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This is the kitchen at Saltram House in Plympton on the outskirts of Plymouth. The original Tudor house was re-worked by the outstanding English architect Robert Adam in the early 1770s. Complete with all of the original decor, plasterwork and furnishings, Saltram is one of Britain's best preserved examples of an early Georgian house. Originally home to the Parker family and Earls of Morley, Saltram House changed hands when, in 1957, it became the property of the National Trust.
ASTLEY HALL IS A MUSEUM AND ART GALLERY HOUSED WITHIN A GRADE I LISTED HISTORIC HOUSE. THE HALL IS SET WITHIN THE BEAUTIFUL SURROUNDINGS OF ASTLEY PARK WHICH INCLUDE HISTORIC WOODLAND, A LAKE, AND A FULLY RENOVATED VICTORIAN WALLED GARDEN ALONGSIDE CLEAN AND MODERN FACILITIES FOR VISITORS TO ENJOY.
THE HALL IS PERHAPS BEST KNOWN FOR ITS STUNNING JACOBEAN PLASTERWORK CEILINGS AND THE HOUSE IS BUILT AROUND AN INTERNAL ELIZABETHAN COURTYARD. THE FOUR WINGS OF THE HOUSE WERE EXTENDED BY THE FAMILIES WHO LIVED HERE AND MOST OF THE ORIGINAL FEATURES ARE RETAINED TO THIS DAY. THE HOUSE CONTAINS MUCH OAK FURNITURE FROM THE 1600S, INCLUDING THE SIRLOIN CHAIR AND A 27FT LONG SHOVEL BOARD TABLE.
Long and crooked, this room at Little Moreton Hall is full of character. The tour guide (facing) explained that the ornate plasterwork depicts the 'wheel of fortune' and the 'spear of destiny'. All very interesting, but it was the light streaming in from the right that had my attention, and I received a stern look from my daughter as I pressed the camera's shutter button resulting in a loud 'clunk'... haha... these older cameras weren't made for stealth :D
Thanks for looking!
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Praktica MTL3 / Optomax 35mm lens / Kodak Tri-X 400
Taken at film speed - developed in Ilfosol 3 (1:9, 7'30" - agitation first minute and then inverted once every 30")
The Grand Cafe is situated at the rear of South Western House, a building with a long and fascinating history. The Restaurant itself was originally the Wedgwood Ballroom, with its traditional blue and white colour scheme seen in the plasterwork. There are only a couple of these rooms still to be seen in the UK, and most of them are in London.
There is also photographic evidence that the Queen Elizabeth the Queen Mother visited the Hotel and indeed danced in the Wedgwood Ballroom.
Definitely Dreaming 'buildings' theme. 19/52
Shot 36/100 x (square format)
THIS ELIZABETHAN HALL AND STANDS ON THE BANKS OF THE RIVER CALDER IN PADIHAM IN THE HEART OF INDUSTRIAL LANCASHIRE. THE HALL WAS BUILT BETWEEN 1600 AND 1605 GAWTHORPE HALL WAS THE FAMILY HOME OF THE SHUTTLEWORTH FAMILY FOR OVER 300 YEARS. INSIDE THE HOUSE YOU WILL FIND PERIOD ROOMS ON DISPLAY FROM THE 1850 REMODELLING BY RENOWNED ARCHITECT SIR CHARLES BARRY AND PUGIN AS WELL AS ORIGINAL PLASTERWORK CEILINGS, PANELLING AND THE IMPRESSIVE LONG GALLERY. ALSO ON DISPLAY ARE OVER 200 PIECES FROM THE NATIONALLY IMPORTANT GAWTHORPE TEXTILE COLLECTION.
THE NATIONAL PORTRAIT GALLERY HAS LOANED OVER 20 PAINTINGS TO THE HALL ALL OF WHICH ILLUSTRATE ITS FASCINATING CONNECTIONS AND HISTORY, PARTICULARLY WITH THE ENGLISH CIVIL WAR. GAWTHORPE HALL IS AN ARTISTIC AND HISTORIC TREASURE TROVE IN THE MIDDLE OF INDUSTRIAL LANCASHIRE.
GAWTHORPE HALL IS CLOSED COMPLETELY FOR THE REST OF 2015. THIS IS DUE TO MAJOR BUILDING CONSERVATION WORK TO THE HALL, AND IS EXPECTED BE OPEN FULLY FOR 2016.
Sultan Amir Ahmad Bathhouse (Persian: حمام سلطان امیر احمد , Hammam-e Sultan Amir Ahmad), also known as the Qasemi Bathhouse, is a traditional Iranian public bathhouse in Kashan, Iran. It was constructed in the 16th century, during the Safavid era; however, the bathhouse was damaged in 1778 as a result of an earthquake and was renovated during the Qajar era. The bathhouse is named after Imamzadeh Sultan Amir Ahmad, whose mausoleum is nearby.
Sultan Amir Ahmad Bathhouse, with an area of around 1000 square meters, consists of two main parts, Sarbineh (the dressing hall) and Garmkhaneh (the hot bathing hall). Sarbineh is a large octagonal hall, which has an octagonal pool in the middle separated by 8 pillars from the outer section. There are four pillars in Garmkhaneh, which make smaller bathing rooms all around as well as the entrance section to Khazineh (final bathing room) in the middle. The interior of the bathhouse is decorated with turquoise and gold tilework, plasterwork, brickwork as well as artistic paintings. The roof of the bathhouse is made of multiple domes that contain convex glasses to provide sufficient lighting to the bathhouse while concealing it from the outside.
-From Wikipedia-
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Nottingham Windsor Cinema. Opened in June 1939, designed in art deco style by Alfred Thraves, and containing 862 seats in stalls and balcony levels. It had a wealth of internal plasterwork, which looks very like Mollo & Egan to me, and much still survives. It was converted to Cinemascope in 1955, at which point the original proscenium and possibly the decorative side grilles may have lost - there is no trace of them now. The balcony has also been partially removed, and a false floor inserted at the screen end. It closed in June 1962, and became a Players Gift Showroom, before its current use as a carpet warehouse. Believed to be under threat of redevelopment. The facade is mostly intact under the cladding, originally with an elegant canopy above the entrance doors, with three tall windows (now blocked off) at first floor level that lit the circle foyer. It may well have had neon lighting.
cinematreasures.org/theaters/45233
City of Nottingham, Nottinghamshire, East Midlands, England - former Windsor Cinema, Hartley Road / Wilton Road, Radford
July 2024
To view more images, of Hintlesham Hall Hotel click "here"
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Hintlesham Hall Hotel - A grand, early-Georgian facade (added in the 1740s) disguises the hotel's 16th-century origins. Painted a distinctive, soft orangey-pink with white stucco and large white sash windows, the main house is flanked by two wings either side of a broad, gravelled courtyard; original features include wood-panelled walls, marble fireplaces, plasterwork ceilings, windows with cased shutters and a 17th-century oak staircase. Grounds include a hedged herb and kitchen garden, lawns and small fruit orchard behind the house. There is a small, rather dated spa annexe and swimming pool. There are 33 rooms; 10 in the courtyard and 23 in the main house, many under the beamed eaves on the top floor. A rolling programme of refurbishment is under way, but some of the courtyard rooms are particularly comfortable with rich fabrics and smart bathrooms. One of the most popular is "Cherry Orchard", the room formerly used as a kitchen by Robert Carrier, who ran his cookery school here in the Seventies, with spacious sitting area and mezzanine bedroom. Main house rooms are mainly on the top floor, under the eaves. "Braganza" is the hotel's top suite, taking up the entire first floor of the south wing with a vast drawing room that has a historic ornately plastered ceiling.
ASTLEY HALL IS A MUSEUM AND ART GALLERY HOUSED WITHIN A GRADE I LISTED HISTORIC HOUSE. THE HALL IS SET WITHIN THE BEAUTIFUL SURROUNDINGS OF ASTLEY PARK WHICH INCLUDE HISTORIC WOODLAND, A LAKE, AND A FULLY RENOVATED VICTORIAN WALLED GARDEN ALONGSIDE CLEAN AND MODERN FACILITIES FOR VISITORS TO ENJOY.
THE HALL IS PERHAPS BEST KNOWN FOR ITS STUNNING JACOBEAN PLASTERWORK CEILINGS AND THE HOUSE IS BUILT AROUND AN INTERNAL ELIZABETHAN COURTYARD. THE FOUR WINGS OF THE HOUSE WERE EXTENDED BY THE FAMILIES WHO LIVED HERE AND MOST OF THE ORIGINAL FEATURES ARE RETAINED TO THIS DAY. THE HOUSE CONTAINS MUCH OAK FURNITURE FROM THE 1600S, INCLUDING THE SIRLOIN CHAIR AND A 27FT LONG SHOVEL BOARD TABLE.
Wyndham's Theatre, London - the Stalls, Royal (Dress) and Grand (Upper) Circles in the auditorium. Opened in 1899 and designed by W G R Sprague. The internal decor and plasterwork was done by J M Boekbinder. Very beautiful auditorium in Louis 16th style. Originally accommodating 1,200, the balcony (a continuation of the Upper Circle tiering) and Pit are now fully seated and spacing increased throughout to provide a total of around 800 seats. Grade 2* listed. Part of Delfont Mackintosh Theatres, and restored by them in 2008.
City of Westminster, London, West End, England - Wyndhams Theatre, Charing Cross Road
August 2024
An Elizabethan gem in the heart of industrial Lancashire, built between 1600 and 1605 Gawthorpe Hall was the family seat of the Shuttleworth family for over 300 years. Inside the house you will find period rooms on display from the 1850 remodelling by renowned architect Sir Charles Barry and Pugin as well as original plasterwork ceilings, panelling and the impressive Long Gallery
.... quite a striking 'pile'.
The Old Kennels is an important building on the estate and is Grade ll listed (historicengland.org.uk/listing/the-list/list-entry/1001304). It was built in the 1870’s from a design by John Douglas (as was the Gamekeeper’s House alongside). Inside there is a small room (previously used as an office for the Woodlands Officer) At the back there are several kennels for the gundogs, each with a small run, then beyond this a fenced exercise/training area for the dogs. Much of this part is really overgrown, so the original features are obscured.
The gable of the building features pargeting (incised plasterwork), one of the characteristic design elements of Douglas’s work. en.wikipedia.org/wiki/John_Douglas_(architect)
Previous use in ‘modern’ times was firstly as a base for the dog section of the Liverpool City Parks Police, then Croxteth Park Security Dog Section.
Chris Lines
Information Officer
Canons Ashby is an Elizabethan manor house located about 11 miles south of Daventry, Northants. The house had been the home of the Dryden family since its construction in the 16th century; the house was built in approximately 1550, with additions in the 1590s, in the 1630s and 1710, and has remained essentially unchanged ever since. The interior of Canons Ashby is noted for its Elizabethan wall paintings and its Jacobean plasterwork.
Soho Theatre (Granada), Walthamstow - the Stage from the circle. Opened on the 15 September 1930, designed by Cecil Masey with interiors by Theodore Komisarjevsky, and built on the enlarged site of the earlier Victoria Cinema. The Granada had 2,697 seats in stalls and balcony, with a strongly Moorish influence to the spectacular foyers and auditorium. It was tripled in 1974, with two mini cinemas under the balcony - the front stalls were removed and the stage lost live usage. The theatre was grade 2 listed in 1987 (upped to Grade 2* in 2000). Later known as ABC, MGM and EMD Cinemas, the venue closed in 2003 and was sold to a church, who were refused planning consent for change of use on several occasions. It was sold again, in a derelict state, in 2014 and parts of the building were reopened as a bar and live entertainment venue known as Mirth. In 2019 it was bought by Waltham Forest Borough Council and, in conjunction with the Soho Theatre, they began a restoration process. This saw the main auditorium restored as a 1,000 theatre, the rear stalls had the original plasterwork restored to become a unique bar, the rear of the circle, again with original features, is now a community / rehearsal room, the circle foyer is a stylish bar, and the foyers restored (with full disabled access adaptations) to original splendour. The architects for the scheme were Pilbrow & Partners, and the main contractor was Wilmott Dixon. Soho Walthamstow, as the theatre is now known, reopened in May 2025 and the theatre is now very comfortable and looks stunning, there is some of the best front-of-house space existing in a theatre, with brand-new artiste rooms and a widened stage. What it lacks is the original organs, now in storage, awaiting sufficient money (£1million+) to be restored and reinstated.
London Borough of Waltham Forest, Walthamstow, London, UK - former Granada Cinema, Hoe Street
July 2025
HISTORY OF BROOKLYN BOROUGH HALL
Brooklyn Borough Hall, the original City Hall,is located on the north side of Joralemon Street,between Court and Adams streets.It houses the Brooklyn Borough President and is Brooklyn’s oldest public building.
Brooklyn Borough Hall was originally built as Brooklyn’s City Hall and contained the offices of the Mayor and the City Council as well as a courtroom and a jail. This was typical of early nineteenth century city halls, which contained all of the functions of city government within one building.
Brooklyn was a growing community when it was incorporated as a city in 1834. The following year a competition was held for a city hall,won by the architect Calvin Pollard.While the cornerstone for the Greek Revival style building was laid in 1836,only the foundation was built due to financial problems. Construction began again in 1845, with a revised and simplified design by Gamaliel King,and the incomplete City Hall opened in 1848.It served as the Brooklyn City Hall for nearly fifty years, before the consolidation with New York City in 1898,when it became the Brooklyn Borough Hall.
This imposing Greek Revival style structure is clad in Tuckahoe marble.A monumental staircase leads to an entrance with six fluted Ionic columns supporting a triangular pediment.The cast-iron cupola, designed by Vincent Griffith and Stoughton & Stoughton,is a 1898 replacement for the original,which burned in an 1895 fire that also destroyed part of the interior.The statue of Justice, part of the original plan, was finally installed on top of the cupola in 1988.
The architect,Gamaliel King, was a major figure in Brooklyn civic and ecclesiastical architecture in the 19th century.His practice began in the 1820s and he designed some of the borough’s finest churches.His 12th Street Reformed Church (1868) in Park Slope still stands today.He designed the spectacular,domed King’s County Courthouse (1861-5),now demolished,and the extant King’s County Savings Bank (1868) in Williamsburg.He was well known for his pioneering commercial architecture in Manhattan through his work with John Kellum in the 1850s. The firm designed the landmark Cary Building in Tribeca,one of the first full-fronted cast iron buildings in the world.
The two-story rectangular lobby, known as the rotunda,has been restored to its 1845 glory.The stairs removed in 1897 were restored,as was the black and white marble floor.The elaborate Courtroom,designed in 1903 by Brooklyn architect Axel Hedman,has a coffered domed ceiling,carved wood paneling, fluted Ionic columns,and ornate plasterwork.
Brooklyn Borough Hall is one of the most significant government buildings in Brooklyn and the heart and soul of Brooklyn’s Civic Center.In the 1980s,one of the City’s most ambitious efforts to date was commenced to restore the exterior,which had suffered serious decay over the years.The award-winning work included stone work restoration, replacement of copper shingles on the cupola and installation of stainless steel cladding on the main roof,and repair of the clock and tower elements.The bronze statue of Virtue on the roof,a part of the original design not built with the building,was created from drawings and documents.Site work included raising the plaza by two feet, installing an ornamental iron fence around the building and placing historic lighting fixtures on the street.
This church in the city of London dates from the 16th Century but was badly damaged in the Great Fire of London. It was rebuilt by Sir Christopher Wren in the Gothic style in the 17th Century.
The fisheye lens was the job to capture the Gothic fan vaulting and plasterwork.
Lensbaby Circular Fisheye / Sony A7 III
THIS ELIZABETHAN HALL AND STANDS ON THE BANKS OF THE RIVER CALDER IN PADIHAM IN THE HEART OF INDUSTRIAL LANCASHIRE. THE HALL WAS BUILT BETWEEN 1600 AND 1605 GAWTHORPE HALL WAS THE FAMILY HOME OF THE SHUTTLEWORTH FAMILY FOR OVER 300 YEARS. INSIDE THE HOUSE YOU WILL FIND PERIOD ROOMS ON DISPLAY FROM THE 1850 REMODELLING BY RENOWNED ARCHITECT SIR CHARLES BARRY AND PUGIN AS WELL AS ORIGINAL PLASTERWORK CEILINGS, PANELLING AND THE IMPRESSIVE LONG GALLERY. ALSO ON DISPLAY ARE OVER 200 PIECES FROM THE NATIONALLY IMPORTANT GAWTHORPE TEXTILE COLLECTION.
THE NATIONAL PORTRAIT GALLERY HAS LOANED OVER 20 PAINTINGS TO THE HALL ALL OF WHICH ILLUSTRATE ITS FASCINATING CONNECTIONS AND HISTORY, PARTICULARLY WITH THE ENGLISH CIVIL WAR. GAWTHORPE HALL IS AN ARTISTIC AND HISTORIC TREASURE TROVE IN THE MIDDLE OF INDUSTRIAL LANCASHIRE.
GAWTHORPE HALL IS CLOSED COMPLETELY FOR THE REST OF 2015. THIS IS DUE TO MAJOR BUILDING CONSERVATION WORK TO THE HALL, AND IS EXPECTED BE OPEN FULLY FOR 2016.
ASTLEY HALL IS A MUSEUM AND ART GALLERY HOUSED WITHIN A GRADE I LISTED HISTORIC HOUSE. THE HALL IS SET WITHIN THE BEAUTIFUL SURROUNDINGS OF ASTLEY PARK WHICH INCLUDE HISTORIC WOODLAND, A LAKE, AND A FULLY RENOVATED VICTORIAN WALLED GARDEN ALONGSIDE CLEAN AND MODERN FACILITIES FOR VISITORS TO ENJOY.
THE HALL IS PERHAPS BEST KNOWN FOR ITS STUNNING JACOBEAN PLASTERWORK CEILINGS AND THE HOUSE IS BUILT AROUND AN INTERNAL ELIZABETHAN COURTYARD. THE FOUR WINGS OF THE HOUSE WERE EXTENDED BY THE FAMILIES WHO LIVED HERE AND MOST OF THE ORIGINAL FEATURES ARE RETAINED TO THIS DAY. THE HOUSE CONTAINS MUCH OAK FURNITURE FROM THE 1600S, INCLUDING THE SIRLOIN CHAIR AND A 27FT LONG SHOVEL BOARD TABLE.
This is one of the bedrooms at Saltram House in Plympton on the outskirts of Plymouth. The original Tudor house was re-worked by the outstanding English architect Robert Adam in the early 1770s. Complete with all of the original decor, plasterwork and furnishings, Saltram is one of Britain's best preserved examples of an early Georgian house. Originally home to the Parker family and Earls of Morley, Saltram House changed hands when, in 1957, it became the property of the National Trust.
Boroujerdi Historical House, Kashan, Iran.
The house was built in 1857 by architect Ostad Ali Maryam, for the bride of Haji Mehdi Borujerdi, a wealthy merchant. The bride came from the affluent Tabatabaei family, for whom Ali Maryam had built the Tabatabaei House some years earlier. It consists of a rectangular beautiful courtyard, delightful wall paintings by the royal painter Kamal-ol-molk, and three 40 meter tall wind towers which help cool the house to unusually cool temperatures. It has 3 entrances, and all the classic signatures of traditional Persian residential architecture, such as biruni and daruni (andarun). The house took eighteen years to build using 150 craftsmen. It has three entrances and all the classic signatures of Persian architecture. The main entrance is in the form of an octagonal vestibule with multilateral skylights in the ceiling. Near the entrance is a five-door chamber with intricate plasterwork. Walking through a narrow corridor, one reaches a vast rectangular courtyard that has a pool and is flanked by trees and flowerbeds. The house is famous for its unusual wind towers, which are made of stone, brick, sun-baked bricks and a composition of clay, straw and mortar. Three 40-meter-tall wind towers help cool the house to unusually cool temperatures. Even the basements consistently benefit from the flow of cool air from the wind towers. Since exceptional attention has been paid to minute architectural details demanded by the geographical and climatic conditions of the area, the house has attracted considerable attention of architects as well as Iranian and foreign scientific and technical teams. While Boroujerdi House used to be a private home, it is now open to the public as a museum. The museum is divided into four sections, namely reception, ceremonies, residential halls and rooms.
Chatsworth House
Grade I listed
List Entry Number: 1373871
PARISH OF CHATSWORTH CHATSWORTH PARK SK 2570/2670 6/82 29.9.51 Chatsworth House GV I Country house. South wing 1687-9 by William Talman. East front 1689-91 by Talman, west front 1700-03, north front 1705-7 by Thomas Archer. Alterations and additions 1756-60 by James Paine, mostly replaced by alterations and additions including the north wing 1820-42 by Jeffrey Wyatt, later Sir Jeffrey Wyatville. Baroque and Neo-classical styles. For the First, Fourth and Sixth Dukes of Devonshire. Sandstone ashlar (mostly local) with other stones and marbles used for decoration. Roofs hidden behind parapets. Basically preserving the plan of the previous Elizabethan house, of four ranges around a courtyard, and with a long north east wing with a return range to south and wall enclosing a long entrance courtyard. Three floors, the ground floor treated as a basement due to the fall of the land. North wing of one storey over a basement. South front of twelve bays, 3-6-3 with a rusticated basement and two upper floors of equal height. Advanced end pavilions have giant fluted Ionic pilasters. Full entablature with carving to the frieze of the pavilions and bold inscription CAVENDO TUTUS across the centre. Balustrade added in 1693 and urns in 1701. The basement has segment headed glazing bar sashes and in the centre a double return flight staircase, a replacement of 1837 by Wyatville. The first and second floors have twelve glazing bar sashes in moulded architraves with stepped keyblocks. East front of 1-8-1 bays, continues the rusticated basement, entablature, balustrade and urns. Segment headed sashes to ground floor and glazing bar sashes in keyed moulded architraves, to the two upper floors. The end bays are set back and are flanked by paired giant pilasters. The front was altered by Wyatville in 1823, who removed a row of attic windows and refaced the whole front. West front (originally the entrance front) of 3-3-3 bays. The centre three advanced and pedimented, on four fluted Ionic attached columns. The outer bays have giant fluted Ionic pilasters. Rusticated basement with segment headed glazing bar sashes and a central flat arched entrance with moulded architrave. Two tiers of glazing bar sashes above, in moulded architraves with stepped keyblocks, the centre and upper ones decorated with relief carving. Complete entablature with carved frieze, carving also in the pediment. Balustraded parapet with urns. Garlands around the centre windows. Carving by Nadauld and by Samuel Watson. North front of 3-5-3 bays, the centre five forming a shallow curve, taller than the rest. Rusticated basement, giant fluted Corinthian pilsters to the centre bow, and glazing bar sashes in moulded architraves. The facade was altered by Wyatville whose north wing abuts it. He altered the fenestration of the centre part, removing attic windows and making the pilasters fluted. The internal courtyard has elevations of five and seven bays, mostly in their present form as altered by Wyatville. Plain pilasters with carved trophies by Watson. Top floor windows with alternately triangular and segmental pedimented architraves. Wyatville replaced an open colonnade on the south side. North wing has north elevation of 1-5-5-5-1 bays, followed by the orangery of 2-5-2 bays. Of the first part the middle and end bays are divided by plain pilasters and have solid parapets with urns rather than balustraded parapets. Rusticated basement with segment headed glazing bar sashes and glazing bar sashes in moulded architraves above. The orangery has the five middle bays advanced and divided by plain pilasters. Large casement windows. Balustraded parapet, dated 1827. The wing is terminated by a three by six bay pavilion and belvedere, rising to four storeys. Entablatures between storeys, glazing bar sashes in moulded architraves and the corner bays with plain pilasters. The belvedere has open colonnades on all sides. Lower pavilion beyond. Return range to west with gateways and entrance lodges. Tripartite composition with three round-arched carriageways. The centre flanked by paired Tuscan Doric columns, triglyph frieze, entablature and parapet, partly balustraded. Flanked by glazing bar sashes in moulded architraves and rusticated advanced end bays. Partly balustraded parapet. The central gates are re-set and are late C17 by Jean Tijou. Wall to south enclosing entrance courtyard with statues on pedestals. Interior: North entrance hall converted from a kitchen by James Paine. Tuscan Doric columns with triglyphs. Wyatville replaced the chimneypieces and widened the staircase. North corridor enclosed and altered by Wyatville. The Painted Hall of two storey height. Ceilings and walls painted by Laguerre, assisted by Ricard, in 1694. Stone carvings by Samuel Watson. Staircase 1911-12 by W H Romaine-Walker. The south range commences with private apartments, one room with an early C18 chimneypiece, another with early C19 painted panels in the window reveals. The Oak Room has panelling and twisted columns of c1700, brought from Germany by the Sixth Duke. The chapel in the south west corner is of two storeys, with an east gallery. Cedar panelling with limewood carvings by Samuel Watson. Sumptuous Baroque alabaster reredos designed by Cibber and carved by Watson. Completed in 1694. Walls and ceilings painted by Laguerre. On the west side, the west stairs with iron balustrade of 1702 by John Gardom, with wrought iron panels on the landings by Tijou. Painted ceiling by James Thornhill. West entrance hall with Grisaille painting. Leather Room and Lower Library redecorated in 1839 by Crace. The ground floor of the north wing contains service rooms. First floor has mostly private apartments, taking in the upper half of the chapel and hall, except the north wing. On the south side private dining and drawing rooms, basically early C18 but redone in 1780s by John Carr. The dining room was altered by Wyatville. In the west wing the centre bedroom was originally a vestibule and has late C17 panelling. Other rooms with delicate late C18 plasterwork. Duchess' dressing room ceiling by Joseph Palfreyman, 1775. The Red Velvet Room has a chimneypiece by Kent. On the north side the Library made in 1832 by Wyatville with woodwork and fittings by Armstrong and Siddons. Late C17 ceiling with painting by Verrio. The Ante-Library by Wyatville with ceiling painting by Hayter. To the north the suite of rooms in Wyatville's north wing. Dome Room, the Great Dining Room with segmental arched coffered ceiling and chimneypiece by Westmacott the Younger and Sievier. Sculpture Gallery lit by three lantern skylights. At the north end ormolu capitals to the columns, by Delafontaine of Paris. Bas reliefs by Thorwaldsen and collection of neo-classical sculpture. Second floor contains the state rooms along the south wing. Great Staircase designed by Talman (1689-90). Ceiling by Verrio; statues and doorcases by Cibber, balustrade by Tijou. The state Dining Room, Drawing Room, Music Room and Bedroom fill the south side. They have painted ceilings by Verrio, Laguerre and Ricardi and a profusion of wood carving by the London carvers Lobb, Davis and Young, assisted by Watson. The rooms were decorated in 1689-99, but only the Dining Room survives in its original state. In the centre of the west wing is the Sabine Bedroom, originally a lobby, with uninterrupted illusionist painting over ceiling and walls by Thornhill (1708). In the north wing are smaller family rooms and in the east wing the Queen of Scots Rooms, a suite of rooms redone by Wyatville c1830. The oak stairs between ground and first floor are by Wyatville, 1823-4. At the end of Wyatville's wing is the Theatre, designed in 1833 as a banqueting chamber. The painted ceiling panels of c1700 by Cheron and Thornhill, were originally in the Library. Sources: William, 6th Duke of Devonshire Handbook of Chatsworth & Hardwick, London 1844. J Lees-Milne and J Cornforth Chatsworth. Nine articles in Country Life April-September 1968. Duchess of Devonshire The House: A Portrait of Chatsworth MacMillan 1982.
Listing NGR: SK2602270104
Sources
Books and journals
Devonshire, William Duke of, Handbook of Chatsworth and Hardwick, (1844)
Devonshire, Duchess of , The House a Portrait of Chatsworth, (1982)
'Country Life' in September, (1968)
Rex Cinema, Berkhamsted. A detail of the elaborate plasterwork, designed by Mollo & Egan. The gorgeous plasterwork, concealed lighting and spaciousness have all been restored - it had been sub-divided to form a bingo hall in the stalls and two mini-cinemas in the balcony. Opened in May 1938, the Rex was designed by David Evelyn Nye for the Shipman & King circuit. It seated 1,100 with more seats in the circle than the stalls due to the location of the café on the ground floor. The circle was twinned - badly - in 1976, and the stalls became a bingo hall. It was closed in 1988 and also listed grade 2 the same year. It was left in a vandalised and derelict state, with calls for its demolition. Almost miraculously, it was restored and reopened in 2004, with enormous success - the majority of performances are sold-out. The large foyer is separated as a restaurant, and the former car park used for flats, but the glorious auditorium renovated as a single screen is once more, now seating 350 in luxurious comfort. The day before these images were taken was a celebratory evening marking the 21st anniversary of the reopening.
An album of images of the cinema across the years can be seen here:-
Berkhamsted, Hertfordshire, England - Rex (Studio) Cinema, High Street
December 2025
The reconstructed Elizabethan Gardens at Kenilworth Castle in Kenilworth, Warwickshire.
Queen Elizabeth I had granted Kenilworth Castle to her favourite, Robert Dudley, in 1563 and he spent a fortune transforming it into a luxurious palace fit to receive his queen and her court. The queen visited him there several times on her famous summer progresses away from London.
Her fourth and final visit lasted for 19 days, from 9 to 27 July 1575, the longest she had ever stayed at a courtier’s house. In her honour, Leicester built sumptuous apartments especially for her use, with large airy windows with superb views, huge fires and a whole chamber dedicated to one of the queen’s great passions – dancing. Decorated with dazzling plasterwork, hung with rich tapestries and furnished sumptuously, this would have been the summit of Elizabethan luxury.
Leicester also devised the most lavish series of entertainments for the queen, and took as much care with the surrounding landscape as he had with the buildings, embellishing his park with bowers, arbours, seats and walks. He wanted Elizabeth’s privy, or private, garden to be as magnificent an outdoor space as the interiors he had created for her. Two detailed accounts of the festivities survive, one written by the poet and actor George Gascoigne, the other by Robert Langham, keeper of the council chamber door. It is from Langham, a minor official, that we have the description of the garden.
Although it was designed as a privy garden, closed to all but the queen’s closest companions, one day, while the queen was out hunting, Adrian the gardener allowed Langham to sneak inside. Langham’s account is written in the form of a long letter, in a curious style which has provoked a great deal of debate. Although he cannot have visited the garden for more than a few hours, Langham left an extremely detailed description of its features. The accuracy of his account is borne out by archaeological evidence, which confirms that an eight-sided fountain once stood at the centre of the garden, just as he claims.
This room, at Mompesson House, Salisbury, Wiltshire, would have been used for both formal and informal entertaining. Many different social activities would have taken place here. The room is large enough for dancing but music, cards, games, reading, painting and 'taking tea' would have been far more regular occurrences.
The ceiling was raised by Charles Longueville in the 1740s and the ornate plasterwork, moulded cornice and impressive chimney piece were added at the same time.
The silver tea-set on the table is engraved with the Townsend coat of arms. Inscribed as a present to Geaorge Townsend from his cousin, Ambrose Hussey, on the 13 January 1857. This was Hussey's 21st birthday and was probably a 'thank-you' gift to his cousin for carefully handling his legal and financial affairs until he came of age.
Mompesson House is an 18th-century house located in the Cathedral Close. The house is Grade I listed, and has been in the ownership of the National Trust since 1975.
The building was constructed for Sir Thomas Mompesson, MP for the constituency of Salisbury in 1679, 1695 and 1701. The site was purchased at the end of the 17th century and the house reflects the classic Queen Anne style of that period. It is built with ashlar Chilmark stone. To the right of the main house stands the brick-built service building which was constructed on the site of the old Eagle Inn that closed in 1625. Thomas's son Charles completed the building in 1701; his initials and date can be seen on the heads of the water downpipes.
After Charles' death in 1714, his brother-in-law Charles Longueville moved into the house with his widowed sister, Elizabeth. Charles added the plasterwork, staircase and the brick wing. From them the house passed via Charles' natural son, John Clark, to Mrs Hayter. Next the house was occupied by the Portman sisters, the last of whom died at a great age in 1846. The Townsend family occupied the house from 1846 to 1939, and the flamboyant artist Miss Barbara Townsend, mentioned in Edith Olivier's book Four Victorian Ladies of Wiltshire, lived there for the whole of her 96 years. The Bishop of Salisbury, Neville Lovett, lived there from 1942 to 1946.
In 1952 the freehold was purchased from the Church Commissioners by the architect, Denis Martineau, who bequeathed it to the National Trust on his death in 1975, a condition of the sale.
salisburymuseum.wordpress.com/the-large-drawing-room-at-m...
Been a busy last couple of weeks, not least with getting back from spending my birthday exploring in Italy with IronMonkey- Somewhere I've wanted to head exploring for a few years!
A busy few days in good company, around 18 stunning abandoned places and 100s of photos to add to the ever-growing backlog!
Here's one to get started from probably one of my most anticipated spots- The grand entrance to a huge former manicomio (asylum/psychiatric hospital) that closed it's doors around 25-30 years ago and remains untouched aside for the occasional curious explorer/photographer! Probably one of the closest places you'll find in Europe akin to the golden days of UK asylum exploring! The architecture in Italy is stunning!
Hope everyone is well! : )
Sutton Scarsdale Hall was built in the Baroque style on the site of an existing house between 1724 and 1729 for the 4th Earl of Scarsdale. The architect for the new hall was Francis Smith of Warwick, who skilfully incorporated the earlier building of about 1469 within his design.
Notable craftsmen were employed here. Edward Poynton of Nottingham carved the exterior stonework and the Italian master craftsmen Arturi and Vasalli carried out the fine stucco (plasterwork) detailing in the principal rooms, remnants of which can still be seen.
Grinling Gibbons is believed to have contributed some of the interior wood carvings. The cost of this splendid building left the Scarsdale heirs with depleted funds and they were eventually forced to sell the hall in the 19th century.
John Arkwright, a descendant of the industrialist Richard Arkwright, bought the hall, but in 1919 the family sold it to a company of asset strippers.
Many of its finely decorated rooms were sold off as architectural salvage and the house was reduced to a shell. Some rooms still exist: three interiors are displayed at the Museum of Art in Philadelphia.
A pine-panelled room is at the Huntington Library, California. It was offered to the Huntington by a Hollywood film producer who had used it as a set for a film, Kitty, in 1934. He had bought it from William Randolph Hearst, the newspaper magnate and well-known collector.
The ruins of the hall were saved from demolition by the writer Sir Osbert Sitwell, who bought it in 1946 after he had heard of the impending sale to dismantle the stonework. In 1970 descendants of the Sitwells persuaded the Department of the Environment to take the building into guardianship and preserve it for the nation.
A recent programme of works has been undertaken by English Heritage to preserve and protect the fragments of the original stucco interior.
Building history: begun 1269, S end rebuilt 1747-58 with notable interiors with rich plasterwork. Remodelled in the baronial style in 1869-71 by David Bryce, including ballroom 1876-7. Interior panelled 1899; alterations 1920-1 by Sir Robert Lorimer.
El Generalife, Granada (Spain).
ENGLISH
It occupied the slopes of the Hill of the Sun (Cerro del Sol), from which there is a complete view over the city and the valleys of the rivers Genil and Darro. There are different interpretations of the meaning of its name: the Governor's Garden, the Architect's (alarife) Garden, the Vegetable Garden of the Gypsy Festivity Organiser, etc. The Generalife became a leisure place for the kings of Granada when they wanted to get away from the official affairs of the palace.
It was built in the 13th century and it was redecorated by the king Abu I-Walid Isma'il (1313-1324), as it is explained by an inscription that dates from 1319. This means that the Generalife was built before the Comares Palace. In spite of it being very close to the Alhambra and the close relationship between the two complexes, it is considered to be outside the city. A rebellion against Mohammed V even broke out in the Alhambra while he was in the Generalife.
Nowadays the Generalife is formed by two groups of buildings connected by the Patio of the Irrigation Ditch (Patio de la Acequia).
Nevertheless it is difficult to know what the Generalife originally looked like, as it has been altered and rebuilt at different moments throughout the Christian period. These changes were at first necessary due to the sorry state of deterioration and neglect that was the result of the late Muslim period and later on they changed its layout and distorted many of its features.
In the Generalife there is no kind of decorative excess or points of interest in its architecture. Unlike the Alhambra, all the buildings of the Generalife are quite solid, but in general poor and simple. This indicates an intimate and peaceful atmosphere that the kings were looking for when they retired to these gardens to rest. There are only some decorative motifs of plasterwork, which are not very varied, but are exquisitely fine and tasteful.
Source: www.alhambradegranada.org/historia/alhambrageneralifeintr...
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CASTELLANO
Ocupa las pendientes del Cerro del Sol, desde el que se abarcan toda la ciudad y los valles del Genil y del Darro. Del significado de su nombre existen distintas interpretaciones: Jardín del Intendente, del Arquitecto (alarife), Huerta del Zambrero, etc. El Generalife se convirtió en lugar de recreo para los reyes granadinos cuando éstos querían huir de la vida oficial del palacio.
Se construyó a mediados del s. XIII, y según reza una inscripción de 1319, el rey Abu I-Walid Isma'il (1313-1324) lo redecoró, lo que lo hace anterior a la construcción de Palacio de Comares, A pesar de su proximidad a la Alhambra y de su estrecha relación entre ambos conjuntos, se consideraba fuera de la ciudad, incluso estalló una rebelión en la Alhambra contra Mohamed V mientras éste se encontraba en el Generalife.
En la actualidad, el Generalife está formado por dos conjuntos de edificaciones, conectados por el Patio de la Acequia.
Sin embargo, es difícil saber el aspecto original del Generalife, ya que ha ido sufriendo modificaciones y reconstrucciones durante toda la etapa cristiana, en un principio necesarias debido al estado de deterioro y abandono en que se encontraba en la última etapa musulmana, pero que posteriormente perturbaron su disposición y desfiguraron muchos de sus aspectos.
En la construcción del Generalife no podemos encontrar ningún tipo de exceso decorativo, ni grandes actuaciones arquitectónicas. Al contrario que en la Alhambra, toda la edificación del Generalife, aunque sólida, es en general muy pobre y muy simple, lo que señala el aire de intimidad y de sosiego que buscaban los monarcas al retirarse a descansar entre sus jardines. Únicamente encontramos motivos decorativos de escayola poco variados, pero de extremada fineza y buen gusto.
Fuente: www.alhambradegranada.org/historia/alhambraGeneralifeIntr...
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To stand there is AMAZING!
"Honeycomb," "stalactite," or "mocárabe" vaulting in the Hall of the Abencerrajes.
The Hall of the Abencerrajes (Sala de los ,) is located in front of the Hall of the Two Sisters (Sala de Dos Hermanas).
The walls have plasterwork covers and a tile skirting board from the 16th century, of Renaissance style. A wonderful dome of mocarabes rests on eight pendentives of mocarabes.
The following inscription is written on the pendentives: «There is no other help than the help that comes from God, the clement and merciful One».
The windows that are where the dome starts let a faint light filter through and illuminate the mocarabes creating a magic
The Nasrid dynasty of Granada used mocárabe extensively and used it around the capitals of its columns thereby making a new order of column.
Mocárabe was constructed in a variety of materials including wood and plaster.
Under the Nasrid, mocárabe was originally carved into its medium.
Later on, moulds were made to cast the designs with clay or plaster.
Thank you and have a peaceful day, M, (*_*)
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España - Toledo - Palacio de Galiana
www.palaciodegaliana.es/en/index.html
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ENGLISH:
The building, located on the northeast outskirts of Toledo's historic center, most likely formed part of the almunia (fortress) built by Al-Mamun of Toledo, king of the Taifa of Toledo (1043-1075). Following the Christian conquest, the site was called the "royal almunia," which was still used in 1294, although by this time the Castilianization of the name "Huerta del Rey" (King's Garden) had taken hold. The name Galiana became popular from the 16th century onwards due to the disappearance of the authentic Galiana palaces, located in the Alficén complex next to the Alcázar.
During the Mudejar period, the north and south facades were rebuilt. According to Gómez-Moreno, at the beginning of the 20th century, when the building was in poor condition, the windows with lobed arches, the plasterwork of the framing—dating from the 14th century—and remains of paintings—which he considers to be earlier—were still visible in the rooms on the second floor. Few fragments of this decoration remain today, but Gómez-Moreno's testimony seems to indicate two renovations. First, the painted plinths and some of the plasterwork were completed in the mid-13th century. Later, John I donated this royal possession to the Jerónimos convent of La Sisla in 1385. Almost a decade later, it was purchased by Beatriz de Silva, who married Alvar Pérez de Guzmán in 1397. It was shortly afterward that the second renovation of the building was undertaken, as evidenced by the Guzmán and Silva coat of arms featured in the plasterwork.
Due to successive inheritances, the orchard was divided among various owners. The majority continued to belong to the Guzmán y Montijo family, while other areas belonged to the Chapel of Santo Tomás and the Brotherhood of Santa Caridad. After the confiscations of the 19th century, the House of Montijo acquired the undivided shares of the entities whose real estate assets were sold to the State. Empress Eugenie was interested in restoring the palace, which ultimately did not happen. As time passed, the site fell into disrepair.
It was declared a historic-artistic monument, belonging to the National Artistic Treasure, on June 3, 1931, by a decree published in the Gaceta de Madrid with the signature of the provisional president of the republic, Niceto Alcalá-Zamora, and the Minister of Public Instruction and Fine Arts, Marcelino Domingo y Sanjúan. In the 20th century, the Duke of Peñaranda sold the estate to Alejandro Fernández de Araoz and Carmen Marañón, who began the rehabilitation in 1959.
***
ESPAÑOL:
El edificio, situado en las afueras, al noreste del casco histórico de la ciudad de Toledo, muy probablemente formó parte de la almunia construida por Al-Mamún de Toledo, rey de la taifa de Toledo (1043-1075). A raíz de la conquista cristiana, el lugar se denominó «almunia real», aplicándose todavía en 1294, aunque por estas fechas se impone la castellanización de «Huerta del Rey». El nombre de Galiana se popularizó a partir del siglo XVI a consecuencia de la desaparición de los auténticos palacios de Galiana, situados en recinto del Alficén, junto al alcázar.
En época mudéjar se rehicieron las fachadas norte y sur. Según recoge Gómez-Moreno, a principios del siglo XX, cuando el edificio se encontraba en mal estado, aún se apreciaban las ventanas con arquillos lobulados, las yeserías de los encuadramientos –que data en el siglo XIV– y restos de pinturas –que considera anteriores– en las habitaciones del segundo piso. En la actualidad quedan escasos fragmentos de dicha decoración, pero el testimonio de Gómez-Moreno parece indicar dos reformas. Por un lado, a mediados del siglo XIII se realizarían los zócalos de pinturas y algunas de las yeserías. Posteriormente, Juan I donó esta posesión real al convento de jerónimos de la Sisla en 1385. Casi una década después fue comprada por Beatriz de Silva, quien contrae matrimonio en 1397 con Alvar Pérez de Guzmán. Sería poco tiempo después cuando se acometió la segunda reforma del edificio, como atestiguan los escudos de Guzmán y Silva que figuraban en las yeserías.
Por las sucesivas herencias, la huerta se fraccionó en diversos propietarios. La mayor parte siguió perteneciendo a la familia Guzmán y Montijo, mientras que otras zonas pertenecían a la capilla de Santo Tomás y a la cofradía de la Santa Caridad. Tras las desamortizaciones del XIX, la Casa de Montijo adquirió las partes proindiviso de las entidades cuyo patrimonio inmueble enajenó el Estado, interesando a la emperatriz Eugenia la restauración del palacio, lo que finalmente no ocurrió. Conforme pasó el tiempo, el lugar fue cayendo en el abandono.
Fue declarado monumento histórico-artístico, perteneciente al Tesoro Artístico Nacional, el 3 de junio de 1931, mediante un decreto publicado en la Gaceta de Madrid con la rúbrica del presidente provisional de la república, Niceto Alcalá-Zamora, y del ministro de Instrucción Pública y Bellas Artes, Marcelino Domingo y Sanjúan. En el siglo XX el duque de Peñaranda vendió la finca a Alejandro Fernández de Araoz y Carmen Marañón, quienes en 1959 emprendieron la rehabilitación.
The Parish Church of St Mary the Virgin, a Grade 1 listed building, has been at the heart of parish life for over a thousand years. The oldest part of the structure is the chancel, on the outside north wall of which there is pre-Norman 'blind arcading'. The nave dates from the 13th century and the tower from about 1450. The six bells are rung as regularly as possible. The plasterwork in the chancel is unique. It was designed by Dr Wren, a 17th century rector, whose famous son Christopher was born in the village.
East Knoyle is a small village and former civil parish in Wiltshire, in the south west of England. The parish lies on the A350 road about nine miles south of Warminster, fifteen miles west of Salisbury, and two miles south west of Hindon, at grid reference ST880305. It is the birthplace of Sir Christopher Wren.
The Jasper County Courthouse in Rensselaer, Indiana is a building from 1898. It was listed on the National Register of Historic Places in 1983 and is located in the Rensselaer Courthouse Square Historic District. The Jasper County Courthouse was erected in 1898 at a total cost of $141,731.94. It is located in the center of the Courthouse Square bounded by Washington, Cull en, Harrison and Van Rensselaer Streets. The Courthouse Square, itself, is defined by a retaining wall of concrete, about 18" high and a foot wide. There are steps leading from the street to the walks leading to all four entrances to the building.
The building stands on a bedrock. The building has four floors for a total of 348,404 square feet (32,367.8 m2), plus a basement and the tower. The clock tower is 120 feet (37 m) high.
The building is faced Bedford limestone, and features medieval elements. Entrances on the north and south sides are framed in two-story Tudor arches supported on clusters of columns. Flanking these entrances are three-story round towers. Centered over the entrance is a wall dormer, which is surmounted by the clock tower. The clock tower also has a wall dormer on each face of its pyramidal roof.
On either side of the entrances and towers are five double-hung windows on each floor, with wall dormers over two bays. The corners have narrow, windowless turrets. The entrance bay, dormer, and flanking towers project from the building.
The stone masonry support walls have arches between rooms. Each of the first three floors above the basement have terrazzo floors, marble wainscoting and oak woodwork, and the stairs have marble treads. The plaster columns in the stairwell have been decorated to look like marble. The stair rails are of hand-hammered iron with marble rails.
In 1982 an elevator was installed to serve the first three floors. The second floor features include four brass chandeliers with lead blown shades and two newel post lamps to match. The recently decorated walls are highlighted with gold paint and some gold leaf decoration. The entrance to the Auditor's Office has stained glass windows on either side and above the door.
The third floor is used entirely by the two courts. A brass chandelier with lead blown glass shades is in the foyer between the courtrooms. The courtrooms are almost identical with the original oak judicial benches with their hand carved seals of the State of Indiana on the back panel of each bench. The walls are decorated with plaster leaf swag. There are plaster columns on either side connected by plaster arches. There is decorative plasterwork around the windows. The stained glass panels, which surround the courtroom entrances, are set in carved wooden frames.
The clock tower, itself, has three floors; the first has windows, the second contains the clock, and the third the bell.
Significance
Heinzmen Brothers, Noblesville, Builders The Jasper County Courthouse is an example of Victorian adaptation of the medieval forms of architecture. Several features show this, such as the free standing chimneys, the high pitched roof, the gabled dormers, the turrets, and the painted plaster columns in the hallways.
The first architect employed for this building was Alfred Grind!e, who later associated himself with Charles R. Weatherhogg, of Fort Wayne, Indiana. Before the building was completed, Mr. Grindle dropped out and Mr. Weatherhogg completed the architectural part of the work.
NRHP - 83000126
(Wikipedia)
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Lonsdale Alhambra Cinemas
“Located in Penrith, Cumbria. The Alhambra Theatre opened as a live venue in 1906, although it was run from opening to 1971 by Alhambra Theatre and Picture House Ltd, suggesting that films were at least part of the variety bills. It was sometimes referred to as the Palace of Varieties. From the 1920’s films became the mainstay of the entertainment provided.
Seating was provided for 800 in stalls and a single balcony of five rows plus side slips returned to the stage wall. The ceiling was flat coffered. By 1946 it accommodated 800 patrons. The stage was shallow at 5.2mtrs deep with a 9.83 mtrs wide proscenium arch. Tall stage doors for scenery exist in Duke Street.
In 1971 the Alhambra closed in favour of the Regent Cinema, and was minimally converted into a bingo hall which continued until 1984 when it was altered by sub-dividing the auditorium and entrance foyer to form a bingo hall in the stalls entered through the right side of the foyer and a 167 seat cinema using the five rows of the balcony plus an extra three rows in an extension forward of the balcony front. In the cinema the coffered ceiling was retained and effective use made of the plasterwork to create an ante proscenium framing the screen curtains. The Regent then closed leaving the Alhambra as the sole cinema in the town.
The Graves Cinema Circuit had been major shareholders in the Alhambra since the 1940’s and ran the cinema from 1984. In early 1999, a second screen seating 90 was added to the complex in an unused part of the building. Both screens have Dolby equipment.
More recently it was sold to Lonsdale Cinemas who in November 2007 renamed the complex Lonsdale Alhambra Cinemas for the screen side and Opera Bingo for the club part of the operation. All were open in 2008. By 2018 the bingo club had closed and it was an Indian restaurant named Indian Plaza. An adjoining shop was converted into a 3rd screen with 32-seats.” [ Info CinemaTreasurues.org ]
The former bank at 18 High Street, Maidstone, is designated at Grade II for the following principal reasons: * a good-quality, typical high street bank of the 1860s, with an ashlar-faced Italianate façade; * surviving interior features upstairs including staircase, fireplaces and panelled doors; * ground floor contains a quite rare surviving Art-Nouveau shop front with curvilinear decorated bronze glazing bars and matching doors, inserted when the bank was converted to a hosiers in the Edwardian period; * group value with the many listed buildings on Maidstone's historic high street.
Details
883/0/10028 HIGH STREET 15-JUL-09 18 Former London and County Bank
II Former bank, c1862, for the London and County Banking Company Ltd; converted to hosiers in the Edwardian period. Later alterations including removal of interior fittings on ground floor.
EXTERIOR: the three-storey ashlar-faced 1860s building has an Edwardian, Art-Nouveau-style, ground-floor shop front and Italianate style upper floors four window bays wide. The bronze and glass shop front is symmetrical, with granite stall-riser, two large central display windows with decorative transoms, and outer doors in recessed porches, that to the right leading into the shop with bent glass to the display window, and that to the left providing access to the upper floors of the building. Curved glazing bars in an Art-Nouveau design feature in the transoms above the doors (in bronze) and the doors themselves (in timber), all the originals. The porch recesses have polished granite outer reveals and marble floors. The shop front is framed by stone pilasters of the 1860s, with Composite capitals. No original signage from the Edwardian hosiers or the Victorian bank survives on the ashlar fascia, but in the tympanum of the piano nobile windows are the initials 'LCB', indicating the building's origins as the London and County Bank. The detailing on the upper storeys includes Composite pilasters to the window surrounds, oversized console brackets above the first floor windows supporting sills with wrought-iron balconettes to the upper storey, and a raised parapet with decorative cornice.
INTERIOR: the ground floor shop has been comprehensively refurbished and no original features survive, save unadorned arched recesses in the outer walls in what would have been the banking hall to the front of the building. The upper floors are more historic in character. The staircase survives, with some balusters replaced (perhaps in the Edwardian period) at the lower landing. Further up are splat balusters with perforated patterns, which, like the large newel posts in an unusual design of Jacobean inspiration, are the originals. The upper floors originally housed the bank manager, and there are many surviving features consistent with a mid-Victorian residence, including at least five fireplaces, some in marble, panelled doors, cornices, a ceiling rose, frieze and other plasterwork, and built-in cupboards. All the original window joinery survives too, including windows overlooking a light well in the centre-right of the building.
HISTORY: The London and County Banking Company Ltd are recorded at this address until the late Edwardian period when the bank, by then known as the London, County and Westminster Bank following a merger in 1909, moved into larger premises at No. 3 High Street, Maidstone. At this time, No. 18 High Street was converted into a shop, recorded as being a Mr William Morling, hosiers, in the 1913 postal directory for Maidstone. The Art-Nouveau shop front is likely to date from this conversion. The bank at Maidstone bears some resemblance to other London and County Bank branches at Basingstoke and Stratford, East London by architect Frederick Chancellor and may have been designed by him.
By the 1860s, mergers between joint-stock companies had created larger banks which were ambitious to build more branches. Middle-class prosperity turned banking from a business-orientated activity, to a mainstay of the high street. The London and County Bank were in the vanguard of this expansion, as one of the few banks to have a presence in both the capital and the provinces in the 1860s. Their London headquarters were completed in 1862 to designs by CO Parnell and by 1875 the bank had 150 branches, making it the largest British bank at that time.
REASONS FOR DESIGNATION: The former bank at 18 High Street, Maidstone is designated at Grade II for the following principal reasons: * a good-quality, typical high street bank of the 1860s, with an ashlar-faced Italianate façade; * surviving interior features upstairs including staircase, fireplaces and panelled doors; * ground floor contains a quite rare surviving Art-Nouveau shop front with curvilinear decorated bronze glazing bars and matching doors, inserted when the bank was converted to a hosiers in the Edwardian period; * group value with the many listed buildings on Maidstone's historic high street.
Situado, como es tradicional en estos edificios, volando la muralla del recinto, también en su disposición recuerda al Palacio de Comares, con una gran alberca central presidida por el pórtico, aquí de cinco arcos, tras el que se desarrolla la estancia principal en el interior de una torre conocida con el nombre de las Damas.
La decoración de sus paramentos presenta el habitual zócalo de alicatados, amplios paños de yeserías originalmente policromados hasta el arrocabe y cubierta con armadura de madera. Su tipología decorativa ha atribuido su construcción a la época del sultán Muhammad III (1302-1309) lo que lo presupone como el palacio -al menos parcialmente en pie- más antiguo de la Alhambra.
Junto a la Torre de las Damas, por encima del pórtico sobresale un bello y reducido mirador, muy característico de la arquitectura nazarí, presente en otros palacios como el de Comares o el del Generalife, al que denominaron modernamente por las extraordinarias vistas, el observatorio.
El Partal por su refinamiento es una obra primordial del arte nazarí.
Es una residencia de recreo decorada con abundante lujo. Servirá de modelo para otras construcciones de la Alhambra.
Los mismos artistas que trabajaron en el Partal serán ejecutores de partes del Generalife y de otras obras.
Sus zócalos servirán también de modelos para las producciones más complejas de la Torre del a Cautiva y de Comares.
Situated, as is traditional in these buildings, flying the wall of the enclosure, also available Comares Palace recalls, with a large central pool chaired by the portico of five arches here, after which it takes place in the main room inside a known tower of checkers.
The decoration of its walls has the usual tiled plinth, large panels of plasterwork frieze originalmente polychrome up and covered with wooden frame. Its decorative type construction has been attributed to the time of Sultan Muhammad III (1302-1309) which presupposes as the palace, at least partially standing-oldest in the Alhambra.
Next to the Torre de las Damas, above the portico stands a beautiful small balcony, very characteristic of Moorish architecture, present in other palaces such as Comares or the Generalife, which they called modern by the extraordinary views, the observatory .
The Partal for its refinement is a major work of art Nazari.
This residence hall is decorated with plenty of recreational luxury. Serve as a model for other buildings of the Alhambra.
The same artists who worked on the Partal be executors of parts of the Generalife and other works.
Their sockets will also serve as models for complex productions to Captive Tower and Comares.
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Sometimes you talk to other explorers who give you hints how to ge in somewhere. I thought I had it all figured out when we arrived here. Until I saw where we should go in. I clearly should have mentioned that I am almost 2 meters long and 120 kilograms.... Luckily it all worked out!
This castle dates back to the 13th century. It was built on a crossing of two very important trade routes and therefor interesting area for people to settle. It has been owned by various aristocrats during the centuries.
The beautiful plaster on the several ceilings was built in the end of the 17th century already. In one room called the 'Bacchus Room' the ceiling is decorated with angels and wine barrels.
Although the decorations inside are some you don't see very often, the rest of the castle is rather empty. They have been working on renovation, but guess this is at a standstill for several years already....
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The relief work on the exterior is known as pargetting and it derives from the French 'parjeter', to throw all over. It was quite prevalent in the more affluent towns in the UK. At one time, Hadleigh was rich, due to the wool trade.
In addition to the plasterwork applied to half timbered buildings, was the pargetting - a heady concoction of cow dung, lime, sand and (animal) hair. You won't be finding those ingredients on the shelves down at the local hardware store!
This property was originally known as the Bayning house, named after Viscount Bayning, who had the property built in the 17th century. The coat of arms you can see here, is that of the Bayning family. The other main feature is a Tudor rose surmounted by a crown, supported by the Royal supporters, a lion and a unicorn. The unicorn generally appears after the accession of James I, in 1603.
There's a line of vines running across the building and a few decorative fleur-de-lys, thrown in for good measure.
In addition, as if we needed more, there's a leather faced, one handed clock dial, from when it was a clock makers, in the 18th century.
Taken with my Fujifilm X-T30 II camera and a XF18-55mm lens.
The 88,180-square-foot city-owned property at 174 E Flagler St. has 79 apartments, four retail stores and the theater with 10 former apartments serving as dressing rooms.
Tucked into Miami’s contemporary skyline is an enchanting Mediterranean courtyard with shimmering stars and golden balconies. Majestic turrets and towers suggest another era when performances were events, and grand theaters provided a dreamlike escape from the modern world.
The Olympia Theater is not just a “venue” – it is the jewel of South Florida arts and entertainment facilities, affording South Florida’s diverse community and its international guests a unique cultural experience that defies comparison.
The Olympia Theater opened in 1926 as a silent movie palace and amazed the public with its stunning Moorish architecture, perfect acoustics and simulated night sky, complete with wafting clouds and twinkling stars. It also achieved fame as the first air-conditioned building in the South.
The “talkies” and Vaudeville soon arrived at the Olympia, and for more than 40 years the theater was the number one entertainment center in Miami. It was one of the last theaters in the country to showcase Vaudeville acts.
Throughout its history, the Olympia has been host to the world’s most exciting performers in the arts and entertainment community. Cultural icons such as Elvis Presley, B.B. King, Luciano Pavarotti and Etta James have provided memorable evenings under the Olympia Theater's stars. The theater has also hosted today’s best-known pop stars and is a favored venue for concerts.
In 1975, South Florida business tycoon and philanthropist Maurice Gusman saved the aging theater and adjacent Olympia Office Building from demolition then donated them to the City of Miami in 1975. Thanks to extensive restorations in the 1970s, overseen in part by famed architect Morris Lapidus, the theater was added to the National Register of Historic Places in 1984.
Time continued to take its toll on the Olympia, however, and by the late 1980s virtually every structural system of the theater was in need of repair and replacement. The roof had several leaks that had damaged the theater’s historic paint and plaster as well as the seating and carpeting in the auditorium. The HVAC system had to be entirely replaced. Electrical, sound systems, and plumbing all required upgrades.
Noted restoration architect Richard J. Heisenbottle, AIA, was retained to develop an ambitious, multi-year plan for additional stabilization and restoration work. In order to minimize loss of income for the theater, construction was planned to occur during only the summer months, when bookings were normally at a minimum. Critical components were broken down into construction segments that could be completed in three months. During the rest of each year, the architectural and engineering team completed plans and theater management secured funds for the next round of work.
The theater owes its distinctive character to architect John Eberson, the master of “atmospheric” theater design, and it is one of the few Eberson theaters around the world still standing. Restoration of Eberson’s original design scheme, including original colors and finishes, was another top priority of the construction plan. Following detailed analysis, decorative painters restored the original, vibrant paint scheme to the decorative plasterwork throughout the theater. Seventies-vintage plastic seating was replaced with wood-and-brass seats boasting historically appropriate detailing. Even the new carpeting was custom loomed to match the 1926 original.
In 1975, Maurice Gusman donated the theater and adjacent Olympia Office Building to the city.
Credit for the data above is given to the following websites:
www.olympiaarts.miami/olympia-theater.html
www.miamitodaynews.com/2021/01/12/historic-olympia-gusman...
www.miamidade.gov/Apps/PA/propertysearch/#/
www.miamitodaynews.com/2022/07/26/miami-may-ask-proposals...
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Levens Hall, Cumbria, England.
Levens Hall is a manor house in the Kent valley, near Kendal, Cumbria, Northern England. The first house on the site was a pele tower built by the Redman family in around 1350. Much of the present building dates from the Elizabethan era, when the Bellingham family extended the house. The Bellinghams, who were responsible for the fine panelling and plasterwork in the main rooms, sold the house and estate in 1689 to Colonel James Grahme, or Graham, Keeper of the Privy Purse to King James II, who made a number of additions to the house in the late 17th century. His son Henry Graham was a knight of the shire for Westmorland.
Further additions were made in the early 19th century.
Levens is now owned by the Bagot family and is open to the public.
For video, please visit youtu.be/mDjKsnTIYbA
ISFAHAN-in progress
The unique blue tiles of Isfahan's Islamic buildings, and the city's majestic bridges, contrast perfectly with the hot, dry Iranian countryside around it, Isfahan is a sight you won't forget. Not only is the architecture superb and the climate pleasant, but there's a fairly relaxed atmosphere here, compared with many other Iranian towns. It's a city for walking, getting lost in the bazaar, walking in beautiful gardens and meeting people.
The famous half-rhyme Isfahan nesf-e-jahan (Esfahan is half the world) was coined in the 16th century to express the city's grandeur. There's so much to see that you'll probably have to ration your time and concentrate on must-sees such as the Imam Mosque, a magnificent building completely covered in Isfahan's trademark pale blue tiles; This mosque is situated to the south of Naqsh-e-Jahan sq. built in the reign of shah Abbas, tile work and architecture of this Mosque is amazingly superb. Its minarets Are 48 meters high. Naghsh-e-Jahan (world picture) Square, one of the largest town square in the world. The Chehel Sotun Museum & Palace, a marvellous 17th century pavilion and a great place for a picnic; this palace is another building dating back to the Safavid period, built amidst a vast garden covering an area of 67000 sq m. The building has a veranda with 18 pillars and a large pool in front of it. Being mirrored in the still water of the pool, the pillars create a beautiful view. The wall painting in the interior of the building is superlative in their kind.Ali Qapoo Palace Situated to the west of Naghsh-e-Jahan Sq. belongs to the Safavid period. It was used for the reception of the Ambassadors and envoys from other Countries. Ali Qapoo is a six-storied plasterwork and paintings of which are extremely impressive. and the Vank Cathedral, the historic focal point of the Armenian church in Iran. Taking tea in one of the teahouses under the bridges is also an essential part of the Isfahan experience.
Isfahan is about 400km (250ml) south of Tehran.
Excerpt from www.gananoque.ca/sites/gananoque.ca/files/By-law%20No.%20...:
STATEMENT OF CULTURAL VALUE OR INTEREST:
- Built in 1905, the Skinner House at 95 King Street West is a high-style interpretation of the Queen Anne Revival style favouring the classical components of this aesthetic.
- 95 King Street West is distinctive for the variety and richness of its exterior and interior materials, including the use of decorative metal panels on the exterior of a residential building.
- The property does not show any distinctive technical or scientific achievement.
- 95 King Street West has direct associations with F.J. Skinner, for whom the residence was built. He was an important person locally, regionally and provincially, as the successful scion of an established Gananoque farm-product and vehicle manufacturing enterprise which merged with Oshawa car-building enterprises. The building illustrates the domestic architecture of a wealthy industrialist at a highpoint in the industrial mechanisation and growth of the municipality. Skinner also served two terms as an MLA.
- As the residence of a leading industrialist in Gananoque, 95 King Street West illustrates the transition of the economic, political and social hierarchy of the municipality from the earlier land-based and mercantile elite, which resulted in the moniker of the Little Birmingham on the St. Lawrence. The property may exhibit some archaeological potential. However, archaeology can be addressed through another process.
- 95 King Street West was designed by Frank T. Lent and built by Mitchell and Wilson, two of Gananoque's most significant built heritage firms. In addition to his designs, Lent dedicated much of his professional life to Gananoque and the Thousand Islands, and wrote several texts about designing and supervising the construction of residences, as well as providing mail order plans. The construction company of Mitchell and Wilson emerged to prominence in Gananoque in the mid-19th century and maintained this status into the late-20th century. Both firms were responsible for the design and/or construction of numerous iconic buildings and structures in Gananoque.
- The property is of high correlation to the physical, visual and historical surroundings in which it is located.
- As a prominent B&B establishment, clustered among other B&Bs on the Town 's high street, the property is a landmark based not only by its current use but also by its distinctive form, corner lot location, brilliant polychromatic exterior, and past functions as an elite residence, early tourist accommodation and nursing home.
HERITAGE ATTRIBUTES:
- Queen Anne Revival style with a classical emphasis as expressed by columns, pilasters, low-relief garlands , decorative panels, urn-topped rail posts and window
shapes.
- Highly animated asymmetrical composition that takes advantage of its corner lot.
- Corner tower with a conical top surmounted by a finial.
- Numerous gables also topped by finials.
- Wood clapboard cladding with decorative pressed metal panels for the fascia and wall panels - painted with a brilliant, polychromatic palette based on archival and paint analysis.
- Great variety of original window expressions :
o Shapes
• sash
• bow
• bay
• oriel
• round and oval l'oeil de boeuf with decorative keystone-shapes in the surrounds of windows (the oval illuminating the mid-stair landing is the most elaborate stained glass window in the building
• glazing bars
o Glazing bars
o Glazing - coloured , transparent and bevelled (excluding exterior aluminum
storms)
- Porches and verandahs supported with Tuscan columns and enclosed by inverted basket-handle rails
- Principal interior rooms:
o Entrance hall and stair this includes
• the vestibule with its exterior and interior oak and glass double doors
• direct access to the double parlour to the right
• access to the dining room to the rear
• a well-appointed cloakroom incorporated into the stair structure located half a flight down towards the basement (lit by a stained glass window)
• built-in furniture
o Entrance hall and double parlour
• divided by a partial screen formed by paired Ionic columns and Ionic pilasters set on a low wall
• the front half has an angled visual pull towards the corner tower
• the rear half is dominated by the wide ellipse of the bow window
• smaller Ionic columns flank the elaborate mantels in each section of the parlour
• painted woodwork in keeping with early-20 th century decorative tastes
o Dining room
• octagonal shape with three of the equally proportioned walls filled by windows and contributing to form a two-storey bay on the east elevation
• high wainscot with plate rail of dark finished oak
- Principal interior room finishes
o Wood floors
o Oak woodwork (wainscot and paneling, doors , window and door surrounds, built-in furniture , stair)
o Plasterwork
o Tin ceilings
o Fireplace mantels
o Door and window hardware
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Hintlesham Hall Hotel - A grand, early-Georgian facade (added in the 1740s) disguises the hotel's 16th-century origins. Painted a distinctive, soft orangey-pink with white stucco and large white sash windows, the main house is flanked by two wings either side of a broad, gravelled courtyard; original features include wood-panelled walls, marble fireplaces, plasterwork ceilings, windows with cased shutters and a 17th-century oak staircase. Grounds include a hedged herb and kitchen garden, lawns and small fruit orchard behind the house. There is a small, rather dated spa annexe and swimming pool. There are 33 rooms; 10 in the courtyard and 23 in the main house, many under the beamed eaves on the top floor. A rolling programme of refurbishment is under way, but some of the courtyard rooms are particularly comfortable with rich fabrics and smart bathrooms. One of the most popular is "Cherry Orchard", the room formerly used as a kitchen by Robert Carrier, who ran his cookery school here in the Seventies, with spacious sitting area and mezzanine bedroom. Main house rooms are mainly on the top floor, under the eaves. "Braganza" is the hotel's top suite, taking up the entire first floor of the south wing with a vast drawing room that has a historic ornately plastered ceiling.