View allAll Photos Tagged plasterwork
Datación s XIV. (?) o antes
In situ - Museo Diocesiano, Cuenca, cuyo edificio era el antiguo Palacio Episcopal de San Julián.
Basilio Pavón Maldonado lo relaciona con las yeserÃas toledanas del s XIV que integran figuras humanas en vegetación, en concreto
-Arcosolio de la Iglesia San Andrés de Toledo (mavit.toletho.com/index.php?inventario=000112)
-Las yeserÃas en el Seminario Menor (p224-225 en "Tesoros ArtÃsticos de Toledo" de Renate Takkenberg-Krohn)
-El llamado arco del obispo en una mansión de la Bajada de San Justo.
ref: BASILIO PAVÓN MALDONADO: IconografÃa hispanomusulmana (Matizaciones y connotaciones): Naturalismo, fauna y el árbol de la vida
Fig. 41.2 "Siluetas sagradas entre letreros árabes de carácteres cúficos, palacio episcopal de Cuenca."
www.basiliopavonmaldonado.es/Documentos/icohispa.pdf
******
Rests of mudejar plasterwork with cufic insciption and human figures; probably from 14th century or earlier
In situ in the Diocesan Museum of Cuenca (Spain) that peviously was the Episcopal Palace. (a great museum very worth a visit if you are fan of medieval art and crafts)
www.spain.info/en/que-quieres/arte/museos/cuenca/museo_di...
Basilio Pavón Maldonado, one of the supreme autorities of hispanomusulman and mudejar art relates this with the toledan 14th century plasterworks integrating human figures in vegetation. The three most famous ones are mentioned above in the Spanish text, wher you can also see the reference to the article, fully available online.
Lanhydrock is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. Follow in the footsteps of generations of the Robartes family, walking in the 17th-century Long Gallery among the rare book collection under the remarkable plasterwork ceiling. After a devastating fire in 1881 the house was refurbished in the high-Victorian style, with the latest mod cons. Boasting the best in country-house design and planning, the kitchens, nurseries and servants' quarters offer a thrilling glimpse into life 'below stairs', while the spacious dining room and bedrooms are truly and deeply elegant
Ganjali Bazaar - Square - Malek Mosque
The bazaar is located in southern part of Ganjali Square. Inside, the bazaar is decorated with exquisite plasterwork and wall paintings and although they are 400 years old, they are still well-preserved. The bazaar is 93 meters long and is connected to Ganjali square through 16 iwans and vaults.
Ganjali Caravanserai and Mosque
The caravanserai is located on the east side of the Ganjali Square. Its portal bears a foundation inscription from 1598 composed by calligrapher Alireza Abbasi. The plan of the caravanserai is based on the four-iwan typology, with double-story halls centered on tall iwans enveloping four sides of an open courtyard. There is an octagonal fountain at the center of the courtyard which is chamfered at the corners. The caravanserai measures thirty-one and a half by twenty-three meters. It has a small domed mosque at one corner that measures five and a half by five meters
This mosque is a construction of the 5th century AH. (the Saljuqi period). Various portions of this mosque, specially the main platform was constructed in the times of Vakil-ol-Molk (1285 AH.), and the eastern porch was repaired in the last century by the late Deylamqani which is a remnant of the Saljuqi period. There is the brick tower in the north eastern section, which was formerly in a state of ruin, but has since then been repaired. Besides which there are three altars worked in plaster.
St Peter's is a rebuilt Tudor church that was dedicated in 1517, the year of Luther's Articles. It must rank among England's last medieval churches before the Reformation. Its patron was Sir Edmund Tame, whose father built St Mary's, Fairford.
The exterior is conventional Perpendicular, with heavy battlements and tower pinnacles, and the churchyard contains a display of chest tombs.
Inside, the 12th century font of the Herefordshire School has twelve apostles - or rather eleven with one left blank for Judas. Another, later, font stands by the pulpit.
Rendcomb comprises a nave with south aisle, divided by an arcade with concave-sided octagonal piers, similar to Northleach and Chipping Campden. Buried in the north wall are the remains of an Early Gothic arcade to a lost north aisle, three piers revealed in the plasterwork.
There is no division between nave and chancel, but the chancel roof is distinct, of Victorian sycamore. The rood screen was also a Victorian concoction, using parts of an old screen and with a frieze of cast iron. This structure straddles the chancel and south chapel. The latter has an iron altar rail with the chained swan emblem of the Guise family, who succeeded the Tames as lords of the manor.
Of interest are the corbels, those in the south aisle carved with angels playing instruments and holding heraldic shields.
The east window glass is unremarkable but some 16th century glass survives in the north windows. It has early Renaissance forms which imply a different designer from Fairford, and a later date of c.1520.
The mezzanine side boxes have been removed and the front and sides of the balcony have had the decorative plasterwork removed.
Alarming fissures are opening up at the east end of the church, plasterwork has been removed accordingly to reveal the extent of the cracks.
My final church of the day, St Bartholomew's at the virtually non-existent village of Foston, a church hidden away behind trees on a quiet rural lane, very easily missed. I arrived to find the church being stewarded by a nice lady who was about to lock it up again so my timing was fortunate indeed!
The church looks small at first sight and for good reason, having been truncated on three sides, a shrinking population over the centuries having resulted in a shrinking church! The biggest impact has been the loss of the original chancel, the present east wall roughly marking where the chancel once began. The south aisle too has gone, although its arcade remains clearly visible inside, and the tower is a peculiar oblong shape as a result of the collapse its western face in the 18th century and the subsequent reduction in size when it was rebuilt.
Inside it becomes clear how much earlier the origins of this building are, since the north arcade is Norman work, but the wall it carries is evidently older still, as witnessed by the surviving head of a former window above the easternmost arch, presumably part of the church's Anglo Saxon predecessor. The church was somewhat restored in the Victorian period but there are still things to enjoy, most noticeably the large 17th century Faunt tomb in the north aisle bearing effigies of the deceased and his wife, somewhat rustic in quality but still of great interest.
Foston church is usually kept locked when not in use for services. Currently the east wall is causing some concern as cracks have opened up on either side suggesting that this part of the building was never properly bonded with the original parts after the old chancel was demolished and this end of the nave infilled. This will be a heavy burden and a major challenge for the small community that still uses this church, we can only hope some assistance will be given before the situation gets any worse.
www.leicestershirechurches.co.uk/foston-church-st-barthol...
The depth of the plasterwork is quite amazing and the vivid red accentuates the scrolls in the plaster.
Datación s XIV. (?) o antes
In situ - Museo Diocesiano, Cuenca, cuyo edificio era el antiguo Palacio Episcopal de San Julián.
Basilio Pavón Maldonado lo relaciona con las yeserÃas toledanas del s XIV que integran figuras humanas en vegetación, en concreto
-Arcosolio de la Iglesia San Andrés de Toledo (mavit.toletho.com/index.php?inventario=000112)
-Las yeserÃas en el Seminario Menor (p224-225 en "Tesoros ArtÃsticos de Toledo" de Renate Takkenberg-Krohn)
-El llamado arco del obispo en una mansión de la Bajada de San Justo.
ref: BASILIO PAVÓN MALDONADO: IconografÃa hispanomusulmana (Matizaciones y connotaciones): Naturalismo, fauna y el árbol de la vida
Fig. 41.2 "Siluetas sagradas entre letreros árabes de carácteres cúficos, palacio episcopal de Cuenca."
www.basiliopavonmaldonado.es/Documentos/icohispa.pdf
******
Rests of mudejar plasterwork with cufic insciption and human figures; probably from 14th century or earlier
In situ in the Diocesan Museum of Cuenca (Spain) that peviously was the Episcopal Palace. (a great museum very worth a visit if you are fan of medieval art and crafts)
www.spain.info/en/que-quieres/arte/museos/cuenca/museo_di...
Basilio Pavón Maldonado, one of the supreme autorities of hispanomusulman and mudejar art relates this with the toledan 14th century plasterworks integrating human figures in vegetation. The three most famous ones are mentioned above in the Spanish text, wher you can also see the reference to the article, fully available online.
taken by my wife
"The Sondheim Theatre (formerly the Queen's Theatre) is a West End theatre located in Shaftesbury Avenue on the corner of Wardour Street in the City of Westminster, London. It opened as the Queen's Theatre on 8th October 1907, as a twin to the neighbouring Hicks Theatre (now the Gielgud Theatre) which had opened ten months earlier. Both theatres were designed by W. G. R. Sprague. The theatre was Grade II listed by English Heritage in June 1972.
In 2019 the theatre's name was changed from the Queen's to the Sondheim Theatre (after Stephen Sondheim) after a 20 week refurbishment. The theatre reopened on 18 December 2019." wikipedia
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.
"GV II* Town Hall. Design of 1891, opened 1897 (incorporating C15 undercroft); extension of 1932. 1891 architect Henry T. Hare. Externally of Clipsham stone for dressings and carved work, Bladon Stone for rubble work on Blue Boar Street. Rear elevations in red brick. Cumbrian slate has replaced the failed, original, Northamptonshire Collyweston roofing slates. Internally Bath stone walls with polished Hopton Wood stone and Black Birdseye marble dado rails and balustrades. Oak and pine floors, panelling and roofs, Ashbee and Co of Gloucestershire provided the flooring and G Hawkings the woodcarving. Internal walls and staircases to the main circulation spaces are ornamented with stone carved beasts and cartouches by Butcher and Axtell. Ceilings are covered with plasterwork. Corridors are often wood panelled with vaulted stone and plaster ceilings. Fibrous plasterwork is by George Jackson and Sons. PLAN: Roughly square, occupying the south-west corner of the Carfax crossroads. Major rooms at first-floor level marked by tall, high windows on the St Aldate's frontage. The Town Hall (the Main Hall) and Assembly Room were placed centrally, with City Council Offices and Council Chamber to the left (north). The Court and Police functions were to the right of the entrance hall, with Public Library occupying the corner. The ground-floor Police Headquarters and Library were accessed from Blue Boar Street. The Reference Library is now in use as a public meeting/exhibition room renamed the Old Reference Library; the Museum of Oxford inhabits from basement to elevated ground floor levels on the south-west corner of the site (once the public library) while the Print Room and other offices are housed on the east of the Police Drill corridor behind the St Aldate's frontage. EXTERIOR: Main façade of stone. Influenced by Oxford University's rejection of Gothic in favour of Renaissance design, Hare's scheme for the city took its inspiration from an Elizabethan-Jacobean style and confidently and flamboyantly displayed embellished Elizabethan-Renaissance gables, and exuberant fenestration to St Aldate's. The north-west corner of the Town Hall, extending up to the Carfax corner, is an extension of 1932. Stone-faced, consciously austere. INTERIOR: Plan and original fixtures and fittings survive little altered despite some changes of use. Entrance hall, with central grand staircase leading to first-floor landing hall with stone and plaster detailing in a broadly Jacobean style. Landing hall gives access to the principal, first-floor, public rooms. To east the Main Hall (the Town Hall of the original brief), much the biggest room in the building, apsed at the staged, east end at the back of which stands the Henry (Father) Willis organ built in 1896-7 in a plain Rococo style case. Balconies, with heavily enriched, stucco fronts on the north, west and south of this room. Carvings abound and the ceiling is richly plastered and decorated. Allegoric sculpted figures in the spandrels depicting subjects such as Sloth and Industry by F.E.E. Schenck. West off the landing hall is The Assembly Room, lit from the west by three tall, wide, multi-leaded windows. Walls covered in carved wood panelling to about half their height with plain ashlar walling rising to ceiling level above. Decorative fireplace of 1895. Pillars of Fosterley marble from County Durham support a musician's gallery. Beneath this gallery the hearth to the fireplace contains red lustre William de Morgan tiles and a cast iron fire back dated 1896. The most ornate plasterwork is in the coved part of the ceiling and at the north and south ends of the room. North of the landing hall is The Council Chamber. Three seats on the left mounted on a dais for the Lord Mayor (centre), the Deputy Lord Mayor to the right and the Chief Executive to the left. A carved, wooden canopy rises above the central seat, which has a high back inset with the painted arms of the city. Directly opposite the Lord Mayor's seat at the far end of the chamber is the Sheriff's seat with a plain, high curved back. Public gallery to rear of Sheriff's seat. Walls with a mix of panelling and ashlar stone; ceiling separated into panels by a grid of timber beams supported on carved, stone corbels, with pendants on the intersections. Within the coved panels are plasterwork shields, each with a different sign of the zodiac, surrounded by mantling. In the north-west corner of the 1890s building, in the angle between the Council Camber and Assembly Room, are the Lord Mayor's Parlour, a paneled room incorporating a Jacobean overmantle from the old parlour of the Guildhall, and the Committee Room. Both overlook St Aldgate's. The Old Reference Library is south off the Assembly Room. On its eastern side it retains the galleried spaces and principal bookcases from the original lending library. It has a lofty ceiling with heavily moulded cark, timber beams and carved bosses having painted shields. The timber ceiling ribs are thin by comparison. The walls are painted and there is no decorative plaster. The south-east quarter of the first floor is occupied by the Courtroom (whose judicial functions have eased; now used for meetings etc.). Built as the Magistrates Court, it has also served as the Court of Quarter Sessions and as a Crown Court. Austere room befitting its original function, with dark wall panelling, fixed benches and furniture. The dock connects by stairs to cells beneath. In the stained glass on the south wall are the Royal Arms with, to the left, the Arms of Henry I and, on the right-hand side the Arms of Richard I. The Judge' s Room lies off the south-west corner of the Courtroom and overlooks Blue Boar Street. Wood panelled walls. Carved stone chimneypiece of classical design. Ceiling comprises decorative plaster panels set between moulded timber beams.
Beneath, and accessed from the Town Hall, some 37 metres south of High Street is a probable C15 century, 3-bayed, quadripartite, vaulted space in rubble and ashlar comprising the undercroft to the former Knapp Hall. Hollow-chamfered ribs spring from shafts with moulded capitals and chamfered bases. In the west wall is an original doorway, now blocked, with chamfered jambs and two-centred head.
HISTORY: The site was previously occupied by C18 Town Hall, and other buildings including the Corn Exchange, Nixon's School, and houses. The architect Henry T. Hare won an open architectural competition of 1891, which drew over 130 entries. His brief was to provide accommodation for municipal offices, Town Hall, Council Chamber, Committee Room, Mayor's Parlour, Banqueting Hall (Assembly Room), Public Library, Sessions Court (linked to prisoners' cells beneath) and Headquarters for the Police.
The Town Hall was constructed on up-to-date structural and ventilating principles. John Chappell of Pimlico undertook the main building work with Richard Evans of Uppingham as clerk of works. Steel, used in the roofs, was supplied by William Lindsay and Co. (London) and constructional steel used in floors supplied by Dorman, Long and Co (Middlesborough). The largest basement room has 3 steel stanchions. Electricity, a great innovation at the time, came from the Oxford Electric Supply Company and lit 1,100 electric lights. It also drove large fans which ventilated the building.
The surviving part of the unlisted Ebor House in Blue Boar Street that was incorporated into and extended for modern Blue Boar Street offices is not covered by the listing.
EVALUATION OF IMPORTANCE: Oxford's Town Hall of 1897, designed by the notable architect H.T. Hare in an Elizabethan-Jacobean Revival style, incorporated a wide range of municipal and judicial functions, all accommodated within a single building set prominently in the centre of the city. Both outwardly in its architectural form, and especially internally with its high-quality materials, fixtures, and fittings, civic pride and aspirations were expressed in an architecturally impressive manner that survives very well. " Historic England listing.
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
Robert Paterson, 1861. French 2nd Empire oyster bar.
Interior: remodelled by J Macintyre Henry, 1900-1, with opulent plasterwork; panelled dado, delicate compartmented ceiling; ceiling roundels with tiny hanging bosses at intersections.
Originally built with ground floor as a gas showroom for the owner Robert Hume & Co., but converted to Cafe Royal Hotel and Oyster Bar before opening. Probably the first mansard of its kind in central Edinburgh, it once had iron cresting. Some of the plasterwork is hard to date, but the woodwork is all Henry's. The tile pictures at ground floor were shown at the Inventions Exhibition in 1885 and at the Meadows Exhibition the following year.
Lanhydrock is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. Follow in the footsteps of generations of the Robartes family, walking in the 17th-century Long Gallery among the rare book collection under the remarkable plasterwork ceiling. After a devastating fire in 1881 the house was refurbished in the high-Victorian style, with the latest mod cons. Boasting the best in country-house design and planning, the kitchens, nurseries and servants' quarters offer a thrilling glimpse into life 'below stairs', while the spacious dining room and bedrooms are truly and deeply elegant
Ganjali Bazaar - Square - Malek Mosque
The bazaar is located in southern part of Ganjali Square. Inside, the bazaar is decorated with exquisite plasterwork and wall paintings and although they are 400 years old, they are still well-preserved. The bazaar is 93 meters long and is connected to Ganjali square through 16 iwans and vaults.
Ganjali Caravanserai and Mosque
The caravanserai is located on the east side of the Ganjali Square. Its portal bears a foundation inscription from 1598 composed by calligrapher Alireza Abbasi. The plan of the caravanserai is based on the four-iwan typology, with double-story halls centered on tall iwans enveloping four sides of an open courtyard. There is an octagonal fountain at the center of the courtyard which is chamfered at the corners. The caravanserai measures thirty-one and a half by twenty-three meters. It has a small domed mosque at one corner that measures five and a half by five meters
This mosque is a construction of the 5th century AH. (the Saljuqi period). Various portions of this mosque, specially the main platform was constructed in the times of Vakil-ol-Molk (1285 AH.), and the eastern porch was repaired in the last century by the late Deylamqani which is a remnant of the Saljuqi period. There is the brick tower in the north eastern section, which was formerly in a state of ruin, but has since then been repaired. Besides which there are three altars worked in plaster.
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.
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
They form the backdrop to the embroidered canopy in which stands a portrait of Queen Elizabeth 1st, whilst alongside is a spotlighted portrait of Bess of Hardwick's granddaughter, Lady Arbella Stuart adopting a similar pose.
Lady Arbella had a tragic life. Orphaned at the age of 7 and brought up by Bess, she was, by way of her Gt Gt Grandfather King Henry 7th potentially in line to the throne of England. Marriage was to be carefully chosen for her, but she secretly married Lord Beauchamp, also in the royal line of accession. They tried to flee to France but were caught by the men sent by King James, and imprisoned in the Tower of London for marrying without permission of the king, Poor Arbella refused to eat and grew weak and eventually died on 25th September 1615.
The plasterwork was done by Edward Gouge, and took 4 years to complete. The plasterwork ceilings in the Sessions House are reputed to be the best in the world!
Design in 1731 by William Adam; built 1732-43. This ornamental hunting lodge and "Dug Kennel" was built as an eyecatcher to terminate the grand south avenue of the grounds of Hamilton Palace. Only one room deep with a fantastic long baroque symmetrical façade that gave a strong silhouette that could be seen from the distant Palace. It became a roofless ruin after the Dukes of Hamilton abandoned Hamilton and demolished the massive Palace 1929. The family also oversaw the extraction of sand from under the Hunting Lodge which caused its remaining walls near collapse and one end of the building to subside some 15 feet below the original level. It was restored by the Scottish people (Historic Scotland, Buildings Division in conjunction with Hamilton District Council) from 1978 to 1987 at a cost of over £9million. The interior details of rich baroque plasterwork by Thomas Clayton were recreated from a few surviving fragments and photographs.
Levens Hall is a magnificent Elizabethan mansion that was built around 1350 by the Redman family as a pele (or peel) tower and was later expanded and rebuilt towards the end of the 16th Century. It is the family home of the Bagots, and contains a collection of Jacobean furniture, fine paintings, the earliest English patchwork and many other beautiful objects. (No photos from inside the house as photography is not allowed)
The world-famous award winning gardens were laid out in 1694. The topiary beech hedges and colourful seasonal beds create a stunning visual impact. The topiary garden has huge abstract shapes, pyramids and columns reminiscent of monstrous chess men.
These photographs remind me of my many days visiting stately homes during the summer months, hope you enjoy.
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
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 damage in the left hand balcony screen. There is also some decorative plasterwork in this section of the ceiling. June 2006
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.