View allAll Photos Tagged plasterwork
Romanesque plasterwork in the ruined cathedral within the castle walls in Ischia. The Cathedral was destroyed after six centuries when British gunboats shelled the castle around 1800 during the Napoleonic wars when it was held by the French.
Hardwick Old Hall, Derbyshire, early C16 & 1587-90.
For Elizabeth, Countess of Shrewsbury - Bess of Hardwick (1527-1608).
Grade l listed.
The house had two full scale great chambers and there are substantial remains of decorative plasterwork by Abraham Smith.
The Great Hall.
Hardwick was home to Bess of Hardwick (1527-1608), one of the most formidable women of Elizabethan England. She was the matriarch of the Cavendish family, building Chatsworth with her second husband and returning to build the two great halls at Hardwick after her separation from her fourth husband the 6th Earl of Shrewsbury.
I love these doors - Marrakech is full of beautiful examples like this one, in the Medina. The plasterwork and mosaics are really impressive.
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.
Coming back from Dorset, we stopped off for a visit to Montacute House in South Somerset, before heading back up the M5. The National Trust has a partnership at Montacute with the National Portrait Gallery.
Montacute House was used to film the BBC adaption of Wolf Hall by Hilary Mantel.
The exterior of the house, from the North Garden. Near the East Court.
Grade I Listed Building
Description
This list entry was subject to a Minor Amendment on 21/10/2019
ST4916
7/123
MONTACUTE CP
THE BOROUGH (North side, off)
Montacute House
19.4.61
GV
I
Country house. Circa 1590-1601, remodelled 1785-87. Probably by William Arnold for Sir Edward Phelips. Ham stone ashlar; Welsh slate roofs behind open balustered parapets with obelisk finials, coped gables, some Dutch style; ashlar chimney stacks, including plain stacks set diagonally and Doric columns. H-plan; three storeys, attic and basement.
East elevation original entrance facade; thirteen bays, of which outer and centre bays project; plinth, string courses, open parapets; hollow-chamfer mullioned and transomed windows set in wave mould recesses; outer bays have angled 1+5+1-light bay windows of two storeys, crowned with segmental pediments; above five-light windows, and then three-light attic windows with labels in Dutch gables; in returns six- and four-light windows; the windows in crosswing of three-, three-, five-, three- and three-lights either side of central bay, two lower floors double-transomed; the lower five-light windows project slightly under pediments at first floor level; centre bay has four-light windows, and three-light on returns to first and second floors; former entrance has a semi-circular arched doorway with lozenge decorated imposts and keystone, with small plaque over; parapet over this and over the five window bays semi-circular arched with statue in niche to centre bay; statues in shell-head niches between all second floor windows, circular niches under principal first floor windows, and pairs shell-head niches with seats at ground floor level.
West elevation, now principal entrance, added 1785-87, possibly designed by Edward Phelips and a local builder, and incorporating major fragments of Clifton Maybank House, Yeovil, of c1546-64 also thirteen bays, of which bays 1/3 and 11/13 are surviving C16 work, with four-light mullioned and transomed windows, plus three-light to attics in Dutch gables; bays two, three and eleven and twelve extended to accommodate stairs, with matching windows at staggered levels; the remainder recessed; the second floor set back again, bays five and nine have four-light windows to two lower levels; second floor windows, of three lights, are to bays four, six, eight and ten, gables with chimneys to bays five and nine: porch to bay seven, three storeys, has moulded four-centre arch to open porch, and matching inner doorway; above an elaborately carved heraldic panel, originally for Clifton Maybank, but with Phelips arms substituted, then two three-light windows and a stepped gable; centre section with reclaimed fluted pilaster shafts with heraldic beasts on the parapets.
North and south elevations almost identical, four bays to match, with composite oriel windows of 2+6+2 wide lights, the outer pairs double transomed and flat, the centre semi-circular on plan and quadruple-transomed, with Dutch gable over these.
Inside, a vaulted cross-entrance lobby, a screens passage, with stone screen to north, and panelled hall with plaster frieze, fireplace and decorative plasterwork panel, all early C17; to south the dining room, reshaped in C19, and also has wallpaper and a fireplace from Coleshill House, Berkshire; south west parlour has C16 chimney piece, freize and panelling. Stairs, bays 2/3 and 11/12 west elevation, original, 2.15 m wide round central stone core. On first floor the north-east room, the library or great chamber the most important room, with a 'porch' chimney piece, plaster frieze and stained glass being original work; on second floor the long gallery, although now modified.
The Phelips family was in the area before 1466; Edward Phelips, original builder, was a rich lawyer; the family occupied the house until the end of C19; 1915 leased to Lord Curzon; 1931 the property purchased by the SPAB and presented to the National Trust.
(Girouard M and others, Montacute House, National Trust, 1985, with short bibliography; Country Life, 16 April 1898, 4 June 1904, 12 and 19 June 1915, 20 April 1929, 20 and 27 October and 3 November 1955 etc).
Listing NGR: ST4994117167
All four statues on the left hand side near the East Court.
Canons Ashby House & Gardens is the ancestral home of the Dryden family, built from the remains of the medieval priory following its dissolution by Henry VIII.
The house is unchanged since the early 18th century however, the contents of the house have been collected over the last 400 years by the Dryden family.
Tudor, Jacobean, Victorian & Baroque elements have been blended to form a rich backdrop of panelling, furniture, tapestries, paintings, plasterwork, antiques & armoury.
Antique sideboard in one of the rooms of the house which is in very good condition!
ENTRANCE FEE - ONE ADULT @ £10.50 - 30th AUGUST 2016.
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...
Ganjali Bazaar - Square - Malek Mosque
The bazaar is located in southern part of Ganjali Square. Inside, the bazaar is decorated with exquisite plasterwork and wall paintings and although they are 400 years old, they are still well-preserved. The bazaar is 93 meters long and is connected to Ganjali square through 16 iwans and vaults.
Ganjali Caravanserai and Mosque
The caravanserai is located on the east side of the Ganjali Square. Its portal bears a foundation inscription from 1598 composed by calligrapher Alireza Abbasi. The plan of the caravanserai is based on the four-iwan typology, with double-story halls centered on tall iwans enveloping four sides of an open courtyard. There is an octagonal fountain at the center of the courtyard which is chamfered at the corners. The caravanserai measures thirty-one and a half by twenty-three meters. It has a small domed mosque at one corner that measures five and a half by five meters
This mosque is a construction of the 5th century AH. (the Saljuqi period). Various portions of this mosque, specially the main platform was constructed in the times of Vakil-ol-Molk (1285 AH.), and the eastern porch was repaired in the last century by the late Deylamqani which is a remnant of the Saljuqi period. There is the brick tower in the north eastern section, which was formerly in a state of ruin, but has since then been repaired. Besides which there are three altars worked in plaster.
Ganjali Bazaar - Square - Malek Mosque
The bazaar is located in southern part of Ganjali Square. Inside, the bazaar is decorated with exquisite plasterwork and wall paintings and although they are 400 years old, they are still well-preserved. The bazaar is 93 meters long and is connected to Ganjali square through 16 iwans and vaults.
Ganjali Caravanserai and Mosque
The caravanserai is located on the east side of the Ganjali Square. Its portal bears a foundation inscription from 1598 composed by calligrapher Alireza Abbasi. The plan of the caravanserai is based on the four-iwan typology, with double-story halls centered on tall iwans enveloping four sides of an open courtyard. There is an octagonal fountain at the center of the courtyard which is chamfered at the corners. The caravanserai measures thirty-one and a half by twenty-three meters. It has a small domed mosque at one corner that measures five and a half by five meters
This mosque is a construction of the 5th century AH. (the Saljuqi period). Various portions of this mosque, specially the main platform was constructed in the times of Vakil-ol-Molk (1285 AH.), and the eastern porch was repaired in the last century by the late Deylamqani which is a remnant of the Saljuqi period. There is the brick tower in the north eastern section, which was formerly in a state of ruin, but has since then been repaired. Besides which there are three altars worked in plaster.
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 yeserías 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 yeserías en el Seminario Menor (p224-225 en "Tesoros Artísticos de Toledo" de Renate Takkenberg-Krohn)
-El llamado arco del obispo en una mansión de la Bajada de San Justo.
ref: BASILIO PAVÓN MALDONADO: Iconografía 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
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 yeserías 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 yeserías en el Seminario Menor (p224-225 en "Tesoros Artísticos de Toledo" de Renate Takkenberg-Krohn)
-El llamado arco del obispo en una mansión de la Bajada de San Justo.
ref: BASILIO PAVÓN MALDONADO: Iconografía 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
"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.
The 18th Century State House
Facts About the 18th Century State House
•Construction: 1772-1779
•Architect: Joseph Horatio Anderson
•Cornerstone: laid by Governor Robert Eden, March 28, 1772
•Roof Replacement and Construction of Dome by Joseph Clark, Architect: Begun 1785
•Number of Stories: Two
•Height:
oInterior of Dome, from Floor to Ceiling: 113'
oExterior, to the Weather Vane: 181'
•Oldest state capitol still in continuous legislative use
•Served as U.S. capitol from November 1783 – August 1784 when Continental
•Congress met in Old Senate Chamber
Brief History of the 18th Century State House
The present Maryland State House is actually the third one to stand on State Circle in Annapolis. The first state house was built soon after the capital of Maryland was moved from St. Mary’s City to Annapolis in 1695. This first state house burned down in 1704. The second state house on State Circle was completed in 1709 and, within 60 years, had become much too small for the colony’s growing government and was too dilapidated to warrant renovation. It was torn down and construction on the new state house was begun in 1772, with Joseph Horatio Anderson as architect and Charles Wallace as the “undertaker.”
Work on the third state house was begun in 1772 and first occupied in 1779. However, by 1784 the building was already in need of work: the roof leaked and the cupola was described as inadequate, unimpressive and too small for the building. By 1788, the roof had been replaced, the old cupola had been taken off and the exterior of the dome we see today had been completed. The interior, with its beautiful plasterwork, was finished by 1795. The architect of the dome was Joseph Clark.
The jewel of this new State House was the Old Senate Chamber, featuring a gallery, described as “more elegant than required,” balanced on the opposite wall by an ornately carved niche, the Old Senate Chamber was the embodiment of Annapolis-style design and craftsmanship.
Detailed History of the 18th Century State House
On March 28, 1772, Governor Robert Eden laid the cornerstone for what would be the third State House built on State Circle in Annapolis. The first, built soon after the capital was moved from St. Mary’s City to Annapolis in 1695, burned down in 1704. The second was completed by 1709 and, 60 years later, had become far too small for the growing business of government and was too dilapidated to warrant enlarging it. The decision was made to raze it and Charles Wallace undertook the work when no one else submitted “plans and estimates” for the project.
With Mr. Wallace as the “undertaker” and Joseph Horatio Anderson as the architect, work was begun on the new State House in early 1772. While work progressed well for the first year and a half, at least one hurricane and the Revolutionary War intervened to cause enormous delays and difficulties. By the end of 1779, the building was still not completed, and Mr. Wallace’s finances and patience with the project were exhausted.
When the Continental Congress came to Annapolis to meet in the Old Senate Chamber from November 1783 – August 1784, they found a State House which was still unfinished. Although the Old Senate Chamber was complete, the roof was not and it had leaked during the last few winters, damaging the upstairs rooms. The dome—or cupola—atop the State House was variously described as inadequate, unimpressive, and too small for the building and, it, too, leaked.
In order to rectify the situation, Joseph Clark, an Annapolis architect and builder, was asked to repair the roof and the dome. Clark first raised the pitch of the roof to facilitate the runoff of water and covered it with cypress shingles. The crowning achievement of Clark’s work on the State House was, of course, the extraordinary dome which he designed and built. It is not known where Clark’s inspiration for the unusual design of the dome came from, but it is very similar to one in Karlsruhe, Germany called the Schloßturm.
By the summer of 1788, the exterior of the new dome was complete. It was constructed of timber and no metal nails were used in its construction and, to this day, it is held together by wooden pegs reinforced by iron straps forged by an Annapolis ironmonger.
Although the exterior of the dome was completed by 1788, the interior was not completed until 1797. Tragedy struck the project in 1793 when a plasterer named Thomas Dance fell to his death from the inside of the dome. By 1794, Joseph Clark was completely disillusioned with the project and left it to John Shaw, the noted Annapolis cabinetmaker, to oversee completion. Over the years, John Shaw did much of the maintenance work on the State House, built various items for it and, in 1797, made the desks and chairs which furnished the Old Senate Chamber.
Ganjali Bazaar - Square - Malek Mosque
The bazaar is located in southern part of Ganjali Square. Inside, the bazaar is decorated with exquisite plasterwork and wall paintings and although they are 400 years old, they are still well-preserved. The bazaar is 93 meters long and is connected to Ganjali square through 16 iwans and vaults.
Ganjali Caravanserai and Mosque
The caravanserai is located on the east side of the Ganjali Square. Its portal bears a foundation inscription from 1598 composed by calligrapher Alireza Abbasi. The plan of the caravanserai is based on the four-iwan typology, with double-story halls centered on tall iwans enveloping four sides of an open courtyard. There is an octagonal fountain at the center of the courtyard which is chamfered at the corners. The caravanserai measures thirty-one and a half by twenty-three meters. It has a small domed mosque at one corner that measures five and a half by five meters
This mosque is a construction of the 5th century AH. (the Saljuqi period). Various portions of this mosque, specially the main platform was constructed in the times of Vakil-ol-Molk (1285 AH.), and the eastern porch was repaired in the last century by the late Deylamqani which is a remnant of the Saljuqi period. There is the brick tower in the north eastern section, which was formerly in a state of ruin, but has since then been repaired. Besides which there are three altars worked in plaster.
Lanhydrock is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. Follow in the footsteps of generations of the Robartes family, walking in the 17th-century Long Gallery among the rare book collection under the remarkable plasterwork ceiling. After a devastating fire in 1881 the house was refurbished in the high-Victorian style, with the latest mod cons. Boasting the best in country-house design and planning, the kitchens, nurseries and servants' quarters offer a thrilling glimpse into life 'below stairs', while the spacious dining room and bedrooms are truly and deeply elegant
Hardwick Hall (National Trust):
An Elizabethan Masterpiece whose stunning houses and beautiful landscape have been created by a cast of thousands. It was the formidable Bess of Hardwick who first created Hardwick in the late 1500s, but it was Robert Symthson who designed this magnificent house. The new Hall was designed deliberately to symbolise Bess' wealth and status and pushed the boundaries of architectural design.
Hardwick Old Hall (English Heritage):
The re-modelled family home of Bess of Hardwick, one of the richest and most remarkable women of Elizabethan England, stands beside Hardwick New Hall which she had built later in the 1590s.
Though the Old Hall is now roofless, visitors can still ascend four floors to view surviving decorative plasterwork, as well as the kitchen and service rooms.
An exhibition in the West Lodge describes Bess’ adventures in architecture, and how she transformed her birthplace from a medieval manor house into a luxurious Elizabethan mansion. Combined with a trip to the New Hall, it is a memorable day out in Derbyshire.
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.