View allAll Photos Tagged polychrome
The Beauclaire is a block-long building on the west side of University Place with entrances (and addresses) at 26 East 10th Street and 25 East 9th Street. Shops on University Place have their own addresses (40-56 University Place). The terra cotta window framing is located mid-block at the 3rd and 4th floors (U. S. numbering) of the 12-story structure.
from a nice bear sighting on Polychrome Pass. The bear was digging roots against the road embankment. But as is common this time of year they rarely look up from their primary job of eating.
Early Hellenistic period, late 4th-early 3rd c. BCE
Made in Alexandria
Found at Chania (ancient Kydonia; see on Pleiades), from a family mausoleum
Photographed on display in the Archaeological Museum of Chania, Crete, Greece
Scanned polychrome print.
Canon EOS 5 (semi-pro segment 1992-2000, 5 eye-controlled focus points) w/ Canon IS L 24-105 mm.
Fomapan 100 in Rodinal 1+100, semistand 1 h (my first Fomapan 100 135-film!)
2 bath lith printing on Fomatone MG 131 with Moersch Polychrome Kit:
1. Moersch SE5 (25A+25B+20D+700H2O).
2. Siena+Potassium Carbonate+Ammonium Chloride+700H2O
A lot of (obviously caustic) chemistry involved here. Some kind of matt "dusty" layer covered the print after first rinse, some of it was possible to wipe away with a cotton swab. So I thought that another rinsing + swabs would take care of that. But no, it still looks very abused with its own character. However, one thing I really like is the green/blue-tinted shadows - just like Retrobrom - with this Fomatone MG/Polychrome combo :-)
The east end of Skipton's parish church has a Victorian reredos painted rather garishly, and in the east window, glass by Capronnier with distinctively strong colours. They work rather well together...
MATERIALS: Polychrome brickwork in English bond, mainly brown brick with red brick bands. Stone window dressings. Gabled tiled roof with terracotta ridge tiles.
PLAN: Rectangular structure with three bay nave with aisles, two south-east porches either side of the one bay chancel and north-west bellcote. It is aligned south-east to north-west.
EXTERIOR: The south-east side has a central gable crowned by a metal cross-shaped saddlestone and large arched window with three trefoil-headed lights surmounted by a central cinquefoil light and two roundels. Recessed on either side are gabled porches with central arched openings flanked by sidelights and arched openings to side walls. Original arched wooden doors behind. The north-east and south-west sides have two small hipped dormers with wooden louvres and paired trefoil-headed windows. The north-west side has a gabled bellcote with trefoil-shaped bell opening, central window with quatrefoil above two trefoil-headed lights and similar single trefoil lights to the aisles.
INTERIOR: The walls are of red brick with black brick bands with a three bay pointed arched arcade with stiff leaf stone capitals, granite columns and deep brick bases. There is a canted roof with tiebeams with quatrefoil mouldings to the spandrels. Most of the wooden pews survive with tiled flooring to the centre and aisles, metal floor grilles and a small octagonal stone font. The south-east window, has probably original glass depicting Christ as The Good Shepherd, flanked by scenes appropriate to a workhouse of a baker giving bread to a pauper and a woman visiting the sick. Other windows have probably been brought in. The north-east central window has two lights, one depicting St Vincent de Paul with two children in early C20 dress, the other St Luke. The north window of the south-west aisle depicts The Good Shepherd and was inserted after 1938 in memory of staff members and surgical staff of Pembury Hospital. The south-west aisle contains two windows considered by the hospital chaplain in 1956 to be by C E Kempe (1837-1907). These comprise The Virgin and Child, dedicated to Edith Mary Myles (1874-1957), the first President of the League of Friends and Headmistress of Tunbridge Wells County Grammar School and the adjoining quatrefoil with an inscription of 1957 in memory of Philip Stewart Browning, a former hospital chaplain. A further stained glass window in the north-east aisle depicting the Baptism of Christ is to the memory of Amelia Scott with an inscription of 1955. There are also a number of small wall plaques to people connected with the workhouse or hospital. These include plaques dedicated to Thomas R McGill, Master of Tonbridge Workhouse between 1866 and 1893, John Francis Carter Braine, surgeon to the radiotherapy department 1939-1953, Ivor Elwyn Joseph Thomas, obstetrician and gynaecologist 1939-1953 and Constantine Lambrinudi, orthopaedic surgeon 1890-1943. The pipe organ to the west end of the eastern aisle is probably original.
HISTORY: The earliest buildings on the Pembury Hospital site were the two buildings of Tonbridge Workhouse dating from 1836. The Poor Law Amendment Act of 1834 prescribed a Church of England chaplain should hold divine service at workhouses every Sunday but in the early days most boards did not set aside a dedicated room for use as a chapel but adapted a dining room for the purpose. From 1859 onwards the "Journal of the Workhouse Visiting Society" enjoined the erection of dedicated chapels which were not usually consecrated but always licenced.
On April 24th 1863 the Rev. Saint of Groombridge Place wrote to the Board of Guardians of the Tonbridge Workhouse asking whether they would consider granting a sum from the Rates for a separate room for Public Worship or a site for a building built by voluntary contributions. The Board agreed to this providing it was under the control of the Guardians and would be used only for divine service. In June, the Committee specified that the building should be detached from the existing buildings, that the site should be as near as possible to the north-western corner of the site, the building range should be parallel with the road, the number to be accomodated should be not less than 300, that the partition for the separation of the sexes should be not less than 6 feet high and be constructed so that the church was divided longitudinally, that the plans should show separate entrances fenced off from the surrounding ground for males and females and the elevation of the building should be as much in harmony as possible with the Fever Ward of the hospital. These resolutions were approved by the Poor Law Board on 14th July 1863 and on 22nd July Robert Wheeler (fl. 1856-1882) of Brenchley (the architect) wrote to say he had taken these alterations into account and re-drawn the plans. These plans were subsequently approved by the Poor Law Board.
A dedicated chapel was duly erected to the north-west of the Tonbridge Workhouse buildings, beside the workhouse laundry, and is shown on the First Edition OS map which was surveyed in 1868. The workhouse function of the chapel is demonstrated from the exterior by the provision of two entrance porches, one for male paupers and one for female paupers, but although the Board of Guardians stipulated an internal screen there is no evidence of this. By the 1860s screens to separate various categories of paupers had gone out of fashion and perhaps it was never built. The cost of the chapel was £650 with seating for 300. The workhouse capacity was 400 but Catholics and Non-conformists were permitted to attend their own place of worship if one was located nearby or to receive visits from their priest or minister.
On 10th September 1887, a contract was drawn up with Messrs. George and Frank Penn in the sum of £3161 12s., for the stripping, boarding, fitting and retiling the chapel and works connected therewith, as well as the taking down of the bell turret. The surveyor was William Oakley.
In 1938 Tonbridge Workhouse became Pembury Hospital and the workhouse chapel became the hospital chapel.
SUMMARY OF IMPORTANCE: A little altered Gothic style chapel constructed of good quality materials which is an unusually elaborate example (particularly for its interior) of a purpose-built workhouse chapel, a building type which is becoming increasingly rare. There is additional value for historical associations and memorials particular to its later hospital use.
Since everyone on social media liked it so much, here's a self-portrait from Polychrome Pass. It never looks the same twice and I always find dramatic weather there!
Sculpture polychrome de bois représentant saint Sébastien, dans une posture à la fois gracieuse et tragique. Le raffinement du visage et du corps contraste avec la violence des flèches et du sang qui ruisselle. Une œuvre marquante, émouvante, à la beauté douloureuse.
Photographiée dans l’église San Martino, à Erice (Sicile).
Une pensée particulière pour mon Sébastien, compagnon de vie. 💘
A polychrome wooden sculpture of Saint Sebastian, captured in a pose both graceful and tragic. The refined face and body contrast with the brutality of arrows and blood. A striking, emotional piece—both beautiful and painful.
Photographed in the Church of San Martino, Erice (Sicily).
A personal tribute to my Sébastien, my life partner. 💘
www.bonhams.com/auctions/21502/lot/2083/
Photo copyright by Bonhams, cropped & cleaned up by me.
Bowl itself, being roughly a thousand years old, is long out of copyright!
Part of 111 E. 47 th St., Chicago, IL., now demolished
The backstory of "how"
all of these AMAZING-
MUSEUM Quality pieces
came to live @St. Ignatius College Prep,
involves a former student-
Chicago Philanthropist / Investor-
Richard Driehaus and his
relationship to
Father Rowe- who used to run the School.
#AbFav_ROOFS
#AbFav_PHOTOSTORY
THE POLYCHROME ROOFS of HOSPICES de BEAUNE.
The Hospices de Beaune or Hôtel-Dieu de Beaune is a former charitable almshouse in Beaune, France.
It was founded in 1443 by Nicolas Rolin, chancellor of Burgundy, as a hospital for the poor.
The original hospital building, the Hôtel-Dieu, one of the finest examples of fifteenth-century Burgundian architecture, is now a museum.
The polychrome roofs are inextricably linked to Burgundy.
Multicoloured roofs are an integral part of Burgundy.
In Pays Beaunois, those of the Hôtel Dieu in Beaune, Château de Santenay or Château de Corton André, for example, are particularly noteworthy.
A symbol of prestige.
Roofs made of glazed flat tiles draw colourful patterns characteristic of the traditional architecture of Burgundy.
Polychrome roofs are status symbols, whose opulence reflects that of the owner of the building.
With their luminous beauty, they initially covered the great cathedrals of the 13th century, then the princely residences of the 14th century, before becoming available to the rich urban bourgeoisie of the 15th century.
Take care, be safe!
Thank you for your time and comments, greatly appreciated, M, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
The Hospices de Beaune, Hôtel-Dieu, Beaune, Burgundy, almshouse, France, roofs, polychrome, architecture, Multicoloured, glazed, flat tiles, patterns, colour, Nikon D7200, "magda indigo"
'Seated Apostle' polychrome-glazed terracotta spandrel tondo, Luca della Robbia and workshop, c1443
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casavacanze.poderesantapia.com/engels/firenze/cappellapaz...
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UNESCO World Heritage Site
DSCN4498 Anx2 1024h Q90
MATERIALS: Polychrome brickwork in English bond, mainly brown brick with red brick bands. Stone window dressings. Gabled tiled roof with terracotta ridge tiles.
PLAN: Rectangular structure with three bay nave with aisles, two south-east porches either side of the one bay chancel and north-west bellcote. It is aligned south-east to north-west.
EXTERIOR: The south-east side has a central gable crowned by a metal cross-shaped saddlestone and large arched window with three trefoil-headed lights surmounted by a central cinquefoil light and two roundels. Recessed on either side are gabled porches with central arched openings flanked by sidelights and arched openings to side walls. Original arched wooden doors behind. The north-east and south-west sides have two small hipped dormers with wooden louvres and paired trefoil-headed windows. The north-west side has a gabled bellcote with trefoil-shaped bell opening, central window with quatrefoil above two trefoil-headed lights and similar single trefoil lights to the aisles.
INTERIOR: The walls are of red brick with black brick bands with a three bay pointed arched arcade with stiff leaf stone capitals, granite columns and deep brick bases. There is a canted roof with tiebeams with quatrefoil mouldings to the spandrels. Most of the wooden pews survive with tiled flooring to the centre and aisles, metal floor grilles and a small octagonal stone font. The south-east window, has probably original glass depicting Christ as The Good Shepherd, flanked by scenes appropriate to a workhouse of a baker giving bread to a pauper and a woman visiting the sick. Other windows have probably been brought in. The north-east central window has two lights, one depicting St Vincent de Paul with two children in early C20 dress, the other St Luke. The north window of the south-west aisle depicts The Good Shepherd and was inserted after 1938 in memory of staff members and surgical staff of Pembury Hospital. The south-west aisle contains two windows considered by the hospital chaplain in 1956 to be by C E Kempe (1837-1907). These comprise The Virgin and Child, dedicated to Edith Mary Myles (1874-1957), the first President of the League of Friends and Headmistress of Tunbridge Wells County Grammar School and the adjoining quatrefoil with an inscription of 1957 in memory of Philip Stewart Browning, a former hospital chaplain. A further stained glass window in the north-east aisle depicting the Baptism of Christ is to the memory of Amelia Scott with an inscription of 1955. There are also a number of small wall plaques to people connected with the workhouse or hospital. These include plaques dedicated to Thomas R McGill, Master of Tonbridge Workhouse between 1866 and 1893, John Francis Carter Braine, surgeon to the radiotherapy department 1939-1953, Ivor Elwyn Joseph Thomas, obstetrician and gynaecologist 1939-1953 and Constantine Lambrinudi, orthopaedic surgeon 1890-1943. The pipe organ to the west end of the eastern aisle is probably original.
HISTORY: The earliest buildings on the Pembury Hospital site were the two buildings of Tonbridge Workhouse dating from 1836. The Poor Law Amendment Act of 1834 prescribed a Church of England chaplain should hold divine service at workhouses every Sunday but in the early days most boards did not set aside a dedicated room for use as a chapel but adapted a dining room for the purpose. From 1859 onwards the "Journal of the Workhouse Visiting Society" enjoined the erection of dedicated chapels which were not usually consecrated but always licenced.
On April 24th 1863 the Rev. Saint of Groombridge Place wrote to the Board of Guardians of the Tonbridge Workhouse asking whether they would consider granting a sum from the Rates for a separate room for Public Worship or a site for a building built by voluntary contributions. The Board agreed to this providing it was under the control of the Guardians and would be used only for divine service. In June, the Committee specified that the building should be detached from the existing buildings, that the site should be as near as possible to the north-western corner of the site, the building range should be parallel with the road, the number to be accomodated should be not less than 300, that the partition for the separation of the sexes should be not less than 6 feet high and be constructed so that the church was divided longitudinally, that the plans should show separate entrances fenced off from the surrounding ground for males and females and the elevation of the building should be as much in harmony as possible with the Fever Ward of the hospital. These resolutions were approved by the Poor Law Board on 14th July 1863 and on 22nd July Robert Wheeler (fl. 1856-1882) of Brenchley (the architect) wrote to say he had taken these alterations into account and re-drawn the plans. These plans were subsequently approved by the Poor Law Board.
A dedicated chapel was duly erected to the north-west of the Tonbridge Workhouse buildings, beside the workhouse laundry, and is shown on the First Edition OS map which was surveyed in 1868. The workhouse function of the chapel is demonstrated from the exterior by the provision of two entrance porches, one for male paupers and one for female paupers, but although the Board of Guardians stipulated an internal screen there is no evidence of this. By the 1860s screens to separate various categories of paupers had gone out of fashion and perhaps it was never built. The cost of the chapel was £650 with seating for 300. The workhouse capacity was 400 but Catholics and Non-conformists were permitted to attend their own place of worship if one was located nearby or to receive visits from their priest or minister.
On 10th September 1887, a contract was drawn up with Messrs. George and Frank Penn in the sum of £3161 12s., for the stripping, boarding, fitting and retiling the chapel and works connected therewith, as well as the taking down of the bell turret. The surveyor was William Oakley.
In 1938 Tonbridge Workhouse became Pembury Hospital and the workhouse chapel became the hospital chapel.
SUMMARY OF IMPORTANCE: A little altered Gothic style chapel constructed of good quality materials which is an unusually elaborate example (particularly for its interior) of a purpose-built workhouse chapel, a building type which is becoming increasingly rare. There is additional value for historical associations and memorials particular to its later hospital use.
#AbFav_TOOLS_INSTRUMENTS_🎺
#AbFav_PHOTOSTORY
yes, when you visit this florist, your wrapping is assorted with your flowers!
So, how to take good care of your clients!
I am ready for ALL occasions! LOL
Coloured ribbons, me having some fun in the studio again.
Have a wonderful day, filled with love and beauty, M, (*_*)
And for more: www.indigo2photography.com
Please do not COPY or use any of my images on websites, blogs or any other media without my explicit permission. © All rights reserved
decoration, ribbon, display, shop, colourful, reels, multicolour, round, circle, design, fun, black-background, colour, square, studio, Nikon D7000, "Magda indigo"
Les nouveaux sièges du restaurant du Musée d'Orsay sont en résine de diverses couleurs.
The new seats in Orsay Museum restaurant come in various shades of resin plastic...
Romanesque stone carving with polychrome traces and text, c1124
www.flickr.com/photos/elcaballoalvaro/34282215113/
fr.wikipedia.org/wiki/Abbatiale_Sainte-Foy_de_Conques
en.wikipedia.org/wiki/Abbey_Church_of_Sainte-Foy
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UNESCO World Heritage Site of the Routes of Santiago de Compostela in France
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Nikon Coolpix 4500
en.wikipedia.org/wiki/Nikon_Coolpix_4500
www.dpreview.com/reviews/nikoncp4500
DSCN3896 Anx2 V3 Q90 crop f25 f50
Scanned Polychrome IR Lith print.
Rolleiflex T w/ Tessar 75 mm/f3.5 + Rollei original IR filter.
Rollei IR 400 in Rodinal 1+100, semistand 1 h.
Lith printed on Foma Retrobrom 151 Sp and developed in two baths:
1. Moersch Easy Lith (25A+25B+650H2O @ 30°C).
2. Moersch Polychrome Kit.
Toned in Se 1+9, 45 sec.
If you prolong the Se toning of a lith print, the lilac/purple tone takes over. Like it or not.
In my trip to Denali I didn't get many cooperative animals, the weather was a bit challenging but the continuing passing rain showers offered some interesting skies.
Scanned lith/polychrome print.
Mamiya 645 ProTL, Mamiya-Sekor 80mm/f1.9N lens, Jan 21, 2018.
Fomapan 100 in Caffenol (12 min).
Fomatone MG 131 (18x24cm) in two baths:
1. Moersch SE5 (25A+25B+OB+qs600H2O).
2.Moersch Polychrome Kit (Siena+Potassium Carbonate+Ammonium Chloride).
Toned 30 sec in Se 1+4.
Feb 5, 2023.
Alternating between Lith Omega and Polychrome as 2nd bath in this session.
Shortly after this image the ship was towed to the dump and cut up into pieces. Glad I managed to get some shots of her before it was too late.
polychromed and gilt bronze frame
property of the Metropolitan Museum of Art, New York
for educational purpose only
please do not use without permission
The Brunelleschi Crucifix is a polychrome painted wooden sculpture by the Italian artist Filippo Brunelleschi, made from pearwood around 1410-1415, and displayed since 1572 in the Gondi Chapel at the church of Santa Maria Novella in Florence. This idealised depiction of the crucifixion of Jesus measures around 170 cm × 170 cm (67 in × 67 in). It is the only surviving wooden sculpture by Brunelleschi: the only other known example, a wooden sculpture of Mary Magdalene at the church of Santo Spirito, was destroyed in a fire in 1471. In his 2002 book, Masaccio e le origini del Rinascimento, the art historian Luciano Bellosi described Brunelleschi's crucifix as "probably the first Renaissance work in the history of art", representing a definitive turn away from the stylised postures of Gothic sculpture and a return to the naturalism of classical sculpture.
According to Giorgio Vasari, the sculpture was Brunelleschi's response to a similar polychrome wooden crucifix made by Donatello for the church of Santa Croce, also in Florence, c.1406-1408. Brunelleschi had criticized Donatello's crucifix for its heavy musculature and unrefined proportions, saying Donatello had put "un contadino in croce" (a peasant – or farmer – on the cross). Brunelleschi made his crucifix after accepting Donatello's challenge to do better.
Superficially similar to Donatello's depiction of Christ on the cross, Brunelleschi's subject is more idealised, lighter, and better proportioned. Like Donatello, Brunelleschi borrows Christ's pose from the 5 m (16 ft) high painted crucifix by Giotto, suspended in the nave at Santa Maria Novella, but Brunelleschi gives the figure a dynamic twist to the left. The central figure of Jesus is also informed by life studies, but carefully measured to create a perfect anatomy. Echoing the proportions of the ideal Vitruvian man, the span of Christ's arms match exactly his height, with the navel at the centre of the body.
Earlier sculptures of the crucifixion, including Donatello's, usually included a carved loincloth. The pearwood of Brunelleschi's sculpture suffered from radial cracks in this area, which he concealed with a stiffened linen loincloth, but he did not sculpt Christ's genitals beneath. The practice of sculpting Jesus naked, but omitting the genitals, became common in the 15th century, although Michelangelo's crucifix at Santo Spirito from 1492 is an exception.
Whether or not it was made to answer Donatello's challenge, it appears the sculpture was not made to fulfil a particular commission, as the completed artwork remained in Brunelleschi's workshop until 1445, the year before his death, when the artist donated it to the Dominican friars of Santa Maria Novella. It was initially installed on a pilaster between the Filippo Strozzi Chapel and the Bardi Chapel, but it was moved to the Gondi Chapel in 1572.
It has been restored several times, and was displayed in 2012 alongside the earlier wooden crucifix of Donatello and the later crucifix of Michelangelo.