View allAll Photos Tagged soffits
One last major project for the year involved adding new maintenance free fascia and soffits to the house. Having some handsome young construction workers doing the job was a side bonus!
Architect: Sam Stephenson, Stephenson Gibney & Associates, 1975-80. Showing soffit coffering and exterior steel trusses. At Dame Street, Dublin 2, Republic of Ireland.
Prague, NH City Hotel, refurbishment, architects BEHF, entrance hall with footbridges, EXYD-M for soffit of footbridges.
I've been thinking about taking Station Street for a while, but haven't got around to doing it. So while I was going around Birmingham New Street Station, I took these shots from Queens Drive, up above it (where the taxis are waiting).
On the left of Station Street is the Comfort Inn. Below is the Station Bar. Not so long ago it was a Holiday Inn Express.
It was built as the Market Hotel on the corner of Dudley Street and Station Street in 1883 by Plevins & Norrington. Warm orange brick with sandstone dressings and terracotta panels, a mixture of big bays and little curly pediments. Built as part-hotel, part-warehouse for H. E. Jordan, pram maker: his initials and Plevin's appear on terracotta plaques.
Above passage from Pevsner Architectural Guides: Birmingham by Andy Foster.
Also taken up from Queens Drive is The Old REP Theatre on Station Street.
According to Pevsner, The Old Rep Theatre is the best building on Station Street. It dates from 1912 - 13 by S N Cooke (the current theatre is on Broad Street in Centenary Square). Austere monumental-classic, fashionable for theatres cicra 1910. Giant Ionic pilasters, delicately detailed disappear into the tower-like end bays. Windows with heavy architraves and discs; Greek key and guilloche friezes. Semi-octagonal dormer like a lookout. Foyer and stairs have a heavy dado in brown and black marble contrasted with a delicate Doric entablature. Small auditorium with an extremely steep rake, because of the shallow site. Concave balcony with more Greek key on the soffit. Doric proscenium, austere and dramatic, with a huge frieze.
From Pevsner Architectural Guides: Birmingham by Andy Foster.
On the right is The Electric, one of the oldest cinema buildings in the UK
The Electric Cinema dates from 1909 by Bertie Crewe, rebuilt 1936 - 37 by Cecil E M Fillmore. Refronted in 1981 - 82 and again in 2004. Inside a 1937 staircase.
Again details from Pevsner.
Between The Old Rep and The Electric is a former wine merchant, now a restaurant if 1890 - 91 by J P Sharp & Co. A commerical mixture of pilasters, basket arches and upcurving Baroque cornice.
I think that it is a Chinese Restaurant.
Behind is the Beetham Tower and Centre City Tower.
[This is a series of 10 photos] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
H.T. Klugel Architectural Sheet Metal Works was established in Emporia,, Virginia in 1914 at the junction of two rail lines—the Atlantic Coast Line and the Southern Railroad. This location was to figure in the expansion of his business. Klugel, a tinsmith, was from Danville, Illinois, learning the trade from his father. His shop produced a variety of goods for local needs such as cornices, gutters, drain pipes, stove flues, marquees, decorative details, and others. A customer, who might need prefabricated pressed metal ceilings, he would have them select from catalogs. They would arrive by rail, facilitating his installation of items for his customers. His business supplied contractors all over southeastern Virginia. The sheet metal façade of his own shop became an advertisement for his goods and skills, displaying a variety of metal ornaments such as swags, circles, geometric patterns and lions’ heads. The structure is a unique example of a decorative sheet metal façade for a store, and it was all produced in Emporia. Ads were painted on the brick sides of the building. The building is styled as Edwardian Classicism in the nomination form for the National Register of Historic Places. As an architectural viewing amateur, I’m not certain what this is, even after reading about it. The building was added to the Register April 2, 1973 with identification #73002208. The nomination form is available at the Virginia Department of Historic Resources
www.dhr.virginia.gov/registers/Cities/Emporia/109-0005_Kl...
As a factory for tin goods, the building was intended to be utilitarian. Originally ell-shaped, a cinderblock addition has made the structure rectangular. The flat-roofed building with parapets on the sides is made of American bond brick, which is not visible viewing only the front façade. A color combination of silver and black is used throughout the façade ornamentation. At the top of the front façade is a pediment mounted on two short pedestals, each flanked by volutes. Inside the pediment is floral ornamentation. Beneath the pediment a panel shows what I call a sun-burst motif (the nomination form refers to this a part of a patera—( www.decorartsnow.com/2013/05/28/design-dictionary-patera-... ). Another pedestal is above the pediment and is topped by a finial in the shape of an onion dome. Below the pediment is an inscription within panels of various sizes—1902 H. T. Klugel 1914”. To each side of this inscription is a balustrade with two pedestals topped by small onion dome finials. The cornice just below has dentils and modillions or brackets. The horizontal second level with a geometric sheet metal design has three distinct areas: the middle with the inscription “Architectural Sheet Metal Work” on the patterned background and flanked with roundels that show keystone motifs; the right section shows a raised panel with the words “Skylights” and the left shows a raised panel with the writing “Cornices”. Below each of these latter two sections are swags of flowers and drapery. The first level contains two arched entrances both with soffit and with double doors; the central entrance is recessed. Just above the arch of the center door is a keystone. On either side of the main entrance are figures of lion’s heads with floral decoration; a pattern of circles is below each of the lion’s heads. The windows are arched as well and contain fan tracery.
For a fascinating read on ornamental architectural materials, check out the following:
The area around St Paul's Cathedral in the City of London.
This is Temple Bar in the City of London. It was barriered off, and had a high Police presence.
It's Grade I listed.
627/1/10282 ST PAUL'S CHURCHYARD
15-JUN-10 (North side)
Temple Bar
I
Temple Bar, former west gate into the City of London, built 1670-72, by Joshua Marshall and Thomas Knight, with possible involvement of Christopher Wren. C17 statuary by John Bushnell. Restored by architects Freeland Rees Roberts.
MATERIALS: White Portland stone with brick and rubble core.
EXTERIOR: Triple gate with a central segmental carriageway flanked by two semi-circular pedestrian arches, all with ribbed soffits and moulded springers. The two facades of the Bar are identical, having two orders of shallow pilasters: the lower story rusticated Tuscan without an entablature; the upper storey Corinthian with moulded architrave, plain frieze, egg and dart mouldings and dentil and astragal cornice. Lower storey of plain rustication with elongated voussoirs and a scroll-shaped keystone to the central arch, plain keystones to the pedestrian arches. Its simplicity contrasts with the upper storey which is more lavish in ornamental detail. The pilasters create three bays and within the centre bay is a round-headed window, with lugged surround and cartouche bearing oval shield of the cross of St George on the N and the royal arms on the S, the latter bearing the motto of the Order of the Garter: 'Honi soit qui mal y pense', which translated as 'shame on him who thinks evil of it'. In the outer bays there are niches above plain cartouches, containing statues of James I and a Queen on the north and Charles I and Charles II on the south by John Bushnell. The upper storey is surmounted by a segmental pediment with egg and dart mouldings and dentil and astragal cornice and is decorated with a plain tablet surrounded by garlands and flanked by cornucopiae. Above the pedestrian arches, the upper storey is framed by two flamboyant volutes in the manner of a Baroque church façade. Next to these are statues of beasts, two griffins on the north and a lion and a unicorn on the south.
The restored gates, with iron furniture to the north, are from Theobalds Park and date from the time of the Bar's installation in Hertfordshire. Statues of the four beasts on the parapet are new sculptures by Tim Crawley from Fairhaven of Anglesey Abbey. Despite these alterations and repairs approximately 95% of the structure is original.
Although it appears to be joined to Juxon House and Paternoster Lodge, Temple Bar is largely free standing, although two high-tensile steel bars knit the Bar and the adjoining structures together. A modern bridge from Paternoster Lodge to the east, suspended above the parapet roof and hidden behind the parapet, provides access to the upper chamber. Neither Juxon House nor Paternoster Lodge is included in the listing.
INTERIOR: Modern door in east elevation and single internal space with modern floor, ceiling, and fittings. Lit by four windows, one in each elevation. North and south windows with leaded fanlights; east and west are oculi. The interior and fenestration of the upper chamber are entirely new, although reusing the historical walls and openings. First floor chamber accessed from Paternoster Lodge to the east, via a modern bridge above the flat leaded eastern roof.
HISTORY: Temple Bar was built in 1670-72 at the junction of Fleet Street and the Strand, the official boundary between the City of London and the City of Westminster. It replaced earlier structures on the site.
The first recording of a barrier at the site was in c.1183, taking its name from the adjacent C12 preceptory of the Knights Templar. By the mid-C16 this older gate was causing traffic problems and the structure was falling into disrepair, though it was not until 1670-72 that the wooden structure was replaced by the current Temple Bar.
In 1662, a road widening act was passed and plans for a new Temple Bar advanced, although the City of London would not commit to the work on the grounds of expense and perhaps a suspicion of the King's motives. When Charles offered £1,500 towards the rebuilding and demanded explanations from the Mayor as to the procrastination, the City had no choice but to oblige the monarch.
The design of Temple Bar has traditionally been attributed to Sir Christopher Wren, who was appointed Surveyor to the King's Works in 1668 or 1669 and had overarching responsibility for all royal building projects. The Bar and its statuary would have been one of the first glimpses for the general London public of the new continental Baroque idiom.
The Temple Bar served an important ceremonial function given its unique position on the boundary between the City and Westminster. Monarchs would pause here to request permission to enter the City receiving in turn the Sword of State from the Lord Mayor as a symbol of the City's loyalty. Iron spikes atop the Bar were used to display the heads or quarters of traitors, for the last time following the Jacobite uprising of 1745, leading to the Bar's poplar nickname 'City Golgotha'. New gates were hung for Nelson's funeral in 1806 and the Bar was draped in black for Wellington's funeral in 1852.
Calls for the demolition of Temple Bar began as early as 1766. In the 1860s proposals for new law courts on the Strand, coupled with structural cracks, led to plans to demolish. The demolition, executed in January 1878 by workmen from Messrs Mowlem, Burt and Co, was carefully done with each stone individually numbered and then all removed to a storage yard in Farringdon.
In 1887 Sir Henry Bruce Meux bought and transported the stones to his estate in Hertfordshire at a cost in excess of £10,000. The reconstruction of Temple Bar in 1888 was part of a wider scheme of aggrandisement of the house and park. Modifications were made to the structure including the addition of a lodge to its south-east corner and a buttress to the west to support the Bar, as well as a staircase to provide access to the upper chamber, which was to be used for dining and entertaining.
Its condition rapidly deteriorated prompting discussions as to its future. Since the early 1950s schemes to bring the Bar back to London have been mooted, and in 1976 the Temple Bar Trust was established to pursue this goal. In 1999 a planning application to remove Temple Bar to the new Paternoster Square development near St Paul's Cathedral was granted, subject to conditions relating to recording and reinstatement, and work was completed in 2004. The structure was formerly a scheduled monument.
SOURCES: Kerry Downes, The Architecture of Wren (Reading, 1988) p.124
Wren Society Vol 19 (Oxford, 1942)
Emily Mann, The Gates of London in the Seventeenth Century (unpublished MA thesis, Courtauld Institute of Art, 2003)
David Robinson, Temple Bar: the History, Architecture and Fabric of a Celebrated London Monument, (unpublished English Heritage Report)
John Harris and Gordon Higgott, Inigo Jones: complete architectural drawings (London, 1989) pp. 168-169 and pp. 251-253.
Simon Bradley and Nicholas Pevsner, The Buildings of England London 1: The City of London (London, 1997) pp. 495-6.
Oxford Archaeology, The Temple Bar Hertfordshire: Report on the archaeological investigation of Temple Bar during its dismantling. (Unpublished report, 2005)
Transcripts of manuscripts in the Corporation of London Records Office.
REASON FOR DESIGNATION: Temple Bar is designated at Grade I, for the following principal reasons:
* Unique public structure of the C17 connected with Britain's most famous architect, Sir Christopher Wren.
* Utmost historic significance as the old boundary gate between the City of London and the City of Westminster. It has strong ceremonial associations and served as a backdrop to pageantry and punishment rituals from 1672 to 1878.
* Architecturally, it is a notable example of a public monument in the proto-Baroque manner embellished with sculpture by the eminent sculptor, John Bushnell.
* Temple Bar is now the only surviving City of London gateway.
* Interesting history of its relocation to Hertfordshire and subsequent return to the capital.
* Considerable group value with Wren's St Paul's Cathedral.
Source: English Heritage
The area around St Paul's Cathedral in the City of London.
This is Temple Bar in the City of London. It was barriered off, and had a high Police presence.
It's Grade I listed.
627/1/10282 ST PAUL'S CHURCHYARD
15-JUN-10 (North side)
Temple Bar
I
Temple Bar, former west gate into the City of London, built 1670-72, by Joshua Marshall and Thomas Knight, with possible involvement of Christopher Wren. C17 statuary by John Bushnell. Restored by architects Freeland Rees Roberts.
MATERIALS: White Portland stone with brick and rubble core.
EXTERIOR: Triple gate with a central segmental carriageway flanked by two semi-circular pedestrian arches, all with ribbed soffits and moulded springers. The two facades of the Bar are identical, having two orders of shallow pilasters: the lower story rusticated Tuscan without an entablature; the upper storey Corinthian with moulded architrave, plain frieze, egg and dart mouldings and dentil and astragal cornice. Lower storey of plain rustication with elongated voussoirs and a scroll-shaped keystone to the central arch, plain keystones to the pedestrian arches. Its simplicity contrasts with the upper storey which is more lavish in ornamental detail. The pilasters create three bays and within the centre bay is a round-headed window, with lugged surround and cartouche bearing oval shield of the cross of St George on the N and the royal arms on the S, the latter bearing the motto of the Order of the Garter: 'Honi soit qui mal y pense', which translated as 'shame on him who thinks evil of it'. In the outer bays there are niches above plain cartouches, containing statues of James I and a Queen on the north and Charles I and Charles II on the south by John Bushnell. The upper storey is surmounted by a segmental pediment with egg and dart mouldings and dentil and astragal cornice and is decorated with a plain tablet surrounded by garlands and flanked by cornucopiae. Above the pedestrian arches, the upper storey is framed by two flamboyant volutes in the manner of a Baroque church façade. Next to these are statues of beasts, two griffins on the north and a lion and a unicorn on the south.
The restored gates, with iron furniture to the north, are from Theobalds Park and date from the time of the Bar's installation in Hertfordshire. Statues of the four beasts on the parapet are new sculptures by Tim Crawley from Fairhaven of Anglesey Abbey. Despite these alterations and repairs approximately 95% of the structure is original.
Although it appears to be joined to Juxon House and Paternoster Lodge, Temple Bar is largely free standing, although two high-tensile steel bars knit the Bar and the adjoining structures together. A modern bridge from Paternoster Lodge to the east, suspended above the parapet roof and hidden behind the parapet, provides access to the upper chamber. Neither Juxon House nor Paternoster Lodge is included in the listing.
INTERIOR: Modern door in east elevation and single internal space with modern floor, ceiling, and fittings. Lit by four windows, one in each elevation. North and south windows with leaded fanlights; east and west are oculi. The interior and fenestration of the upper chamber are entirely new, although reusing the historical walls and openings. First floor chamber accessed from Paternoster Lodge to the east, via a modern bridge above the flat leaded eastern roof.
HISTORY: Temple Bar was built in 1670-72 at the junction of Fleet Street and the Strand, the official boundary between the City of London and the City of Westminster. It replaced earlier structures on the site.
The first recording of a barrier at the site was in c.1183, taking its name from the adjacent C12 preceptory of the Knights Templar. By the mid-C16 this older gate was causing traffic problems and the structure was falling into disrepair, though it was not until 1670-72 that the wooden structure was replaced by the current Temple Bar.
In 1662, a road widening act was passed and plans for a new Temple Bar advanced, although the City of London would not commit to the work on the grounds of expense and perhaps a suspicion of the King's motives. When Charles offered £1,500 towards the rebuilding and demanded explanations from the Mayor as to the procrastination, the City had no choice but to oblige the monarch.
The design of Temple Bar has traditionally been attributed to Sir Christopher Wren, who was appointed Surveyor to the King's Works in 1668 or 1669 and had overarching responsibility for all royal building projects. The Bar and its statuary would have been one of the first glimpses for the general London public of the new continental Baroque idiom.
The Temple Bar served an important ceremonial function given its unique position on the boundary between the City and Westminster. Monarchs would pause here to request permission to enter the City receiving in turn the Sword of State from the Lord Mayor as a symbol of the City's loyalty. Iron spikes atop the Bar were used to display the heads or quarters of traitors, for the last time following the Jacobite uprising of 1745, leading to the Bar's poplar nickname 'City Golgotha'. New gates were hung for Nelson's funeral in 1806 and the Bar was draped in black for Wellington's funeral in 1852.
Calls for the demolition of Temple Bar began as early as 1766. In the 1860s proposals for new law courts on the Strand, coupled with structural cracks, led to plans to demolish. The demolition, executed in January 1878 by workmen from Messrs Mowlem, Burt and Co, was carefully done with each stone individually numbered and then all removed to a storage yard in Farringdon.
In 1887 Sir Henry Bruce Meux bought and transported the stones to his estate in Hertfordshire at a cost in excess of £10,000. The reconstruction of Temple Bar in 1888 was part of a wider scheme of aggrandisement of the house and park. Modifications were made to the structure including the addition of a lodge to its south-east corner and a buttress to the west to support the Bar, as well as a staircase to provide access to the upper chamber, which was to be used for dining and entertaining.
Its condition rapidly deteriorated prompting discussions as to its future. Since the early 1950s schemes to bring the Bar back to London have been mooted, and in 1976 the Temple Bar Trust was established to pursue this goal. In 1999 a planning application to remove Temple Bar to the new Paternoster Square development near St Paul's Cathedral was granted, subject to conditions relating to recording and reinstatement, and work was completed in 2004. The structure was formerly a scheduled monument.
SOURCES: Kerry Downes, The Architecture of Wren (Reading, 1988) p.124
Wren Society Vol 19 (Oxford, 1942)
Emily Mann, The Gates of London in the Seventeenth Century (unpublished MA thesis, Courtauld Institute of Art, 2003)
David Robinson, Temple Bar: the History, Architecture and Fabric of a Celebrated London Monument, (unpublished English Heritage Report)
John Harris and Gordon Higgott, Inigo Jones: complete architectural drawings (London, 1989) pp. 168-169 and pp. 251-253.
Simon Bradley and Nicholas Pevsner, The Buildings of England London 1: The City of London (London, 1997) pp. 495-6.
Oxford Archaeology, The Temple Bar Hertfordshire: Report on the archaeological investigation of Temple Bar during its dismantling. (Unpublished report, 2005)
Transcripts of manuscripts in the Corporation of London Records Office.
REASON FOR DESIGNATION: Temple Bar is designated at Grade I, for the following principal reasons:
* Unique public structure of the C17 connected with Britain's most famous architect, Sir Christopher Wren.
* Utmost historic significance as the old boundary gate between the City of London and the City of Westminster. It has strong ceremonial associations and served as a backdrop to pageantry and punishment rituals from 1672 to 1878.
* Architecturally, it is a notable example of a public monument in the proto-Baroque manner embellished with sculpture by the eminent sculptor, John Bushnell.
* Temple Bar is now the only surviving City of London gateway.
* Interesting history of its relocation to Hertfordshire and subsequent return to the capital.
* Considerable group value with Wren's St Paul's Cathedral.
Source: English Heritage
Located at no. 182 Church Street.
"This brick building with a large enclosed porch and sandstone basement, was built before 1914 by John Lapointe. The building has a circular-shaped section, similar to a turret. Windows are original, along with the enclosed porch and the fascia/soffit with the false gable ends. The stairway has been replaced and the building is prominent on Church Street. John Lapointe was the homeowner from 1912-1935. The house stood vacant from 1936-1938, and then appears to have been divided into three apartments after 1939." - info from SooToday.
"Sault Ste. Marie (/ˈsuː seɪnt məˈriː/ SOO-seint-ma-REE) is a city on the St. Marys River in Ontario, Canada, close to the Canada–US border. It is the seat of the Algoma District and the third largest city in Northern Ontario, after Sudbury and Thunder Bay.
The Ojibwe, the indigenous Anishinaabe inhabitants of the area, call this area Baawitigong, meaning "place of the rapids." They used this as a regional meeting place during whitefish season in the St. Mary's Rapids. (The anglicized form of this name, Bawating, is used in institutional and geographic names in the area.)
To the south, across the river, is the United States and the Michigan city of the same name. These two communities were one city until a new treaty after the War of 1812 established the border between Canada and the United States in this area at the St. Mary's River. In the 21st century, the two cities are joined by the International Bridge, which connects Interstate 75 on the Michigan side, and Huron Street (and former Ontario Secondary Highway 550B) on the Ontario side. Shipping traffic in the Great Lakes system bypasses the Saint Mary's Rapids via the American Soo Locks, the world's busiest canal in terms of tonnage that passes through it, while smaller recreational and tour boats use the Canadian Sault Ste. Marie Canal.
French colonists referred to the rapids on the river as Les Saults de Ste. Marie and the village name was derived from that. The rapids and cascades of the St. Mary's River descend more than 6 m (20 ft) from the level of Lake Superior to the level of the lower lakes. Hundreds of years ago, this slowed shipping traffic, requiring an overland portage of boats and cargo from one lake to the other. The entire name translates to "Saint Mary's Rapids" or "Saint Mary's Falls". The word sault is pronounced [so] in French, and /suː/ in the English pronunciation of the city name. Residents of the city are called Saultites.
Sault Ste. Marie is bordered to the east by the Rankin and Garden River First Nation reserves, and to the west by Prince Township. To the north, the city is bordered by an unincorporated portion of Algoma District, which includes the local services boards of Aweres, Batchawana Bay, Goulais and District, Peace Tree and Searchmont. The city's census agglomeration, including the townships of Laird, Prince and Macdonald, Meredith and Aberdeen Additional and the First Nations reserves of Garden River and Rankin, had a total population of 79,800 in 2011.
Native American settlements, mostly of Ojibwe-speaking peoples, existed here for more than 500 years. In the late 17th century, French Jesuit missionaries established a mission at the First Nations village. This was followed by development of a fur trading post and larger settlement, as traders, trappers and Native Americans were attracted to the community. It was considered one community and part of Canada until after the War of 1812 and settlement of the border between Canada and the US at the Ste. Mary's River. At that time, the US prohibited British traders from any longer operating in its territory, and the areas separated by the river began to develop as two communities, both named Sault Ste. Marie." - info from Wikipedia.
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Is it plywood? Is it plaster? Is it sheet metal? Is it composite-material panel?
In this case, it's asbestos cement board, which is required to be properly removed before renovation or demolition activities that may impact the material.
The "utility side" of our house, with all its glorious wires. I mainly took this picture to illustrate the soffit/roof edge on this side of the house. It remains unpainted, because all those wires are dangerous, and I don't feel like painting inches away from a live electrical wire. You can see the grey I painted on the very edges -- as far as my arms could reach from the corner -- but at no point was any ladder ever rested against this wall. And that side of the roof is pretty scary compared to the middle of the roof. So that part doesn't get painted.
Who was the moron who used bright orange wires outside? Daniel M. Lopez's idiotic underlings at Virginia Design Builders, who were no longer licensed after fucking our job up, missing the contract deadline, the new deadline, and the deadline after that, and getting fined by the state. Watch out for any Hispanic construction companies operating out of Laurel, MD that employ anyone with the name Lopez, because from what I could gather, his children are continuing his legacy of idiocy. If they are as retarded as the monkeys who took over 3 years to perform a 3 month addition contract, then they are probably still screwing people to this day. These people took 40 man hours to install a new heating unit! (I've asked around, and most non-retarded non-monkeys say it's a one day job.) I had an "inspection passed" sticker placed on a circuit breaker box that had never been inspected. Daniel M. Lopez was arrested for theft of subcontractor funds, and I visited the police to talk to them bout him. I wonder how the $400K lawsuit against Daniel M. Lopez (from other people who claimed to us on the phone that they were tricked into buying OUR construction materials) is doing. Hopefully he lost and faced bankruptcy, but I doubt it. I'd love to protest at Lopez's funeral, likeWestboro Baptist Church does. Only my protest would not be based on his lifestyle choice and my hate of it due to an imaginary sky fairy, but based on him bringing actual misery and massive financial damage, unhappiness, and marital problems to many couples -- some of which I've spoken with at length about him. If this comment sounds racist, well -- situations like these are what cause people to be racist. And it's not like the workers in my house didn't make it a point to tell me they didn't like black people (my brother in law at the time was black, but it's offensive to hear whether or not I have black family). And another screwed subcontractor came to my house yelling, "I thought I could trust him because he was Mexican! But he's a fucking Indian!" (My builder was Mexican Native American.) What the fuck! You're a minority; learn that it sucks and don't foist that same suckage and judgment on others. Sorry. Got on a little side-rant about race, because I can just imagine how this caption might be interpreted negatively by some people (esp if you're Hispanic--sorry). I call the people who worked on my house retarded monkeys not because of their race, but because they were uneducated idiots who screwed every possible thing up -- like installing a thermostat so high Carolyn couldn't see the display, having a floor made out of pieces of wood that were fucking trapezoids and shit that makes no sense, bringing a tractor-trailer-sized dumpster of other people's trash from other jobs and leaving it in our driveway until we called a tow company, creating a roof that makes it so that when it rains, it rains inside, etc, etc, etc, etc.
So yeah, that orange wire makes me pretty angry. Use some fucking common sense. The west side of my house is ugly enough without making it worse.
Lemonjello the cat, Oranjello the cat, attic vent, bricks, gutters, house maintenance, living room window, soffit, well, wires.
roof, side yard, Clint and Carolyn's house, Alexandria, Virginia.
October 14, 2011.
... Read my blog at ClintJCL.wordpress.com
... Read Carolyn's blog at CarolynCASL.wordpress.com
BACKSTORY: So our homeowners insurance (Farmers) got dropped due to having peeling paint on our window sills (among other things). Weak. It was a LOT of work AND money for us to repaint all our sills. Wood windows SUCK!! Modern vinyl windows are MAINTANENCE-FREE!! Wood windows... You gotta re-glaze the panes when they fall out, and then the wood itself is always going to slowly rot away. We already had our cats knock a pane out, so we already had glazing compound for pane repairs. This came in handy when we painted our various window sills, as some also needed glazing compound.
So the largest window in our house -- actually 3 windows -- was a major pain, and one of the few single-pane windows in the house. It would leak heat/cold in the summer/winter, and looked really bad compared to the new siding we had installed 6 or so years ago. So we decided to go ahead and replace just this window (actually 3 separate windows). Man was it expensive! $2,350! Thompson Creek had the best pitch and data, whereas Home Depot required $30 up front for an appointment they never showed up for and a list of 4 phone numbers to escalate (all 4 failed). So we had Thompson Creek do it of course! They did it, said they did it wrong, made us wait a month while making a new window (pro: they are all custom-made just for you; con: they are all custom-made, so a screw-up requires waiting for a new one to be made), then installed the new window, and finally everything was good and we were satisfied.
It was just kind of a pain because it cost so much money and had our living room in disarray for so many months, and the whole insurance basis for the situation was pretty bullshitty in the first place. We're not going to make a property damage claim due to moisture that occurs because our paint was peeling! Ridiculous...
Architect: poss. Rabirius, erected c.AD82. Restored early C19th. Triumphal arch over the Via Sacra commemorating the victories of Titus, and his father Vespasian, in Judea. Image shows some of the coffering of the arch's soffit. Forum Romanum, Rome, Italy.
(CC BY-SA which means anyone can freely use this image file anywhere, provided accompanied by the credit: Images George Rex.)
The area around St Paul's Cathedral in the City of London.
This is Temple Bar in the City of London. It was barriered off, and had a high Police presence.
It's Grade I listed.
627/1/10282 ST PAUL'S CHURCHYARD
15-JUN-10 (North side)
Temple Bar
I
Temple Bar, former west gate into the City of London, built 1670-72, by Joshua Marshall and Thomas Knight, with possible involvement of Christopher Wren. C17 statuary by John Bushnell. Restored by architects Freeland Rees Roberts.
MATERIALS: White Portland stone with brick and rubble core.
EXTERIOR: Triple gate with a central segmental carriageway flanked by two semi-circular pedestrian arches, all with ribbed soffits and moulded springers. The two facades of the Bar are identical, having two orders of shallow pilasters: the lower story rusticated Tuscan without an entablature; the upper storey Corinthian with moulded architrave, plain frieze, egg and dart mouldings and dentil and astragal cornice. Lower storey of plain rustication with elongated voussoirs and a scroll-shaped keystone to the central arch, plain keystones to the pedestrian arches. Its simplicity contrasts with the upper storey which is more lavish in ornamental detail. The pilasters create three bays and within the centre bay is a round-headed window, with lugged surround and cartouche bearing oval shield of the cross of St George on the N and the royal arms on the S, the latter bearing the motto of the Order of the Garter: 'Honi soit qui mal y pense', which translated as 'shame on him who thinks evil of it'. In the outer bays there are niches above plain cartouches, containing statues of James I and a Queen on the north and Charles I and Charles II on the south by John Bushnell. The upper storey is surmounted by a segmental pediment with egg and dart mouldings and dentil and astragal cornice and is decorated with a plain tablet surrounded by garlands and flanked by cornucopiae. Above the pedestrian arches, the upper storey is framed by two flamboyant volutes in the manner of a Baroque church façade. Next to these are statues of beasts, two griffins on the north and a lion and a unicorn on the south.
The restored gates, with iron furniture to the north, are from Theobalds Park and date from the time of the Bar's installation in Hertfordshire. Statues of the four beasts on the parapet are new sculptures by Tim Crawley from Fairhaven of Anglesey Abbey. Despite these alterations and repairs approximately 95% of the structure is original.
Although it appears to be joined to Juxon House and Paternoster Lodge, Temple Bar is largely free standing, although two high-tensile steel bars knit the Bar and the adjoining structures together. A modern bridge from Paternoster Lodge to the east, suspended above the parapet roof and hidden behind the parapet, provides access to the upper chamber. Neither Juxon House nor Paternoster Lodge is included in the listing.
INTERIOR: Modern door in east elevation and single internal space with modern floor, ceiling, and fittings. Lit by four windows, one in each elevation. North and south windows with leaded fanlights; east and west are oculi. The interior and fenestration of the upper chamber are entirely new, although reusing the historical walls and openings. First floor chamber accessed from Paternoster Lodge to the east, via a modern bridge above the flat leaded eastern roof.
HISTORY: Temple Bar was built in 1670-72 at the junction of Fleet Street and the Strand, the official boundary between the City of London and the City of Westminster. It replaced earlier structures on the site.
The first recording of a barrier at the site was in c.1183, taking its name from the adjacent C12 preceptory of the Knights Templar. By the mid-C16 this older gate was causing traffic problems and the structure was falling into disrepair, though it was not until 1670-72 that the wooden structure was replaced by the current Temple Bar.
In 1662, a road widening act was passed and plans for a new Temple Bar advanced, although the City of London would not commit to the work on the grounds of expense and perhaps a suspicion of the King's motives. When Charles offered £1,500 towards the rebuilding and demanded explanations from the Mayor as to the procrastination, the City had no choice but to oblige the monarch.
The design of Temple Bar has traditionally been attributed to Sir Christopher Wren, who was appointed Surveyor to the King's Works in 1668 or 1669 and had overarching responsibility for all royal building projects. The Bar and its statuary would have been one of the first glimpses for the general London public of the new continental Baroque idiom.
The Temple Bar served an important ceremonial function given its unique position on the boundary between the City and Westminster. Monarchs would pause here to request permission to enter the City receiving in turn the Sword of State from the Lord Mayor as a symbol of the City's loyalty. Iron spikes atop the Bar were used to display the heads or quarters of traitors, for the last time following the Jacobite uprising of 1745, leading to the Bar's poplar nickname 'City Golgotha'. New gates were hung for Nelson's funeral in 1806 and the Bar was draped in black for Wellington's funeral in 1852.
Calls for the demolition of Temple Bar began as early as 1766. In the 1860s proposals for new law courts on the Strand, coupled with structural cracks, led to plans to demolish. The demolition, executed in January 1878 by workmen from Messrs Mowlem, Burt and Co, was carefully done with each stone individually numbered and then all removed to a storage yard in Farringdon.
In 1887 Sir Henry Bruce Meux bought and transported the stones to his estate in Hertfordshire at a cost in excess of £10,000. The reconstruction of Temple Bar in 1888 was part of a wider scheme of aggrandisement of the house and park. Modifications were made to the structure including the addition of a lodge to its south-east corner and a buttress to the west to support the Bar, as well as a staircase to provide access to the upper chamber, which was to be used for dining and entertaining.
Its condition rapidly deteriorated prompting discussions as to its future. Since the early 1950s schemes to bring the Bar back to London have been mooted, and in 1976 the Temple Bar Trust was established to pursue this goal. In 1999 a planning application to remove Temple Bar to the new Paternoster Square development near St Paul's Cathedral was granted, subject to conditions relating to recording and reinstatement, and work was completed in 2004. The structure was formerly a scheduled monument.
SOURCES: Kerry Downes, The Architecture of Wren (Reading, 1988) p.124
Wren Society Vol 19 (Oxford, 1942)
Emily Mann, The Gates of London in the Seventeenth Century (unpublished MA thesis, Courtauld Institute of Art, 2003)
David Robinson, Temple Bar: the History, Architecture and Fabric of a Celebrated London Monument, (unpublished English Heritage Report)
John Harris and Gordon Higgott, Inigo Jones: complete architectural drawings (London, 1989) pp. 168-169 and pp. 251-253.
Simon Bradley and Nicholas Pevsner, The Buildings of England London 1: The City of London (London, 1997) pp. 495-6.
Oxford Archaeology, The Temple Bar Hertfordshire: Report on the archaeological investigation of Temple Bar during its dismantling. (Unpublished report, 2005)
Transcripts of manuscripts in the Corporation of London Records Office.
REASON FOR DESIGNATION: Temple Bar is designated at Grade I, for the following principal reasons:
* Unique public structure of the C17 connected with Britain's most famous architect, Sir Christopher Wren.
* Utmost historic significance as the old boundary gate between the City of London and the City of Westminster. It has strong ceremonial associations and served as a backdrop to pageantry and punishment rituals from 1672 to 1878.
* Architecturally, it is a notable example of a public monument in the proto-Baroque manner embellished with sculpture by the eminent sculptor, John Bushnell.
* Temple Bar is now the only surviving City of London gateway.
* Interesting history of its relocation to Hertfordshire and subsequent return to the capital.
* Considerable group value with Wren's St Paul's Cathedral.
Source: English Heritage
Temples Bar sign.
View of the underside of the architrave of the Temple of Apollo Sosianus, re-erected after Mussolini's excavation program of 1937-8. The decorative pattern of bulls' skulls (bucrania) and palmettes is clearly visible and dates to a rebuilding of the temple that took place between the late 30s and the early 20s BCE. Bucrania were a popular motif on Augustan-period buildings in Rome, including the Ara Pacis and the rebuilt Basilica Aemilia in the Forum Romanum,
Painted, quarter-inch asbestos-cement panels shown as damaged debris following apparent vandalism to building.
Primed shiplap is going in the kitchen; oiled shiplap is for more exterior soffits. The long 1x10s and 1x12s will get ripped down for a wall in the bedroom, sort of a built in headboard.
One of the more often "overlooked" asbestos applications among building inspectors and surveyors: exterior building soffit, fascia, facade, and/or curtain-wall; sometimes mistaken as ordinary plywood, hardboard, drywall, plaster, metal, plastic, and/or other composite material, these building material applications typically require more thorough physical access for better assessment of their composition.
Asbestos-cement panels utilized at buildings' exterior soffits, facades, or curtain-walls were popularized as architectural trends in the US during the 1950's, '60s, and '70s, although may be found on structures built beyond these construction time-eras as well.
This image shows 1/4-inch asbestos-cement panels installed as exterior soffit boards and as metal-clad asbestos-cement fascia/facade. A partially damaged soffit panel shows peculiar breakage pattern along one edge.
A very large and magnificent monument against the south wall of the nave, originally under the north arch of the south transept but removed to its present position in 1867. It consists of a panelled altar tomb on which are recumbent effigies of a man and wife, the former in armour with a long cloak and ruff. At the feet of the woman's figure is a kneeling figure of a daughter at prayer-desk and facing east. On either side of the tomb is a large obelisk with ball finial and spike and standing on a panelled pedestal. Behind the effigies is a wall canopy with two round arches with coffered soffits having cherub-head keystones and supporting an entablature with the cornice brought forward on four shaped brackets. The back of the arched recesses has carved enrichment, two inscribed tablets and two shields of arms and in the middle spandrel a cartouche of arms. Above the cornice is a centre-piece with carved pilasters and an achievement of arms; flanking the centre-piece are cartouches with shields of arms.
Arms:
(i) (Argent) two gimel bars sable between three spread-eagles sable (Spencer).
(ii) The same.
(iii) Quarterly, I, sable a leopard argent; 2, sable three roses argent; 3, azure a cheveron or between three falcons' heads razed or; 4, gules three pales or within a border or charged with roundels sable.
(iv) As (i).
(v) (i) impaling (iii).
(vi) As (iii).
Crests: (a) a falcon rising; (b) a lion's head razed.
In the left-hand recess behind the recumbent effigies:
Hic sitvs est Ioannes Spencer
Eqves avratvs, civis, & senator
Londinensis, eivsdemq civitatis
prætor anno d'ni mdxciiii
qvi ex Alicia Bromfeldia
vxore vnicam reliqvit filiam
Elizabeth Gvilielmo Baroni
Compton envptam, obiit 3o
die martii anno salvtis mdcix
In the right-hand recess:
Socero bene merito
Gvilielmvs baro Compton
gener posvit
An inscription at the foot of the male effigy records the fact that the tomb originally stood in the northern arch of the south transept, and was removed to its present position, restored and repaired in 1867 by Charles, 3rd Marquis of Northampton.
"Survey of London: volume 9: The parish of St Helen, Bishopsgate, part I (1924)" by Minnie Reddan and Alfred W. Clapham.
*
SPENCER, Sir JOHN (d. 1610), lord mayor of London, was the son of Richard Spencer of Waldingfield in Suffolk. He came to London, and was so successful as a merchant that he became known as ‘Rich Spencer.’ His trade with Spain, Turkey, and Venice was very large (State Papers, Spanish, 1568–79 p. 590, Dom. 1591–4 p. 59), and he was accused in 1591 of engrossing, with two other merchants, the whole trade with Tripoli (ib. p. 67). This lends some justification for the charge made in a little book ‘written by D. Papillon, Gent,’ that Spencer became by the practice of merchandise ‘extraordinary rich, but it was by falsifying and monopolising of all manner of commodities’ (Vanity of the Lives and Passions of Men, 1651, p. 48). The same writer relates the story of a plot by a pirate of Dunkirk, with twelve of his crew, to carry off Spencer and hold him to ransom for over 50,000l. Leaving his shallop with six of his men in Barking Creek, he came with the other six to Islington, intending to seize the merchant on his way to his country house at Canonbury, which Spencer had purchased of Thomas, lord Wentworth, in 1570. The plot was frustrated by Spencer's detention that night on important business in the city. Queen Elizabeth is said to have visited him at Canonbury in 1581 (Nichols, Hist. of Canonbury House, 1788, p. 12).
Spencer was a member of the Cloth workers' Company, and was elected alderman of Langbourn ward on 9 Aug. 1587. He served the office of sheriff in 1583–4, and that of lord mayor in 1594–5. During his shrievalty he was engaged in hunting down papists in Holborn and the adjoining localities, and had to justify before the council the committal of A. Bassano and other of her majesty's musicians (State Papers, Dom. 1581–90, pp. 198, 202). On entering upon his mayoralty at the close of 1594 great scarcity prevailed, and Spencer sent his precept to the city companies to replenish their store of corn at the granaries in the Bridge House for sale to the poor. He stoutly resisted a demand by Admiral Sir John Hawkins for possession of the Bridge House for the use of the queen's navy and baking biscuits for the fleet (Welch, Hist. of the Tower Bridge, p. 99).
He kept his mayoralty at his town residence in Bishopsgate Street, the well-known Crosby Place, which he had purchased in a dilapidated state from the representatives of Antonio Bonvisi, and restored at great cost. In this sumptuous mansion during the course of 1604 Spencer entertained both the Duc de Sully (then M. de Rosny), while ambassador to England, and the youngest son of the Prince of Orange, with Barnevelt and Fulke, who came on a mission from Holland (Stow, Survey of London, 1755, i. 435). Towards the close of his mayoralty he boldly asserted the city's right, which it was feared the crown would invade, to freely elect a recorder. Before the close of his mayoralty Spencer received the honour of knighthood.
By his wife, Alice Bromfield, Spencer had an only child, Elizabeth, who in 1598 was sought in marriage by William, second lord Compton (afterwards first Earl of Northampton). Spencer strongly disapproved of the match, but Compton's influence at court enabled him to procure Spencer's imprisonment in the Fleet in March 1599 for ill-treating his daughter (State Papers, Dom. 1598–1601, p. 169). The young lady was ultimately carried off by her lover from Canonbury House in a baker's basket. The marriage quickly followed, but the alderman naturally declined to give his daughter a marriage portion. When, in May 1601, his daughter became a mother, he showed no signs of relenting (ib. 1601–3, p. 45). But some reconciliation apparently took place soon afterwards, it is said, through the interposition of Elizabeth. In May 1609 Spencer refused to contribute to an aid for James I on behalf of the young Prince Henry (ib. 1603–10, p. 508); he also delayed his contribution of 200l. to the amount subscribed by the Clothworkers' Company to the Ulster settlement, which had to be paid by his executors (Remembrancia, p. 172). Spencer was president of St. Bartholomew's Hospital from 1603 to his death.
He died, at an advanced age, on 3 March 1609–10, and his widow only survived him till 27 March. He was buried on 22 March, and Dame Alice on 7 April, in his parish church of St. Helen, Bishopsgate, where a fine monument exists to his memory. His funeral was on a most sumptuous scale (Winwood, State Papers, iii. 136). His fortune was variously estimated at from 500,000l. to 800,000l., and the splendid inheritance is said for the time to have turned the brain of his son-in-law, Lord Compton. Among other estates, he was possessed of the manors of Brooke Hall, Bower Hall, and Bocking, which he obtained from the queen on 1 Aug. 1599. True to the last to his parsimonious principles, Spencer left none of his immense wealth to objects of public benevolence or utility.
*
In the 16th century there had been a tendency to depict armour in a slightly fanciful, manneristic way. It was during the 16th century that wearing armour on the battlefield gradually lost popularity, and so did the realistic depiction of it. Still, realistically depicted armour as well as the more fanciful style lived happily together.
Sir John wears plain, functional armour of the early 17th century. It looks like a mixture of both styles: the overall silhouette is correct, every single piece of armour he wears was actually worn, but the shape of most pieces is quite crude, the carver hasn't paid much attention to detail.
Realistically depicted armour in a 17th century effigy can be seen in Maastricht www.flickr.com/photos/roelipilami/1476883118/in/set-72157...
And an example of the fanciful style in a Belgian effigy: www.flickr.com/photos/roelipilami/1475764991/in/set-72157...
Shots on New Street, Birmingham.
This building is occupied by Ted Baker on New Street.
It is at 38 New Street. It is between Cannon Street and Needless Alley.
Between Needless Alley and Cannon Street an exuberant free Jacobean office and shops block of 1898 by Essex, Nicol & Goodman, in pale orange terracota with red bands. Giant three-centred arches with soffit enclose the shopfronts. Canted bay windows above. Picturesque roof-line with domed corner turrets, and a wide Flemish gable with a little serpentine balcony. The Cannon Street elevation has a three-storey tower entrance to the upper offices. Big arch with a wild soffit of almost detached, S-shaped cusping.
From Pevsner Architectural Guides: Birmingham by Andy Foster.
The whole building is Grade II listed at the following addresses: Cannon Street: No 43 (Newton Chambers) and Nos 44 and 45. New Street: 41, 42 and 42a.
Includes Nos 41, 42, 42A New Street. Circa 1899 by Essex, Goodman and Nicol.
Pink terracotta; slate roof. Four storeys plus attic; 5 bays, the fifth
containing the entrance and wider than the others plus the corner with its
little cupola. Ground floor with modern shop fronts and the entrance with
fanlight with 4 glazed lights. First floor with 4 tripartite windows beneath
broad segmental arches. These and the arch over the entrance with pretty,
detached scrolly members and ball flower ornament and a decorated stringcourse
above. Second and third floors each with 4 tripartite windows with ause-de-panier
arches to the lights and pretty, detached scrolly members. They are linked
vertically by baluster-like shafts left and right. In the fifth bay second
and third floors each have a 4-light transomed window with ause-de-panier
arches to the lights. They are treated together as a very shallow bay window
surmounted by a round window. Moulded eaves cornice. Attic with 4 canted
bay windows, terracotta faced but timber sided. The long return to New Street
(where are the entrances to Nos 41, 42 and 42A New Street) treated similarly,
but the centre gabled and with the second and third floors with canted bay
windows and 2-light rather then tripartite windows. Once housed the Kardomah
Cafe, some of whose interior is said to remain behind the present fittings.
This is the Digbeth Campus of South Birmingham College. This section is the Grade II listed 224 - 225 High Street in Digbeth. Now a part of South Birmingham College, Digbeth Campus.
This particular building is 224 - 225 High Street, in Digbeth.
Building dated to circa 1860. Brick-built with stone dressings and a hipped slate roof with elaborate bracketted eaves. It has five storeys with seven bays to the front, an additional bay to the corner and seven bays to the left-hand return in Milk Street. To the ground floor there are, probably original, shopfronts. To the first, second and third floor are sash windows wiwth shoulders and keystones with incised decoration and brick arch soffits. To the third floor there are square sash windows.
Circa 1860. Polychromatic brick with stone dressings; slate roof. Five storeys; 7 bays plus the corner and another 7 bays on the left-hand return in Milk Street. Ground floor with apparently original shop fronts. Panelled pilasters supporting an entablature with boldly bracketed cornice. First, second and third floors with sash windows with shoulders and keystones with incised decoration and elaborately cut brick arch soffits and bold sills. Lavishly bracketted moulded cornice at second floor level. Fourth storey with square sash windows. Elaborate bracketted eaves cornice. The windows mostly blocked up.
224 - 225 High Street, Digbeth - Heritage Gateway
Pevsner describes it as a crusty brick block of shops and warehouse of 1869 by Thomas Fawdry, restored in 2003 as part of a bulky creative arts centre development by Nichol Thomas.
A very large and magnificent monument against the south wall of the nave, originally under the north arch of the south transept but removed to its present position in 1867. It consists of a panelled altar tomb on which are recumbent effigies of a man and wife, the former in armour with a long cloak and ruff. At the feet of the woman's figure is a kneeling figure of a daughter at prayer-desk and facing east. On either side of the tomb is a large obelisk with ball finial and spike and standing on a panelled pedestal. Behind the effigies is a wall canopy with two round arches with coffered soffits having cherub-head keystones and supporting an entablature with the cornice brought forward on four shaped brackets. The back of the arched recesses has carved enrichment, two inscribed tablets and two shields of arms and in the middle spandrel a cartouche of arms. Above the cornice is a centre-piece with carved pilasters and an achievement of arms; flanking the centre-piece are cartouches with shields of arms.
Arms:
(i) (Argent) two gimel bars sable between three spread-eagles sable (Spencer).
(ii) The same.
(iii) Quarterly, I, sable a leopard argent; 2, sable three roses argent; 3, azure a cheveron or between three falcons' heads razed or; 4, gules three pales or within a border or charged with roundels sable.
(iv) As (i).
(v) (i) impaling (iii).
(vi) As (iii).
Crests: (a) a falcon rising; (b) a lion's head razed.
In the left-hand recess behind the recumbent effigies:
Hic sitvs est Ioannes Spencer
Eqves avratvs, civis, & senator
Londinensis, eivsdemq civitatis
prætor anno d'ni mdxciiii
qvi ex Alicia Bromfeldia
vxore vnicam reliqvit filiam
Elizabeth Gvilielmo Baroni
Compton envptam, obiit 3o
die martii anno salvtis mdcix
In the right-hand recess:
Socero bene merito
Gvilielmvs baro Compton
gener posvit
An inscription at the foot of the male effigy records the fact that the tomb originally stood in the northern arch of the south transept, and was removed to its present position, restored and repaired in 1867 by Charles, 3rd Marquis of Northampton.
"Survey of London: volume 9: The parish of St Helen, Bishopsgate, part I (1924)" by Minnie Reddan and Alfred W. Clapham.
*
SPENCER, Sir JOHN (d. 1610), lord mayor of London, was the son of Richard Spencer of Waldingfield in Suffolk. He came to London, and was so successful as a merchant that he became known as ‘Rich Spencer.’ His trade with Spain, Turkey, and Venice was very large (State Papers, Spanish, 1568–79 p. 590, Dom. 1591–4 p. 59), and he was accused in 1591 of engrossing, with two other merchants, the whole trade with Tripoli (ib. p. 67). This lends some justification for the charge made in a little book ‘written by D. Papillon, Gent,’ that Spencer became by the practice of merchandise ‘extraordinary rich, but it was by falsifying and monopolising of all manner of commodities’ (Vanity of the Lives and Passions of Men, 1651, p. 48). The same writer relates the story of a plot by a pirate of Dunkirk, with twelve of his crew, to carry off Spencer and hold him to ransom for over 50,000l. Leaving his shallop with six of his men in Barking Creek, he came with the other six to Islington, intending to seize the merchant on his way to his country house at Canonbury, which Spencer had purchased of Thomas, lord Wentworth, in 1570. The plot was frustrated by Spencer's detention that night on important business in the city. Queen Elizabeth is said to have visited him at Canonbury in 1581 (Nichols, Hist. of Canonbury House, 1788, p. 12).
Spencer was a member of the Cloth workers' Company, and was elected alderman of Langbourn ward on 9 Aug. 1587. He served the office of sheriff in 1583–4, and that of lord mayor in 1594–5. During his shrievalty he was engaged in hunting down papists in Holborn and the adjoining localities, and had to justify before the council the committal of A. Bassano and other of her majesty's musicians (State Papers, Dom. 1581–90, pp. 198, 202). On entering upon his mayoralty at the close of 1594 great scarcity prevailed, and Spencer sent his precept to the city companies to replenish their store of corn at the granaries in the Bridge House for sale to the poor. He stoutly resisted a demand by Admiral Sir John Hawkins for possession of the Bridge House for the use of the queen's navy and baking biscuits for the fleet (Welch, Hist. of the Tower Bridge, p. 99).
He kept his mayoralty at his town residence in Bishopsgate Street, the well-known Crosby Place, which he had purchased in a dilapidated state from the representatives of Antonio Bonvisi, and restored at great cost. In this sumptuous mansion during the course of 1604 Spencer entertained both the Duc de Sully (then M. de Rosny), while ambassador to England, and the youngest son of the Prince of Orange, with Barnevelt and Fulke, who came on a mission from Holland (Stow, Survey of London, 1755, i. 435). Towards the close of his mayoralty he boldly asserted the city's right, which it was feared the crown would invade, to freely elect a recorder. Before the close of his mayoralty Spencer received the honour of knighthood.
By his wife, Alice Bromfield, Spencer had an only child, Elizabeth, who in 1598 was sought in marriage by William, second lord Compton (afterwards first Earl of Northampton). Spencer strongly disapproved of the match, but Compton's influence at court enabled him to procure Spencer's imprisonment in the Fleet in March 1599 for ill-treating his daughter (State Papers, Dom. 1598–1601, p. 169). The young lady was ultimately carried off by her lover from Canonbury House in a baker's basket. The marriage quickly followed, but the alderman naturally declined to give his daughter a marriage portion. When, in May 1601, his daughter became a mother, he showed no signs of relenting (ib. 1601–3, p. 45). But some reconciliation apparently took place soon afterwards, it is said, through the interposition of Elizabeth. In May 1609 Spencer refused to contribute to an aid for James I on behalf of the young Prince Henry (ib. 1603–10, p. 508); he also delayed his contribution of 200l. to the amount subscribed by the Clothworkers' Company to the Ulster settlement, which had to be paid by his executors (Remembrancia, p. 172). Spencer was president of St. Bartholomew's Hospital from 1603 to his death.
He died, at an advanced age, on 3 March 1609–10, and his widow only survived him till 27 March. He was buried on 22 March, and Dame Alice on 7 April, in his parish church of St. Helen, Bishopsgate, where a fine monument exists to his memory. His funeral was on a most sumptuous scale (Winwood, State Papers, iii. 136). His fortune was variously estimated at from 500,000l. to 800,000l., and the splendid inheritance is said for the time to have turned the brain of his son-in-law, Lord Compton. Among other estates, he was possessed of the manors of Brooke Hall, Bower Hall, and Bocking, which he obtained from the queen on 1 Aug. 1599. True to the last to his parsimonious principles, Spencer left none of his immense wealth to objects of public benevolence or utility.
*
In the 16th century there had been a tendency to depict armour in a slightly fanciful, manneristic way. It was during the 16th century that wearing armour on the battlefield gradually lost popularity, and so did the realistic depiction of it. Still, realistically depicted armour as well as the more fanciful style lived happily together.
Sir John wears plain, functional armour of the early 17th century. It looks like a mixture of both styles: the overall silhouette is correct, every single piece of armour he wears was actually worn, but the shape of most pieces is quite crude, the carver hasn't paid much attention to detail.
Realistically depicted armour in a 17th century effigy can be seen in Maastricht www.flickr.com/photos/roelipilami/1476883118/in/set-72157...
And an example of the fanciful style in a Belgian effigy: www.flickr.com/photos/roelipilami/1475764991/in/set-72157...
A very large and magnificent monument against the south wall of the nave, originally under the north arch of the south transept but removed to its present position in 1867. It consists of a panelled altar tomb on which are recumbent effigies of a man and wife, the former in armour with a long cloak and ruff. At the feet of the woman's figure is a kneeling figure of a daughter at prayer-desk and facing east. On either side of the tomb is a large obelisk with ball finial and spike and standing on a panelled pedestal. Behind the effigies is a wall canopy with two round arches with coffered soffits having cherub-head keystones and supporting an entablature with the cornice brought forward on four shaped brackets. The back of the arched recesses has carved enrichment, two inscribed tablets and two shields of arms and in the middle spandrel a cartouche of arms. Above the cornice is a centre-piece with carved pilasters and an achievement of arms; flanking the centre-piece are cartouches with shields of arms.
Arms:
(i) (Argent) two gimel bars sable between three spread-eagles sable (Spencer).
(ii) The same.
(iii) Quarterly, I, sable a leopard argent; 2, sable three roses argent; 3, azure a cheveron or between three falcons' heads razed or; 4, gules three pales or within a border or charged with roundels sable.
(iv) As (i).
(v) (i) impaling (iii).
(vi) As (iii).
Crests: (a) a falcon rising; (b) a lion's head razed.
In the left-hand recess behind the recumbent effigies:
Hic sitvs est Ioannes Spencer
Eqves avratvs, civis, & senator
Londinensis, eivsdemq civitatis
prætor anno d'ni mdxciiii
qvi ex Alicia Bromfeldia
vxore vnicam reliqvit filiam
Elizabeth Gvilielmo Baroni
Compton envptam, obiit 3o
die martii anno salvtis mdcix
In the right-hand recess:
Socero bene merito
Gvilielmvs baro Compton
gener posvit
An inscription at the foot of the male effigy records the fact that the tomb originally stood in the northern arch of the south transept, and was removed to its present position, restored and repaired in 1867 by Charles, 3rd Marquis of Northampton.
"Survey of London: volume 9: The parish of St Helen, Bishopsgate, part I (1924)" by Minnie Reddan and Alfred W. Clapham.
*
SPENCER, Sir JOHN (d. 1610), lord mayor of London, was the son of Richard Spencer of Waldingfield in Suffolk. He came to London, and was so successful as a merchant that he became known as ‘Rich Spencer.’ His trade with Spain, Turkey, and Venice was very large (State Papers, Spanish, 1568–79 p. 590, Dom. 1591–4 p. 59), and he was accused in 1591 of engrossing, with two other merchants, the whole trade with Tripoli (ib. p. 67). This lends some justification for the charge made in a little book ‘written by D. Papillon, Gent,’ that Spencer became by the practice of merchandise ‘extraordinary rich, but it was by falsifying and monopolising of all manner of commodities’ (Vanity of the Lives and Passions of Men, 1651, p. 48). The same writer relates the story of a plot by a pirate of Dunkirk, with twelve of his crew, to carry off Spencer and hold him to ransom for over 50,000l. Leaving his shallop with six of his men in Barking Creek, he came with the other six to Islington, intending to seize the merchant on his way to his country house at Canonbury, which Spencer had purchased of Thomas, lord Wentworth, in 1570. The plot was frustrated by Spencer's detention that night on important business in the city. Queen Elizabeth is said to have visited him at Canonbury in 1581 (Nichols, Hist. of Canonbury House, 1788, p. 12).
Spencer was a member of the Cloth workers' Company, and was elected alderman of Langbourn ward on 9 Aug. 1587. He served the office of sheriff in 1583–4, and that of lord mayor in 1594–5. During his shrievalty he was engaged in hunting down papists in Holborn and the adjoining localities, and had to justify before the council the committal of A. Bassano and other of her majesty's musicians (State Papers, Dom. 1581–90, pp. 198, 202). On entering upon his mayoralty at the close of 1594 great scarcity prevailed, and Spencer sent his precept to the city companies to replenish their store of corn at the granaries in the Bridge House for sale to the poor. He stoutly resisted a demand by Admiral Sir John Hawkins for possession of the Bridge House for the use of the queen's navy and baking biscuits for the fleet (Welch, Hist. of the Tower Bridge, p. 99).
He kept his mayoralty at his town residence in Bishopsgate Street, the well-known Crosby Place, which he had purchased in a dilapidated state from the representatives of Antonio Bonvisi, and restored at great cost. In this sumptuous mansion during the course of 1604 Spencer entertained both the Duc de Sully (then M. de Rosny), while ambassador to England, and the youngest son of the Prince of Orange, with Barnevelt and Fulke, who came on a mission from Holland (Stow, Survey of London, 1755, i. 435). Towards the close of his mayoralty he boldly asserted the city's right, which it was feared the crown would invade, to freely elect a recorder. Before the close of his mayoralty Spencer received the honour of knighthood.
By his wife, Alice Bromfield, Spencer had an only child, Elizabeth, who in 1598 was sought in marriage by William, second lord Compton (afterwards first Earl of Northampton). Spencer strongly disapproved of the match, but Compton's influence at court enabled him to procure Spencer's imprisonment in the Fleet in March 1599 for ill-treating his daughter (State Papers, Dom. 1598–1601, p. 169). The young lady was ultimately carried off by her lover from Canonbury House in a baker's basket. The marriage quickly followed, but the alderman naturally declined to give his daughter a marriage portion. When, in May 1601, his daughter became a mother, he showed no signs of relenting (ib. 1601–3, p. 45). But some reconciliation apparently took place soon afterwards, it is said, through the interposition of Elizabeth. In May 1609 Spencer refused to contribute to an aid for James I on behalf of the young Prince Henry (ib. 1603–10, p. 508); he also delayed his contribution of 200l. to the amount subscribed by the Clothworkers' Company to the Ulster settlement, which had to be paid by his executors (Remembrancia, p. 172). Spencer was president of St. Bartholomew's Hospital from 1603 to his death.
He died, at an advanced age, on 3 March 1609–10, and his widow only survived him till 27 March. He was buried on 22 March, and Dame Alice on 7 April, in his parish church of St. Helen, Bishopsgate, where a fine monument exists to his memory. His funeral was on a most sumptuous scale (Winwood, State Papers, iii. 136). His fortune was variously estimated at from 500,000l. to 800,000l., and the splendid inheritance is said for the time to have turned the brain of his son-in-law, Lord Compton. Among other estates, he was possessed of the manors of Brooke Hall, Bower Hall, and Bocking, which he obtained from the queen on 1 Aug. 1599. True to the last to his parsimonious principles, Spencer left none of his immense wealth to objects of public benevolence or utility.
*
In the 16th century there had been a tendency to depict armour in a slightly fanciful, manneristic way. It was during the 16th century that wearing armour on the battlefield gradually lost popularity, and so did the realistic depiction of it. Still, realistically depicted armour as well as the more fanciful style lived happily together.
Sir John wears plain, functional armour of the early 17th century. It looks like a mixture of both styles: the overall silhouette is correct, every single piece of armour he wears was actually worn, but the shape of most pieces is quite crude, the carver hasn't paid much attention to detail.
Realistically depicted armour in a 17th century effigy can be seen in Maastricht www.flickr.com/photos/roelipilami/1476883118/in/set-72157...
And an example of the fanciful style in a Belgian effigy: www.flickr.com/photos/roelipilami/1475764991/in/set-72157...
The River Severn in Worcester. From the Worcester Bridge to the start of the Worcester & Birmingham Canal (in Worcester).
The route took me past a wall below Worcester Cathedral (previously I was up in the grassy area behind the cathedral, now I was below it). Then past the Diglis Hotel.
This is the Worcester Bridge, on Bridge Street in Worcester. It seems like a busy route in and out of the city centre.
It is Grade II listed.
Worcester Bridge, Worcester - British Listed Buildings
WORCESTER
SO8454NE BRIDGE STREET
620-1/16/71 Worcester Bridge
22/5/54
GV II
Bridge over River Severn. 1771-80. Architect John Gwynn of
Shrewsbury. Widened 1931 and elevations modern. Stone. 5
elliptical bays. Balustrades and renewed lamp standards. The
soffits of the arches are C18; the elevations date from 1931.
A significant landmark which, together with a group of former
warehouses: Gascoyne House, Brown's Restaurant and Band House,
South Quay (qqv) and with St Andrew's Church Tower, Deansway
(qv), forms part of the visual framework for the Cathedral (qv)
from the River.
(The Buildings of England: Pevsner N: Worcestershire:
Harmondsworth: 1968-1985: 325; Photographs).
Down this side is the Bromwich Parade.
Building on the left is Gascoyne House. Grade II listed.
Gascoyne House (flat Nos 1-7 Consecutive), Worcester - British Listed Buildings
WORCESTER
SO8454NE SOUTH QUAY
620-1/16/543 (North side)
05/04/71 Gascoyne House (Flat Nos
1-7 consecutive)
(Formerly Listed as:
QUAY STREET
(West side)
Warehouse occupied by
Messrs G Gascoyne)
GV II
Hop and seed warehouse, now flats. Mid C19 with later alterations
including c1980s conversion to flats. Pinkish-red brick with
yellow and purple brick plinth all in English Bond, cement
lintels and sills, and with slate roof.
EXTERIOR: 4 storeys, 10 first-floor windows. 2 hoisting lofts on
river side. All windows are renewed and loading bays are now
glazed. Stepped cornice and wide eaves. Return to Hood Street has
6 first-floor windows; the angle is curved on plan. Rear: central
wide, cambered arch originally allowing access through building.
INTERIOR: renewed, not inspected.
HISTORICAL NOTE: Occupying a corner site, this is a significant
streetscape feature overlooking the River Severn, forming a group
of former warehouses with Brown's Restaurant and Bond House,
South Quay (qqv); and together with Merchant's House, Quay Street
(qv), Worcester Bridge, Bridge Street (qv) and St Andrew's Church
Tower, Deansway (qv), these buildings form part of the visual
framework of Worcester Cathedral (qv) from the River.
In the middle is Brown's Restaurant at 24 South Quay. Grade II listed.
Brown's Restaurant 24, Worcester - British Listed Buildings
WORCESTER
SO8454NE SOUTH QUAY
620-1/16/541 (North East side)
05/04/71 No.24
Brown's Restaurant
(Formerly Listed as:
SOUTH QUAY
No.24)
GV II
Includes: Brown's Restaurant QUAY STREET.
Warehouse with house at rear, now restaurant. Warehouse of c1840
with late C18 house. Reddish-brown brick in Flemish bond with red
and purple brick arches and sills and ashlar keystones, slate
roof.
Main range then range set back at right (forming rear of house
which faces Quay Street).
EXTERIOR: main range: 3 storeys, 2 first-floor windows. Central
tall round-arched opening with arch of gauged brick on imposts
and with fluted keystone with plaque over, now glazed. To either
side of ground and first floors a casement window with segmental
arch and keystone. Continuous panel over first floor then three
4/8 sashes with cambered arches. Moulded dentil eaves band.
Range set back to right has 4 storeys, 2 first-floor windows. All
small, square openings with cambered arches and with purple brick
sills. Entrance at right a plank door with cambered arch. Low
coped parapet.
House at rear: 3 storeys, 3 first-floor windows. Ground and first
floors have 6/6 sashes, all with fluted keystones. Second floor
has 3/3 sashes with keystones. All in near-flush frames and with
flat arches of gauged brick. Entrance at right: double
6-raised-and-fielded-panel doors with fanlight, imposts and
keystone. Left end stack has oversailing course.
INTERIOR: not inspected.
HISTORICAL NOTE: This is one of a group of former warehouses,
together with Gascoyne House and Bond House (qqv), which form a
significant streetscape feature overlooking the River Severn;
with Merchant House, Quay Street (qv), Worcester Bridge, Bridge
Street (qv) and St Andrew's Church Tower, Deansway (qv) these
buildings form part of the visual framework for Worcester
Cathedral (qv) from the River.
The building on the right is the Band House. Grade II listed.
Band House, Worcester - British Listed Buildings
WORCESTER
SO8454NE SOUTH QUAY
620-1/16/542 (North East side)
05/04/71 Band House
(Formerly Listed as:
SOUTH QUAY
Premises occupied by Messrs
W Bond and Sons)
GV II
Warehouse, now offices. Occupies a corner site with main facade
to right return. c1870 with conversion c1980s. Brownish-red brick
in Flemish bond with purple brick arches and sills and painted
cement sills and lintels and hipped slate roof, rear brick stack
with pot.
EXTERIOR: 4 storeys, 1+5 first-floor windows. The first bay forms
splayed angle of building, former loading bay with hoisting loft,
now with glazing and broad sills and lintels. Otherwise ramp to
central entrance with renewed plank door; small oblong openings
throughout with replacement 1/1 sashes; all under purple brick
cambered arches and with purple brick sills. Stepped eaves.
Facade to river: 4 storeys, 3 first-floor windows. Similar
fenestration.
INTERIOR: not inspected.
HISTORICAL NOTE: formerly warehouse owned by Messrs W Bond and
Sons.
Occupying a corner site, this is a significant streetscape
feature overlooking the River Severn, forming a group of former
warehouses with Brown's Restaurant and Gascoyne House (qqv), and
together with Merchant's House, Quay Street (qv), Worcester
Bridge, Bridge Street (qv) and St Andrew's Church Tower, Deansway
(qv) these buildings form part of the visual framework for
Worcester Cathedral (qv) from the River.
The Glover's Needle (or St Andrews Spire) is a spire-carrying tower in the city of Worcester, England.
The tower is a prominent landmark of the city, from road, rail, or the River Severn, and can be seen for miles around. It is located in St Andrews Gardens close to Worcester College of Technology. The spire used to crown the church of St Andrew but this was demolished in the late 1940s. The Glover's Needle is seated on Deansway Road, Worcester Cathedral being very close to the south and All Saints Church to the north. On the western side of the spire the pedestrian can descend into gardens that lead onto the River Severn. Across the road from the Glover's Needle is a "House of Fraser" shop which stands on the site of the old graveyard of St Andrews. At night the spire is illuminated (but not the tower below) and a blue glow is projected from inside one of the windows. The blue represents St Andrew, the colour of the Scottish flag. The blue glow and night lighting were paid for by the Rotary Club of Worcester Severn, to commemorate the millennium in 2000.
In the 15th century, Saxons built a church (called St. Andrews Church) with a tall spire but this was destroyed in a great storm of 1733. Shortly after this disaster, the spire was rebuilt. It was constructed by using the ingenious method of kite flying to carry up the stones. Worcester people took the new masterpiece to their hearts and named it the 'Glover's Needle'. This name came from the industrial glove making that was executed in Worcester. The entire structure measures approximately 245 feet. It is the tallest spire in the country to have such a narrow angle of taper. In the 1920s the slum housing which crowded round the church was demolished. The congregation of the church was thus reduced by a large degree. The church fell into decay, had an overgrown churchyard, few parishioners and a tiny parish of five acres. In the 1940s, the council accepted the Bishop of Worcester's offer of the church. They decided to demolish the church and create a garden of remembrance to replace it. However the council decided to leave the tower and spire, freestanding. Thus St Andrew's church was demolished in 1949.
As a millennium project, a clock was installed in the tower and now the hours are struck on the council bell. A recently reinstated custom is to have the council bell strike from 18:45 to 18:50 before a full meeting of the council. In the early 2000s a fence was put around the base of the spire. A few years ago, the RSPB has taken the Glover's Needle into their own hands and the actual spire is now used for special birds of prey for roosting. Live web cams have been installed in the tower.
The Glover's Needle formerly housed a set of five bells.[citation needed] These were hung full circle for proper English style change ringing. In 1870, four of the bells were sold but the tenor (heaviest bell) was retained in the old bell frame. This bell weighs 20 CWT — 1 ton. This is the so-called council bell mentioned above. It is unlikely that the Glover's Needle could sustain a ring of bells today as there is no church to buttress the swaying tower.
A very large and magnificent monument against the south wall of the nave, originally under the north arch of the south transept but removed to its present position in 1867. It consists of a panelled altar tomb on which are recumbent effigies of a man and wife, the former in armour with a long cloak and ruff. At the feet of the woman's figure is a kneeling figure of a daughter at prayer-desk and facing east. On either side of the tomb is a large obelisk with ball finial and spike and standing on a panelled pedestal. Behind the effigies is a wall canopy with two round arches with coffered soffits having cherub-head keystones and supporting an entablature with the cornice brought forward on four shaped brackets. The back of the arched recesses has carved enrichment, two inscribed tablets and two shields of arms and in the middle spandrel a cartouche of arms. Above the cornice is a centre-piece with carved pilasters and an achievement of arms; flanking the centre-piece are cartouches with shields of arms.
Arms:
(i) (Argent) two gimel bars sable between three spread-eagles sable (Spencer).
(ii) The same.
(iii) Quarterly, I, sable a leopard argent; 2, sable three roses argent; 3, azure a cheveron or between three falcons' heads razed or; 4, gules three pales or within a border or charged with roundels sable.
(iv) As (i).
(v) (i) impaling (iii).
(vi) As (iii).
Crests: (a) a falcon rising; (b) a lion's head razed.
In the left-hand recess behind the recumbent effigies:
Hic sitvs est Ioannes Spencer
Eqves avratvs, civis, & senator
Londinensis, eivsdemq civitatis
prætor anno d'ni mdxciiii
qvi ex Alicia Bromfeldia
vxore vnicam reliqvit filiam
Elizabeth Gvilielmo Baroni
Compton envptam, obiit 3o
die martii anno salvtis mdcix
In the right-hand recess:
Socero bene merito
Gvilielmvs baro Compton
gener posvit
An inscription at the foot of the male effigy records the fact that the tomb originally stood in the northern arch of the south transept, and was removed to its present position, restored and repaired in 1867 by Charles, 3rd Marquis of Northampton.
"Survey of London: volume 9: The parish of St Helen, Bishopsgate, part I (1924)" by Minnie Reddan and Alfred W. Clapham.
*
SPENCER, Sir JOHN (d. 1610), lord mayor of London, was the son of Richard Spencer of Waldingfield in Suffolk. He came to London, and was so successful as a merchant that he became known as ‘Rich Spencer.’ His trade with Spain, Turkey, and Venice was very large (State Papers, Spanish, 1568–79 p. 590, Dom. 1591–4 p. 59), and he was accused in 1591 of engrossing, with two other merchants, the whole trade with Tripoli (ib. p. 67). This lends some justification for the charge made in a little book ‘written by D. Papillon, Gent,’ that Spencer became by the practice of merchandise ‘extraordinary rich, but it was by falsifying and monopolising of all manner of commodities’ (Vanity of the Lives and Passions of Men, 1651, p. 48). The same writer relates the story of a plot by a pirate of Dunkirk, with twelve of his crew, to carry off Spencer and hold him to ransom for over 50,000l. Leaving his shallop with six of his men in Barking Creek, he came with the other six to Islington, intending to seize the merchant on his way to his country house at Canonbury, which Spencer had purchased of Thomas, lord Wentworth, in 1570. The plot was frustrated by Spencer's detention that night on important business in the city. Queen Elizabeth is said to have visited him at Canonbury in 1581 (Nichols, Hist. of Canonbury House, 1788, p. 12).
Spencer was a member of the Cloth workers' Company, and was elected alderman of Langbourn ward on 9 Aug. 1587. He served the office of sheriff in 1583–4, and that of lord mayor in 1594–5. During his shrievalty he was engaged in hunting down papists in Holborn and the adjoining localities, and had to justify before the council the committal of A. Bassano and other of her majesty's musicians (State Papers, Dom. 1581–90, pp. 198, 202). On entering upon his mayoralty at the close of 1594 great scarcity prevailed, and Spencer sent his precept to the city companies to replenish their store of corn at the granaries in the Bridge House for sale to the poor. He stoutly resisted a demand by Admiral Sir John Hawkins for possession of the Bridge House for the use of the queen's navy and baking biscuits for the fleet (Welch, Hist. of the Tower Bridge, p. 99).
He kept his mayoralty at his town residence in Bishopsgate Street, the well-known Crosby Place, which he had purchased in a dilapidated state from the representatives of Antonio Bonvisi, and restored at great cost. In this sumptuous mansion during the course of 1604 Spencer entertained both the Duc de Sully (then M. de Rosny), while ambassador to England, and the youngest son of the Prince of Orange, with Barnevelt and Fulke, who came on a mission from Holland (Stow, Survey of London, 1755, i. 435). Towards the close of his mayoralty he boldly asserted the city's right, which it was feared the crown would invade, to freely elect a recorder. Before the close of his mayoralty Spencer received the honour of knighthood.
By his wife, Alice Bromfield, Spencer had an only child, Elizabeth, who in 1598 was sought in marriage by William, second lord Compton (afterwards first Earl of Northampton). Spencer strongly disapproved of the match, but Compton's influence at court enabled him to procure Spencer's imprisonment in the Fleet in March 1599 for ill-treating his daughter (State Papers, Dom. 1598–1601, p. 169). The young lady was ultimately carried off by her lover from Canonbury House in a baker's basket. The marriage quickly followed, but the alderman naturally declined to give his daughter a marriage portion. When, in May 1601, his daughter became a mother, he showed no signs of relenting (ib. 1601–3, p. 45). But some reconciliation apparently took place soon afterwards, it is said, through the interposition of Elizabeth. In May 1609 Spencer refused to contribute to an aid for James I on behalf of the young Prince Henry (ib. 1603–10, p. 508); he also delayed his contribution of 200l. to the amount subscribed by the Clothworkers' Company to the Ulster settlement, which had to be paid by his executors (Remembrancia, p. 172). Spencer was president of St. Bartholomew's Hospital from 1603 to his death.
He died, at an advanced age, on 3 March 1609–10, and his widow only survived him till 27 March. He was buried on 22 March, and Dame Alice on 7 April, in his parish church of St. Helen, Bishopsgate, where a fine monument exists to his memory. His funeral was on a most sumptuous scale (Winwood, State Papers, iii. 136). His fortune was variously estimated at from 500,000l. to 800,000l., and the splendid inheritance is said for the time to have turned the brain of his son-in-law, Lord Compton. Among other estates, he was possessed of the manors of Brooke Hall, Bower Hall, and Bocking, which he obtained from the queen on 1 Aug. 1599. True to the last to his parsimonious principles, Spencer left none of his immense wealth to objects of public benevolence or utility.
*
In the 16th century there had been a tendency to depict armour in a slightly fanciful, manneristic way. It was during the 16th century that wearing armour on the battlefield gradually lost popularity, and so did the realistic depiction of it. Still, realistically depicted armour as well as the more fanciful style lived happily together.
Sir John wears plain, functional armour of the early 17th century. It looks like a mixture of both styles: the overall silhouette is correct, every single piece of armour he wears was actually worn, but the shape of most pieces is quite crude, the carver hasn't paid much attention to detail.
Realistically depicted armour in a 17th century effigy can be seen in Maastricht www.flickr.com/photos/roelipilami/1476883118/in/set-72157...
And an example of the fanciful style in a Belgian effigy: www.flickr.com/photos/roelipilami/1475764991/in/set-72157...
Originally constructed in 1888 as the third railway bridge on its site, Sandridge Bridge carried trains on Australia's first steam-powered line from Flinders Street to Port Melbourne until 1987.
Redeveloped in 2006 into a pedestrian and cycle path, it features moving sculptures called The Travellers, representing nine eras of immigration to Victoria.
View of the soffits, upper shafts, and capitals from the Hall of the Doric Pilasters; Hadrian's Villa, Tivoli.
A very large and magnificent monument against the south wall of the nave, originally under the north arch of the south transept but removed to its present position in 1867. It consists of a panelled altar tomb on which are recumbent effigies of a man and wife, the former in armour with a long cloak and ruff. At the feet of the woman's figure is a kneeling figure of a daughter at prayer-desk and facing east. On either side of the tomb is a large obelisk with ball finial and spike and standing on a panelled pedestal. Behind the effigies is a wall canopy with two round arches with coffered soffits having cherub-head keystones and supporting an entablature with the cornice brought forward on four shaped brackets. The back of the arched recesses has carved enrichment, two inscribed tablets and two shields of arms and in the middle spandrel a cartouche of arms. Above the cornice is a centre-piece with carved pilasters and an achievement of arms; flanking the centre-piece are cartouches with shields of arms.
Arms:
(i) (Argent) two gimel bars sable between three spread-eagles sable (Spencer).
(ii) The same.
(iii) Quarterly, I, sable a leopard argent; 2, sable three roses argent; 3, azure a cheveron or between three falcons' heads razed or; 4, gules three pales or within a border or charged with roundels sable.
(iv) As (i).
(v) (i) impaling (iii).
(vi) As (iii).
Crests: (a) a falcon rising; (b) a lion's head razed.
In the left-hand recess behind the recumbent effigies:
Hic sitvs est Ioannes Spencer
Eqves avratvs, civis, & senator
Londinensis, eivsdemq civitatis
prætor anno d'ni mdxciiii
qvi ex Alicia Bromfeldia
vxore vnicam reliqvit filiam
Elizabeth Gvilielmo Baroni
Compton envptam, obiit 3o
die martii anno salvtis mdcix
In the right-hand recess:
Socero bene merito
Gvilielmvs baro Compton
gener posvit
An inscription at the foot of the male effigy records the fact that the tomb originally stood in the northern arch of the south transept, and was removed to its present position, restored and repaired in 1867 by Charles, 3rd Marquis of Northampton.
"Survey of London: volume 9: The parish of St Helen, Bishopsgate, part I (1924)" by Minnie Reddan and Alfred W. Clapham.
*
SPENCER, Sir JOHN (d. 1610), lord mayor of London, was the son of Richard Spencer of Waldingfield in Suffolk. He came to London, and was so successful as a merchant that he became known as ‘Rich Spencer.’ His trade with Spain, Turkey, and Venice was very large (State Papers, Spanish, 1568–79 p. 590, Dom. 1591–4 p. 59), and he was accused in 1591 of engrossing, with two other merchants, the whole trade with Tripoli (ib. p. 67). This lends some justification for the charge made in a little book ‘written by D. Papillon, Gent,’ that Spencer became by the practice of merchandise ‘extraordinary rich, but it was by falsifying and monopolising of all manner of commodities’ (Vanity of the Lives and Passions of Men, 1651, p. 48). The same writer relates the story of a plot by a pirate of Dunkirk, with twelve of his crew, to carry off Spencer and hold him to ransom for over 50,000l. Leaving his shallop with six of his men in Barking Creek, he came with the other six to Islington, intending to seize the merchant on his way to his country house at Canonbury, which Spencer had purchased of Thomas, lord Wentworth, in 1570. The plot was frustrated by Spencer's detention that night on important business in the city. Queen Elizabeth is said to have visited him at Canonbury in 1581 (Nichols, Hist. of Canonbury House, 1788, p. 12).
Spencer was a member of the Cloth workers' Company, and was elected alderman of Langbourn ward on 9 Aug. 1587. He served the office of sheriff in 1583–4, and that of lord mayor in 1594–5. During his shrievalty he was engaged in hunting down papists in Holborn and the adjoining localities, and had to justify before the council the committal of A. Bassano and other of her majesty's musicians (State Papers, Dom. 1581–90, pp. 198, 202). On entering upon his mayoralty at the close of 1594 great scarcity prevailed, and Spencer sent his precept to the city companies to replenish their store of corn at the granaries in the Bridge House for sale to the poor. He stoutly resisted a demand by Admiral Sir John Hawkins for possession of the Bridge House for the use of the queen's navy and baking biscuits for the fleet (Welch, Hist. of the Tower Bridge, p. 99).
He kept his mayoralty at his town residence in Bishopsgate Street, the well-known Crosby Place, which he had purchased in a dilapidated state from the representatives of Antonio Bonvisi, and restored at great cost. In this sumptuous mansion during the course of 1604 Spencer entertained both the Duc de Sully (then M. de Rosny), while ambassador to England, and the youngest son of the Prince of Orange, with Barnevelt and Fulke, who came on a mission from Holland (Stow, Survey of London, 1755, i. 435). Towards the close of his mayoralty he boldly asserted the city's right, which it was feared the crown would invade, to freely elect a recorder. Before the close of his mayoralty Spencer received the honour of knighthood.
By his wife, Alice Bromfield, Spencer had an only child, Elizabeth, who in 1598 was sought in marriage by William, second lord Compton (afterwards first Earl of Northampton). Spencer strongly disapproved of the match, but Compton's influence at court enabled him to procure Spencer's imprisonment in the Fleet in March 1599 for ill-treating his daughter (State Papers, Dom. 1598–1601, p. 169). The young lady was ultimately carried off by her lover from Canonbury House in a baker's basket. The marriage quickly followed, but the alderman naturally declined to give his daughter a marriage portion. When, in May 1601, his daughter became a mother, he showed no signs of relenting (ib. 1601–3, p. 45). But some reconciliation apparently took place soon afterwards, it is said, through the interposition of Elizabeth. In May 1609 Spencer refused to contribute to an aid for James I on behalf of the young Prince Henry (ib. 1603–10, p. 508); he also delayed his contribution of 200l. to the amount subscribed by the Clothworkers' Company to the Ulster settlement, which had to be paid by his executors (Remembrancia, p. 172). Spencer was president of St. Bartholomew's Hospital from 1603 to his death.
He died, at an advanced age, on 3 March 1609–10, and his widow only survived him till 27 March. He was buried on 22 March, and Dame Alice on 7 April, in his parish church of St. Helen, Bishopsgate, where a fine monument exists to his memory. His funeral was on a most sumptuous scale (Winwood, State Papers, iii. 136). His fortune was variously estimated at from 500,000l. to 800,000l., and the splendid inheritance is said for the time to have turned the brain of his son-in-law, Lord Compton. Among other estates, he was possessed of the manors of Brooke Hall, Bower Hall, and Bocking, which he obtained from the queen on 1 Aug. 1599. True to the last to his parsimonious principles, Spencer left none of his immense wealth to objects of public benevolence or utility.
*
In the 16th century there had been a tendency to depict armour in a slightly fanciful, manneristic way. It was during the 16th century that wearing armour on the battlefield gradually lost popularity, and so did the realistic depiction of it. Still, realistically depicted armour as well as the more fanciful style lived happily together.
Sir John wears plain, functional armour of the early 17th century. It looks like a mixture of both styles: the overall silhouette is correct, every single piece of armour he wears was actually worn, but the shape of most pieces is quite crude, the carver hasn't paid much attention to detail.
Realistically depicted armour in a 17th century effigy can be seen in Maastricht www.flickr.com/photos/roelipilami/1476883118/in/set-72157...
And an example of the fanciful style in a Belgian effigy: www.flickr.com/photos/roelipilami/1475764991/in/set-72157...
A very large and magnificent monument against the south wall of the nave, originally under the north arch of the south transept but removed to its present position in 1867. It consists of a panelled altar tomb on which are recumbent effigies of a man and wife, the former in armour with a long cloak and ruff. At the feet of the woman's figure is a kneeling figure of a daughter at prayer-desk and facing east. On either side of the tomb is a large obelisk with ball finial and spike and standing on a panelled pedestal. Behind the effigies is a wall canopy with two round arches with coffered soffits having cherub-head keystones and supporting an entablature with the cornice brought forward on four shaped brackets. The back of the arched recesses has carved enrichment, two inscribed tablets and two shields of arms and in the middle spandrel a cartouche of arms. Above the cornice is a centre-piece with carved pilasters and an achievement of arms; flanking the centre-piece are cartouches with shields of arms.
Arms:
(i) (Argent) two gimel bars sable between three spread-eagles sable (Spencer).
(ii) The same.
(iii) Quarterly, I, sable a leopard argent; 2, sable three roses argent; 3, azure a cheveron or between three falcons' heads razed or; 4, gules three pales or within a border or charged with roundels sable.
(iv) As (i).
(v) (i) impaling (iii).
(vi) As (iii).
Crests: (a) a falcon rising; (b) a lion's head razed.
In the left-hand recess behind the recumbent effigies:
Hic sitvs est Ioannes Spencer
Eqves avratvs, civis, & senator
Londinensis, eivsdemq civitatis
prætor anno d'ni mdxciiii
qvi ex Alicia Bromfeldia
vxore vnicam reliqvit filiam
Elizabeth Gvilielmo Baroni
Compton envptam, obiit 3o
die martii anno salvtis mdcix
In the right-hand recess:
Socero bene merito
Gvilielmvs baro Compton
gener posvit
An inscription at the foot of the male effigy records the fact that the tomb originally stood in the northern arch of the south transept, and was removed to its present position, restored and repaired in 1867 by Charles, 3rd Marquis of Northampton.
"Survey of London: volume 9: The parish of St Helen, Bishopsgate, part I (1924)" by Minnie Reddan and Alfred W. Clapham.
*
SPENCER, Sir JOHN (d. 1610), lord mayor of London, was the son of Richard Spencer of Waldingfield in Suffolk. He came to London, and was so successful as a merchant that he became known as ‘Rich Spencer.’ His trade with Spain, Turkey, and Venice was very large (State Papers, Spanish, 1568–79 p. 590, Dom. 1591–4 p. 59), and he was accused in 1591 of engrossing, with two other merchants, the whole trade with Tripoli (ib. p. 67). This lends some justification for the charge made in a little book ‘written by D. Papillon, Gent,’ that Spencer became by the practice of merchandise ‘extraordinary rich, but it was by falsifying and monopolising of all manner of commodities’ (Vanity of the Lives and Passions of Men, 1651, p. 48). The same writer relates the story of a plot by a pirate of Dunkirk, with twelve of his crew, to carry off Spencer and hold him to ransom for over 50,000l. Leaving his shallop with six of his men in Barking Creek, he came with the other six to Islington, intending to seize the merchant on his way to his country house at Canonbury, which Spencer had purchased of Thomas, lord Wentworth, in 1570. The plot was frustrated by Spencer's detention that night on important business in the city. Queen Elizabeth is said to have visited him at Canonbury in 1581 (Nichols, Hist. of Canonbury House, 1788, p. 12).
Spencer was a member of the Cloth workers' Company, and was elected alderman of Langbourn ward on 9 Aug. 1587. He served the office of sheriff in 1583–4, and that of lord mayor in 1594–5. During his shrievalty he was engaged in hunting down papists in Holborn and the adjoining localities, and had to justify before the council the committal of A. Bassano and other of her majesty's musicians (State Papers, Dom. 1581–90, pp. 198, 202). On entering upon his mayoralty at the close of 1594 great scarcity prevailed, and Spencer sent his precept to the city companies to replenish their store of corn at the granaries in the Bridge House for sale to the poor. He stoutly resisted a demand by Admiral Sir John Hawkins for possession of the Bridge House for the use of the queen's navy and baking biscuits for the fleet (Welch, Hist. of the Tower Bridge, p. 99).
He kept his mayoralty at his town residence in Bishopsgate Street, the well-known Crosby Place, which he had purchased in a dilapidated state from the representatives of Antonio Bonvisi, and restored at great cost. In this sumptuous mansion during the course of 1604 Spencer entertained both the Duc de Sully (then M. de Rosny), while ambassador to England, and the youngest son of the Prince of Orange, with Barnevelt and Fulke, who came on a mission from Holland (Stow, Survey of London, 1755, i. 435). Towards the close of his mayoralty he boldly asserted the city's right, which it was feared the crown would invade, to freely elect a recorder. Before the close of his mayoralty Spencer received the honour of knighthood.
By his wife, Alice Bromfield, Spencer had an only child, Elizabeth, who in 1598 was sought in marriage by William, second lord Compton (afterwards first Earl of Northampton). Spencer strongly disapproved of the match, but Compton's influence at court enabled him to procure Spencer's imprisonment in the Fleet in March 1599 for ill-treating his daughter (State Papers, Dom. 1598–1601, p. 169). The young lady was ultimately carried off by her lover from Canonbury House in a baker's basket. The marriage quickly followed, but the alderman naturally declined to give his daughter a marriage portion. When, in May 1601, his daughter became a mother, he showed no signs of relenting (ib. 1601–3, p. 45). But some reconciliation apparently took place soon afterwards, it is said, through the interposition of Elizabeth. In May 1609 Spencer refused to contribute to an aid for James I on behalf of the young Prince Henry (ib. 1603–10, p. 508); he also delayed his contribution of 200l. to the amount subscribed by the Clothworkers' Company to the Ulster settlement, which had to be paid by his executors (Remembrancia, p. 172). Spencer was president of St. Bartholomew's Hospital from 1603 to his death.
He died, at an advanced age, on 3 March 1609–10, and his widow only survived him till 27 March. He was buried on 22 March, and Dame Alice on 7 April, in his parish church of St. Helen, Bishopsgate, where a fine monument exists to his memory. His funeral was on a most sumptuous scale (Winwood, State Papers, iii. 136). His fortune was variously estimated at from 500,000l. to 800,000l., and the splendid inheritance is said for the time to have turned the brain of his son-in-law, Lord Compton. Among other estates, he was possessed of the manors of Brooke Hall, Bower Hall, and Bocking, which he obtained from the queen on 1 Aug. 1599. True to the last to his parsimonious principles, Spencer left none of his immense wealth to objects of public benevolence or utility.
*
In the 16th century there had been a tendency to depict armour in a slightly fanciful, manneristic way. It was during the 16th century that wearing armour on the battlefield gradually lost popularity, and so did the realistic depiction of it. Still, realistically depicted armour as well as the more fanciful style lived happily together.
Sir John wears plain, functional armour of the early 17th century. It looks like a mixture of both styles: the overall silhouette is correct, every single piece of armour he wears was actually worn, but the shape of most pieces is quite crude, the carver hasn't paid much attention to detail.
Realistically depicted armour in a 17th century effigy can be seen in Maastricht www.flickr.com/photos/roelipilami/1476883118/in/set-72157...
And an example of the fanciful style in a Belgian effigy: www.flickr.com/photos/roelipilami/1475764991/in/set-72157...
A very large and magnificent monument against the south wall of the nave, originally under the north arch of the south transept but removed to its present position in 1867. It consists of a panelled altar tomb on which are recumbent effigies of a man and wife, the former in armour with a long cloak and ruff. At the feet of the woman's figure is a kneeling figure of a daughter at prayer-desk and facing east. On either side of the tomb is a large obelisk with ball finial and spike and standing on a panelled pedestal. Behind the effigies is a wall canopy with two round arches with coffered soffits having cherub-head keystones and supporting an entablature with the cornice brought forward on four shaped brackets. The back of the arched recesses has carved enrichment, two inscribed tablets and two shields of arms and in the middle spandrel a cartouche of arms. Above the cornice is a centre-piece with carved pilasters and an achievement of arms; flanking the centre-piece are cartouches with shields of arms.
Arms:
(i) (Argent) two gimel bars sable between three spread-eagles sable (Spencer).
(ii) The same.
(iii) Quarterly, I, sable a leopard argent; 2, sable three roses argent; 3, azure a cheveron or between three falcons' heads razed or; 4, gules three pales or within a border or charged with roundels sable.
(iv) As (i).
(v) (i) impaling (iii).
(vi) As (iii).
Crests: (a) a falcon rising; (b) a lion's head razed.
In the left-hand recess behind the recumbent effigies:
Hic sitvs est Ioannes Spencer
Eqves avratvs, civis, & senator
Londinensis, eivsdemq civitatis
prætor anno d'ni mdxciiii
qvi ex Alicia Bromfeldia
vxore vnicam reliqvit filiam
Elizabeth Gvilielmo Baroni
Compton envptam, obiit 3o
die martii anno salvtis mdcix
In the right-hand recess:
Socero bene merito
Gvilielmvs baro Compton
gener posvit
An inscription at the foot of the male effigy records the fact that the tomb originally stood in the northern arch of the south transept, and was removed to its present position, restored and repaired in 1867 by Charles, 3rd Marquis of Northampton.
"Survey of London: volume 9: The parish of St Helen, Bishopsgate, part I (1924)" by Minnie Reddan and Alfred W. Clapham.
*
SPENCER, Sir JOHN (d. 1610), lord mayor of London, was the son of Richard Spencer of Waldingfield in Suffolk. He came to London, and was so successful as a merchant that he became known as ‘Rich Spencer.’ His trade with Spain, Turkey, and Venice was very large (State Papers, Spanish, 1568–79 p. 590, Dom. 1591–4 p. 59), and he was accused in 1591 of engrossing, with two other merchants, the whole trade with Tripoli (ib. p. 67). This lends some justification for the charge made in a little book ‘written by D. Papillon, Gent,’ that Spencer became by the practice of merchandise ‘extraordinary rich, but it was by falsifying and monopolising of all manner of commodities’ (Vanity of the Lives and Passions of Men, 1651, p. 48). The same writer relates the story of a plot by a pirate of Dunkirk, with twelve of his crew, to carry off Spencer and hold him to ransom for over 50,000l. Leaving his shallop with six of his men in Barking Creek, he came with the other six to Islington, intending to seize the merchant on his way to his country house at Canonbury, which Spencer had purchased of Thomas, lord Wentworth, in 1570. The plot was frustrated by Spencer's detention that night on important business in the city. Queen Elizabeth is said to have visited him at Canonbury in 1581 (Nichols, Hist. of Canonbury House, 1788, p. 12).
Spencer was a member of the Cloth workers' Company, and was elected alderman of Langbourn ward on 9 Aug. 1587. He served the office of sheriff in 1583–4, and that of lord mayor in 1594–5. During his shrievalty he was engaged in hunting down papists in Holborn and the adjoining localities, and had to justify before the council the committal of A. Bassano and other of her majesty's musicians (State Papers, Dom. 1581–90, pp. 198, 202). On entering upon his mayoralty at the close of 1594 great scarcity prevailed, and Spencer sent his precept to the city companies to replenish their store of corn at the granaries in the Bridge House for sale to the poor. He stoutly resisted a demand by Admiral Sir John Hawkins for possession of the Bridge House for the use of the queen's navy and baking biscuits for the fleet (Welch, Hist. of the Tower Bridge, p. 99).
He kept his mayoralty at his town residence in Bishopsgate Street, the well-known Crosby Place, which he had purchased in a dilapidated state from the representatives of Antonio Bonvisi, and restored at great cost. In this sumptuous mansion during the course of 1604 Spencer entertained both the Duc de Sully (then M. de Rosny), while ambassador to England, and the youngest son of the Prince of Orange, with Barnevelt and Fulke, who came on a mission from Holland (Stow, Survey of London, 1755, i. 435). Towards the close of his mayoralty he boldly asserted the city's right, which it was feared the crown would invade, to freely elect a recorder. Before the close of his mayoralty Spencer received the honour of knighthood.
By his wife, Alice Bromfield, Spencer had an only child, Elizabeth, who in 1598 was sought in marriage by William, second lord Compton (afterwards first Earl of Northampton). Spencer strongly disapproved of the match, but Compton's influence at court enabled him to procure Spencer's imprisonment in the Fleet in March 1599 for ill-treating his daughter (State Papers, Dom. 1598–1601, p. 169). The young lady was ultimately carried off by her lover from Canonbury House in a baker's basket. The marriage quickly followed, but the alderman naturally declined to give his daughter a marriage portion. When, in May 1601, his daughter became a mother, he showed no signs of relenting (ib. 1601–3, p. 45). But some reconciliation apparently took place soon afterwards, it is said, through the interposition of Elizabeth. In May 1609 Spencer refused to contribute to an aid for James I on behalf of the young Prince Henry (ib. 1603–10, p. 508); he also delayed his contribution of 200l. to the amount subscribed by the Clothworkers' Company to the Ulster settlement, which had to be paid by his executors (Remembrancia, p. 172). Spencer was president of St. Bartholomew's Hospital from 1603 to his death.
He died, at an advanced age, on 3 March 1609–10, and his widow only survived him till 27 March. He was buried on 22 March, and Dame Alice on 7 April, in his parish church of St. Helen, Bishopsgate, where a fine monument exists to his memory. His funeral was on a most sumptuous scale (Winwood, State Papers, iii. 136). His fortune was variously estimated at from 500,000l. to 800,000l., and the splendid inheritance is said for the time to have turned the brain of his son-in-law, Lord Compton. Among other estates, he was possessed of the manors of Brooke Hall, Bower Hall, and Bocking, which he obtained from the queen on 1 Aug. 1599. True to the last to his parsimonious principles, Spencer left none of his immense wealth to objects of public benevolence or utility.
*
In the 16th century there had been a tendency to depict armour in a slightly fanciful, manneristic way. It was during the 16th century that wearing armour on the battlefield gradually lost popularity, and so did the realistic depiction of it. Still, realistically depicted armour as well as the more fanciful style lived happily together.
Sir John wears plain, functional armour of the early 17th century. It looks like a mixture of both styles: the overall silhouette is correct, every single piece of armour he wears was actually worn, but the shape of most pieces is quite crude, the carver hasn't paid much attention to detail.
Realistically depicted armour in a 17th century effigy can be seen in Maastricht www.flickr.com/photos/roelipilami/1476883118/in/set-72157...
And an example of the fanciful style in a Belgian effigy: www.flickr.com/photos/roelipilami/1475764991/in/set-72157...
On a wall at South Birmingham College, Digbeth Campus is this old advert for Melox Marvels - Pulbis Dog Food!
This is the Digbeth Campus of South Birmingham College. This section is the Grade II listed 224 - 225 High Street in Digbeth. Now a part of South Birmingham College, Digbeth Campus.
This particular building is 224 - 225 High Street, in Digbeth.
Building dated to circa 1860. Brick-built with stone dressings and a hipped slate roof with elaborate bracketted eaves. It has five storeys with seven bays to the front, an additional bay to the corner and seven bays to the left-hand return in Milk Street. To the ground floor there are, probably original, shopfronts. To the first, second and third floor are sash windows wiwth shoulders and keystones with incised decoration and brick arch soffits. To the third floor there are square sash windows.
Circa 1860. Polychromatic brick with stone dressings; slate roof. Five storeys; 7 bays plus the corner and another 7 bays on the left-hand return in Milk Street. Ground floor with apparently original shop fronts. Panelled pilasters supporting an entablature with boldly bracketed cornice. First, second and third floors with sash windows with shoulders and keystones with incised decoration and elaborately cut brick arch soffits and bold sills. Lavishly bracketted moulded cornice at second floor level. Fourth storey with square sash windows. Elaborate bracketted eaves cornice. The windows mostly blocked up.
224 - 225 High Street, Digbeth - Heritage Gateway
Pevsner describes it as a crusty brick block of shops and warehouse of 1869 by Thomas Fawdry, restored in 2003 as part of a bulky creative arts centre development by Nichol Thomas.
Published in the Birmingham Post on the 3rd of December 2009.
Looking at this here and in the paper, I'm wondering, why are there three doors that lead to no where? Was there a bridge here?
I love the bright sunny, colorful new space we have for overnight visitors. This is a brass bed I found at a garage sale years ago. No side rails but I had them built from wood. The wooden stand at the foot of the bed is a traveling cot that unfolds for use on a safari... right up my alley!
The office was dark before. The wall behind the bed was a gray brick which made the room solemn and fatiguing. Albert was hard to persuade (he's a Taurus and avoids change at all costs!) but he loves the white, light new space. Gives him more energy he feels. And the new window brightens what was a dark corner before.
Unexpectedly in the midst of our renovations, we had to install a large new AC unit and run pipes from the air handler to the condenser outside these windows. The only place the pipes could go was over the door. Horrors we thought at first. But our carpenter did a wonderful job of enclosing them in a soffit the same depth as our window trim and painted it white like the walls. Seems like it's always been there now! And our home is fabulously breezy and cool even on heavy humid August days here in South Florida.
For more, see my set Living in a Jungle.
A very large and magnificent monument against the south wall of the nave, originally under the north arch of the south transept but removed to its present position in 1867. It consists of a panelled altar tomb on which are recumbent effigies of a man and wife, the former in armour with a long cloak and ruff. At the feet of the woman's figure is a kneeling figure of a daughter at prayer-desk and facing east. On either side of the tomb is a large obelisk with ball finial and spike and standing on a panelled pedestal. Behind the effigies is a wall canopy with two round arches with coffered soffits having cherub-head keystones and supporting an entablature with the cornice brought forward on four shaped brackets. The back of the arched recesses has carved enrichment, two inscribed tablets and two shields of arms and in the middle spandrel a cartouche of arms. Above the cornice is a centre-piece with carved pilasters and an achievement of arms; flanking the centre-piece are cartouches with shields of arms.
Arms:
(i) (Argent) two gimel bars sable between three spread-eagles sable (Spencer).
(ii) The same.
(iii) Quarterly, I, sable a leopard argent; 2, sable three roses argent; 3, azure a cheveron or between three falcons' heads razed or; 4, gules three pales or within a border or charged with roundels sable.
(iv) As (i).
(v) (i) impaling (iii).
(vi) As (iii).
Crests: (a) a falcon rising; (b) a lion's head razed.
In the left-hand recess behind the recumbent effigies:
Hic sitvs est Ioannes Spencer
Eqves avratvs, civis, & senator
Londinensis, eivsdemq civitatis
prætor anno d'ni mdxciiii
qvi ex Alicia Bromfeldia
vxore vnicam reliqvit filiam
Elizabeth Gvilielmo Baroni
Compton envptam, obiit 3o
die martii anno salvtis mdcix
In the right-hand recess:
Socero bene merito
Gvilielmvs baro Compton
gener posvit
An inscription at the foot of the male effigy records the fact that the tomb originally stood in the northern arch of the south transept, and was removed to its present position, restored and repaired in 1867 by Charles, 3rd Marquis of Northampton.
"Survey of London: volume 9: The parish of St Helen, Bishopsgate, part I (1924)" by Minnie Reddan and Alfred W. Clapham.
*
SPENCER, Sir JOHN (d. 1610), lord mayor of London, was the son of Richard Spencer of Waldingfield in Suffolk. He came to London, and was so successful as a merchant that he became known as ‘Rich Spencer.’ His trade with Spain, Turkey, and Venice was very large (State Papers, Spanish, 1568–79 p. 590, Dom. 1591–4 p. 59), and he was accused in 1591 of engrossing, with two other merchants, the whole trade with Tripoli (ib. p. 67). This lends some justification for the charge made in a little book ‘written by D. Papillon, Gent,’ that Spencer became by the practice of merchandise ‘extraordinary rich, but it was by falsifying and monopolising of all manner of commodities’ (Vanity of the Lives and Passions of Men, 1651, p. 48). The same writer relates the story of a plot by a pirate of Dunkirk, with twelve of his crew, to carry off Spencer and hold him to ransom for over 50,000l. Leaving his shallop with six of his men in Barking Creek, he came with the other six to Islington, intending to seize the merchant on his way to his country house at Canonbury, which Spencer had purchased of Thomas, lord Wentworth, in 1570. The plot was frustrated by Spencer's detention that night on important business in the city. Queen Elizabeth is said to have visited him at Canonbury in 1581 (Nichols, Hist. of Canonbury House, 1788, p. 12).
Spencer was a member of the Cloth workers' Company, and was elected alderman of Langbourn ward on 9 Aug. 1587. He served the office of sheriff in 1583–4, and that of lord mayor in 1594–5. During his shrievalty he was engaged in hunting down papists in Holborn and the adjoining localities, and had to justify before the council the committal of A. Bassano and other of her majesty's musicians (State Papers, Dom. 1581–90, pp. 198, 202). On entering upon his mayoralty at the close of 1594 great scarcity prevailed, and Spencer sent his precept to the city companies to replenish their store of corn at the granaries in the Bridge House for sale to the poor. He stoutly resisted a demand by Admiral Sir John Hawkins for possession of the Bridge House for the use of the queen's navy and baking biscuits for the fleet (Welch, Hist. of the Tower Bridge, p. 99).
He kept his mayoralty at his town residence in Bishopsgate Street, the well-known Crosby Place, which he had purchased in a dilapidated state from the representatives of Antonio Bonvisi, and restored at great cost. In this sumptuous mansion during the course of 1604 Spencer entertained both the Duc de Sully (then M. de Rosny), while ambassador to England, and the youngest son of the Prince of Orange, with Barnevelt and Fulke, who came on a mission from Holland (Stow, Survey of London, 1755, i. 435). Towards the close of his mayoralty he boldly asserted the city's right, which it was feared the crown would invade, to freely elect a recorder. Before the close of his mayoralty Spencer received the honour of knighthood.
By his wife, Alice Bromfield, Spencer had an only child, Elizabeth, who in 1598 was sought in marriage by William, second lord Compton (afterwards first Earl of Northampton). Spencer strongly disapproved of the match, but Compton's influence at court enabled him to procure Spencer's imprisonment in the Fleet in March 1599 for ill-treating his daughter (State Papers, Dom. 1598–1601, p. 169). The young lady was ultimately carried off by her lover from Canonbury House in a baker's basket. The marriage quickly followed, but the alderman naturally declined to give his daughter a marriage portion. When, in May 1601, his daughter became a mother, he showed no signs of relenting (ib. 1601–3, p. 45). But some reconciliation apparently took place soon afterwards, it is said, through the interposition of Elizabeth. In May 1609 Spencer refused to contribute to an aid for James I on behalf of the young Prince Henry (ib. 1603–10, p. 508); he also delayed his contribution of 200l. to the amount subscribed by the Clothworkers' Company to the Ulster settlement, which had to be paid by his executors (Remembrancia, p. 172). Spencer was president of St. Bartholomew's Hospital from 1603 to his death.
He died, at an advanced age, on 3 March 1609–10, and his widow only survived him till 27 March. He was buried on 22 March, and Dame Alice on 7 April, in his parish church of St. Helen, Bishopsgate, where a fine monument exists to his memory. His funeral was on a most sumptuous scale (Winwood, State Papers, iii. 136). His fortune was variously estimated at from 500,000l. to 800,000l., and the splendid inheritance is said for the time to have turned the brain of his son-in-law, Lord Compton. Among other estates, he was possessed of the manors of Brooke Hall, Bower Hall, and Bocking, which he obtained from the queen on 1 Aug. 1599. True to the last to his parsimonious principles, Spencer left none of his immense wealth to objects of public benevolence or utility.
*
In the 16th century there had been a tendency to depict armour in a slightly fanciful, manneristic way. It was during the 16th century that wearing armour on the battlefield gradually lost popularity, and so did the realistic depiction of it. Still, realistically depicted armour as well as the more fanciful style lived happily together.
Sir John wears plain, functional armour of the early 17th century. It looks like a mixture of both styles: the overall silhouette is correct, every single piece of armour he wears was actually worn, but the shape of most pieces is quite crude, the carver hasn't paid much attention to detail.
Realistically depicted armour in a 17th century effigy can be seen in Maastricht www.flickr.com/photos/roelipilami/1476883118/in/set-72157...
And an example of the fanciful style in a Belgian effigy: www.flickr.com/photos/roelipilami/1475764991/in/set-72157...
A very large and magnificent monument against the south wall of the nave, originally under the north arch of the south transept but removed to its present position in 1867. It consists of a panelled altar tomb on which are recumbent effigies of a man and wife, the former in armour with a long cloak and ruff. At the feet of the woman's figure is a kneeling figure of a daughter at prayer-desk and facing east. On either side of the tomb is a large obelisk with ball finial and spike and standing on a panelled pedestal. Behind the effigies is a wall canopy with two round arches with coffered soffits having cherub-head keystones and supporting an entablature with the cornice brought forward on four shaped brackets. The back of the arched recesses has carved enrichment, two inscribed tablets and two shields of arms and in the middle spandrel a cartouche of arms. Above the cornice is a centre-piece with carved pilasters and an achievement of arms; flanking the centre-piece are cartouches with shields of arms.
Arms:
(i) (Argent) two gimel bars sable between three spread-eagles sable (Spencer).
(ii) The same.
(iii) Quarterly, I, sable a leopard argent; 2, sable three roses argent; 3, azure a cheveron or between three falcons' heads razed or; 4, gules three pales or within a border or charged with roundels sable.
(iv) As (i).
(v) (i) impaling (iii).
(vi) As (iii).
Crests: (a) a falcon rising; (b) a lion's head razed.
In the left-hand recess behind the recumbent effigies:
Hic sitvs est Ioannes Spencer
Eqves avratvs, civis, & senator
Londinensis, eivsdemq civitatis
prætor anno d'ni mdxciiii
qvi ex Alicia Bromfeldia
vxore vnicam reliqvit filiam
Elizabeth Gvilielmo Baroni
Compton envptam, obiit 3o
die martii anno salvtis mdcix
In the right-hand recess:
Socero bene merito
Gvilielmvs baro Compton
gener posvit
An inscription at the foot of the male effigy records the fact that the tomb originally stood in the northern arch of the south transept, and was removed to its present position, restored and repaired in 1867 by Charles, 3rd Marquis of Northampton.
"Survey of London: volume 9: The parish of St Helen, Bishopsgate, part I (1924)" by Minnie Reddan and Alfred W. Clapham.
*
SPENCER, Sir JOHN (d. 1610), lord mayor of London, was the son of Richard Spencer of Waldingfield in Suffolk. He came to London, and was so successful as a merchant that he became known as ‘Rich Spencer.’ His trade with Spain, Turkey, and Venice was very large (State Papers, Spanish, 1568–79 p. 590, Dom. 1591–4 p. 59), and he was accused in 1591 of engrossing, with two other merchants, the whole trade with Tripoli (ib. p. 67). This lends some justification for the charge made in a little book ‘written by D. Papillon, Gent,’ that Spencer became by the practice of merchandise ‘extraordinary rich, but it was by falsifying and monopolising of all manner of commodities’ (Vanity of the Lives and Passions of Men, 1651, p. 48). The same writer relates the story of a plot by a pirate of Dunkirk, with twelve of his crew, to carry off Spencer and hold him to ransom for over 50,000l. Leaving his shallop with six of his men in Barking Creek, he came with the other six to Islington, intending to seize the merchant on his way to his country house at Canonbury, which Spencer had purchased of Thomas, lord Wentworth, in 1570. The plot was frustrated by Spencer's detention that night on important business in the city. Queen Elizabeth is said to have visited him at Canonbury in 1581 (Nichols, Hist. of Canonbury House, 1788, p. 12).
Spencer was a member of the Cloth workers' Company, and was elected alderman of Langbourn ward on 9 Aug. 1587. He served the office of sheriff in 1583–4, and that of lord mayor in 1594–5. During his shrievalty he was engaged in hunting down papists in Holborn and the adjoining localities, and had to justify before the council the committal of A. Bassano and other of her majesty's musicians (State Papers, Dom. 1581–90, pp. 198, 202). On entering upon his mayoralty at the close of 1594 great scarcity prevailed, and Spencer sent his precept to the city companies to replenish their store of corn at the granaries in the Bridge House for sale to the poor. He stoutly resisted a demand by Admiral Sir John Hawkins for possession of the Bridge House for the use of the queen's navy and baking biscuits for the fleet (Welch, Hist. of the Tower Bridge, p. 99).
He kept his mayoralty at his town residence in Bishopsgate Street, the well-known Crosby Place, which he had purchased in a dilapidated state from the representatives of Antonio Bonvisi, and restored at great cost. In this sumptuous mansion during the course of 1604 Spencer entertained both the Duc de Sully (then M. de Rosny), while ambassador to England, and the youngest son of the Prince of Orange, with Barnevelt and Fulke, who came on a mission from Holland (Stow, Survey of London, 1755, i. 435). Towards the close of his mayoralty he boldly asserted the city's right, which it was feared the crown would invade, to freely elect a recorder. Before the close of his mayoralty Spencer received the honour of knighthood.
By his wife, Alice Bromfield, Spencer had an only child, Elizabeth, who in 1598 was sought in marriage by William, second lord Compton (afterwards first Earl of Northampton). Spencer strongly disapproved of the match, but Compton's influence at court enabled him to procure Spencer's imprisonment in the Fleet in March 1599 for ill-treating his daughter (State Papers, Dom. 1598–1601, p. 169). The young lady was ultimately carried off by her lover from Canonbury House in a baker's basket. The marriage quickly followed, but the alderman naturally declined to give his daughter a marriage portion. When, in May 1601, his daughter became a mother, he showed no signs of relenting (ib. 1601–3, p. 45). But some reconciliation apparently took place soon afterwards, it is said, through the interposition of Elizabeth. In May 1609 Spencer refused to contribute to an aid for James I on behalf of the young Prince Henry (ib. 1603–10, p. 508); he also delayed his contribution of 200l. to the amount subscribed by the Clothworkers' Company to the Ulster settlement, which had to be paid by his executors (Remembrancia, p. 172). Spencer was president of St. Bartholomew's Hospital from 1603 to his death.
He died, at an advanced age, on 3 March 1609–10, and his widow only survived him till 27 March. He was buried on 22 March, and Dame Alice on 7 April, in his parish church of St. Helen, Bishopsgate, where a fine monument exists to his memory. His funeral was on a most sumptuous scale (Winwood, State Papers, iii. 136). His fortune was variously estimated at from 500,000l. to 800,000l., and the splendid inheritance is said for the time to have turned the brain of his son-in-law, Lord Compton. Among other estates, he was possessed of the manors of Brooke Hall, Bower Hall, and Bocking, which he obtained from the queen on 1 Aug. 1599. True to the last to his parsimonious principles, Spencer left none of his immense wealth to objects of public benevolence or utility.
*
In the 16th century there had been a tendency to depict armour in a slightly fanciful, manneristic way. It was during the 16th century that wearing armour on the battlefield gradually lost popularity, and so did the realistic depiction of it. Still, realistically depicted armour as well as the more fanciful style lived happily together.
Sir John wears plain, functional armour of the early 17th century. It looks like a mixture of both styles: the overall silhouette is correct, every single piece of armour he wears was actually worn, but the shape of most pieces is quite crude, the carver hasn't paid much attention to detail.
Realistically depicted armour in a 17th century effigy can be seen in Maastricht www.flickr.com/photos/roelipilami/1476883118/in/set-72157...
And an example of the fanciful style in a Belgian effigy: www.flickr.com/photos/roelipilami/1475764991/in/set-72157...
A very large and magnificent monument against the south wall of the nave, originally under the north arch of the south transept but removed to its present position in 1867. It consists of a panelled altar tomb on which are recumbent effigies of a man and wife, the former in armour with a long cloak and ruff. At the feet of the woman's figure is a kneeling figure of a daughter at prayer-desk and facing east. On either side of the tomb is a large obelisk with ball finial and spike and standing on a panelled pedestal. Behind the effigies is a wall canopy with two round arches with coffered soffits having cherub-head keystones and supporting an entablature with the cornice brought forward on four shaped brackets. The back of the arched recesses has carved enrichment, two inscribed tablets and two shields of arms and in the middle spandrel a cartouche of arms. Above the cornice is a centre-piece with carved pilasters and an achievement of arms; flanking the centre-piece are cartouches with shields of arms.
Arms:
(i) (Argent) two gimel bars sable between three spread-eagles sable (Spencer).
(ii) The same.
(iii) Quarterly, I, sable a leopard argent; 2, sable three roses argent; 3, azure a cheveron or between three falcons' heads razed or; 4, gules three pales or within a border or charged with roundels sable.
(iv) As (i).
(v) (i) impaling (iii).
(vi) As (iii).
Crests: (a) a falcon rising; (b) a lion's head razed.
In the left-hand recess behind the recumbent effigies:
Hic sitvs est Ioannes Spencer
Eqves avratvs, civis, & senator
Londinensis, eivsdemq civitatis
prætor anno d'ni mdxciiii
qvi ex Alicia Bromfeldia
vxore vnicam reliqvit filiam
Elizabeth Gvilielmo Baroni
Compton envptam, obiit 3o
die martii anno salvtis mdcix
In the right-hand recess:
Socero bene merito
Gvilielmvs baro Compton
gener posvit
An inscription at the foot of the male effigy records the fact that the tomb originally stood in the northern arch of the south transept, and was removed to its present position, restored and repaired in 1867 by Charles, 3rd Marquis of Northampton.
"Survey of London: volume 9: The parish of St Helen, Bishopsgate, part I (1924)" by Minnie Reddan and Alfred W. Clapham.
*
SPENCER, Sir JOHN (d. 1610), lord mayor of London, was the son of Richard Spencer of Waldingfield in Suffolk. He came to London, and was so successful as a merchant that he became known as ‘Rich Spencer.’ His trade with Spain, Turkey, and Venice was very large (State Papers, Spanish, 1568–79 p. 590, Dom. 1591–4 p. 59), and he was accused in 1591 of engrossing, with two other merchants, the whole trade with Tripoli (ib. p. 67). This lends some justification for the charge made in a little book ‘written by D. Papillon, Gent,’ that Spencer became by the practice of merchandise ‘extraordinary rich, but it was by falsifying and monopolising of all manner of commodities’ (Vanity of the Lives and Passions of Men, 1651, p. 48). The same writer relates the story of a plot by a pirate of Dunkirk, with twelve of his crew, to carry off Spencer and hold him to ransom for over 50,000l. Leaving his shallop with six of his men in Barking Creek, he came with the other six to Islington, intending to seize the merchant on his way to his country house at Canonbury, which Spencer had purchased of Thomas, lord Wentworth, in 1570. The plot was frustrated by Spencer's detention that night on important business in the city. Queen Elizabeth is said to have visited him at Canonbury in 1581 (Nichols, Hist. of Canonbury House, 1788, p. 12).
Spencer was a member of the Cloth workers' Company, and was elected alderman of Langbourn ward on 9 Aug. 1587. He served the office of sheriff in 1583–4, and that of lord mayor in 1594–5. During his shrievalty he was engaged in hunting down papists in Holborn and the adjoining localities, and had to justify before the council the committal of A. Bassano and other of her majesty's musicians (State Papers, Dom. 1581–90, pp. 198, 202). On entering upon his mayoralty at the close of 1594 great scarcity prevailed, and Spencer sent his precept to the city companies to replenish their store of corn at the granaries in the Bridge House for sale to the poor. He stoutly resisted a demand by Admiral Sir John Hawkins for possession of the Bridge House for the use of the queen's navy and baking biscuits for the fleet (Welch, Hist. of the Tower Bridge, p. 99).
He kept his mayoralty at his town residence in Bishopsgate Street, the well-known Crosby Place, which he had purchased in a dilapidated state from the representatives of Antonio Bonvisi, and restored at great cost. In this sumptuous mansion during the course of 1604 Spencer entertained both the Duc de Sully (then M. de Rosny), while ambassador to England, and the youngest son of the Prince of Orange, with Barnevelt and Fulke, who came on a mission from Holland (Stow, Survey of London, 1755, i. 435). Towards the close of his mayoralty he boldly asserted the city's right, which it was feared the crown would invade, to freely elect a recorder. Before the close of his mayoralty Spencer received the honour of knighthood.
By his wife, Alice Bromfield, Spencer had an only child, Elizabeth, who in 1598 was sought in marriage by William, second lord Compton (afterwards first Earl of Northampton). Spencer strongly disapproved of the match, but Compton's influence at court enabled him to procure Spencer's imprisonment in the Fleet in March 1599 for ill-treating his daughter (State Papers, Dom. 1598–1601, p. 169). The young lady was ultimately carried off by her lover from Canonbury House in a baker's basket. The marriage quickly followed, but the alderman naturally declined to give his daughter a marriage portion. When, in May 1601, his daughter became a mother, he showed no signs of relenting (ib. 1601–3, p. 45). But some reconciliation apparently took place soon afterwards, it is said, through the interposition of Elizabeth. In May 1609 Spencer refused to contribute to an aid for James I on behalf of the young Prince Henry (ib. 1603–10, p. 508); he also delayed his contribution of 200l. to the amount subscribed by the Clothworkers' Company to the Ulster settlement, which had to be paid by his executors (Remembrancia, p. 172). Spencer was president of St. Bartholomew's Hospital from 1603 to his death.
He died, at an advanced age, on 3 March 1609–10, and his widow only survived him till 27 March. He was buried on 22 March, and Dame Alice on 7 April, in his parish church of St. Helen, Bishopsgate, where a fine monument exists to his memory. His funeral was on a most sumptuous scale (Winwood, State Papers, iii. 136). His fortune was variously estimated at from 500,000l. to 800,000l., and the splendid inheritance is said for the time to have turned the brain of his son-in-law, Lord Compton. Among other estates, he was possessed of the manors of Brooke Hall, Bower Hall, and Bocking, which he obtained from the queen on 1 Aug. 1599. True to the last to his parsimonious principles, Spencer left none of his immense wealth to objects of public benevolence or utility.
*
In the 16th century there had been a tendency to depict armour in a slightly fanciful, manneristic way. It was during the 16th century that wearing armour on the battlefield gradually lost popularity, and so did the realistic depiction of it. Still, realistically depicted armour as well as the more fanciful style lived happily together.
Sir John wears plain, functional armour of the early 17th century. It looks like a mixture of both styles: the overall silhouette is correct, every single piece of armour he wears was actually worn, but the shape of most pieces is quite crude, the carver hasn't paid much attention to detail.
Realistically depicted armour in a 17th century effigy can be seen in Maastricht www.flickr.com/photos/roelipilami/1476883118/in/set-72157...
And an example of the fanciful style in a Belgian effigy: www.flickr.com/photos/roelipilami/1475764991/in/set-72157...