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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
Kedleston Hall, Derbyshire
The Marble Hall
Entering the house through the great north portico on the piano nobile, one arrives at the marble hall designed to suggest the open courtyard or atrium of a Roman villa.
Twenty fluted alabaster columns with Corinthian capitals support the heavily decorated, high-coved cornice. The alabaster was from a local quarry and the columns were not fluted until a decade after they were installed.
Niches in the walls contain classical statuary - plaster copies of statues of gods and heroes that Curzon acquired in 1757. Above the niches are grisaille panels. In front of the statues are a set of painted benches designed by Robert Adam and made by John Linnell, customised with the Curzon arms.
The floor is of inlaid Italian Carrera marble and Hopton Stone and was laid in 1763.
Matthew Paine's original designs for this room intended it to be lit by conventional windows at the northern end, but Robert Adam, warming to the Roman theme, lit the whole from the roof through innovative glass skylights.
The decoration of the Hall was not completed until 1776/7. A palette of soft pinks and greens was devised for the ceiling incorporating plasterwork by Joseph Rose containing panels of classical military trophies.
Wall Paintings left to right:
Helen going to the Field accompanied by Paris
Meeting between Hector and Andromache with their Son Astyanax carried by a Nurse
Diana (Selene) riding her Chariot (from the Arch of Constantine)
Athene, driven by Hera, preparing to assist the Grecians and forbidden by Iris, sent from Zeus
The Judgement of Paris
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
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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.
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.
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.
The ornate rococo chancel rebuilt in 1743 showing the gilded plaster reredos. The plaster reredos covers almost all the east wall and testifies to the sacramental piety of the period. The letters HIS in a glory are set between cornucopias and the instruments of the passion.
The Northampton U3A Decorative Arts Group joined with the Friends of 78 Derngate for a trip to the Watts Gallery and Chapel. Limnerlease was the autumn/winter residence of the artist G F Watts and his wife Mary Seton Watts. It is a beautiful Arts & Crafts house which is in the process of being restored. There is also access to Watts studio.
"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.
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.
Ganjali Bazaar - Square - Malek Mosque
The bazaar is located in southern part of Ganjali Square. Inside, the bazaar is decorated with exquisite plasterwork and wall paintings and although they are 400 years old, they are still well-preserved. The bazaar is 93 meters long and is connected to Ganjali square through 16 iwans and vaults.
Ganjali Caravanserai and Mosque
The caravanserai is located on the east side of the Ganjali Square. Its portal bears a foundation inscription from 1598 composed by calligrapher Alireza Abbasi. The plan of the caravanserai is based on the four-iwan typology, with double-story halls centered on tall iwans enveloping four sides of an open courtyard. There is an octagonal fountain at the center of the courtyard which is chamfered at the corners. The caravanserai measures thirty-one and a half by twenty-three meters. It has a small domed mosque at one corner that measures five and a half by five meters
This mosque is a construction of the 5th century AH. (the Saljuqi period). Various portions of this mosque, specially the main platform was constructed in the times of Vakil-ol-Molk (1285 AH.), and the eastern porch was repaired in the last century by the late Deylamqani which is a remnant of the Saljuqi period. There is the brick tower in the north eastern section, which was formerly in a state of ruin, but has since then been repaired. Besides which there are three altars worked in plaster.
Ganjali Bazaar - Square - Malek Mosque
The bazaar is located in southern part of Ganjali Square. Inside, the bazaar is decorated with exquisite plasterwork and wall paintings and although they are 400 years old, they are still well-preserved. The bazaar is 93 meters long and is connected to Ganjali square through 16 iwans and vaults.
Ganjali Caravanserai and Mosque
The caravanserai is located on the east side of the Ganjali Square. Its portal bears a foundation inscription from 1598 composed by calligrapher Alireza Abbasi. The plan of the caravanserai is based on the four-iwan typology, with double-story halls centered on tall iwans enveloping four sides of an open courtyard. There is an octagonal fountain at the center of the courtyard which is chamfered at the corners. The caravanserai measures thirty-one and a half by twenty-three meters. It has a small domed mosque at one corner that measures five and a half by five meters
This mosque is a construction of the 5th century AH. (the Saljuqi period). Various portions of this mosque, specially the main platform was constructed in the times of Vakil-ol-Molk (1285 AH.), and the eastern porch was repaired in the last century by the late Deylamqani which is a remnant of the Saljuqi period. There is the brick tower in the north eastern section, which was formerly in a state of ruin, but has since then been repaired. Besides which there are three altars worked in plaster.
The former Picture Pavilion Cinema in Ashton-under Lyne, decorative plasterwork on the balcony front. March 2008 photo
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.
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.
The house was designed by the architect Francis Smith from 1724. The ruin encases an earlier house that stood on the site.
Edward Poynton of Nottingham carved the exterior stonework. The house contained some very fine stucco plasterwork made by two Italian master craftsmen Arturi and Vasalli. It is thought that Grinling Gibbons contributed some of the interior wood carvings.
In 1919 the estate was broken up and the house sold. The buyers sold the internal features as architectural salvage. The house was quickly reduced to being a shell. Some rooms still exist in the United States. Three interiors are displayed at the Museum of Art in Philadelphia. It is also possible to see a pine-panelled room from this house at the Huntington Library, California.
The details of the rooms that are locally said to have gone to Philadelphia can be seen here www.philamuseum.org/collections/permanent/42068.html?mulR...|1 . Although I note that the Museum is less certain than the information boards on site and local knowledge.
The house was saved by the writer Sir Osbert Sitwell in the 1940's. When Sir Osbert died in 1969 the ruins were given to the Ministry of Works and are now in the care of English Heritage. When I first visited here in the 1980's you could not get close to the ruins. The interior of the ruin was littered with fallen masonry, beams and lumps of plaster and general debris. The debris was cleared out and the ruin made safe so that it has been possible to walk through the interior since the late 1990's.
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
Originally uploaded for the Guess Where Group www.flickr.com/groups/guesswhereuk/
In ABCs and 123s: 3 is for three ovals
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
Opposite the Patio of the Lions (Patio de los Leones), this room is similar in structure to the Hall of the Two Sisters (Sala de Dos Hermanas). Legend has it that the Abencerrajes knights were beheaded here, and the name followed. The dome is mocárabe, which is the ornamental, stalactite work used in Islamic architecture and seen in many parts of the Alhambra (in domes and arches, mainly).
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.
While in the former Mayorga/Nori space to see the animals in the Three Kings/Epiphany festival, I took this shot of the plasterwork on the ceiling of what was once the main entrance to the Tivoli Theater. The light fixture is not original.
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
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
Beautiful plaster ornamentation on the ceiling of the Gala Hispanic Theatre in the Tivoli building in Columbia Heights, DC. I was fortunate enough to be given a tour the other day. Thanks Rebecca!
The ornate rococo chancel rebuilt in 1743 showing the gilded plaster reredos. The plaster reredos covers almost all the east wall and testifies to the sacramental piety of the period. The letters IHS in a glory are set between cornucopias and the instruments of the passion.
London Coliseum. Frank Matcham's masterpiece, the London Coliseum, opened on Xmas Eve 1904 as a vast Music Hall for Stoll Theatres. Initially it had a capacity of 3,389, now reduced to a more comfortable 2,360, split over four levels. The style is Roman and is unusually lavish throughout, above the side boxes on either side of the stage is a large statue of a Charioteer drawn by three lions. The theatre was the first in Euope to have lifts to every floor, and also, together with Selfridges, the first place in London to sell Coca Cola. From 1961 to 1968 it became a cinema with a vast cinerama screen installed. It reverted to live shows when Sadlers Wells Opera (later English National Opera) took over in 1968. Between 2000 and 2004 it was meticulously restored. It is an outstandingly important theatre in London and is grade 2* listed.
West End, London, UK - London Coliseum Theatre, St Martins Lane
September 2018
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.
"Muquarna" is plasterwork and it is a highly developed art form in Morocco. What you see here is calligraphy intertwined with depictions of nature and pattern. It is usually words from the Koran or of the Prophet. The artisans don't need to keep regular rules of word order, or even letter order--they are free to write according to their artistic imagination.
A sad sight - the Georgian Gothick plasterwork in the NW wing at Ashton Court mansion, of c. 1767. A Grade I listed building and in parts sounds enough to be used for weddings and functions, while other parts fall to ruin.
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
Ornate plasterwork in the library. This link shows similar plasterwork in the drawing room of the house.
www.scotlandsplaces.gov.uk/record/rcahms/46833/dunmore-pa...
Humorous mock-Tudor reliefs of birds and a haywagon on the plasterwork of the Lewes County Council. 20th Cnetury AD. Lewes, Sussex, England, United Kingdom. Copyright 2017, James A. Glazier
Acocks Green Library, Acocks Green, Birmingham, UK, 1932. Plaster pillar and ceiling detail (July 09)
For more Acocks Green see www.acocksgreenfocusgroup.org.uk