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Wikipedia: In 1336 the city counsel decided to build a "representative palazzo" that combined religious and communal functions and could "show the splendour of the city in its arts and artworks.
Between 1380 and 1404, the problem of the disharmonious coexistence of the market and the devotion of the Madonna had to be resolved and it was decided to convert the ground floor of Orsanmichele into a church for the guilds.
The Guild is a intergalactic mercenary corps. They specialize in everything from inciting government coups to guarding merchant ships.
The Heavy makes up the bulk of the Guilds mechanized infantry
What a year. I've been struggling with neck and back issues and I'm on loads of pills to manage pain, but I managed to get:
Societies of Photographers -
Nouveau Image of the year 2024.
Guild of Photographers -
Natural World - Runners Up 2023
All Round Photographer - Runners up 2023
Members Choice - 2023 (wow, just wow!!).
Clicklive - (digital and then print)
Natural World - Fauna
Scapes
58 of my images scored. I received the Photographers Bar in two categories with the Guild and also completed 10 Photographers Bars over the last 5 years.
I received 3 gold awards and 1 judges choice in the Natural World category.
Wow, I am still amazed by it all.
Thank to everyone who has taken time to comment or like one of my images.
Oh and I've finished my 11th continuous 365(6) as well.
Happy New Year everyone. :D :D
This is the roof of the Great Hall. It dates from shortly after 1383, when the guilds decided they needed a banqueting hall, though curiously apparently it never had a fireplace, which must have been something of an oversight. In 1617 it was the venue for a visit by King James I (hence his chair in the other photo), a guest of Fulke Greville, who couldn’t entertain him in his own home of Warwick Castle as it was being renovated at the time. The king’s visit was a three-day affair, so lavish that the town was in debt for the next ten years. The roof is the original, made from Spanish chestnut, and available for functions. To this day it still hosts the Thomas Oken Feast in January, as when he died in 1573 he left funds so that £1 could be spent on a splendid dinner for the foremost citizens of Warwick.
Corpus Christi College is one of the ancient colleges of the University of Cambridge. It was founded in 1352 by the Guilds of Corpus Christi and the Blessed
Eric and Ira now traveling through cold Mitgardia. They go to the family Rohvor where the horse breeder Eldd will prepare the best horses that they can rode to Avalonia.
Because I have not been active since February, just a cottage with stable to warm up.
For the Guilds of Historica.
The head of a Giant Serpent lunges forward, pulling behind it a long flat barge. Crates and barrels crowded the deck of the boat, leaving just st enough room for the Mage who controlled the aquatic creature, and the Company Guard, there to protect him. The bandits know they have little chance of slowing down the great serpent, but attack anyways, showing how desperate times have become...
Spreading civilization and prosperity throughout the region, The Llydelian Trading Company has become as large and influential as any kingdom in the land. Led by The Council of Magi, the Company uses the arcane forces to monopolize trade throughout the lands. Transporting everything from mail to food to building supplies there isn't a corner of the known world that they don't have a foot hold in. As times become harder, the Company has had to arm their cargo against renegades and peasants. This has caused groups of outlaws to band in time of terrible famine, creating an arms race of sorts, and leading to the enlistment of the largest military in current existence under the employ of The Llydelian Trading Co."
This is my second build for the Guild Creation category for the Summer Joust: www.flickr.com/groups/2970478@N22/discuss/72157667188724540/
I was elated by the Light in this interior!! I was uplifted by its Energy!! I was captivated by its magnificent Art! I was inspired by the respect and serenity reigning in there! For me it was a Temple! Although there was a beautiful restaurant on my left, with crystal white tablecloths, and gentle looking waiters.. Although close to me some people were selling silently their products….And from an old-times black picturesque car, food was sold… Therefore, a market place, not a Temple…
BUT. Right in the middle of this huge hall, close to the artful colons, lit by the magical light coming through, a white …piano was placed(!!) saying on its front: PLAY ME ! I’M YOURS!!
Mesmerized by all this, I took my camera , and started taking pictures, WHEN, RIGHT at THAT moment, a sweet classical piano music uplifted me to the seventh sky!! A young pianist had sat in front of the piano, and started playing Chopin!!!!
Would you ever believe that this divine edifice was once used to serve as a Bourse place????Money place??? Materially tasked functioning place??For me it looked and sensed, UN-imaginable!!! But, yes, it is found in the beautiful city of Anvers/Antwerp, in the Northern Belgium/Flanders !
Please, read:
“Handelsbeurs , the Bourse, is the first building in Brabant's late Gothic style , that dates from 1531, after a design by Domien de Waghemakere. A rectangular open space was enclosed by a colonnade covered with star and net vaults. The gallery concept of this building served as a model for London's Royal Exchange (designed by Hendrik van Paesschen), as well as for Rotterdam, Amsterdam and Lille. The high-rise 'pagoda towers' with octagonal and cylindrical hull may have served as a lookout for the harbor. Every nation had a more or less permanent location at the exchange.
After a fire in 1583, the Handelsbeurs/ Bourse was immediately rebuilt to the same plan. The Siege of Antwerp (1584-1585) and the surrender to the 'Spanish' Army of Flanders led to a decline in trade, with Antwerp unable to compete with Amsterdam. Between 1661 and 1810 the building was used, among other things, as a Drawing Academy and seat of the Guild of Saint Luke. The open interior space was domed in 1853 by Charles Marcellis, following the example of London's Crystal Palace.
After a second fire in 1858 had once again destroyed the building, the Antwerp city authorities twice organized a design competition in which the old concept had to be preserved. The current building was finally completed in 1872 by architect Joseph Schadde. It is a remarkable combination of the neo-gothic style and revolutionary techniques, in particular the metal construction for the covering of the interior. The building housed the Antwerp Stock Exchange (a true stock exchange) from 1872 until its 1997 merger with the Brussels Stock Exchange
With the closure of the Antwerp Stock Exchange in 1997, the building lost its function and was abandoned and neglected After a long and intensive renovation, it was to have reopened in October 2019 as an event hall with restaurant, hotel and public passage. ” (: Adapted from Wikipedia)
Not as big as the 'Grand Place' of Brussels, but certainly as beautiful is the 'Grote Markt' (= Town Square) of Antwerp. Here is still the heart of the old city. The Grote Markt is beautifully surrounded by the Town Hall and the so-called houses of the Guilds or corporations. In the background the tower of Our Lady's Cathedral completes the magnificent view.
The houses of the Guilds are unfortunately not the original ones. A large part of the Grote Markt burned down in 1576. Most of the houses were rebuilt afterwards by Hans Vredeman, the town architect, in Flemish Renaissance style. In the 19th century the houses were again renovated. The house number 7 is one of the most beautiful. It was the house of the guild of Archers and is crowned by the statue of St. George. The house number 25, a reconstruction of a house that used to stand at the 'Meir' is situated on the spot were an Inn used to stand. This Inn was mentioned in the medieval play of 'Marieken van Nieumwhegen'. Nowadays the Grote Markt is one of the most pleasant squares in the city (certainly since traffic has been banned from it). During beautiful warm summer days most people choose this spot to enjoy a refreshing beer from one of the many terraces.
The Guild Chapel of the Holy Cross
The Guild Chapel of the Holy Cross is a chapel of 13th century origins in the Warwickshire town of Stratford upon Avon. The chapel was founded by the Guild of the Holy Cross before 1269, it passed into the control of the town corporation in 1553, when the Guild was suppressed by King Edward VI. The current nave was constructed in the late 15th century by Sir Hugh Clopton. The chapel stands on Church Street in the town, opposite the site of William Shakespearse house.
"1244-1252 Wharf Street – this building was built in three stages, with the original building erected in 1882 by architect John Teague for James Yates and subsequent sections added in 1892 and 1896.
The building is listed on the Canadian Register of Historic Places as the Yates Block.
Description of Historic Place
Yates Block is a freestanding brick commercial building located at the foot of Yates Street along the waterfront within Victoria's Inner Harbour Precinct. It sits on a sloping bank between Wharf Street and the Inner Harbour waterway, and has three storeys at street level and five storeys on its western facade facing the water. It can also be identified by a distinctive mural on its northern facade, depicting an underwater scene of whales.
Heritage Value
Yates Block is valued for its multi-faceted commercial history, for its fine architecture, and for the significant contribution it makes to the heritage character of Victoria's Inner Harbour Precinct.
Originally constructed for local businessman James Yates, this building is a monument to the interrelationship between commerce and the Inner Harbour in Victoria's history. Built in three stages between 1882 and 1896, its asymmetrical composition attests to the variety of tenants who occupied and adapted this building throughout its history: Turner, Beeton & Company Ltd., a pioneer dry goods supplier; W.H. Malkin, grocers; McQuade's Ship Chandlers, one of the earliest marine suppliers in Victoria; and the present-day Chandler's Seafood Restaurant, among others. The waterfront location of this commercial building is central to its heritage value. Its evolving function and physical appearance over time is a chronicle of the City's changing reliance on the harbour from primarily shipping-based to tourism-based commercial use.
Architecturally, the Yates Block makes an important contribution to the heritage character of the Inner Harbour Precinct. Its free-standing form, accentuated by a unique additive composition which retains key elements of all three stages of its construction, adds interest and a sense of historical context to both the commercial Wharf Street streetscape and to views of the Old Town District from the harbour."
Source: City of Victoria Planning and Development Dept
"The character-defining elements of the Yates Block include:
- Its prominent waterfront location, and the relationship between the building and the Inner Harbour.
- Its free-standing form, with all four facades unobstructed as seen from the water and the street.
- The character of the brickwork of the upper three storeys.
- The integrity of the building envelope, which identifies it as a late nineteenth century commercial structure.
- The evidence of the three phases of its construction, including: the narrow composition of the first and second storeys of the four northern bays, by architect John Teague; the grand central entrance and southern bays; and the third storey with its round-headed arched stonework and deeply recessed windows, by architect A.C. Ewart.
- Its scale, designed to suit both its streetscape and the waterfront uses, with three storeys at street level, and five storeys facing the water.
- Double-hung wooden-sash two-over-two windows on the second and third storeys.
- Surviving elements, such as fixtures and fittings, which pertain to its three phases of design and which support its nineteenth-century heritage character, including cast iron window shutters on the harbour elevation.
- The character of the nineteenth-century stonework of the two basement warehouse levels.
- Interior elements original to its three phases of design, and which support its nineteenth-century heritage character."
New for The Guild's March round of Atlantis opening March 1st!
Landmark: maps.secondlife.com/secondlife/Abnormality/118/139/1751
Snippy the Crab comes as an avatar with a quirky but fun built-in animation override. He also comes with a ten color skin hud and an action hud with six fun gestures on it. Also included with him are tintable sparkles, leg cel shading and three tricorne hat options in white, black and brown.
The extra skin huds will also work on this avatar version. (Purchased separately)
Santa Muerte, Our Lady of the Holy Death, while a personification of death, she is associated with healing, protection, and safe delivery to the afterlife~
I put this outfit together in the spirit of Dia de Muertos, which is being celebrated at The Guild this October/November!
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Get the goods @ The Guild - HALLOWS 2021 - Dia de Muertos
October 1 - November 2
Crown: Drunken BrokkR - Calaquita crown - Fatpack
Skele arm: [Cubic Cherry] {Remains} arms WHITE
Flower petals: Idiosyncratic Merigold Petals
Mouse friend: .Tardfish. Demon Mice
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Other stuff that's not at the event:
Second crown: ::Static:: Suncrest Tiara {Black Fur}
Candles: ::Static:: Candlelight Mantle {Red}
Dress: JustBECAUSE Sabrina Dress
Bolero: Moon Elixir x MUSE - Cursed Heart - Bolero
Chest tattoo: #KENSHO Burning Heart
Forehead design: Coffee Paws - Lunar Crests - 14. Night Call
Earrings: EarthStones Kandi Earring - Carnelian
Flames: [ContraptioN] Animesh: Wisp Willer's Spirits
Rings: RAWR! Chronos Rings
Hair: [monso] Hunkaa Hair
Body: Legacy
More from me ♥
Here comes my 6-wide Lego MOC VW T2 Transporter. The Bulli has developed a cult following since its introduction in 1967, like its older sibling T1. Nevertheless it had originally been designed as the most mundane means of transport for craftspeople and farmers. The different versions buyers could chose from, with and without windows, standard or high roof, closed or open bed etc. were advertised with the slogan "Die Zunft der Vernunft," something like "the guild of rationality" or mundanity (?!), alluding to carpenters', roofers' and others' membership in traditional trade guilds. The camper version which today is the icon of #vanlife was just one of a number of options back in the day. Check out this excellent collection of historical ads for more Bulli mundanity: www.vw-t2-bulli.de/de-promotion-vw.html.
My MOC features front doors, a sliding side door, as well as lots of clip, SNOT and bracket work to achieve the proper shaping and proportions. I studied many of the excellent T2 MOCs out there and worked long on refining the shape as close to scale as possible while retaining minifig playbility. Middle roof section adapted from www.flickr.com/photos/brian_williams/14152867703/in/photo...
#FestivalofMundanity, #BrickNerd and #TheLEGOCarBlog
Fisherman's Bastion is a terrace in neo-Gothic and neo-Romanesque style situated on the Buda bank of the Danube, on the Castle hill in Budapest, around Matthias Church. It was designed and built between 1895 and 1902 on the plans of Frigyes Schulek. Between 1947–48, the son of Frigyes Schulek, János Schulek, conducted the other restoration project after its near destruction during World War II.
The Bastion takes its name from the guild of fishermen that was responsible for defending this stretch of the city walls in the Middle Ages. It is a viewing terrace, with many stairs and walking paths.
The workshop is the last operating remnant of the Guild of Handicraft which C.R. Ashbee established in 1888. George Hart was a silversmith with the Guild when it moved to Chipping Campden in 1902. From 1912 he took on the running of the workshop, joined in 1930 by his son Henry. This tradition is now carried on by his grandson David Hart along with Derek Elliott, and William and Julian Hart.
Bruce Shapka was awarded lifetime membership for his years of service and leadership with the Guelph Photographers Guild. Bruce has been and continues to be the heart and soul of the Guild. Thank you Bruce!
The Grade I listed Lord Leycester Hospital is one of the best preserved examples of medieval courtyard architecture in England, and is a charity supporting ex-servicemen.
The hospital started life as just the Chapel of St James the Great, which was built over the West Gate of Warwick in 1126 by Roger de Newburgh, 2nd Norman Earl of Warwick. In the late 14th century, it was rebuilt by the 12th Earl of Warwick. He granted the benefice of the Chapel in 1386 to the Guild of St George, a guild created on 20 April 1383 under licence from King Richard II.
The Guild of the Holy Trinity and the Guild of the Blessed Virgin Mary joined them to form the United Guilds of Warwick. Living quarters and public rooms were added to the chapel including the Great Hall. These form the courtyard of the Lord Leycester that we see today. The Guildhall was built in 1450 by Richard Neville "The Kingmaker", the 16th Earl of Warwick. It was primarily used as a private chamber where the Guilds met to discuss business.
secondlifesyndicate.com/2022/03/14/the-guild-kasushi/
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I have been having some incredible fun with items from The Guild.
I really fell in love with this avatar, I think it is really pretty. I might not be enmeshed into the furry culture, but I do appreciate their quest for unique avatars.
Credits
Hair - The Stringer Mausoleum - Them w/Hud
Furry Head - Cerberus - Tygr Head
Body - Maitreya - Lara Bento/BOM Mesh Body
Furry Mod - Ghosted - Tiger Roll Sushi Set in Seaweed - *NEW* @ The Guild
Shrimp Tail - Ghosted - Comes with the above Mod - *NEW* @ The Guild
Eyes (BOM) - Devae - Wild Hunt Eyes in Honeydew
Nails (Bento) - Beanz - Stiletto Nails - *NEW* @ The Guild
Nail Polish (Applier) - Beanz - Darks Set - *NEW* @ The Guild
Outfit - Ersch - Ruby Top & Bottom w/Hud
Boots - Pure Poison - Elise Boots w/Hud
Necklace - Ivy - Hook'd Necklace in White (Tinted) - *NEW* @ The Guild
Bracelets - Kibitz - High Bracelets in Gold
Rings - Kunglers - Sarah Rings w/Hud
Shark Pet (Animesh) - Tardfish - Chubby Shark w/Naturals Hud - *NEW* @ The Guild
Poses by BabyBoo
Backdrop by Foxcity
Projector Pool Light by [CIRCA] Living
I will be away till Thursday as I am going on a short trip, will try to catch up with what I missed when I return. I wanted to leave you guys with this small set and an update on the short stories of Edrelle and friends. I had an idea for a short story which I will start working on when I return from my trip.
When not traveling the lands of Skyrim to help the guild of thieves Edrelle and Dimitri occasionally adventure in the wilds, visiting the villages and cities, sometimes with some of their friends in tow and here are a few glimpses of them wandering the mist filled forests of Falkreath hold.
Taken in the Guild Hall, Coventry. A beautiful building steeped in English History. This is a statue of Lady Godiva, the lady that bared all and rode through the streets of Coventry in protest over taxes on the poor ( a letter might have been easier)
Thanks to all my friends for looking
Mark
Isaac Willaerts (Utrecht, c. 1620 (between 1610 and 1630) - ships foundering off a rocky shore (1646) - oil on oak panel - SDMA San Diego Museum of Art
Figlio ed allievo di Adam Willaerts e fratello dei pittori Abraham e Cornelis, operò principalmente a Utrecht, dove era membro della Corporazione di San Luca, come maestro dal 1637 e come decano nel 1666
Dipinse soprattutto paesaggi, in particolare invernali, marine, viste di spiagge e zone costiere. Il suo stile presenta notevoli somiglianze con quello del fratello Abraham, soprattutto nelle sue vedute di porti meridionali.
Son and pupil of Adam Willaerts and brother of the painters Abraham and Cornelis, he worked mainly in Utrecht, where he was a member of the Guild of St. Luke, as a master from 1637 and as dean in 1666.
He painted mainly landscapes, particularly winter, seascapes, views of beaches and coastal areas. His style shows remarkable similarities with that of his brother Abraham, especially in his views of southern ports.
Florence Cathedral, formally the Cattedrale di Santa Maria del Fiore (in English "Cathedral of Saint Mary of the Flower"), is the cathedral of Florence, Italy (Italian: Duomo di Firenze). It was begun in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the dome designed by Filippo Brunelleschi.[1] The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink, bordered by white, and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.
The cathedral complex, in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. These three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major tourist attraction of Tuscany. The basilica is one of Italy's largest churches, and until the development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed. Santa Maria del Fiore was built on the site of Florence's second cathedral dedicated to Saint Reparata[2]; the first was the Basilica di San Lorenzo di Firenze whose first building was consecrated as a church in 393 by St. Ambrose of Milan.[3] The ancient structure, founded in the early 5th century and having undergone many repairs, was crumbling with age, according to the 14th-century Nuova Cronica of Giovanni Villani,[4] and was no longer large enough to serve the growing population of the city.[4] Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, such as Pisa and particularly Siena where the enormous proposed extensions were never completed.
Giotto's bell tower (campanile)
The new church was designed by Arnolfo di Cambio and approved by city council in 1294.[5] Di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio.[6][7] He designed three wide naves ending under the octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on 9 September 1296, by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 140 years; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.
The Duomo, as if completed, in a fresco by Andrea di Bonaiuto, painted in the 1360s, before the commencement of the dome
After Arnolfo died in 1302, work on the cathedral slowed for almost 50 years. When the relics of Saint Zenobius were discovered in 1330 in Santa Reparata, the project gained a new impetus. In 1331, the Arte della Lana, the guild of wool merchants, took over patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major accomplishment was the building of the campanile. When Giotto died on 8 January 1337, Andrea Pisano continued the building until work was halted due to the Black Death in 1348.
In 1349, work resumed on the cathedral under a series of architects, starting with Francesco Talenti, who finished the campanile and enlarged the overall project to include the apse and the side chapels. In 1359, Talenti was succeeded by Giovanni di Lapo Ghini (1360–1369) who divided the center nave in four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravante and Andrea Orcagna. By 1375, the old church Santa Reparata was pulled down. The nave was finished by 1380, and by 1418, only the dome remained incomplete. Ghiberti, appointed coadjutator, drew a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, was promised equal credit, although he spent most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423, Brunelleschi was back in charge and took over sole responsibility.[9]
Work started on the dome in 1420 and was completed in 1436. The cathedral was consecrated by Pope Eugene IV on 25 March 1436, (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history to be built without a temporary wooden supporting frame. It was one of the most impressive projects of the Renaissance. During the consecration in 1436, Guillaume Dufay's motet Nuper rosarum flores was performed.
Frans Snyders (1579-1657) - Shop of agricultural products - 203,5 x 338 cm - Alte Pinakothek, Munich
Snyders nacque e morì nella sua città natale, Anversa. Nel 1593 era allievo del pittore Pieter Brueghel il Giovane e in seguito entrò nella bottega di Hendrick van Balen, primo maestro anche di van Dyck. Snyders è stato molto legato a van Dyck, che lo ritrasse più di una volta.
Inizialmente Snyders si dedicò alla pittura di fiori, piante e frutta (natura morta), ma in seguito preferì eseguire dipinti con animali, specialmente selvaggi, e con scene di caccia. Fu uno dei primi pittori animalisti della scuola fiamminga.
Nel 1602 Snyders fu accolto membro dalla gilda dei pittori di Anversa, la Gilda di San Luca e poi divenne maestro pittore. Nel 1608 fu a Roma, per il consueto viaggio di formazione in Italia, tappa obbligatoria per i pittori di origine fiamminga. Nel 1609 si spostò a Milano, dove fu al servizio del cardinale Federico Borromeo. Nel 1611 sposò Margherita de Vos, sorella dei pittori Cornelis e Paul de Vos. Tra i suoi allievi ad Anversa il più importante fu Jan Fyt, che operò nella sua bottega dal 1629.
Snyders was born and died in his hometown, Antwerp. In 1593 he was a pupil of the painter Pieter Brueghel the Younger and later entered the workshop of Hendrick van Balen, first master also of van Dyck. Snyders was very close to van Dyck, who portrayed him more than once.
Initially Snyders devoted himself to painting flowers, plants and fruit (still life), but later preferred to make paintings with animals, especially wild, and with hunting scenes. He was one of the first animal painters of the Flemish school.
In 1602 Snyders was accepted as a member of the Antwerp painters' guild, the Guild of St. Luke, and then became a master painter. In 1608 he was in Rome, for the usual training trip to Italy, an obligatory stop for painters of Flemish origin. In 1609 he moved to Milan, where he was in the service of Cardinal Federico Borromeo. In 1611 he married Margaret de Vos, sister of the painters Cornelis and Paul de Vos. Among his pupils in Antwerp the most important was Jan Fyt, who worked in his workshop from 1629.
Grote Markt (Antwerp)
The Grote Markt with the guild houses
The Grote Markt of Antwerp is a square in the city of Antwerp, located in the old city. It is a square with many guild houses.
1107/5000
The Fishermen's Bastion or Halászbástya is a neo-Gothic and neo-Romanesque bastion located on the Buda side of the Danube, on the Budapest castle hill near the church of Matthias. It was designed and built between 1895 and 1902 to a design by Frigyes Schulek. Between 1947-48, Frigyes Schulek's son, János Schulek, led the restoration project to repair the damage suffered during the Second World War.
From the towers and the terrace with a panoramic view you can admire Margaret Island, the Pest area and the Gellert Hill.
Its seven towers represent the seven magical tribes that settled in the Carpathian basin in 896.
The bastion takes its name from the guild of fishermen who had been commissioned to defend this part of the city walls during the Middle Ages.
A bronze statue of Stephen I of Hungary on a horse, erected in 1906, stands between the bastion and the church. The pedestal was made by Alajos Stróbl, based on the plans of Frigyes Schulek, in neo-Romanesque style, with incised some episodes illustrating the life of the king.
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Il bastione dei Pescatori o Halászbástya è un bastione in stile neogotico e neoromanico situato sulla riva di Buda del Danubio, sul colle del castello di Budapest vicino alla chiesa di Mattia. È stato progettato e costruito tra il 1895 e il 1902 su disegno di Frigyes Schulek. Tra il 1947-48, il figlio di Frigyes Schulek, János Schulek, ha condotto il progetto di restauro per riparare i danni patiti durante la seconda guerra mondiale.
Dalle torri e dalla terrazza con vista panoramica si può ammirare l'isola Margherita, la zona di Pest e la collina Gellert.
Le sue sette torri rappresentano le sette tribù magiare che si insediarono nel bacino dei Carpazi nell'896.
Il bastione prende il nome dalla corporazione dei pescatori che era stata incaricata di difendere questo tratto di mura della città durante il Medioevo.
Una statua di bronzo di Stefano I d'Ungheria su un cavallo, eretta nel 1906, è posta tra il bastione e la chiesa. Il piedistallo è stato fatto da Alajos Stróbl, sulla base dei piani di Frigyes Schulek, in stile neo-romanico, con incisi alcuni episodi che illustrano la vita del re.
PLEASE, NO invitations or self promotions, THEY WILL BE DELETED. My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.
The Vennerbrunnen (Banner Carrier or Vexillum Fountain) is located in front of the old city hall or Rathaus. The Venner was military-political title in medieval Switzerland. He was responsible for peace and protection in a section of a city and then to lead troops from that section in battle. In Bern the Venner was a very powerful position and was key in city's operations. Each Venner was connected to a guild and chosen from the guild. Venner was one of only two positions from which the Schultheiß or Lord Mayor was chosen. The statue, built in 1542 shows a Venner in full armor with his banner.
Once upon a time, in a land far, far away, lived an elf maiden. She was fair and wise, with eyes bright as jade and hair dark as shadow.
Alas! The Elf Maiden’s heart was shrouded in sadness, for she lived alone in a secluded tower.
“Wait, what? I’m not sad, and I’m definitely not alone. I have three cats, a company of goblins, and…and you!”
“Right.”
With the hint of a smirk, he wrote: Her days were only lit up by the gentle presence of her caring uncle.
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You can read the whole story on my brand new blog, and in the Guilds of Historica on Eurobricks.
I was closing off a film that was in the Nikkormat. The film was old and the initial scan came out cloudy. Once I boosted the contrast it got better. The camera was a Nikkormat FT2. Film was expired Kodak Gold 200. Snoop was checking out the trail.
Super tiny mice friends that sit on your shoulder or hand! <3
Starting Oct. 1st!
Taxi: maps.secondlife.com/secondlife/Abnormality/121/134/1751
Animation Example: www.flickr.com/photos/154104917@N03/51528030307/in/datepo...
To the north of the crowded areas around Piazza San Marco, in winter, one can catch a glimpse of another Venice. It was a cold March afternoon and this district, for example, was virtually deserted except for the occasional lone passerby.
A glimpse of the San Gesuiti church in the distance, framed by the ancient "Houses of the Guilds" were illuminated dramatically by the low lying sun.....which is what originally caught my eye. I took several views of the scene, but my favorite was this one, with a single pedestrian, that brought the place to life.
Tucked in among the more basic yet very colorful working class residences was the baroque church of the Jesuits. I loved especially the way the sun cut through the shade, creating wonderful visual contrast, sparking the scene with its powerful rays .........and how the angels on the facade of the church appeared to be watching the occasional passersby on this nearly empty street. The houses in this area are associated with the historic guilds. On the walls are symbols or inscriptions referring to coopers, tailors, and weavers.
If you'd like to read more about this northern Venice district, here's an excerpt from Wikipedia's description at this link en.wikipedia.org/wiki/Cannaregio:
"Cannaregio is one of the six historic sestieri (districts) of Venice, and the northernmost of the city. It also has the largest population, of around 20,000 people.
The Cannaregio Canal gave the district its name; before the construction of a railway link into Venice, the canal was the main entrance for visitors to Venice.
The quarter, the second largest of the city, was developed from the eleventh century. As the area was drained, parallel canals were dredged and the area became known for its working class housing, with a few grand palaces, mostly facing the Grand Canal. The district later became known for manufacturing, while in the nineteenth century the Strada Nuova street was run through Cannaregio, a railway bridge and later a road bridge to the mainland were constructed."
The Guild is now open and this rounds these is Atlantis
AV Style info;
* Skin - M! (Messer) Sea Gremlin :{Tropic}: This is a skin MOD for the +SG+ Monke Head. Comes with Ears and Head Angler
* Tail - ::Static:: Eelfolk Tail
* Crab - Quills & Curiosities - Snippy the Crab
* Pose - DREAMCATCHER // Mermaid bento poses (swopped with pearl with the crab)
* Tail Bubbles - **CC** (Cole's Corner) - Merbubbles
* Ear Fins - :[P]:- Karkisse Fins
* Shell Crown - :[P]:- Karkisse Crown
* Collar and Top - :[P]:- Merusine Top & Collar
Taxi to The Guilds;
maps.secondlife.com/secondlife/Abnormality/132/122/1756
*** PLEASE ZOOM FOR ALL THE DETAILS ***
A build for the Guilds of Historica 5th Anniversary Challenge.
A little to the south and and far to the west of the continent of Historica, another large island lies in the sea, called Mwamba; a major city on the coast of this land is Bandari, built by elves and inhabited by many races, including gnomes, centaurs, and humans, in addition to the elves and their dragons.
A key building for the culture of the city is the dragon hatchery, overseen by the elf Yoka. Here, Nyeusimoto the black dragon greets his young hatchling son for the first time.
More photos on the alternate account I just created:
www.flickr.com/photos/159025884@N07/albums/72157665027473738
The timber framed Guildhall overlooking the market square at Lavenham, Suffolk, England. The Guildhall was built around 1529 by the Guild of Corpus Christi, one of three medieval wool guilds in Lavenham, although most of the building seen today dates from the 17th century.
Journey from the dangerous swampy lands, through the cold Mitgardian mountains, Eric and Ira now finally reach lush green Avalonia and end up this story.
For the Guilds of Historica.
Emmereth the Wizard, they called him. The Master of the Guild of the Fire Wizards. The flames bowed to his will now, and he put it to good use in his town. The old widows gave him bread when he lit their ovens. The children cheered when he entertained them in the street, up until the moment when they got too close and felt the intensity of the flames. The city was now safe from fire.
- My first MOC for the Guilds of Historica on Eurobricks -
Not very far from Horgaard, in the foothills of the Heavenly Mountains, stood a stone.
It had always been there - as far back as men could recall. Nested in the snow throughout the winter, lost among wildflowers in the heat of summer.
It was said to be a gateway to the world of the unseen, to the world of mighty mountain spirits and mischievous gnomes.
And sometimes, extraordinary encounters happened.
My contribution for Challenge 11 in Guilds of Historica. It’s a simple build that brought back a lot of memories as most of the techniques are things I used frequently years ago. Which made for a straightforward and relaxing build process.
Timber is in high demand as the guilds rebuild. Leading to many new lumber yards popping up in Mitgardia. Located along trade routes and near sawmills they constantly receive new loads of wood and in turn load caravans traveling between the guilds.
Additional photos on Brickbuilt.
The elves worked diligently and efficiently to help stop a dwarven invasion on Avalonia and the Drow, to prevent war and promote peace. They sent out scouts on their newly tamed wargs and built towers to detect any sign of dwarves, and to stop them. Unfortunately, despite their efforts, it all came to nothing. The dwarves secretly mined underneath their very nose, and gained entry into Avalonia, ready to take war on the Drow..."
My entry into the Guilds of Historica Book II Challenge III Category B - Deceiving Elves
Phew! I can't believe I finished it in time! Thanks to the extension of the deadline and a canceled family gathering, I had enough time to finish my second entry into the GoH Challenge. Once again I experimented in one of Grant Davis's techniques that he created in his creation "Undermining." (If you have not checked out Grant's creation yet, what are you waiting for!? Go give it a look! ;) ) Tons of fun to build, making all the little sections of rock pieces fit together was so much fun (although very delicate)!
The details on the top were also fun to add, I finally got to use my wargs! :D Even though wars in LOTR are evil, I always though they were kinda cool, so if you could tame them...they could be quite lethal and well worth the effort. ;)
All in all, a decent build, there are a few more things I would have liked to try if I had more time, but deadlines are deadlines. ;)
Thanks for viewing, and enjoy!
Soli Deo Gloria!
~Matthew~
In darklands is a bad day for witches. Witch-hunters hunted witches all over the country to end witchcraft.
For the Guilds of Historica.
Whitman Guild Deluxe - Spring Plowing
340 pieces. Complete.
Series No. 202
Artist: Thomas Hart Benton (1889-1975)
Original title I believe was "Spring Ploughing"
Anther great and complete Guild puzzle. Pieces were thicker than the Guild 304's that I have done. Very nice all around.
{13480}
Gent - Sint-Niklaaskerk
seen from Belfry
gesehen vom Belfried
St. Nicholas Church (Dutch: Sint-Niklaaskerk) is one of the oldest and most prominent landmarks in Ghent, Belgium. Begun in the early 13th century as a replacement for an earlier Romanesque church, construction continued through the rest of the century in the local Scheldt Gothic style (named after the nearby river). Typical of this style is the use of blue-gray stone from the Tournai area, the single large tower above the crossing, and the slender turrets at the building's corners.
Built in the old trade center of Ghent next to the bustling Korenmarkt (Wheat Market), St. Nicholas Church was popular with the guilds whose members carried out their business nearby. The guilds had their own chapels which were added to the sides of the church in the 14th and 15th centuries.
The central tower, which was funded in part by the city, served as an observation post and carried the town bells until the neighboring belfry of Ghent was built. These two towers, along with the Saint Bavo Cathedral, still define the famous medieval skyline of the city center. One of the treasures of the church is its organ, produced by the famous French organ builder Aristide Cavaillé-Coll.
The building gradually deteriorated through the centuries, to a degree that threatened its stability. Cracks were overlaid with plaster, windows were bricked up to reinforce the walls, and in the 18th century, little houses and shops were built up against the dilapidated facades. Interest in the church as a historical monument arose around 1840, and at the turn of the 20th century major restoration plans emerged. The houses alongside the church were demolished and much renovation work has been carried out since then.
(Wikipedia)
Die Sint-Niklaaskerk im Herzen der historischen Altstadt der flandrischen Stadt Gent gehört zu den bedeutendsten gotischen Kirchenbauwerken Mitteleuropas. Anders als die ca. 400 m entfernte St.-Bavo-Kathedrale ist sie keine Bischofskirche, sondern die Pfarrkirche der durch Fabrikation und Handel reich gewordenen Bürger der Stadt und ist infolgedessen in mancher Hinsicht repräsentativer und besser ausgestattet.
Der dem hl. Nikolaus von Myra, dem Schutzpatron der Getreidehändler, Kaufleute, Binnenschiffer, Fuhrleute etc. geweihte Bau wurde Anfang des 13. Jahrhunderts im Stil der Scheldegotik begonnen, nachdem ein romanischer Vorgängerbau abgerissen worden war, und noch im selben Jahrhundert vollendet. Im 14. Jahrhundert wurde der Chorbereich der Kirche erweitert und mit Strebewerk stabilisiert; wegen Bauschäden entschloss man sich im 17. Jahrhundert, den Laternenturm mit einem Gewölbe zu schließen. Bereits im Mittelalter wurden kleine Wohn- und Geschäftshäuser an die kapellenlosen Seitenschiffwände der Kirche angebaut; ein Teil der (Miet-)Erträge kam der Kirche zugute. Im 20. Jahrhundert erfolgten drei umfassende Restaurierungsmaßnahmen; bei einer wurde das eingezogene Gewölbe im Laternenturm wieder entfernt – die letzte ging erst im Jahr 2010 zu Ende.
Der aus dem für die Region um Tournai typischen Blaustein errichtete Kirchenbau beeindruckt durch die Schlankheit seiner Proportionen und den hohen doppelgeschossigen Vierungsturm, dessen Untergeschoss zum dreischiffigen Kircheninnern hin als Laternenturm konzipiert wurde, wohingegen im Obergeschoss das Kirchengeläut aufgehängt war. Alle Fassaden wie auch der Vierungsturm werden von kleinen seitlichen Treppentürmchen mit Spitzhelm gerahmt bzw. stabilisiert. Die Stützen des Kirchenraums sind nicht – wie in der gleichzeitigen Kathedralarchitektur Frankreichs üblich – als Bündelpfeiler ausgeführt, sondern als gemauerte und anschließend verkleidete Säulen, denen schlanke Halbsäulen vorgelegt sind, die die Last der Rippengewölbe aufzunehmen scheinen. Das Mittelschiff der Kirche zeigt den typischen dreiteiligen Wandaufriss der Gotik mit Arkadenzone, unbelichtetem Laufgangs-Triforium und Obergaden, wobei die beiden letzteren jedoch gegenüber der Arkadenzone in der Höhe stark reduziert sind. Die Kirche hat ein Querhaus und einen Umgangschor, jedoch ohne Kapellenkranz.
(Wikipedia)
The left lancet of Bay 137 in the south clerestory of Chartres Cathedral features a majestic representation of four standing Apostles, depicted in full-length figures arranged vertically. These Apostles—likely Peter, Paul, John, and James, though exact identifications vary due to the absence of clear inscriptions—are rendered with solemn expressions and traditional attributes such as scrolls and books, signifying their roles as witnesses to Christ and authors of sacred scripture. Each figure is enclosed within an architectural canopy, emphasizing their foundational status in the Church. The imagery affirms the apostolic roots of Christian teaching and authority, visually echoing the Gospel message proclaimed in the nave below.
This apostolic lancet was created around 1215–1220 and was commissioned by the furriers’ guild (mégissiers), whose emblem and donor figures appear in the lower section of the window. The inclusion of the Apostles reflects both the guild’s devotional commitment and the cathedral’s broader iconographic program linking heavenly authority to earthly professions. The window underwent restoration in the 19th century, and was later conserved by Charles Lorin in the early 20th century, ensuring the survival of its luminous color palette and elegant figure design. Paired with the Saint Nicholas narrative in the opposite lancet of Bay 137, this window presents a balanced theological message of apostolic tradition and saintly intercession within the heavenly Jerusalem of Chartres.
The saints in this clerestory panel are part of Chartres’s broader program that aligns each saintly narrative with a trade guild patron. These Apostles visually complement the Saint Nicholas narrative across the aisle, reinforcing the dual themes of apostolic authority and local civic identity. While the exact identities of the four individuals aren’t always specified in inscriptions, they generally represent well-known Apostles, rendered with their traditional attributes and robes. Their presence balances the ecclesial significance of Bay 137 and emphasizes the cathedral’s integration of trade patronage and apostolic witness.