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A patrol supervisor assists a K-9 unit on a burglar alarm at the Mystic Beach Visitor Center on S. Ocean.
It's probably nothing, but maybe someone just couldn't wait for one of those cartoon map pamphlets with all those valuable coupons inside.
Baynard Police
Ford CVPI
Unit #4556
K-9 Unit #27
Mikey
Olympus OM-D E-M5 Mark II
Olympus M.14-42mm F3.5-5.6 II R
For more info about the dioramas, check out the FAQ: 1stPix FAQ
A platform supervisor or dispatcher (I don't know what the correct title would be) on a station platform of Pyongyang's metro.
Chevrolet Tahoe Pursuit Package
CVEmergencyVids
Gregory Murray, © 2018
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@cvemergencyvids
The Northern Arizona Intergovernmental Public Transportation Authority (NAIPTA)
Mobility Ventures MV-1
Flagstaff Arizona
May 23, 2021
It was a car park but it certainly wasn't supervised. Can't remember exactly where this was, but it was somewhere near the Bigg Market, I think.
If anyone finds it again, any help in narrowing down location so I can geotag it would be appreciated!
The bitty Green Bay Packers bears refused to be banished to the other room when I put out the Christmas decorations, so I assigned the Kewpee elf to keep then out of trouble. I'm not sure who's keeping him out of trouble, though!
For another bit of holiday fun check my latest favorite silly Christmas song: www.youtube.com/watch?v=lGJoPmGA5uc.
Dolly supervises my latest gardening attempt on the side of the house. Kind of a stern look for her - did she realize how close I came to a buried electric line when digging a hole? (Unfortunately, private lines aren't marked by the utilities, but I do proceed very carefully whenever digging in the yard.)
Point-and-Shoot
3.8-247.0
f/8.0, 221.1 mm
1/320, ISO 1250
1822
In the public works department we spent most of our time digging and then refilling holes, we had to make sure this one was done right.
Santa Maria Novella is a church in Florence, Italy, situated just across from the main railway station which shares its name. Chronologically, it is the first great basilica in Florence, and is the city's principal Dominican church.
The church, the adjoining cloister, and chapterhouse contain a store of art treasures and funerary monuments. Especially famous are frescoes by masters of Gothic and early Renaissance. They were financed through the generosity of the most important Florentine families, who ensured themselves of funerary chapels on consecrated ground.
This church was called Novella (New) because it was built on the site of the 9th-century oratory of Santa Maria delle Vigne. When the site was assigned to Dominican Order in 1221, they decided to build a new church and an adjoining cloister. The church was designed by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi. Building began in the mid-13th century (about 1246), and was finished about 1360 under the supervision of Friar Iacopo Talenti with the completion of the Romanesque-Gothic bell tower and sacristy. At that time, only the lower part of the Tuscan gothic facade was finished. The three portals are spanned by round arches, while the rest of the lower part of the facade is spanned by blind arches, separated by pilasters, with below Gothic pointed arches, striped in green and white, capping noblemen's tombs. This same design continues in the adjoining wall around the old churchyard. The church was consecrated in 1420.
On a commission from Giovanni di Paolo Rucellai, a local textile merchant, Leone Battista Alberti designed the upper part of the inlaid black and white marble facade of the church (1456–1470). He was already famous as the architect of the Tempio Malatestiano in Rimini, but even more for his seminal treatise on architecture De Re Aedificatoria, based on the book De Architectura of the classical Roman writer Vitruvius. Alberti had also designed the facade for the Rucellai Palace in Florence.
Alberti attempted to bring the ideals of humanist architecture, proportion and classically-inspired detailing, to bear on the design while also creating harmony with the already existing medieval part of the facade. His contribution consists of a broad frieze decorated with squares and everything above it, including the four white-green pilasters and a round window, crowned by a pediment with the Dominican solar emblem, and flanked on both sides by enormous S-curved volutes. The four columns with Corinthian capitals on the lower part of the facade were also added. The pediment and the frieze are clearly inspired by the antiquity, but the S-curved scrolls in the upper part are new and without precedent in antiquity. The scrolls (or variations of them), found in churches all over Italy, all find their origin here in the design of this church.
The frieze below the pediment carries the name of the patron : IOHAN(N)ES ORICELLARIUS PAU(LI) F(ILIUS) AN(NO) SAL(UTIS) MCCCCLXX (Giovanni Rucellai son of Paolo in the blessed year 1470).
The vast interior is based on a basilica plan, designed as a Latin cross and is divided into a nave, two aisles with stained-glass windows and a short transept. The large nave is 100 metres long and gives an impression of austerity. There is a trompe l'oeil-effect by which this nave towards the apse seems longer than its actual length. The slender compound piers between the nave and the aisles are ever closer when you go deeper into the nave. The ceiling in the vault consists of pointed arches with the four diagonal buttresses in black and white.
The interior also contains corinthian columns that were inspired by the Classical era of Greek and Roman times.
The stained-glass windows date from the 14th and 15th century, such as 15th century Madonna and Child and St. John and St. Philip (designed by Filippino Lippi), both in the Filippo Strozzi Chapel. Some stained glass windows have been damaged in the course of centuries and have been replaced. The one on the facade, a depiction of the Coronation of Mary dates from the 14th century, based on a design of Andrea di Bonaiuto da Firenze.
The pulpit, commissioned by the Rucellai family in 1443, was designed by Filippo Brunelleschi and executed by his adopted child Andrea Calvalcanti. This pulpit has a particular historical significance, because from this pulpit the first attack came on Galileo Galilei, leading eventually to his indictment
The Holy Trinity, situated almost halfway in the left aisle, is a pioneering early renaissance work of Masaccio, showing his new ideas about perspective and mathematical proportions. Its meaning for the art of painting can easily be compared by the importance of Brunelleschi for architecture and Donatello for sculpture. The patrons are the kneeling figures of the judge and his wife, members of the Lenzi family. The cadaver tomb below carries the epigram: "I was once what you are, and what I am you will become".
Of particular note in the right aisle is the Tomba della Beata Villana, a monument by Bernardo Rossellino in 1451. In the same aisle, you can find the tombs of the Bishop of Fiesole by Tino di Camaino and another one by Nino Pisano.
The Filippo Strozzi Chapel is situated on the right side of the main altar. The Strozzi Chapel was the place where the first tale of the Decamerone by Giovanni Boccaccio began, when seven ladies decided to leave the town, and flee from the Black Plague to the countryside. The series of frescoes from Filippino Lippi depict the lives of Philip the Apostle and James the Apostle. They were completed in 1502. On the right wall is the fresco St Philip Driving the Dragon from the Temple of Hieropolis and in the lunette above it, the Crucifixion of St Philip. On the left wall is the fresco St John the Evangelist Resuscitating Druisana and in the lunette above it The Torture of St John the Evangelist. Adam, Noah, Abraham and Jacob are represented on the ribbed vault. Behind the altar is the tomb of Filippo Strozzi with a sculpture by Benedetto da Maiano (1491).
The bronze crucifix on the main altar is by Giambologna (16th century). The choir (or the Cappella Tornabuoni) contains another series of famous frescoes, by Domenico Ghirlandaio and his apprentice the young Michelangelo (1485–1490). They represent themes from the life of the Virgin and John the Baptist, situated in Florence of the late 15th century. Several members of important Florentine families were portrayed on these frescoes. The vaults are covered with paintings of the Evangelists. On the back wall are the paintings Saint Dominic burns the Heretical Books and Saint Peter's Martyrdom, the Annunciation, and Saint John goes into the Desert.
The stained-glass windows were made in 1492 by the Florentine artist Alessandro Agolanti, known also as il Bidello, based on cartoons by Ghirlandaio.
Gondi Chapel
This chapel, designed by Giuliano da Sangallo, is situated on the left side of the main altar and dates from the end of the 13th century. Here, on the back wall, is the famous wooden Crucifix by Brunelleschi, one of his very few sculptures. The legend goes that he was so disgusted by the "primitive" Crucifix of Donatello in the Santa Croce church, that he made this one. The vault contains fragments of frescoes by 13th-century Greek painters. The polychrome marble decoration was applied by Giuliano da Sangallo (ca.1503). The stained-glass window is recent and dates from the 20th century.
Cappella Strozzi di Mantova
The Cappella Strozzi di Mantova is situated at the end of the left transept. The frescoes were commissioned by Tommaso Strozzi, an ancestor of Filippo Strozzi, to Nardo di Cione (1350–1357). The frescoes are inspired by Dante's Divine Comedy: Last Judgment (on the back wall; including a portrait of Dante), Hell (on the right wall) and paradise (on the left wall). The main altarpiece of The Redeemer with the Madonna and Saints was done by his brother Andrea di Cione, better known as Orcagna. The large stained-glass window on the back was made from a cartoon by the brothers Andrea and Nardo di Cione.
Della Pura Chape
The Della Pura Chapel is situated north of the old cemetery. It dates from 1474 and was constructed with Renaissance columns. It was restored in 1841 by Baccani. On the left side there is a lunette with a 14th-century fresco Madonna and Child and St. Catherine. There is a wooden crucifix by Baccio da Montelupo (1501) on the front altar.
Rucellai Chapel
The Rucellai Chapel, at the end of the right aisle, dates from the 14th century. It houses, besides the tomb of Paolo Rucellai (15th century) and the marble statue of the Madonna and the Child by Nino Pisano, several art treasures such as remains of frescoes by the Maestro di Santa Cecilia (end 13th – beginning 14th century). The panel on the left wall, the Martyrdom of Saint Catherine, was painted by Giuliano Bugiardini (with possibly assistance by Michelangelo). The bronze tomb, in the centre of the floor, was made by Ghiberti in 1425.
Bardi Chapel
The Bardi Chapel, the second chapel on the right of the apse, was founded by Riccardo Bardi and dates from early 14th century. The high-relief on a pillar on the right depicts Saint Gregory blessing Riccardo Bardi. The walls show us some early 14th-century frescoes attributed to Spinello Aretino. The Madonna del Rosario on the altar is by Giorgio Vasari (1568)
Sacristy
The sacristy, at the end of the left aisle, was built as the Chapel of the Annunciation by the Cavalcanti family in 1380. Now it houses again, after a period of fourteen years of cleaning and renovation, the enormous painted Crucifix with the Madonna and John the Evangelist, an early work by Giotto. He had rediscovered the ideal proportions for the human body, as established by the Roman architect Vitruvius (1st century AD, see also : Vitruvian Man). The sacristy is also embellished by a glazed terra cotta and a marble font, masterpieces by Giovanni della Robbia (1498). The cupboards were designed by Bernardo Buontalenti in 1593. The paintings on the wall are ascribed to Giorgio Vasari and some other contemporary Florentine painters. The large Gothic window with three mullions at the back wall dates from 1386 and was based on cartoons by Niccolò di Pietro Gerini
Spanish Chapel
Fresco by Andrea di Bonaiuto da Firenze in the Spanish Chapel: Allegory of the Active and Triumphant Church and of the Dominican order (c. 1365)
The Spanish Chapel (or Cappellone degli Spagnoli) is the former chapter house of the monastery. It is situated at the north side of the green Cloister (Chiostro Verde). It was commissioned by Buonamico (Mico) Guidalotti as his funerary chapel. Construction started c. 1343 and was finished in 1355. The Guidalotti chapel was later called "Spanish Chapel", because Cosimo I assigned it to Eleonora of Toledo and her Spanish retinue. The Spanish Chapel contains a smaller Chapel of the Most Holy Sacrament. The Spanish Chapel was decorated from 1365 to 1367 by Andrea di Bonaiuto, also known as Andrea da Firenze. The large fresco on the right wall depicts the Allegory of the Active and Triumphant Church and of the Dominican order. It is especially interesting because in the background it shows a large pink building that may provide some insight into the original designs for the Duomo of Florence by Arnolfo di Cambio (before Brunelleschi's dome was built), although this interpretation is fantastical as the Duomo was never intended to be pink, nor to have the belltower at its back side. This fresco also contains portraits of pope Benedict IX, cardinal Friar Niccolò Albertini, count Guido di Poppi, Arnolfo di Cambio and the poet Petrarch. The frescoes on the other walls represent scenes from the lives of Christ and Saint Peter on the entry wall (mostly ruined due to the later installation of a choir), The Triumph of Saint Thomas Aquinas and the Allegory of Christian Learning on the left wall, and the large "Crucifixion with the Way to Calvalry and the Descent into Limbo" on the archway of the altar wall. The four-part vault contains scenes of Christ's resurrection, the navicella, the ascension, and Pentecost. The five-panelled Gothic polyptych that was probably originally made for the chapel's altar, depicting the Madonna Enthroned With and Child and Four Saints by Bernardo Daddi dates from 1344 and is currently on display in a small museum area accessed through glass doors from the far end of the cloister. Together, the complex iconography of the ceiling vault, walls, and altar combine to communicate the message of Dominicans as guides to salvation.
Architecture
Giorgio Vasari was the architect, commissioned in 1567 by Grand Duke Cosimo I, for the first remodeling of the church, which included removing its original rood screen and loft, and adding six chapels between the columns. An armillary sphere (on the left) and a gnomon (on the right) were added to the end blind arches of the lower façade by Ignazio Danti, astronomer of Cosimo I, in 1572. The second remodeling was designed by Enrico Romoli, and was carried out between 1858 and 1860.
Piazza Santa Maria Novella.
The square in front the church was used by Cosimo I for the yearly chariot race (Palio dei Cocchi). This custom existed between 1563 and late in the 19th century. The two obelisks marked the start and the finish of the race. They were set up to imitate an antique Roman circus. The obelisks rest on bronze tortoises, made in 1608 by the sculptor Giambologna.
Artists who produced items for the church include:
Sandro Botticelli – early nativity scene above the door
Baccio D'Agnolo – wood carvings
Bronzino – the Miracle of Jesus
Filippo Brunelleschi – The Crucifix (between 1410 and 1425)
Tino da Camaino – Bust of St. Antoninus (in terra cotta); the Tomb of the Bishop of Fiesole
Nardo di Cione – frescoes of the Divine Judgment
Duccio – Rucellai Madonna
Lorenzo Ghiberti – tombstone of Leonardo Dati (1423)
Domenico Ghirlandaio – frescoes (late 15th century) in the Tornabuoni Chapel, design of the stained-glass window
Filippino Lippi – frescoes in the Strozzi Chapel, depicting the life of Philip the Apostle; stained glass window
Benedetto da Maiano – the Tomb of Filippo Strozzi (1491) at the backside of the Strozzi Chapel.
Giacomo Marchetti : Martyrdom of Saint Laurence.
Masaccio – The Trinity
Nino Pisano – Madonna with Child (1368)
Bernardo Rossellino – Monument to the Beata Villana (1451)
Santi di Tito – Lazarus Raised from Death
Paolo Uccello – frescoes in the cloisters
Giorgio Vasari – Madonna of the Rosary (1568)
therapist talk with therapist
the rapist talk with therapist
therapist talk with therapist
Supervision is used in counselling, psychotherapy, and other mental health disciplines as well as many other professions engaged in working with people. It consists of the practitioner meeting regularly with another professional, not necessarily more senior, but normally with training in the skills of supervision, to discuss casework and other professional issues in a structured way. This is often known as clinical or counselling supervision or consultation. The purpose is to assist the practitioner to learn from his or her experience and progress in expertise, as well as to ensure good service to the client or patient.
Clinical supervision is used in many disciplines in the British National Health Service. Registered allied health professionals such as occupational therapists, physiotherapists, dieticians, speech and language therapists and art, music and drama therapists are now expected to have regular clinical supervision. C. Waskett (2006) has written on the application of solution focused supervision skills to either counselling or clinical supervision work.
Some practitioners (e.g. art, music and drama therapists, chaplains, psychologists, and mental health occupational therapists) have used this practice for many years. In other disciplines the practice may be a new concept. For NHS nurses, the use of clinical supervision is expected as part of good practice. In a randomly controlled trial in Australia, White and Winstanley looked at the relationships between supervision, quality of nursing care and patient outcomes, and found that supervision had sustainable beneficial effects for supervisors and supervisees. Waskett believes that maintaining the practice of clinical supervision always requires managerial and systemic backing, and has examined the practicalities of introducing and embedding clinical supervision into large organisations such as NHS Trusts.
Practising members of the British Association for Counselling and Psychotherapy are bound to have supervision for at least 1.5 hours a month. Students and trainees must have it at a rate of one hour for every eight hours of client contact.
The concept is also well used in psychology, social work, the probation service and other workplaces.
The Marble Arch is a 19th-century white marble-faced triumphal arch in London, England. The structure was designed by John Nash in 1827 as the state entrance to the cour d'honneur of Buckingham Palace; it stood near the site of what is today the three-bayed, central projection of the palace containing the well-known balcony. In 1851, on the initiative of architect and urban planner Decimus Burton, a one-time pupil of John Nash, the arch was relocated to its current site, near the northeast corner of Hyde Park, so that expansion of Buckingham Palace could proceed.
The arch gives its name to the area surrounding it, particularly the southern portion of Edgware Road and also to the underground station. The arch is not part of the Royal Parks and is maintained by Westminster City Council.
Design and construction
Nash's three-arch design is based on that of the Arch of Constantine in Rome and the Arc de Triomphe du Carrousel in Paris. The triumphal arch is faced with Carrara marble with embellishments of marble extracted from quarries near Seravezza in Tuscany.
John Flaxman was chosen to make the commemorative sculpture. After his death in 1826, the commission was divided between Sir Richard Westmacott, Edward Hodges Baily and J. C. F. Rossi. In 1829, a bronze equestrian statue of George IV was commissioned from Sir Francis Chantrey, with the intention of placing it on top of the arch.
Construction began in 1827, but was cut short in 1830, following the death of the spendthrift King George IV – the rising costs were unacceptable to the new king, William IV, who later tried to offload the uncompleted palace onto Parliament as a substitute for the recently destroyed Palace of Westminster.
Work restarted in 1832, this time under the supervision of Edward Blore, who greatly reduced Nash's planned attic stage and omitted its sculpture, including the statue of George IV. The arch was completed in 1833.
Some of the unused sculpture, including parts of Westmacott's frieze of Waterloo and the Nelson panels, were used at Buckingham Palace. His victory statues and Rossi's relief of Europe and Asia were used at the National Gallery. In 1843 the equestrian statue of George IV was installed on one of the pedestals in Trafalgar Square.
The white marble soon lost its light colouring in the polluted London atmosphere. In 1847, Sharpe's London Magazine described it as "discoloured by smoke and damp, and in appearance resembling a huge sugar erection in a confectioner's shop window."
The arch is 45 feet (14 m) high, and measures 60 by 30 feet (18.3 by 9.1 m) east-west by north–south.
Relocation
Buckingham Palace remained unoccupied, and for the most part unfinished, until it was hurriedly completed upon the accession of Queen Victoria in 1837. Within a few years, the palace was found to be too small for the large court and the Queen's expanding family. The solution was to enlarge the palace by enclosing the cour d'honneur with a new east range. This façade is today the principal front and public face of the palace and shields the inner façades containing friezes and marbles matching and complementing those of the arch.
When building work began in 1847, the arch was dismantled and rebuilt by Thomas Cubitt as a ceremonial entrance to the northeast corner of Hyde Park at Cumberland Gate. The reconstruction was completed in March 1851. A popular story says that the arch was moved because it was too narrow for the Queen's state coach to pass through, but, in fact, the Gold State Coach passed under it during Elizabeth II's coronation in 1953
Three small rooms inside the rebuilt arch were used as a police station from 1851 until at least 1968 (John Betjeman made a programme inside it in 1968 and referred to it as a fully functional police station). It firstly housed officers of the Royal Parks Constabulary and later the Metropolitan Police. One policeman stationed there during the early 1860s was Samuel Parkes, who won the Victoria Cross in the Charge of the Light Brigade in 1854, during the Crimean War.
Park Lane widening
Park Lane was widened as part of the Park Lane Improvement Scheme of the London County Council, and the Marble Arch became stranded on a traffic island. The scheme required an act of Parliament – the Park Lane Improvement Act 1958 (6 & 7 Eliz. 2. c. 63) – and during the passage of this act the possibility of providing an underpass instead of a roundabout was dismissed due to excessive cost and the need to demolish buildings on Edgware Road. As part of the scheme, gardens were laid out around the arch on the traffic island. The works took place between 1960 and 1964.
Still Water, a large bronze sculpture of a horse's head by Nic Fiddian-Green, was unveiled on the same traffic island a short distance from the arch in 2011.
In 2005 it was speculated that the arch might be moved across the street to Hyde Park, or to a more accessible location than its position on what was then a large traffic island.
Marble Arch area
In 1900 the Central London Railway opened Marble Arch tube station across the road from the arch. The station is now on the Central line of the London Underground.
Having a tube station means that the arch gives rise to a colloquial, entirely modern London "area", with no parishes or established institutions bearing its name. This generally equates to parts in view of the arch of Mayfair, Marylebone and often all of St George's Fields, Marylebone (west of Edgware Road) all in the City of Westminster, London, W1H.
The area around the arch forms a major road junction connecting Oxford Street to the east, Park Lane (A4202) to the south, Bayswater Road (A402) to the west, and Edgware Road (A5) to the north-west. The short road directly to the north of the arch is also known as Marble Arch.
The former cinema Odeon Marble Arch was located directly adjacent to the junction. Before 1997 this had the largest cinema screen in London. The screen was originally over 75 feet (23 m) wide. The Odeon showcased 70 mm films in a large circle-and-stalls auditorium. It closed in 2016 and was demolished later that same year.
The arch also stands close to the former site of the Tyburn gallows (sometimes called "Tyburn Tree"), a place of public execution from 1388 until 1793.
In 2021 the Marble Arch Mound, a temporary viewing platform, was opened at the site.
John Nash (18 January 1752 – 13 May 1835) was one of the foremost British architects of the Georgian and Regency eras, during which he was responsible for the design, in the neoclassical and picturesque styles, of many important areas of London. His designs were financed by the Prince Regent and by the era's most successful property developer, James Burton. Nash also collaborated extensively with Burton's son, Decimus Burton.
Nash's best-known solo designs are the Royal Pavilion, Brighton; Marble Arch; and Buckingham Palace. His best-known collaboration with James Burton is Regent Street and his best-known collaborations with Decimus Burton are Regent's Park and its terraces and Carlton House Terrace. The majority of his buildings, including those that the Burtons did not contribute to, were built by James Burton's company.
Background and early career
Nash was born in 1752, probably in Lambeth, south London. His father was a millwright also called John (1714–1772). From 1766 or 1767, Nash trained with the architect Sir Robert Taylor. The apprenticeship was completed in 1775 or 1776.
On 28 April 1775, at the now-demolished church of St Mary Newington, Nash married his first wife Jane Elizabeth Kerr, daughter of a surgeon Initially, he seems to have pursued a career as a surveyor, builder and carpenter. This gave him an income of around £300 a year (~£49,850 in 2020 money). The couple set up home at Royal Row, Lambeth. He established his own architectural practice in 1777 as well as being in partnership with a timber merchant, Richard Heaviside. The couple had two children, both were baptised at St Mary-at-Lambeth, John on 9 June 1776 and Hugh on 28 April 1778. In June 1778, Nash, "by the ill conduct of his wife found it necessary to send her into Wales in order to work a reformation on her." The cause of this appears to have been the claim that Jane Nash, "had imposed two spurious children on him as his and her own, notwithstanding she had then never had any child", and she had contracted several debts unknown to her husband, including one for milliners' bills of £300. The claim that Jane had faked her pregnancies and then passed babies she had acquired off as her own was brought before the Consistory court of the Bishop of London. His wife was sent to Aberavon to lodge with Nash's cousin, Ann Morgan, but she developed a relationship with a local man, Charles Charles. In an attempt at reconciliation, Jane returned to London in June 1779, but she continued to act extravagantly so he sent her to another cousin, Thomas Edwards of Neath. She gave birth just after Christmas and acknowledged Charles Charles as the father. In 1781, Nash instigated action against Jane for separation on grounds of adultery. The case was tried at Hereford in 1782, Charles who was found guilty was unable to pay the damages of £76 (~£13,200 in 2020 money) and subsequently died in prison. The divorce was finally read 26 January 1787.
His career was initially unsuccessful and short-lived. After inheriting £1000 (~£162,000 in 2020 money) in 1778 from his uncle Thomas, he invested the money in his first independent works, 15–17 Bloomsbury Square and 66–71 Great Russell Street in Bloomsbury. However, the property failed to let and he was declared bankrupt on 30 September 1783. His debts were £5000 (~£760,000 in 2020 money), including £2000 he had been lent by Robert Adam and his brothers. A blue plaque commemorating Nash was placed on 66 Great Russell Street by English Heritage in 2013.
Wales
Nash left London in 1784 to live in Carmarthen,[10] to where his mother had retired, her family being from the area.[17] In 1785 he and a local man, Samuel Simon Saxon, re-roofed the town's church for 600 guineas. Nash and Saxon seem to have worked as building contractors and suppliers of building materials. Nash's London buildings had been standard Georgian terraced houses, and it was in Wales that he matured as an architect. His first major work in the area was the first of three prisons he would design, Carmarthen 1789–92. This was planned by the penal reformer John Howard and Nash developed this into the finished building. He went on to design the prisons at Cardigan (1791–1796) and Hereford (1792–1796). It was at Hereford that Nash met Richard Payne Knight, whose theories on the picturesque as applied to architecture and landscape would influence Nash. The commission for Hereford Gaol came after the death of William Blackburn, who was to have designed the building. Nash's design was accepted after James Wyatt approved of the design.
In 1789, St Davids Cathedral was suffering from structural problems, the west front was leaning forward by one foot, Nash was called in to survey the structure and develop a plan to save the building. His solution completed in 1791, was to demolish the upper part of the façade and rebuild it with two large but inelegant flying buttresses. In 1790 Nash met Uvedale Price, of Downtown Castle, whose theories of the Picturesque would influence Nash's town planning. Price commissioned Nash to design Castle House Aberystwyth (1795). Its plan took the form of a right-angled triangle, with an octagonal tower at each corner, sited on the very edge of the sea.
One of Nash's most important developments were a series of medium-sized country houses that he designed in Wales, which developed the villa designs of his teacher Sir Robert Taylor. Most of these villas consist of a roughly square plan with a small entrance hall and a staircase offset in the middle to one side, around which are placed the main rooms. There is then a less prominent servants' quarters in a wing attached to one side of the villa. The buildings are usually only two floors in height and the elevations of the main block are usually symmetrical. One of the finest of these villas is Llanerchaeron, but at least a dozen villas were designed throughout south Wales. Others, in Pembrokeshire, include Ffynone, built for the Colby family at Boncath near Manordeifi, and Foley House, built for the lawyer Richard Foley (brother of Admiral Sir Thomas Foley) at Goat Street in Haverfordwest.
From 1796, Nash spent most of his time working in London; this was a prelude to his return to the capital in 1797. At this time, Nash designed the delicate Gothic revival gateway to Clytha Park near Abergavenny in Monmouthshire, and also his alterations in Gothic Revival style in 1794 to Hafod Uchtryd for Thomas Johnes at Devil's Bridge, Cardiganshire. Also in c. 1794–95 he advised on the paving, lighting and water supply in Abergavenny and designed an elegant market building. Other work included Whitson Court near Newport. After his return to London, Nash continued to design houses in Wales including Harpton Court in Radnorshire, which was demolished, apart from the service wing, in 1956. In 1807 he drew up plans for the re-building of Hawarden Castle with Gothic battlements and towers, but the plan appears to have been modified by another architect when it was carried out. About 1808 he designed Monachty near Aberaeron and later drew up plans for work at Nanteos.
He met Humphry Repton at Stoke Edith in 1792 and formed a successful partnership with the landscape garden designer. One of their early commissions was at Corsham Court in 1795–96. The pair would collaborate to carefully place the Nash-designed building in grounds designed by Repton. The partnership ended in 1800 under recriminations, Repton accusing Nash of exploiting their partnership to his own advantage. As Nash developed his architectural practice it became necessary to employ draughtsmen; the first in the early 1790s was Augustus Charles Pugin, and later in 1795, John Adey Repton son of Humphry.
Return to London
In June 1797, Nash moved into 28 Dover Street, a building of his own design. He built a larger house next door at 29, into which he moved the following year. Nash married 25-year-old Mary Anne Bradley on 17 December 1798 at St George's, Hanover Square. In 1798, he purchased a plot of land of 30 acres (12 ha) at East Cowes on which he erected 1798–1802 East Cowes Castle as his residence. It was the first of a series of picturesque Gothic castles that he would design.
Nash's final home in London was 14 Regent Street which he designed and built 1819–23. Number 16 was built at the same time for the home of Nash's cousin John Edwards, a lawyer who handled all of Nash's legal affairs. Located in lower Regent Street, near Waterloo Place, both houses formed a single design around an open courtyard. Nash's drawing office was on the ground floor and on the first floor was the finest room in the house, the 70-foot-long picture and sculpture gallery; it linked the drawing-room at the front of the building with the dining room at the rear. The house was sold in 1834 and the gallery interior moved to East Cowes Castle.
The finest of the dozen country houses that Nash designed as picturesque castles include the relatively small Luscombe Castle Devon (1800–04); Ravensworth Castle (Tyne and Wear), begun in 1807 but only finally completed in 1846, which was one of the largest houses by Nash; Caerhays Castle in Cornwall (1808–10); and Shanbally Castle, County Tipperary (1818–1819), which was the last of these castles to be built. These buildings all represented Nash's continuing development of an asymmetrical and picturesque architectural style that had begun during his years in Wales, at both Castle House Aberystwyth and his alterations to Hafod Uchtryd.
This process would be extended by Nash in planning groups of buildings, the first example being Blaise Hamlet (1810–1811). There a group of nine asymmetrical cottages was laid out around a village green. Nikolaus Pevsner described the hamlet as "the ne plus ultra of the Picturesque movement". The hamlet has also been described as the first fully realized exemplar of the garden suburb. Nash developed the asymmetry of his castles in his Italianate villas. His first such exercise was Cronkhill (1802), and others included Sandridge Park (1805) and Southborough Place, Surbiton(1808).
He advised on work to the buildings of Jesus College, Oxford, in 1815, for which he required no fee but asked that the college commission a portrait of him from Sir Thomas Lawrence to hang in the college hall.
Architect to the Prince Regent
Nash was a dedicated Whig and was a friend of Charles James Fox through whom Nash probably came to the attention of the Prince Regent (later King George IV). In 1806 Nash was appointed architect to the Surveyor General of Woods, Forests, Parks, and Chases. From 1810 Nash would take very few private commissions and for the rest of his career he would largely work for the Prince. His employment by the Prince Regent enabled Nash to embark upon a number of grand architectural projects.
His first major commissions in (1809–1826) from the Prince were Regent Street and the development of an area then known as Marylebone Park. With the Regent's backing, Nash created a master plan for the area, put into effect from 1818 onwards, which stretched from St James's northwards and included Regent Street, Regent's Park (1809–1832) and its neighbouring streets, terraces and crescents of elegant townhouses and villas. Nash did not design all the buildings himself. In some instances, these were left in the hands of other architects such as James Pennethorne and the young Decimus Burton.
Nash went on to re-landscape St. James's Park (1814–1827), reshaping the formal canal into the present lake, and giving the park its present form. A characteristic of Nash's plan for Regent Street was that it followed an irregular path linking Portland Place to the north with Carlton House, London (replaced by Nash's Carlton House Terrace (1827–1833) to the south. At the northern end of Portland Place Nash designed Park Crescent, London (1812 and 1819–1821), this opens into Nash's Park Square, London (1823–24), this only has terraces on the east and west, the north opens into Regent's Park.
The terraces that Nash designed around Regent's Park though conforming to the earlier form of appearing as a single building, as developed by John Wood, the Elder, are unlike earlier examples set in gardens and are not orthogonal in their placing to each other. This was part of Nash's development of planning, this found it is a most extreme example when he set out Park Village East and Park Village West (1823–34) to the north-east of Regent's Park, here a mixture of detached villas, semi-detached houses, both symmetrical and asymmetrical in their design are set out in private gardens railed off from the street, the roads loop and the buildings are both classical and gothic in style. No two buildings were the same, and or even in line with their neighbours. The park villages can be seen as the prototype for the Victorian suburbs.
Nash was employed by the Prince from 1815 to develop his Marine Pavilion in Brighton, originally designed by Henry Holland. By 1822 Nash had finished his work on the Marine Pavilion, which was now transformed into the Royal Pavilion. The exterior was based on Mughal architecture, giving the building its exotic form, the Chinoiserie style interiors are largely the work of Frederick Crace.
Nash was also a director of the Regent's Canal Company set up in 1812 to provide a canal link from west London to the River Thames in the east. Nash's master plan provided for the canal to run around the northern edge of Regent's Park; as with other projects, he left its execution to one of his assistants, in this case James Morgan. The first phase of the Regent's Canal was completed in 1816 and finally completed in 1820.
Together with Robert Smirke and Sir John Soane, he became an official architect to the Office of Works in 1813 (although the appointment ended in 1832) at a salary of £500 per annum (£57,810 in 2020 money). Following the death in September of that year of James Wyatt, this marked the high point in his professional life. As part of Nash's new position, he was invited to advise the Parliamentary Commissioners on the building of new churches from 1818 onwards. Nash produced ten church designs, each estimated to cost around £10,000 (£1.2 million in 2020 money) with seating for 2000 people; the style of the buildings were both classical and gothic. In the end, Nash only built two churches for the Commission: the classical All Souls Church, Langham Place (1822–24), terminating the northern end of Regent Street, and the gothic St. Mary's Haggerston (1825–27), bombed during The Blitz in 1941.
Nash was involved in the design of two of London's theatres, both in Haymarket. The King's Opera House (now rebuilt as Her Majesty's Theatre) (1816–1818) where he and George Repton remodelled the theatre, with arcades and shops around three sides of the building, the fourth being the still surviving Royal Opera Arcade. The other theatre was the Theatre Royal Haymarket (1821), with its fine hexastyle Corinthian order portico, which still survives, facing down Charles II Street to St. James's Square, Nash's interior no longer survives (the interior now dates from 1904). In 1820 a scandal broke, when a cartoon was published showing a half-dressed King George IV embracing Nash's wife with a speech bubble coming from the King's mouth containing the words "I have great pleasure in visiting this part of my dominions". Whether this was based on just a rumour put about by people who resented Nash's success or if there is substance behind is not known. Further London commissions for Nash followed, including the remodelling of Buckingham House to create Buckingham Palace (1825–1830), and for the Royal Mews (1822–24) and Marble Arch (1828). The arch was originally designed as a triumphal arch to stand at the entrance to Buckingham Palace. It was moved when the east wing of the palace designed by Edward Blore was built, at the request of Queen Victoria whose growing family required additional domestic space. Marble Arch became the entrance to Hyde Park and the Great Exhibition.
Work with James and Decimus Burton
The parents of John Nash, and Nash himself during his childhood, lived in Southwark, where James Burton worked as an 'Architect and Builder' and developed a positive reputation for prescient speculative building between 1785 and 1792. Burton built the Blackfriars Rotunda in Great Surrey Street (now Blackfriars Road) to house the Leverian Museum, for land agent and museum proprietor James Parkinson. However, whereas Burton was vigorously industrious, and quickly became 'most gratifyingly rich', Nash's early years in private practice, and his first speculative developments, which failed either to sell or let, were unsuccessful, and his consequent financial shortage was exacerbated by the 'crazily extravagant' wife whom he had married before he had completed his training, until he was declared bankrupt in 1783.
To repair his finances, Nash cultivated the acquaintance of James Burton, who consented to patronize him. James Burton responsible for the social and financial patronage of the majority of Nash's London designs, in addition to for their construction. Architectural scholar Guy Williams has written, "John Nash relied on James Burton for moral and financial support in his great enterprises. Decimus had showed precocious talent as a draughtsman and as an exponent of the classical style... John Nash needed the son's aid, as well as the father's".
Subsequent to the Crown Estate's refusal to finance them, James Burton agreed to personally finance the construction projects of Nash at Regent's Park, which he had already been commissioned to construct. Consequently, in 1816, Burton purchased many of the leases of the proposed terraces around, and proposed villas within, Regent's Park and, in 1817, Burton purchased the leases of five of the largest blocks on Regent Street. The first property to be constructed in or around Regent's Park by Burton was his own mansion: The Holme, which was designed by his son, Decimus Burton, and completed in 1818. Burton's extensive financial involvement 'effectively guaranteed the success of the project'. In return, Nash agreed to promote the career of Decimus Burton.
Nash was a vehement advocate of the neoclassical revival endorsed by John Soane, although he had lost interest in the plain stone edifices typical of the Georgian style, and instead advocated the use of stucco. Decimus Burton entered the office of Nash in 1815, where he worked alongside Augustus Charles Pugin, who detested the neoclassical style. Burton established his own architectural practice in 1821. In 1821, Nash invited Decimus Burton to design Cornwall Terrace in Regent's Park, and he was also invited by George Bellas Greenough, a close friend of the Prince Regent, Humphry Davy, and Nash, to design Grove House in Regent's Park.
Greenough's invitation to Decimus Burton was 'virtually a family affair', for Greenough had dined frequently with Decimus' parents and brothers, including the physician Henry Burton. Greenough and Decimus finalized their designs during numerous meetings at the opera. The design, when the villa had been completed, was described in The Proceedings of the Royal Society as, "one of the most elegant and successful adaptations of the Grecian style to purposes of modern domestic architecture to be found in this or any country."
Subsequently, Nash invited Decimus to design Clarence Terrace, Regent's Park. Such were Decimus Burton's contributions to the Regent's Park project that the Commissioners of Woods described Burton, not Nash, as 'the architect of Regent's Park'. Contrary to popular belief, the dominant architectural influence in many of the Regent's Park projects - including Cornwall Terrace, York Terrace, Chester Terrace, Clarence Terrace, and the villas of the Inner Circle, including The Holme and the London Colosseum attraction (the latter to Thomas Hornor's specifications) all of which were constructed by James Burton's company - was Decimus Burton, not John Nash, who was appointed architectural 'overseer' for Burton Jr.'s projects.
Decimus Burton, to Nash's chagrin, developed the Terraces according to his own style to the extent that Nash sought, unsuccessfully, to demolish and completely rebuild Chester Terrace. Decimus subsequently eclipsed his master and emerged as the dominant force in the design of Carlton House Terrace, where he exclusively designed No. 3 and No. 4. He also designed some of the villas of the Inner Circle: his villa for the Marquess of Hertford has been described as, 'decorated simplicity, such as the hand of taste, aided by the purse of wealth can alone execute'.
Retirement and death
Nash's career effectively ended with the death of George IV in 1830. The King's notorious extravagance had generated much resentment, and Nash was now without a protector. The Treasury started to look closely at the cost of Buckingham Palace. Nash's original estimate of the building's cost had been £252,690, but this had risen to £496,169 in 1829; the actual cost was £613,269 (~£69.5 million in 2020 money), and the building was still unfinished. This controversy ensured that Nash would not receive any more official commissions, nor would he be awarded the knighthood that other contemporary architects such as Jeffry Wyattville, John Soane and Robert Smirke received. Nash retired to the Isle of Wight to his home, East Cowes Castle.
On 28 March 1835 Nash was described as "very poorly and faint". This was the beginning of the end. On 1 May Nash's solicitor John Wittet Lyon was summonsed to East Cowes Castle to finalise his will. By 6 May he was described as 'very ill indeed all day', he died at his home on 13 May 1835. His funeral took place at St. James's Church, East Cowes on 20 May, where he was buried in the churchyard with a monument in the form of a stone sarcophagus. His widow acted to clear Nash's debts (some £15,000; £1.97 million in 2020 money), she held a sale of the Castle's contents, including three paintings by J. M. W. Turner painted on the Isle of Wight, four by Benjamin West and several copies of old master paintings by Richard Evans. These artworks were sold at Christie's on 11 July 1835 for £1,061 (~£139,500 in 2020 money). His books, medals, drawings and engravings were bought by a bookseller named Evans for £1,423 on 15 July (~£187,078 in 2020 money). The Castle itself was sold for a reported figure of £20,000 (~£2.63 million in 2020 money) to Henry Boyle, 3rd Earl of Shannon, within the year. Nash's widow retired to a property Nash had bequeathed to her in Hampstead where she lived until her death in 1851; she was buried with her husband on the Isle of Wight.
Assistants and pupils
Nash had many pupils and assistants, including Decimus Burton; Humphry Repton's sons, John Adey Repton and George Stanley Repton; Anthony Salvin; John Foulon (1772–1842); Augustus Charles Pugin; F.H. Greenway; James Morgan; James Pennethorne; and the brothers Henry, James, and George Pain.
Given the propensity of your average puss to lurk under cars this Newport Chrysler provides a more than average square footage of hideyhole for Amsterdam with the excitement of long grass in the 'grounds'
Help Wanted: Tunnel supervisor for the East Portal of the Moffat Tunnel. Will provide housing, short walk to work. Negotiable terms. Transportation available. D&RGW used to operate the tunnel and the big mines near Somerset and Paonia on the Western Slope even though it was D&SL (Denver & Salt Lake) that inspired the tunnel after years of winter snow fighting campaigns over the Hill Division on the Continental Divide. Denverites were always envious of Southern Wyoming and wanted their own transcontinental route to fuel its growth. D&SL operated the big standard gauge Mallets over to the Western Slope and ran many trains over the divide. This shack was a curiosity probably built after the tunnel. It sat in a meadow to the north side of the portal and it caught my eye. The long walk starts to turn toward the portal so I figure it was probably used for the crew that operated the portal in the early days before total automation and all the Magic Underwear shipments to Salt Lake blessed by the Holy Ghost. The crew probably would be ill advised to tip a few before heading home! I wonder how soggy the meadow got in the past; this year would a difficult one to compare to the past years.
After our foray into the @844 excursion leaving Terry Bison Ranch and over at the UP yards, I didn't expect more RR pix any time soon, but: Who ever figures on Eddie popping up like a Whack-a-Mole? Just when you thought it was safe for your children to play outside! Eddie decided to take a shot at the changing aspen up the Rollinsville route to the tunnel and wanted me to tag along as Sluggo's equipment and brains bearer. It's a hard job but someone's gotta do it. As it worked out, there was quite a bit of activity at the eastern portal of the tunnel. I need to get another tour of the tunnel facilities. The light died with this curiosity shot. I'd like a better opportunity sometime. The same should go for the Anthrax train that had to wait for the coal train to pass, It often loses the block because it refuses to stick to it's schedule. Even the trailer train makes the Denver to Glenwood Springs run an hour faster.
Eddie called me this morning way early to tell me he had a photo excursion in his head and for all who know him, he can't fit anything else in his head. I have no idea why he HAS to roust me at 4:30 in the morning. I could just as easily studied my eyelids for a few hours more. I knew he was trying to kill his competition off, ME! I grabbed my camera and pietrod and met him by the street. He wasn't letting any grass grow under his feet. After I guided him through Boulder and got him onto Canyon Boulevard while I was asleep, he announced he really wanted to get up Boulder Canyon. I had to reiterate that he should keep heading up Canyon Boulevard! Sheesh... Did I say Eddie? He claimed he was heading to Boulder Falls and then to Nederland. We were on the way to the hills of Boulder County, Eddie decided to stop at Nederland, a hippie and biker community that used to be in a silver and tungsten mining area. Some old equipment, just posted, sits outside at the Nederland mining museum. Afterward, we turned south on the Peak-to-Peak Highway and Rollinsville.
I realize that I happen to live in a fortuitous spot and will wait until the next trek or steam up to provide more great shooting.opportunities. I am about ready to look at the new round of images on my camera card.
No he actually won't ride the tractor when hubby is running the brush hog, it would be awful if he fell.
But Morris generally likes to sit on the machinery with hubby.
And of course I think they look great together.
Banking at a crossroads: resilience and innovation in an era of uncertainty. Wednesday, 6 November 2019
Eurotower, Frankfurt am Main
Copyrights: Thorsten
Jansen/ECB
I always take the camera with me while supervising, to record the progress of works. As I was leaving the construction site, I was impessed by the beauty of these yellow weeds as they contrasted with the rust that is beginning to form on left over reinforcing bars.
Getting out of the office does give all sorts of bonuses....
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