View allAll Photos Tagged printing_press
The Monastery of St. Anthony the Great is located in the Valley of Kadisha or Qadisha, specifically the Valley of Qozhaya, in
Northern Lebanon. According to the Oral Tradition, St. Anthony (251-356) called "the Great", founder of the monastic life, never visited Lebanon. However, his disciples lived in the caves in Qozhaya, and their prayers and way of living filled the valley with a unique spiritual fragrance. Today the Monastery’s monks and its hermit (living in the Hermitage of Our Lady of Hawka) continue the tradition by offering their lives and prayers to God. Father Antonios Chayna, the Hermit of Saint Boula Hermitage, passed away on January 3, 2009. One of Qozhaya’s caves, named after St. Anthony, is considered miraculous for the numerous miracles witnessed onsite.
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Paper Color: White - Matt
Ink Color: Blue, Green and Brown
Edition: 50
Size: 36cm x 48cm
Weight: 200g/m2
One of my favorite bike drawings. Re-drawn in to a three color print. Classy.
Artwork by Karl Addison
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St Bride Foundation
Original design, Robert C Murray, 1894
The building is in the Anglo Dutch style, with fine red brickwork, terracotta dressings and a steeply pitched roof. This style, formerly known as Queen Anne, represents a breaking away from classicism with a return to the domestic architecture of William of Orange.
The height of the rooms and the strength of the floors reflect their purpose for the printing school – printing machinery is extremely heavy – and the lithographic school, which is now the public reading room, can take one ton weight per square metre.
Many features have been adapted but, as far as possible, the essential style is preserved as befits a Grade II listed building. What was the gymnasium is now a printing workshop, the towel laundry is a bar and the swimming pool has been boarded over to create a theatre but the central skylight and the viewing gallery can still be seen. This is a building with a practical purpose which, although the printing school left in the 1920s, still delivers its original aim of providing education and entertainment.
[The] Grade II listed building still boasts its original fine red brickwork, terracotta dressings, and steeply pitched roof from its original construction and feels like a hidden gem, tucked away from the bustle of Fleet Street...
Fleet Street at the end of the 19th Century was at the heart of the printing world. A trade paper of 1891 explained that “most of the great morning and evening journals are issued within its precincts, periodicals are printed by the million, books are manufactured by the ton. There is probably no place in the universe of the same size wherein so much printing is done” (British and Colonial Printer May 21, 1891).
The St Bride Foundation, then, was born from a project by St Bride's Parochial Charities to support a community with printing and publishing as its major industry.
St Bride Library opened as a technical and academic collection in 1895 and has grown dramatically since.
With the death of William Blades, Victorian printer and expert on Caxton and early printing, St Bride Foundation had the opportunity to acquire a private library devoted to the history of print, containing exceptionally rare books on the subject. The collection was given its own purpose-built, fireproof room, in which it still rests to this day, as part of St Bride's extensive library of print-related technical and academic works.
Other important collections were also added, including that of Talbot Baines Reed, a type founder and historian, and John Southward, a technical print journalist.
The St Bride Library collection now consists of well over 50,000 books, periodicals and artefacts and is a thriving, international resource for typographers, graphic designers, writers, researchers and many others who simply enjoy the wealth of publications about the printed word.
When the Institute was planned at the end of the 19th Century, the intention was not just to create a printing school for local workers, but also to provide facilities to the local community. The baths would be open to the public and "available for the use of the poorer classes".
The Swimming Pool – believed to be the first public pool in the area – remains in situ today underneath the stage of the theatre! Its original towel laundry, where swimming costumes were hired, washed and dried, is also still in place in the Bridewell Theatre Bar.
[Open House London]
Taken during Open House London 2018
The Grade II Listed Museum Of Lincolnshire Life on Burton Road, Lincoln, Lincolnshire.
The museum is housed in a Victorian barracks built for the Royal North Lincoln Militia in 1857 and is an example of Victorian military architecture.
The Militia were a force of part time volunteer soldiers whose main role was home defence. The Royal North Lincoln Militia used the barracks for training and administrative purposes and the site served as their headquarters until 1880. From this date the militia were based at the New Barracks (later Sobraon Barracks), also on Burton Road, which was headquarters to the Lincolnshire Regiment. In 1881 the Royal North Lincoln Militia officially amalgamated with the County Regiment to become the 3rd Battalion Lincolnshire Regiment.
For 20 years the site fell into relative disuse until in 1901 it was once again used by a military force. The Lincolnshire Imperial Yeomanry, a voluntary cavalry unit, used the barracks as its headquarters until it was disbanded in 1920.
The barracks building remained in military use, occupied by a variety of territorial and other army units, until 1963. Just 6 years later, on 29th July 1969, the Lincolnshire Association for the Arts and Heritage opened the Museum of Lincolnshire Life. The museum was run independently by the association until 1974, when it was transferred to Lincolnshire County Council.
Since its beginnings the museum has built up a fascinating collection of over 250,000 objects, both on display and in store. Today visitors can enjoy the charming period room and shop settings displaying our wonderful social history collection, with a working Victorian kitchen and printing press during special event days. In addition the museum boasts a nationally important agricultural and industrial collection, including impressive steam engines, threshing machines and the iconic World War One tank developed and built by Foster’s of Lincoln. The museum is also home to the Royal Lincolnshire Regimental Galleries.
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A few weeks ago, I attended the 3rd Friday ArtWalk in Siler City, NC, to see a photography exhibit in which one of my photos won second prize (landscape). I also had the pleasant surprise of finding Roger Person's work, while walking from studio to studio downtown. This is a photo I took in his studio. I believe the piece is still available, if you're interested in more information please visit his website (http://www.persontopersonart.com) or studio (210 N. Chatham Ave. Siler City, NC 27344).
About the Artist (from his website: Person to Person Art):
Roger Person, an eclectic artist, relocated his studio/gallery, Person to Person Art, to Siler City, North Carolina after a five year unsuccessful search throughout the southwest for a emerging art community. After reading about the North Carolina Art Incubator project and a visit to the area, a decision was easy and the process of relocation was underway with no looking back. In the past year, two buildings in the historic downtown have been purchased and renovated for galleries and studios. Twenty five of Roger’s large outdoor sculptures are installed at his new Siler City home.
Roger works in many mediums. His first work was in flat stained glass. Soon he added glass etching and carving, as well as wood, metal and clay sculpture and painting, to his repertoire of talents. His pieces are often combinations of various materials and mediums. His sculptures range in size from a few inches in diameter to sixteen feet in height. The large metal sculptures he designs are fabricated using his engineering drawings and patterns. Smaller sculptures are fabricated by the artist.
Roger Person and his printing press "I’ve always been curious about things," says Roger. "I’m always looking forward to doing something new and different." This exploration is evident not only in the mediums he chooses, but in the underlying emotions of his art. Some of his creations are profoundly inspiring, while others are uniquely and blatantly humorous.
Recently Roger purchased a combination press and has focused his interests on print making, monotypes being his new passion.
Roger feels that at this stage of his life art has allowed him to enjoy every day to its fullest. Art has been a wonderful avenue to meet new and interesting people. Roger says, "Art is universal and integral to all of us."
Circa 1848 .... Made by R. Hoe & Company in New York City, patented by Samuel Rust .... The Washington Press established two innovations in printing history - a lightened metal frame for easier transport and a toggle-joint mechanism to create impressions. Over 6000 of these rugged hand presses were sold between 1835-1902. This printing press at Mackenzie House continues in operation, for museum exhibitions ....
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Description: Printing Press from the printworks of James Ballantyne and Company, Pauls Work, North Back of Canongate, on which the 'Waverley' novels of Sir Walter Scott were produced. Plaque on press reads '1796 Ballantyne Press, used by Ballantyne in the printing of the Waverley Novels'.
HH 1730/57
Further Notes: Known as the Ballantyne Press it dates from the late 18th Century- a plaque gives the date as 1796, the year when James Ballantyne's first practical connection with printing was established, when he became editor and manager of a new weekly newspaper, the 'Kelso Mail'. James Ballantyne (1772 - 1833) moved his printing business from Kelso to Edinburgh, in 1802, following the success of Scott's 'Minstrelsy of the Scottish Border'. The firm remained at Paul's Work until 1870 when, due to the Encroachments of the Waverley Railway station, it moved to Newington. A branch was set up in London in 1878 and by 1916 the Edinburgh print works had been discontinued.
History: In 1957 the firm - by then Spottiswoode, Ballantyne and Company of London- gave the press to the V & A Museum who transferred it to Edinburgh in October of that year. The press is currently on display at the Writers' Museum, Lady Stairs Close, Edinburgh
Edinburgh City of Print is a joint project between City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by City of Edinburgh Museums. For more information about the project please visit www.edinburghcityofprint.org
Our visit to the British Library. It is between Euston Road, Midland Road and Ossulston Street in London (London Borough of Camden).
We were here for around an hour. Had a look around the gallery with the old manuscripts (no photos allowed in their for copyright reasons). Then walked towards Camden Town.
They search your bag before you go in, and it has photography restrictions inside due to copyright (so was limited to what I could take).
The British Library is the national library of the United Kingdom and the largest library in the world by number of items catalogued. A Grade I listed building, the library is a major research library, holding around 170 million items from many countries, in many languages and in many formats, both print and digital: books, manuscripts, journals, newspapers, magazines, sound and music recordings, videos, play-scripts, patents, databases, maps, stamps, prints, drawings. The Library's collections include around 14 million books, along with substantial holdings of manuscripts and historical items dating back as far as 2000 BC.
As a legal deposit library, the British Library receives copies of all books produced in the United Kingdom and Ireland, including a significant proportion of overseas titles distributed in the UK. It also has a programme for content acquisitions. The British Library adds some three million items every year occupying 9.6 kilometres (6.0 mi) of new shelf space.
The library is a non-departmental public body sponsored by the Department for Culture, Media and Sport. It is located on the north side of Euston Road in St Pancras, London (between Euston railway station and St Pancras railway station) and has a document storage centre and reading room near Boston Spa, 2.5 miles (4.0 km) east of Wetherby in West Yorkshire.
In 1973, the British Library Act 1972 detached the library department from the British Museum, but it continued to host the now separated British Library in the same Reading Room and building as the museum until the library moved to a purpose-built building at St Pancras, London.
The Penny Black Printing Press
Behind is the Libary of King George III, donated by his son King George IV.
Terje and Father Sabin Verzan in the new printing press building at the Romanian Orthodox Patriarchate in Bucharest.
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1991 Romania ROM91T-183
Paper Color: White - Matt
Ink Color: Brown
Edition: 25
Size: A5
Weight: 250g/m2
Artwork by Julia Benz
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"A painting starts with painting itself and not the idea." says Julia Benz sympathetic and tells of her work just as vigorously as she paints large, colorful and loud it should be, sometimes representational, often abstract. Her characters are neither moral nor practical instances imaging carriers of messages, but fun picture ideas.
"Today, when we are traveling, we are all overwhelmed by fake realities. I find the simple moments exciting and deep. I direct the banal big and loud, because it's wonderful." She explains. Julia Benz has studied painting at the university of art in Düsseldorf, currently working and studying in Berlin.
- Die Kunstagentin
The business end of the printing press for Front Page Africa, a daily newspaper based in Monrovia Liberia. The paper is the brainchild of editor and publisher Rodney Seigh. frontpageafrica.com electionliberia.org
Description: An employee watches as pages are run through a large printing press at the Howe Press.
Date: circa 1960
Note: Featured in The Lantern, Vol. XXX, No. 1, September 15, 1960 (p.8)
Format: photograph
Physical Collection: AG241 Howe Presss Photographs.
Location: Perkins Archives, Perkins School for the Blind, Watertown, MA
Digital Identifier: AG129-32-0033
Rights: Samuel P. Hayes Research Library, Perkins School for the Blind, Watertown, MA
Macau Protestant Chapel, more commonly known as Morrison Chapel, (Camoes Square, near Camoes Gardens) has a history of approximately two-hundred years, although the present structure was not built until 1922.
The earliest mention of a Protestant “chapel” no doubt referred to a room at the offices of the British East India Company, (E.I.C.) The traders of the E.I.C. were actively engaged in the China trade from the late eighteenth century until 1834, when the Company’s charter was not renewed. The E.I.C. charter required that chaplains be sent out from England to minister to the spiritual needs of the Company employees; these chaplains had to meet the approval of either the Archbishop of Canterbury or the Bishop of London. The Company not only provided chaplains; they required that employees regularly attend divine services! The charter also required that all baptisms, marriages and funerals be recorded and sent to London at regular intervals; these were sent from Macau as early as 1792.
In 1821, when the land on which the present-day Chapel stands was purchased, it contained a tenement which the Company had been renting to house their printing press. The burial ground, now the Old Protestant Cemetery, was acquired at the same time. The E.I.C. had long been trying to purchase land for a burial ground, since burial for Protestants was not allowed within Macau’s city walls. And the sale of land to foreigners was forbidden by Portuguese law. But the death of Mary Morrison, wife of Dr. Robert Morrison, missionary and translator employed by the E.I.C., was the catalyst which brought about the transfer to the British of land for both the Chapel and the Old Protestant Cemetery. How this transfer suddenly took place, after years of failure on the part of the Company, is a bit of a mystery.
Thanks to obscure records and destruction by white ants, it is impossible to know exactly what buildings have stood on the present Chapel site. There may have been a mortuary chapel for a time (perhaps a part of the original tenement); but it soon became a chapel for general purposes, evidenced by the marriage there in 1833 of Dr. Colledge and Caroline Shillaber.
After 1834, when the E.I.C. lost its trade monopoly, responsibility for the administration of the Chapel and cemetery was taken by the British government; in 1870 this responsibility was transferred by Deed of Transfer to Trustees consisting of at least three Consuls or other high ranking representatives of at least two nations having Protestant members living in Macau. This board of trustees has usually had members from the United Kingdom, the United States of America, the Netherlands and Germany. Although the Diocese of Victoria, Hong Kong, (and more recently the Province of the Sheng Kung Hui – the Anglican Church of HK and Macau) have faithfully supported the Chapel, it is owned and administered by the trustees. When the renovated building was dedicated in 1922, it was dedicated as a House of God, not as an Anglican church.
The use of the Chapel and its state of repair have had their ups and downs over the years. A period of prosperity was experienced with the residence of Australian clergyman, the Reverend E. J. Barnett from 1898-1910. But by 1921, the Chapel required complete rebuilding, except for the original foundation. This renovation was promoted by Bishop Duppuy, who preached the sermon at the dedication ceremony which was recorded in The Hong Kong Daily Press of January 9, 1922. This newspaper account mentions Bishop Duppuy’s recalling two conditions for the construction of the Chapel: It had to be placed behind a high wall, hence not visible from the street; and it could have no church bell.
These are my tension springs. They keep the screen pushed onto one of the sets of micro adjusters.
The springs are from the electrical isle. I drilled a hole in a 2 x 6 and threaded a 3/8" bolt through it. The spring has that rectangular base, that threads to the end of the bolt and that's it.
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Taken at Law's Railroad Musuem in Bishop, CA. Behind the display glass is a vintage printing press. I tried to avoid capturing the reflection to the best of my ability as a "amateur" photographer.
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St Bride Foundation
Original design, Robert C Murray, 1894
The building is in the Anglo Dutch style, with fine red brickwork, terracotta dressings and a steeply pitched roof. This style, formerly known as Queen Anne, represents a breaking away from classicism with a return to the domestic architecture of William of Orange.
The height of the rooms and the strength of the floors reflect their purpose for the printing school – printing machinery is extremely heavy – and the lithographic school, which is now the public reading room, can take one ton weight per square metre.
Many features have been adapted but, as far as possible, the essential style is preserved as befits a Grade II listed building. What was the gymnasium is now a printing workshop, the towel laundry is a bar and the swimming pool has been boarded over to create a theatre but the central skylight and the viewing gallery can still be seen. This is a building with a practical purpose which, although the printing school left in the 1920s, still delivers its original aim of providing education and entertainment.
[The] Grade II listed building still boasts its original fine red brickwork, terracotta dressings, and steeply pitched roof from its original construction and feels like a hidden gem, tucked away from the bustle of Fleet Street...
Fleet Street at the end of the 19th Century was at the heart of the printing world. A trade paper of 1891 explained that “most of the great morning and evening journals are issued within its precincts, periodicals are printed by the million, books are manufactured by the ton. There is probably no place in the universe of the same size wherein so much printing is done” (British and Colonial Printer May 21, 1891).
The St Bride Foundation, then, was born from a project by St Bride's Parochial Charities to support a community with printing and publishing as its major industry.
St Bride Library opened as a technical and academic collection in 1895 and has grown dramatically since.
With the death of William Blades, Victorian printer and expert on Caxton and early printing, St Bride Foundation had the opportunity to acquire a private library devoted to the history of print, containing exceptionally rare books on the subject. The collection was given its own purpose-built, fireproof room, in which it still rests to this day, as part of St Bride's extensive library of print-related technical and academic works.
Other important collections were also added, including that of Talbot Baines Reed, a type founder and historian, and John Southward, a technical print journalist.
The St Bride Library collection now consists of well over 50,000 books, periodicals and artefacts and is a thriving, international resource for typographers, graphic designers, writers, researchers and many others who simply enjoy the wealth of publications about the printed word.
When the Institute was planned at the end of the 19th Century, the intention was not just to create a printing school for local workers, but also to provide facilities to the local community. The baths would be open to the public and "available for the use of the poorer classes".
The Swimming Pool – believed to be the first public pool in the area – remains in situ today underneath the stage of the theatre! Its original towel laundry, where swimming costumes were hired, washed and dried, is also still in place in the Bridewell Theatre Bar.
[Open House London]
Taken during Open House London 2018
St Bride Foundation
Original design, Robert C Murray, 1894
The building is in the Anglo Dutch style, with fine red brickwork, terracotta dressings and a steeply pitched roof. This style, formerly known as Queen Anne, represents a breaking away from classicism with a return to the domestic architecture of William of Orange.
The height of the rooms and the strength of the floors reflect their purpose for the printing school – printing machinery is extremely heavy – and the lithographic school, which is now the public reading room, can take one ton weight per square metre.
Many features have been adapted but, as far as possible, the essential style is preserved as befits a Grade II listed building. What was the gymnasium is now a printing workshop, the towel laundry is a bar and the swimming pool has been boarded over to create a theatre but the central skylight and the viewing gallery can still be seen. This is a building with a practical purpose which, although the printing school left in the 1920s, still delivers its original aim of providing education and entertainment.
[The] Grade II listed building still boasts its original fine red brickwork, terracotta dressings, and steeply pitched roof from its original construction and feels like a hidden gem, tucked away from the bustle of Fleet Street...
Fleet Street at the end of the 19th Century was at the heart of the printing world. A trade paper of 1891 explained that “most of the great morning and evening journals are issued within its precincts, periodicals are printed by the million, books are manufactured by the ton. There is probably no place in the universe of the same size wherein so much printing is done” (British and Colonial Printer May 21, 1891).
The St Bride Foundation, then, was born from a project by St Bride's Parochial Charities to support a community with printing and publishing as its major industry.
St Bride Library opened as a technical and academic collection in 1895 and has grown dramatically since.
With the death of William Blades, Victorian printer and expert on Caxton and early printing, St Bride Foundation had the opportunity to acquire a private library devoted to the history of print, containing exceptionally rare books on the subject. The collection was given its own purpose-built, fireproof room, in which it still rests to this day, as part of St Bride's extensive library of print-related technical and academic works.
Other important collections were also added, including that of Talbot Baines Reed, a type founder and historian, and John Southward, a technical print journalist.
The St Bride Library collection now consists of well over 50,000 books, periodicals and artefacts and is a thriving, international resource for typographers, graphic designers, writers, researchers and many others who simply enjoy the wealth of publications about the printed word.
When the Institute was planned at the end of the 19th Century, the intention was not just to create a printing school for local workers, but also to provide facilities to the local community. The baths would be open to the public and "available for the use of the poorer classes".
The Swimming Pool – believed to be the first public pool in the area – remains in situ today underneath the stage of the theatre! Its original towel laundry, where swimming costumes were hired, washed and dried, is also still in place in the Bridewell Theatre Bar.
[Open House London]
Taken during Open House London 2018
"Mainz Cathedral or St. Martin's Cathedral (German: Mainzer Dom, Martinsdom or, officially, Der Hohe Dom zu Mainz) is located near the historical center and pedestrianized market square of the city of Mainz, Germany. This 1000-year-old Roman Catholic cathedral is the site of the episcopal see of the Bishop of Mainz.
Mainz Cathedral is predominantly Romanesque in style, but later exterior additions over many centuries have resulted in the appearance of various architectural influences seen today. It comprises three aisles and stands under the patronage of Saint Martin of Tours. The eastern quire is dedicated to Saint Stephen.
The interior of the cathedral houses tombs and funerary monuments of former powerful Electoral-prince-archbishops, or Kurfürst-Erzbischöfe, of the diocese and contains religious works of art spanning a millennium. The cathedral also has a central courtyard and statues of Saint Boniface and The Madonna on its grounds.
During the time of Mainz Archbishop Willigis (975–1011), the city of Mainz flourished economically, and Willigis became one of the most influential politicians of that time, ascending to regent of the empire between 991 and 994. In 975–976 shortly after his installation he ordered the construction of a new cathedral in the pre-Romanesque Ottonian architecture style. This new and impressive building was part of his vision of Mainz as the "second Rome".
This new cathedral was to take over the functions of two churches: the old cathedral and St. Alban's, which was the largest church in the area, belonging to a Benedictine abbey and serving as the burial ground for the bishops and other nobles, including Fastrada, a spouse of Charlemagne. Most of the synods and other important meetings were held at St. Alban's Abbey.
The new cathedral consisted of a double chancel with two transepts. The main hall was built in the typical triple-nave "cross" pattern. As was usual at that time no vault was included because of structural difficulties relating to the size of the building. Six towers rose from the church. A cloister was enclosed in the structure and a small freestanding church, St. Mary's Church, connected by a colonnade. This small church developed later into the collegiate church of St. Maria ad Gradus.
Sandstone was used as the primary building material for the cathedral. The inside was plastered white under the Archbishop Bardo, probably in the middle of the 11th century. During renovations ordered by Henry IV in the late 11th century, much of the outside was also plastered, but the cornices were left exposed in their original red and yellow. It is believed that the coloring of the cathedral was changed on a number of occasions, but no further documentation of the coloring is available until records of the Baroque works.
The cathedral suffered extensive damage from a fire on the day of its inauguration in 1009. Archbishop Bardo (Bardo of Oppershofen) presided over the completion of the cathedral begun under Willigis. By 1037 the main portions of the body of Mainz Cathedral were complete. Willigis was buried in the second church he had initiated, St. Stephan's, in 1011.
Mainz, previously known in English as Mentz or Mayence, is the capital and largest city of Rhineland-Palatinate, Germany.
Mainz is on the left bank of the Rhine, opposite the place where the Main joins the Rhine. Downstream of the confluence, the Rhine flows to the north-west, with Mainz on the left bank, and Wiesbaden, the capital of the neighbouring state Hesse, on the right bank.
Mainz is an independent city with a population of 219,501 and forms part of the Frankfurt Rhine-Main Metropolitan Region.
Mainz was founded by the Romans in the 1st century BC as a military fortress on the northernmost frontier of the empire and provincial capital of Germania Superior. Mainz became an important city in the 8th century AD as part of the Holy Roman Empire, capital of the Electorate of Mainz and seat of the Archbishop-Elector of Mainz, the Primate of Germany. Mainz is famous as the birthplace of Johannes Gutenberg, the inventor of a movable-type printing press, who in the early 1450s manufactured his first books in the city, including the Gutenberg Bible. Mainz was heavily damaged in World War II; more than 30 air raids destroyed around half of the old town in the city centre, but many buildings were rebuilt post-war.
Mainz is notable as a transport hub, for wine production, and for its many rebuilt historic buildings. One of the ShUM-cities, Mainz and its Jewish cemetery is part of the UNESCO World Heritage Site.
Rheinhessen (in English often Rhine-Hesse or Rhenish Hesse) is the largest of 13 German wine regions (Weinanbaugebiete) for quality wines (QbA and Prädikatswein) with 26,758 hectares (66,120 acres) under cultivation in 2018. Named for the traditional region of Rhenish Hesse, it lies on the left bank of the Rhine between Worms and Bingen in the federal state of Rhineland-Palatinate. Despite its historic name it is currently no longer part of the federal-state of Hesse, this being the case since the end of World War II. There have been several unsuccessful attempts to legally reunite the former wine growing districts of Mainz on the Hessian side during the post-war area. Rheinhessen produces mostly white wine from a variety of grapes, particularly Riesling, Müller-Thurgau and Silvaner, and is best known as the home of Liebfraumilch, although some previously underrated Rieslings are also made, increasingly in a powerful dry style.
The wine region is a member of the Great Wine Capitals Global Network.
The Rhine forms the eastern and northern boundary of the region, with the river Nahe to the west and the Haardt Mountains to the south. The Palatinate wine region lies to the south, the Rheingau lies across the Rhine to the north, and the Nahe wine region to the west. Known as the "land of the thousand hills", the terrain is undulating with vineyards mixed with orchards and other forms of farming. Its larger towns include: Mainz, Worms, Bingen, Alzey, Nieder-Olm and Ingelheim.
In general the wines are best nearest the Rhine, where the soils impart more complex flavours. The best known area for white wines is the so-called Rhine Terrace (Rheinterasse; sometimes Rhine Front, Rheinfront) between Oppenheim and Nackenheim, which by itself is bigger than the whole of the Rheingau. A part of the Rhine Terrace, between Nackenheim and Nierstein is known as the Red Slope (Roter Hang) because of the presence of red slate. The main red grape area is around Ingelheim, in the north of the region opposite the Rheingau.
Grapes have been grown in the region since Roman times, and viticulture was promoted by Charlemagne. The denomination Glöck is documented by a deed of donation from the year 742, it is the oldest appellation in Germany.
When the owners of Stadecken-Elsheim the Counts of Katzenelnbogen first cultivated Riesling in 1435 they called the wine from this part of their county the Wine from the Gau. At the Congress of Vienna in 1814/15, Louis I, Grand Duke of Hesse, was awarded with Rhenish Hesse as compensation for the loss of his Westphalian territories. As a result, he amended his title to "Grand Duke of Hesse and by Rhine" and the name of the region was created.
Liebfrauenmilch is named after the Liebfrauenkirche (Church of Our Lady) in Worms, which also was the name of a good and famous vineyard. Later, Liebfrauenmilch was used as a name for a semi-sweet wine style produced in several German regions, and became responsible for much of the erosion of the German wines' reputation on the export market. The most famous Liebfraumilch brand, until they changed their classification, was Blue Nun which was created in 1921. Today, no quality-oriented top producer in Rheinhessen would dare to produce a Liebfrauenmilch for fear of losing their reputation." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.