 and the many fine features which were brought in at that time add to its importance.
Listing NGR: TQ6463810388
Sources
Books and journals
Calvert, D , The History of Herstmonceux Castle
Pevsner, N, Nairn, I, The Buildings of England: Sussex, (1965), 534-6
'Country Life' in 18 May, (1929), 702-709
'Country Life' in 7 December, (1935), 606-612
'Country Life' in 14 December, (1935)
Other
Register of Parks and Gardens of Special Historic Interest in England, Part 14 East Sussex,
historicengland.org.uk/listing/the-list/list-entry/1272785
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Before 1066 Herst (meaning forest or wood) was the name of a prominent local Anglo-Saxon family and ownership of the family's estate passed into the hands of the victorious Normans. In 1131 the manor and estates were transferred to Drogo de Monceux, a great grandson of William the Conqueror . Drogo's son Ingleram married Idonea de Herst, thus founding the Herstmonceux line.
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Herstmonceux Castle Gardens and Grounds is a 300 acre estate including woodland, formal themed gardens and of course a 15th century moated castle.
Made from red brick Herstmonceux Castle is one of the earliest examples of a brick built building in England.
Read more about the history here:-