View allAll Photos Tagged rectangular
Volviendo a ocupar el espacio de un viejo stencil.
Volviendo a lo básico.
tempera+piroxilina+engrudo
sesion horizontalrectangular
creditosfoto.graficosmrlnx
Tina Tribute Band
Strobist info: A rectangular softbox positioned horizontally as the main light in a butterfly or Paramount position. Additionally, a small square softbox on the floor as a fill light. The light on the background wall is simply the bounce from the main one.
This is a prototype of a new style of eyeglass case I plan to add to my shop. This metal frame is unlike any other frame that I've ever used - the groove is facing outside, not inside. A little tricky to work with, but I think it went well.
Piscina De 12 x5 de Poliéster con Forrado en Gresite con la técnica "Poligrés Míguez" con cenefa en color Blanco y Ason.
*¿Que es el "Poligrés Miguez?:
The rectangular shaped open box is presented here. The ratio between the width and the length of the rectangle is 1:2. One special folding technique involved with this model is 90 degrees mountain-fold.
www.origami-make.com/origami-box-rectangular2.php under www.origami-make.com/howto-origami-box.php
This double doorway rectangular Urinal was made by George Smith and co at their Sun Foundry in Glasgow. It is on the platform of Bewdley Station. It arrived in 1977 from British Rail.
www.glasgowsculpture.com/pg_biography.php?sub=smith_g-co
www.hevac-heritage.org/items_of_interest/public_health/st...
Preah Khan (Khmer: ប្រាសាទព្រះខ័ន; "Royal Sword") is a temple at Angkor, Cambodia, built in the 12th century for King Jayavarman VII. It is located northeast of Angkor Thom and just west of the Jayatataka baray, with which it was associated. It was the centre of a substantial organisation, with almost 100,000 officials and servants. The temple is flat in design, with a basic plan of successive rectangular galleries around a Buddhist sanctuary complicated by Hindu satellite temples and numerous later additions. Like the nearby Ta Prohm, Preah Khan has been left largely unrestored, with numerous trees and other vegetation growing among the ruins.
HISTORY
Preah Khan was built on the site of Jayavarman VII's victory over the invading Chams in 1191. Unusually the modern name, meaning "holy sword", is derived from the meaning of the original - Nagara Jayasri (holy city of victory). The site may previously have been occupied by the royal palaces of Yasovarman II and Tribhuvanadityavarman. The temple's foundation stela has provided considerable information about the history and administration of the site: the main image, of the bodhisattva Avalokiteśvara in the form of the king's father, was dedicated in 1191 (the king's mother had earlier been commemorated in the same way at Ta Prohm). 430 other deities also had shrines on the site, each of which received an allotment of food, clothing, perfume and even mosquito nets; the temple's wealth included gold, silver, gems, 112,300 pearls and a cow with gilded horns. The institution combined the roles of city, temple and Buddhist university: there were 97,840 attendants and servants, including 1000 dancers and 1000 teachers.
The temple is still largely unrestored: the initial clearing was from 1927 to 1932, and partial anastylosis was carried out in 1939. Since then free-standing statues have been removed for safe-keeping, and there has been further consolidation and restoration work. Throughout, the conservators have attempted to balance restoration and maintenance of the wild condition in which the temple was discovered: one of them, Maurice Glaize, wrote that;
The temple was previously overrun with a particularly voracious vegetation and quite ruined, presenting only chaos. Clearing works were undertaken with a constant respect for the large trees which give the composition a pleasing presentation without constituting any immediate danger. At the same time, some partial anastylosis has revived various buildings found in a sufficient state of preservation and presenting some special interest in their architecture or decoration.
Since 1991, the site has been maintained by the World Monuments Fund. It has continued the cautious approach to restoration, believing that to go further would involve too much guesswork, and prefers to respect the ruined nature of the temple. One of its former employees has said, "We're basically running a glorified maintenance program. We're not prepared to falsify history". It has therefore limited itself primarily to stabilisation work on the fourth eastern gopura, the House of Fire and the Hall of Dancers.
THE SITE
The outer wall of Preah Khan is of laterite, and bears 72 garudas holding nagas, at 50 m intervals. Surrounded by a moat, it measures 800 by 700 m and encloses an area of 56 hectares. To the east of Preah Khan is a landing stage on the edge of the Jayatataka baray, now dry, which measured 3.5 by 0.9 km. This also allowed access to the temple of Neak Pean in the centre of the baray. As usual Preah Khan is oriented toward the east, so this was the main entrance, but there are others at each of the cardinal points. Each entrance has a causeway over the moat with nāga-carrying devas and asuras similar to those at Angkor Thom; Glaize considered this an indication that the city element of Preah Khan was more significant than those of Ta Prohm or Banteay Kdei.
Halfway along the path leading to the third enclosure, on the north side, is a House of Fire (or Dharmasala) similar to Ta Prohm's. The remainder of the fourth enclosure, now forested, was originally occupied by the city; as this was built of perishable materials it has not survived. The third enclosure wall is 200 by 175 metres. In front of the third gopura is a cruciform terrace. The gopura itself is on a large scale, with three towers in the centre and two flanking pavilions. Between the southern two towers were two celebrated silk-cotton trees, of which Glaize wrote, "resting on the vault itself of the gallery, [they] frame its openings and brace the stones in substitute for pillars in a caprice of nature that is as fantastic as it is perilous." One of the trees is now dead, although the roots have been left in place. The trees may need to be removed to prevent their damaging the structure. On the far side of the temple, the third western gopura has pediments of a chess game and the Battle of Lanka, and two guardian dvarapalas to the west.
West of the third eastern gopura, on the main axis is a Hall of Dancers. The walls are decorated with apsaras; Buddha images in niches above them were destroyed in the anti-Buddhist reaction under Jayavarman VIII. North of the Hall of Dancers is a two-storeyed structure with round columns. No other examples of this form survive at Angkor, although there are traces of similar buildings at Ta Prohm and Banteay Kdei. Freeman and Jacques speculate that this may have been a granary. Occupying the rest of the third enclosure are ponds (now dry) in each corner, and satellite temples to the north, south and west. While the main temple was Buddhist, these three are dedicated to Shiva, previous kings and queens, and Vishnu respectively. They are notable chiefly for their pediments: on the northern temple, Vishnu reclining to the west and the Hindu trinity of Vishnu, Shiva and Brahma to the east; on the western temple, Krishna raising Mount Govardhana to the west.
Connecting the Hall of Dancers and the wall of the second enclosure is a courtyard containing two libraries. The second eastern gopura projects into this courtyard; it is one of the few Angkorian gopuras with significant internal decoration, with garudas on the corners of the cornices. Buddha images on the columns were changed into hermits under Jayavarman VIII.
Between the second enclosure wall (85 by 76 m) and the first enclosure wall (62 by 55 m) on the eastern side is a row of later additions which impede access and hide some of the original decoration. The first enclosure is, as Glaize said, similarly, "choked with more or less ruined buildings". The enclosure is divided into four parts by a cruciform gallery, each part almost filled by these later irregular additions. The walls of this gallery, and the interior of the central sanctuary, are covered with holes for the fixing of bronze plates which would originally have covered them and the outside of the sanctuary - 1500 tonnes was used to decorate the whole temple. At the centre of the temple, in place of the original statue of Lokesvara, is a stupa built several centuries after the temple's initial construction.
MICROBIAL DEGRADATION
Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan.
William Bell, 1824-5. A rectangular-plan Classical preaching-box church. Cream sandstone with polished ashlar front, coursed and squared rubble to rear and sides. Base course; segmental-arched windows at ground floor; gallery windows round-arched. Pilasters and pediment add to the Classical features of this attractive, understated and well proportioned building.
All the rectangular Takara Blythe glasses I have, I'm not sure if any other dolls or outfit sets came with this style (?).
orange with brown lenses: Art Attack, 2004.
brown with brown lenses: Inspired by Pinafore Purple, 2005.
the others came with the "Cool Shade" accessories sets, released in June 2005:
white from the "white & gray" set.
red from the "red & gold" set.
& navy from the "navy & pink" set.
The Grade I Listed Carew Castle, a Norman Rectangular castle with Elizabethan Ranges alongside the Carew River in Pembrokeshire, South Wales.
The Carew family take their name from the place, and still own the castle, although it is leased to the Pembrokeshire Coast National Park, which administers the site.
The use of the site for military purposes extends back at least 2000 years. The castle stands on a limestone bluff overlooking the Carew inlet — a part of the tidal estuary that makes up Milford Haven. The site must have been recognised as strategically useful from the earliest times, and recent excavations in the outer ward have discovered multiple defensive walls of an Iron Age fort.
The Norman castle has its origins in a stone keep built by Gerald de Windsor around the year 1100. Gerald was made castellan of Pembroke Castle by Arnulf of Montgomery in the first Norman invasion of Pembrokeshire.
Gerald's son William took the name "de Carew", and in the middle of the 12th century created an enclosure with stone walls incorporating the original keep, and a "Great Hall" inside it.
The de Carews fell on hard times in the post-Black Death period and mortgaged the castle. It fell into the hands of Rhys ap Thomas, who made his fortune by strategically changing sides and backing Henry Tudor just before the battle of Bosworth.
Rhys's grandson Rhys ap Gruffudd fell out of favour and was executed by Henry VIII for treason in 1531. The castle thus reverted to the crown and was leased to various tenants. In 1558 it was acquired by Sir John Perrot, a Lord Deputy of Ireland, who completed the final substantial modifications the castle.
Perrot subsequently fell out of favour and died imprisoned in the Tower of London in 1592. The castle reverted to the crown and was finally re-purchased by the de Carew family in 1607. In the Civil War, the castle was refortified by Royalists although south Pembrokeshire was strongly Parliamentarian. At the Restoration the castle was returned to the de Carews, who continued to occupy the eastern wing until 1686. The castle was then abandoned and allowed to decay.
Information Source:
"The Michigan Central Railroad Depot is a massive, two-and-one-half story rectangular Richardsonian Romanesque structure. Walls of variegated stone are topped by a gable-on-hip-roof broken by various parapeted cross-gables and eyelid dormers. One end of the building features cross-gables and a hip-roofed square tower. The entrance facade includes a central, projecting gabled bay with a large horseshoe shaped doorway. Two similarly designed but smaller outbuildings are located nearby."
"The Ann Arbor Michigan Central Depot was the most important passenger station for the Michigan Central Railroad along the route connecting Detroit and Chicago. Constructed in 1886 from plans by one of Detroit's premier architectural firms, Spier and Rohns, the depot was considered to be the Michigan Central's finest station between Buffalo and Chicago. Currently a restaurant named the Gandy Dancer, the building has undergone few alterations and is well maintained." (Source: Michigan Historical Center, State Historic Preservation Office website.)
Built in 1886, and conceived by Frederick Spier, the design of this granite block building was influenced by the great American architect Henry Hobson Richardson. The massive arch and two-foot thick walls are balanced by the simple, precise detailing. Carefully preserved, this depot is a symbol of the elegance and vitality of nineteenth century rail transportation. (Source: Historic marker at site.)
The photograph was taken in 1994. To view a 2016 photograph of the depot go to: www.flickr.com/gp/23711298@N07/tqpMF9
The building is on the National Register of Historic Places.
AUGUSTUS. 27 BC-14 AD. AR Denarius (19mm, 3.56 gm, 7h). Lugdunum (Lyon) mint. Struck 15-13 BC. AVGVSTVS DIVI. F, bare head right; c/m: IMP. VES ligate within rectangular incuse in left field / IMP. X in exergue, bull butting right. RIC I 167a; BMCRE 451; RSC 137; for c/m: Howgego 839.
See BMCRE vol. II, pg. xvii where it is mentioned that the countermark is found on denarii from about 120 BC to those struck under Augustus. The countermark on this issue indicates the continued use of older coins in circulation and the occasional need to identify them as acceptable media of exchange. According to Howgego, this countermark was applied at Ephesus between 1 January 74 and 23 June 79 AD. cngcoins.com
The Grade I Listed Carew Castle, a Norman Rectangular castle with Elizabethan Ranges alongside the Carew River in Pembrokeshire, South Wales.
The Carew family take their name from the place, and still own the castle, although it is leased to the Pembrokeshire Coast National Park, which administers the site.
The use of the site for military purposes extends back at least 2000 years. The castle stands on a limestone bluff overlooking the Carew inlet — a part of the tidal estuary that makes up Milford Haven. The site must have been recognised as strategically useful from the earliest times, and recent excavations in the outer ward have discovered multiple defensive walls of an Iron Age fort.
The Norman castle has its origins in a stone keep built by Gerald de Windsor around the year 1100. Gerald was made castellan of Pembroke Castle by Arnulf of Montgomery in the first Norman invasion of Pembrokeshire.
Gerald's son William took the name "de Carew", and in the middle of the 12th century created an enclosure with stone walls incorporating the original keep, and a "Great Hall" inside it.
The de Carews fell on hard times in the post-Black Death period and mortgaged the castle. It fell into the hands of Rhys ap Thomas, who made his fortune by strategically changing sides and backing Henry Tudor just before the battle of Bosworth.
Rhys's grandson Rhys ap Gruffudd fell out of favour and was executed by Henry VIII for treason in 1531. The castle thus reverted to the crown and was leased to various tenants. In 1558 it was acquired by Sir John Perrot, a Lord Deputy of Ireland, who completed the final substantial modifications the castle.
Perrot subsequently fell out of favour and died imprisoned in the Tower of London in 1592. The castle reverted to the crown and was finally re-purchased by the de Carew family in 1607. In the Civil War, the castle was refortified by Royalists although south Pembrokeshire was strongly Parliamentarian. At the Restoration the castle was returned to the de Carews, who continued to occupy the eastern wing until 1686. The castle was then abandoned and allowed to decay.
Information Source:
Goats and sheep have the strangest rectangular pupils in their eyes and this spring lamb is no exception. It's a bit unnerving when one looks you straight in the eye. I had no idea why but apparently, they have much winder peripheral vision then creatures with round pupils. That's handy, I suppose, when you are the one on the menu for any predators lurking nearby.
Beech rectangular stone hearth pizza oven installed in the Movenpick IBN Battuta Gate Dubai. For more information on stone hearth ovens visit our website!
Lipper International Child’s Rectangular Table and 2-Chair Set, Pecan via Smart Furniture Shop ift.tt/1vnC73a
Description
Freestanding double-height Roman Catholic cathedral, dated 1808. Five-stage tower at front (west) elevation erected c. 1860. Originally built on a rectangular plan with extension c. 1960 adding square-plan sanctuary tower to east elevation by J.R. Boyd Barrett, creating a loose T-plan with five-bay nave and three-bay chancel to east. Polygonal lady's chapel to north-west having conical roof. Gable-fronted entrance porch and flat-roofed porch, side chapel and sacristy to south-east. Pitched slate roofs with terracotta ridge tiles, pinnacles to corners of towers, and profiled metal rainwater goods. Flat-roof to 1960s sacristy, sanctuary tower and porch to side (south) elevation. Limestone corbelled eaves course at south elevation. Coursed rubble sandstone walls to western tower with stepped chamfered ashlar limestone plinth course, dressed limestone string courses to each stage, dressed limestone quoins, stepped corner buttresses, clustered crocketed pinnacles and terminating in open-work parapet. Gabled stepped buttresses between bays to south elevation of nave. Squared-and-snecked sandstone walling to lady's chapel with ashlar limestone plinth course. Pre-cast concrete and faced stone walling to 1960s extensions, having concrete dressings and gabled buttresses separating bays. Ashlar limestone to porch, side chapel and sacristy to south-east. Pointed arch window opening at front tower having block-and-start limestone surround, dressed limestone hood moulding, red brick relieving arch, perpendicular tracery windows with recent leaded stained glass above blind quatrefoil panels. Paired pointed arch openings at tower top stage having louvered lights in crocketed pinnacled surround. Pointed arch window openings to nave and lady's chapel in dressed limestone block-and-start surrounds with splayed sills and limestone traceried leaded lights. Pointed arch windows to east tower in block-and-start surrounds with hood moulding and triple lancet windows. Paired lancet windows south-east chapel under dressed limestone hood mouldings with splayed sills and leaded lights. Square-headed openings to first and ground floors of south-east sacristy with casement windows. Entrance to west elevation comprising pedimented crocketed carved limestone surround with finial to apex and figural label stops over roll-moulded pointed arch surround with engaged columns, carved heraldic plaque to tympanum with bishop's insignia. Accessed by flight of limestone steps. Pointed arch openings to south elevation holding timber sheeted double doors. Interior, re-ordered 1996 by architect Richard Hurley comprises nave with pointed arch arcade, original fan-vaulted ceiling carried on clustered colonnettes forming pointed arch openings to side aisles. Timber parquet nave floor, 1996. Original fan-vaulted ceiling carried on clustered colonnettes forming pointed arch openings to side aisles. Sunken baptistery area to west holding early marble font. Choir at west end having timber wainscoting, 1996. Pointed arch openings to side chapels at east having rib vaulting. Marble dais to altar and Irish oak reredos, 1996. Original marble reredos at transept, south elevation. Cathedral is located on a corner site and enclosed from roads by limestone plinth walls supporting cast-iron railings. Square-profile gate piers comprising vehicular and pedestrian gates with gabled caps with carved trefoils to gable apex, trefoil-headed recessed panels, chamfered plinths and wrought-iron gates. Principal entrance with entrance piers west elevation.
Appraisal
The Cathedral of St Mary and St Anne, commonly known as the North Cathedral, is an architectural palimpsest. The remains of the early nineteenth century cathedral (architect unknown) have been retained and adapted, first after the fire which devastated the building in 1820, to designs by George Pain, later in the 1860s with the western tower and great western door designed by Sir John Benson, while the sacristy and baptistry were added by Samuel Hynes, and during two phases of the twentieth century, including the chancel rebuilding in 1964 by Boyd Barrett. In the 1960s the building was extended by 70 feet and the new sanctuary tower of 80 feet in height was added and the sanctuary re-arranged. In the late 1990s the building was repaired and restored by architects Richard Hurley & Associates. The sculptures by John Hogan and altar and ambo by Tom Glendon add to its artistic significance.
Source: National Inventory of Architectural Heritage
Taken with an Ilford Ilfomatic Super 100 camera in week 344 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
Klick 100XD film (expired 1990) developed in the Rollei C41 kit.
Textured rectangular sterling silver pendant with carnelian and onyx representing the sea shore with stones on the beach. Handmade and Hallmarked
Capella de planta rectangular, amb absis orientat a llevant, recte. La teulada és a dues vessants, amb teula àrab, que cobreix la volta, constituïda a partir d'arcs torals amb voltes nervades, mentre que els arcs formers, els laterals, són de mig punt. El campanar és d'espadanya, amb un sol ull, situat sobre el frontis; està fet de maó i actualment no té campana. La porta d'entrada és d'arc escarser, amb pedra treballada; amb la data 1782. A sobre, l'escut nobiliari del comtat d'Olzinelles, concedit pel papa Lleó XIII el 1883, a Hermenegild d'Olzinelles i de Tos, propietari de la hisenda de Can Ravella. L'escut és de tipus quadrilong francès, timbrat per una corona comtal. Dins el seu camper, tres alzines, la del mig més baixa a sobre d'aquest. Centrant la façana hi ha una finestra d'ull de bou.
L'interior de la nau és senzill; destaca, però el retaule barroc de l'altar major, dedicat a Sant Sebastià. La capella és panteó de la família Ravella, ara Camps. La capella es troba adossada als habitatges del nucli de Can Ravella. Tant la capella com les cases han estat pintades uniformement.
Observacions: L'advocació històrica de la capella és la de Sant Esteve. Així consta a tota la documentació eclesiàstica. No hi ha cap constància documental de l'advocació a Sant Sebastià, fet estrany si tenim en compte que els canvis d'advocació requereixen de l'aprovació del bisbat. Segons Mn. Raventós, el fet que el nom de Sant Sebastià hagi esdevingut popular entre els veïns a l'actualitat es deu a la circumstància que després de la Guerra Civil el marquès de Camps va decidir crear una festivitat pròpia per al nucli de Can Ravella. El patró triat per a aquesta festivitat fou Sant Sebastià. Es va fer una imatge del sant que actualment es conserva a la casa de Can Ravella, i que es porta a la capella el dia de Sant Sebastià.
Abans Capella de Sant Esteve de Can Ravella. Va ser utilitzada pels veïns d'Ordal com a església parroquial fins a la construcció, a inicis del segle XX, de la nova església de Sant Esteve d'Ordal. L'actual capella és del segle XVIII, però la construcció de la primitiva capella sota l'advocació del protomàrtir Sant Esteve, és molt més antiga ja que s'esmenta per primer cop l'any 1414, en que fou visitada pel bisbe Francesc Climent Saperes.
Trobem notícia sobre els seus orígens en el document de sol·licitud que realitza Hermenegildo de Olzinellas y de Thos y de Ravella, Compte de Ozinellas, al Bisbat de Barcelona: " ... Que estando proximo a terminarse las obras de restauración de la Yglesia de San Esteban de Ordal (Subirats), que como patrono de la misma y con correspondiente autorización viene costeando para ponerla en condiciones de seguridad, buen aspecto y holgura que el divino culto requiere, y deseando que consten algunos datos que sobre dicho Patronato se conservan en el archivo de Casa Ravella, con todo el respeto debido a S. Exc. Ilma. Solicita le faculte para colocar sobre la puerta de la Sacristia una pequeña lápida con el texto siguiente: Se ignora quien fue el primer Ravella que edificó esta Yglesia, sólo consta que en 1100 fue enterrada aquí Montserrate Ravella, en 1520 fue reedificada, en 1782 fue restaurada después de ser incendiada por los franceses. Todo por los Ravellas, señores de San Esteban de Ordal. En 1903 ha sido restaurada por D. Hermenegildo de Olzinellas y Thos y de Ravella, conde de Olzinellas. Gracia que espera alcanzar de S.E.I. - Barcelona, 3 de febrero de 1902.- El conde de Olzinellas. A su Eminencia Ilustrísima, el Cardenal Casañas." (RAVENTÓS, 2003). Un altre document, escrit per Mn. Isidre Solsona, que hi va viure a la casa del capellà entre els anys 1882 i 1924 aporta també informació del suposat origen: "... Crec, i amb fonament, que l'Església primitiva, que era molt petita, va ser edificada a l'any 1520. Dic això perquè hi havia una de les pedres del costat de la sagristia amb la següent inscripció INRI - 1588. (RAVENTÓS, 2003). Al segle XVII, Sant Esteve d'Ordal era sufragània de Sant Pau d'Ordal. L'any 1657 es documenta una llicència del vicari general a Antoni Ravella i la seva família, de la parròquia de Sant Pau d'Ordal, per a fer sepultura a l'església de Sant Esteve d'Ordal. L'any 1782 l'antiga capella es va enderrocar i es començà a construir la nova, més alta i gran seguint el testament del senyor Antoni Ravella i sota la direcció del mestre de cases Rafael Garito. El 12 de maig de 1810 es tornà a beneir la capella de Sant Esteve, ja que l'exèrcit francès l'havia utilitzat com a estable durant la Guerra del Francès. El dia de Sant Esteve de 1816 fou beneïda una nova imatge de Sant Esteve, la qual fou col·locada a l'altar major de la capella. Durant molts anys es va anar demanant una parròquia per al poble d'Ordal, des de l'any 1816, en què el senyor Antoni Ravella i Busquets va dirigir la primera petició al bisbe, fins al 15 de maig de 1843, en què el regidor de Sant Pau d'Ordal, Pau Guilera, juntament amb alguns propietaris i altres veïns exposaren al bisbe que, pel bé espiritual de la parròquia, el senyor rector havia de celebrar dues misses a Sant Pau d'Ordal i busqués una solució per a la quadra d'Ordal. El bisbe proposà al Comte d'Olzinelles que busqués un mossèn per dir les misses i va elegir al pare Josep, trinitari exclaustrat, qui amb gran zel tingué cura de la capella d'Ordal. L'any 1867, el senyor bisbe Pantaleó de Montserrat, a causa d'una nova reorganització parroquial al bisbat, signà i decretà l'erecció de la tinença parroquial de Sant Esteve d'Ordal. La categoria canònica de parròquia no li va ser atorgada fins a la publicació al butlletí del Bisbat el dia 18 de gener de 1964.
@ www.fattoriadipetrognano.com/
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History / Storia:
Petrognano draws its origins from the Gens Petronia as if to say "Gentis Petroniae Fundus", as in the Val di Sieve there are two other places of the same name: Petrognano di San Gaudenzio and Petrognano di Borgo San Lorenzo. The Petrognano Farm is located in the Val di Sieve, 35 km from Florence in the Pomino Doc area and covers an area of 250 hectares with landscapes and crops characteristic of ancient Tuscan agriculture. // Petrognano trae le sue origini dalla Gens Petronia come a dire “Gentis Petroniae Fundus”, in quanto nella Val di Sieve esistono altre due località omonime: Petrognano di San Gaudenzio e Petrognano di Borgo San Lorenzo. La Fattoria di Petrognano si trova nella Val di Sieve a soli 35 km da Firenze nella zona del Pomino Doc e si estende su una superficie di 250 ettari con paesaggi e colture caratteristici dell’antica agricoltura toscana.
Via di Petrognano divides the two nuclei, noble and agricultural, of the rural settlement of Petrognano in two, consisting of several buildings. The actual villa, formerly owned by the Donati and Borromei families and today by the Gambaro counts, dates back to the 17th century, and has a rectangular plan, facing west on an English lawn, and to the east on two panoramic terraces, one of which it houses an Italian garden . The garden houses a couple of fountains with statues and masks, and a shed that was once perhaps a noble chapel.
On the other side of the road is the farm, which made up a rural village in which there was a public fountain (still existing and functional), a wash house, an oil mill, a cellar and other housing and working complexes for the peasants. // La via di Petrognano divide in due i due nuclei, signorile e agricolo, dell'insediamento rurale di Petrognano, composto da più corpi di fabbrica. La villa vera e propria, già delle famiglie Donati e Borromei e oggi dei conti Gambaro, risale al XVII secolo, ed ha una pianta rettangolare, affacciata a ovest su un prato all'inglese, e ad est su due terrazze panoramiche, una delle quali ospita un giardino all'italiana. Il giardino ospita un paio di fontane con statue e mascheroni, e una rimessa che un tempo fu forse cappella gentilizia.
Sull'altro lato della strada si trova la fattoria, che componeva un borgo rurale in cui si trovava un fontana pubblica (tutt'ora esistente e funzionale), un lavatoio, un frantoio, una cantina e altri complessi abitativi e lavorativi per i contadini.
774 A.D. The first certain news of Petrognano dates back to the Lombard period. Giovanni Lami in his work “Monumenta Sanctae Ecclesiae Florentinae” wrote that in 774 Charlemagne assigned churches, castles and courts to the Badia di Nonantola in the Modena area and among these the Court of Petrognano. // Le prime notizie certe di Petrognano risalgono all’epoca longobarda. Giovanni Lami nella sua opera “Monumenta Sanctae Ecclesiae Florentinae” scriveva che nel 774 Carlo Magno assegnò chiese, castelli e corti alla Badia di Nonantola nel modenese e tra queste la Corte di Petrognano.
1046 A.D. The oldest part of the Villa di Petrognano dates back to the year one thousand, born as a watchtower of the valley, built in stone blocks. In 1046 the Benedictine Abbey of San Miniato al Monte, which at the time was part of the Diocese of Lucca, was patron saint of Petrognano. // La parte più antica della Villa di Petrognano risale all’anno mille nata come torre di guardia della vallata, costruita in blocchi di pietra. Nel 1046 risulta patrona di Petrognano la Badia Benedettina di San Miniato al Monte che all’epoca faceva parte della Diocesi di Lucca.
1286 A.D. The Petrognano Farm was passed to the Diocese of Florence and subsequently to that of Fiesole, as evidenced by the documents of the Bishop's Curia of Fiesole. The Villa di Petrognano was a stately home of the bishop's canteen of Fiesole and was cited several times for the excellence of its wines. // La Fattoria di Petrognano passò alla Diocesi di Firenze e successivamente a quella di Fiesole, come testimoniano i documenti della Curia Vescovile di Fiesole. La Villa di Petrognano era una casa signorile della mensa vescovile di Fiesole e citata più volte per l’eccellenza dei suoi vini.
1677 A.D. Due to its splendid position in the valley and the particularly mild climate, the Villa di Petrognano became the summer residence of the Bishops of Fiesole. The villa was enlarged in at least two periods: between 1677-1689 by Cardinal Filippo Neri Altoviti, and by Bishop Ranieri Mancini in 1703. // Per la sua splendida posizione nella vallata ed il clima particolarmente mite la Villa di Petrognano divenne residenza estiva dei Vescovi di Fiesole. La villa venne ampliata in almeno due momenti: tra il 1677-1689 dal Cardinale Filippo Neri Altoviti e dal Vescovo Ranieri Mancini nel 1703.
1866 A.D. Petrognano was bought by the Budini Gattai family, great building contractors at the time Florence was the capital. They invested a large fortune by buying 17 farms in Tuscany and the Palazzo Grifoni in Piazza SS Annunziata in Florence. In the hall on the first floor or Petrognano, there is a frieze on which all the villas owned by the family are represented. // Petrognano fu acquistata dalla famiglia Budini Gattai, grandi imprenditori edili all’epoca di Firenze Capitale. Investirono un’ingente fortuna comprando 17 fattorie in Toscana ed il Palazzo Grifoni in piazza S.S. Annunziata a Firenze. Nel salone al primo piano corre un fregio su cui sono rappresentate tutte le ville possedute dalla famiglia.
1870 A.D. Massive state-of-the-art works commenced on the farm: New farmhouses, roads, aqueducts, a power plant with a hydraulic turbine and a large water storage were built. The villa was further enlarged and restored taking on its current appearance: a large cellar, the wine cellar, the orciaia, the mill, the oil mill and an immense terrace overlooking the valley were also built. // Nella fattoria vennero iniziati imponenti lavori all’avanguardia per quell’epoca. Furono costruite nuove case coloniche, strade, acquedotti, un impianto per lo sviluppo di energia elettrica con una turbina idraulica ed un grande deposito dell’acqua. La villa venne ampliata ulteriormente e restaurata assumendo l’aspetto attuale: venne costruita una grande cantina, la tinaia, l’orciaia, il mulino, il frantoio ed una immensa terrazza sulla vallata.
1930 A.D. Maria Francesca Budini Gattai married Count Enrico Galeotti Ottieri della Ciaja who had the church dedicated to St. Peter rebuilt in front of the farm. From their marriage, 5 daughters were born; Cecilia Galeotti Ottieri della Ciaja is the current owner and lives in the main villa with her 3 children. // Nel 1930 Maria Francesca Budini Gattai sposò il Conte Enrico Galeotti Ottieri della Ciaja che fece ricostruire la Chiesa dedicata a San Pietro di fronte alla fattoria. Dal loro matrimonio nacquero 5 figlie; Cecilia Galeotti Ottieri della Ciaja è l’attuale proprietaria e vive nella villa padronale insieme ai suoi 3 figli.
2000 A.D. By virtue of its history, architectural, artistic and environmental characteristics, in the year 2000 the Ministry for Cultural Heritage and Activities notified the Villa of Petrognano and its annexes worthy of protection. // In virtù della sua storia, delle caratteristiche architettoniche, artistiche ed ambientali, nell’anno 2000 il Ministero per i Beni e le Attività Culturali ha notificato la Villa di Petrognano ed i suoi annessi beni degni di tutela.
Babero en forma rectangular elaborado en toalla, con una franja bordada en punto de cruz. Se cierra con velcro. Tiene tela impermeable por detrás. Puede realizarse en diversas clases y colores de telas.
Small rectangular cardboard box, wrapped in white paper. White label fixed to top of box with black printed text, 'FLOWERS OF SULPHUR. C.S. ASHTON, & Co. Dispensing Chemists, 46, DYKE ROAD, BRIGHTON.' HA106968
A pressure balanced expansion joint accommodates axial and lateral movements and counteracts the bellows pressure thrust. An additional bellows is incorporated into the unit and is subject to the line pressure to generate a force equal and opposite to that on the main bellows. Tying these bellows together neutralizes the pressure load on the unit.
This rectangular cuboid of concrete doesn't look like much to the world. And believe me, it isn't. Still, this was my home until age six or seven. You see the other house in the background to the right? I remember when it was built some twenty years ago. I stood in the window and ate candy while the workers "played" with their cranes and explosives. Yeah, those things are really cool when you are five years old. Or at least I thought so.
Taken on the way up to Fan Gyhirych from Penwyllt!
Thanks to opobs, I have since been informed that this is the shed that housed the winding gear for the narrow gauge, incline tramway.
Rectangular Laminaria.
Pattern via Ravelry.
Knit on 4.0 and 4.5 mm addi circulars.
Yarn: Wollmeise sockyarn 100% in a "Versuchskaninchen" colorway (for Sabrina and Neptun).
Finished.
Soft.
Lovely.
Perfect.
♥
blogged: Tag am Meer
The Grade I Listed Carew Castle, a Norman Rectangular castle with Elizabethan Ranges alongside the Carew River in Pembrokeshire, South Wales.
The Carew family take their name from the place, and still own the castle, although it is leased to the Pembrokeshire Coast National Park, which administers the site.
The use of the site for military purposes extends back at least 2000 years. The castle stands on a limestone bluff overlooking the Carew inlet — a part of the tidal estuary that makes up Milford Haven. The site must have been recognised as strategically useful from the earliest times, and recent excavations in the outer ward have discovered multiple defensive walls of an Iron Age fort.
The Norman castle has its origins in a stone keep built by Gerald de Windsor around the year 1100. Gerald was made castellan of Pembroke Castle by Arnulf of Montgomery in the first Norman invasion of Pembrokeshire.
Gerald's son William took the name "de Carew", and in the middle of the 12th century created an enclosure with stone walls incorporating the original keep, and a "Great Hall" inside it.
The de Carews fell on hard times in the post-Black Death period and mortgaged the castle. It fell into the hands of Rhys ap Thomas, who made his fortune by strategically changing sides and backing Henry Tudor just before the battle of Bosworth.
Rhys's grandson Rhys ap Gruffudd fell out of favour and was executed by Henry VIII for treason in 1531. The castle thus reverted to the crown and was leased to various tenants. In 1558 it was acquired by Sir John Perrot, a Lord Deputy of Ireland, who completed the final substantial modifications the castle.
Perrot subsequently fell out of favour and died imprisoned in the Tower of London in 1592. The castle reverted to the crown and was finally re-purchased by the de Carew family in 1607. In the Civil War, the castle was refortified by Royalists although south Pembrokeshire was strongly Parliamentarian. At the Restoration the castle was returned to the de Carews, who continued to occupy the eastern wing until 1686. The castle was then abandoned and allowed to decay.
Information Source:
On the National Road, in Lisbon, Howard County, Maryland.
The Maryland Historic Trust Historic Sites Survey says the following:
The old Lisbon Hotel faces south on the north east corner of Route 144 and Wodbine Road. It is located on some four 1/4 acre lots, which now comprise .88 acres of ground. It is a three bay wide, two story high, gabled roof (running east-west) brick (laid in Flemish bond and English garden wall brick bond) house with central, rectangular, open bible and cross paneled door, surmounted by a four light transom, flanked by two rectangular shuttered windows.
Fenestration is rectangular, double-hung, vertically aligned and proportionally scaled, decorated with splayed brick, flat arched lintels. A very early two story high, two bay wide frame addition extends eastward from the east wall of the brick house. Its gabled roof (running east-west) is an extension of the brick structure's gabled roof. Along the entire five bay wide south facade of the brick house and its extension runs a two story high shed roofed open porch supported by six square posts with a wooden railing running around the perimeter of its second floor. The original second floor east bay window of the brick house was altered to hold a rectangular entrance on to the porch. An additional first floor entrance on this wall is located in the east bay of the frame addition.
The east elevation of the Lisbon Hotel's frame addition holds two first and second floor rectangular windows and two almost square attic windows. An open bible and cross paneled first floor entrance, located in the north bay, is surmounted by a three light transom. The gabled roof slopes downward on the north elevation to create a salt box effect.
An old wooden one and a half story high, two bay deep, gabled roof house (running north-south) is attached to the north wall of the brick house's west side by a two story high, one bay wide, one bay deep, shed roofed, brick connector. The connector's west wall holds a rectangular first floor entrance, decorated with a stretcher brick, flat arched lintel, which at one time was surmounted by a gabled roof portico, the outlines of which can be seen over the entrance, which has a brick stoop with north and south steps. A second floor, rectangular window rests north of the entrance.
The old frame building, reputed to be the oldest building in Lisbon, features a semi-octagonal first floor bay window crowned by a semi-conical roof on its west wall, a square brick chimney centered into its north wall, and a second tall brick chimney rising from the center of its east wall's gable roof.
The condition of the building is in a deteriorated state with the old frame structure on the north very close to ruins and its gabled roof already caved in. One of the most significant buildings historically. (Please see significance statement), it is hoped that the building will be renovated and restored by its owner or sold to someone who will appreciate its heritage.
8. SIGNIFICANCE
SPECIFIC DATES Circa 1804-05
The Old Lisbon Hotel is significant historically and architecturally.
Architecturally, it is noteworthy as one of five brick houses in the town of Lisbon, which was constructed in the early nineteenth century and with the development of the Baltimore-Frederick Turnpike became a rather grand hotel with its frame addition and two Story high front porch in the 1860's.
The stylistic detail of the old brick house is simple and straight forward, featuring a central, rectangular entrance, proportionally scaled and vertically aligned fenestration and apertures decorated with stretcher brick, flat arched lintels.
The brick building is connected to an older frame building on the north by a two story high hyphen with rectangular west entrance once covered by a gabled roof portico.
Historically this old frame building connected to the brick house is most significant, reputed to be the oldest dwelling in Lisbon, constructed by Caleb Pancoast, circa 1804-1805. It is Caleb Pancoast who laid out Lisbon in 1/4 acre lots, the first to conceptualize in his mind the village at Lisbon. This one story high frame house is presently in a shambles with its gabled roof almost totally deteriorated. It is not beyond the thought of restoration but is in need of immediate attention.
The brick section of the house facing south on Route 144 is significant historically as well as architecturally for with the advent of the railroad, Lisbon became a popular summer resort for a time and this once private home became the Lisbon Hotel, noted on the 1860 Martenet Map.
Not only is the old Lisbon Hotel historically and architecturally noteworthy but it is significant in the area of religion.
Caleb Pancoast was evidently a man of integrity and religious convictions, ecumenical in character, for upon the completion of his home, he invited the area residents to meet there for religious services of their choice until another church or meeting house could be provided. This house was used for such religious meetings until circa 1822 when the Freestone Church was built which was utilized by the Methodists, Episcopalians, the Brethren and any preacher of the gospel who received the approbation of the Board of Trustees.
The religious life of Lisbon was begun on an ecumenical note which we see now in the 20th century new town of Columbia at Interfaith Center which accommodates the Roman Catholics, a Jewish Synagogue, the Lutherans and the Baptists, all under one roof.
For these reasons the old Lisbon Hotel should be considered, along with the village of Lisbon, for recommendation to a National Historic Landmark District and for inclusion into the State Critical Areas Program.
Passenger railway station at terminus of Liverpool and Manchester Railway, now part of museum complex. 1830, by George Stephenson for the Liverpool and Manchester Railway Company, with attached house of 1808, formerly occupied by station agent; altered. Red brick, the booking offices faced with sandstone ashlar and stucco; hipped slate roofs. Rectangular plan parallel to street, with house to left and added range of former shops to right. Classical style. The BOOKING OFFICES, which back onto an embankment carrying the railway line at 1st floor level to the rear, have a 2-storey 4-bay facade (2:1:2:1 windows), symmetrical except for the 4th bay, with channelled rustication to the ground floor, panelled pilasters to the upper floor, a moulded cornice and high parapet with cornice and blocking course. The 2nd bay (the centre of the symmetrical portion, containing the entrance to the 1st Class booking hall) breaks forward slightly, has a large square-headed doorway with an architrave of coupled pilasters, moulded cornice and blocking course surmounted by a vase-pedestal sundial, and a recessed panelled door with rectangular overlight; and at 1st floor a tripartite sashed window with a cornice. The flanking bays have 15-pane sashed windows at ground floor flanked by wide segmental-headed tripartite sashed windows with glazing bars, and 12-pane sashes at 1st floor with moulded architraves. The 4th bay, containing the entrance to the 2nd Class booking hall, has a doorway at ground floor similar to the other but with single pilasters, and a 12-pane sash above like the others... HISTORY: oldest surviving passenger railway station in the world; ceased to handle passenger traffic in 1844 (when Hunt's Bank station was opened, now Victoria Station, q.v.), but continued in use as goods station until 1975. EH Listing
Moylough Castle is a rectangular keep or hall house dating from the first half of the thirteenth century, probably between 1235 – 1240. While detailed records are rare, two English landowners by the names of de Cotterals and de Cogeshales who in all probability may have built, or were tenants of the Castle. Around this time the area around Moylough was known as Ui Diarmada and had been ruled by the O’Concannons. Richard de Bermingham held the area during the invasion.
The Castle comprises of three stories built of local limestone rubble set in hard whitish lime mortar. Gravel from nearby esker ridges would have been used as the core. The walls are 2meters thick and rise to a height of 14 meters and strengthened by a base batter which is the outward slope on the wall which adds stability to the castle. It survives to roof level on three sides but the south west wall has now collapsed. The entrance is at first floor level and a timber stairs probably gave access to the door.
The ground floor was probably used for storage and maybe as servants’ quarters. Seven narrow vertical loop windows lit the room. The first floor is lighted by narrow windows with semi circular heads; the best preserved one on the North West wall. Their size indicates they were constructed for light rather than defensive purposes. No evidence of a stone stairs leading to the first floor survives but it can be assumed that the first floor was accessed by a timber ladder through a hole in the floor.
Strong timber beams built into the long side walls supported the timber floor overhead. The slots are still visible today. Holes for draw – bars are still evident, presumably to secure shutters. The second story had a timber floor also. A steep spiral stairs led to the wall walk and battlements. The roof would probably have been made of thatch or wooden shingles. Most doors had a single leaf and opened inwards, but on the north east wall is a recess which accommodated the door when fully opened.
Apunte a tinta china de un chozo de forma rectangular, paredes de piedra y con cubierta vegetal, para el trabajo que estamos realizando. Mi blog: lalomimar.blogspot.com.es/
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