From the Dark Ages to Saxon Architecture COMMONWEALTH of AUSTRALIA Copyright Regulations 1969
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Exploring the River Wear-Part 1
Armchair Adventurers Explore The River Wear G eog rap Part 1 from the Pennines to the outskirts of Durham hy A period. On the sea bed a limy ooze full of the rch y aeo eolog log G decaying skeletons of sea creatures built up. y Rivers washed down sand and gravel building His up deltas, and forests flourished on the deltas tory and swampy margins. Periodically the seas rose, drowned the deltas and forests and more Geology ooze was deposited; then sea levels dropped The River Wear rises in the North Pennines and and the deltas and forests returned. This cycle flows in an easterly direction to empty in the with compression gave rise to sedimentary North Sea at Sunderland. Weardale is in an rocks. The oozes became limestone, the sands, gravels and muds became shale and sandstone, and the forests became coal. Limestone and sandstone are resistant to erosion, whereas the softer shales wear away more easily. This contrast has produced the terraced hillsides which are characteristic of the whole area and the hard limestone outcrops form waterfalls created by the erosion. area designated for it’s Outstanding Natural Beauty. It is also a UNESCO Global Geopark. A Geopark is a place of outstanding geological heritage which is used to support sustainable development through conservation, education, interpretation and nature tourism. High Force Waterfall Limestone is the dominant rock in Upper The landscape has evolved over 500 million Weardale. Its main constituent, calcium years. During that time the valley has been carbonate, is soluble in rainwater which is liquid molten rock, desert,tropical sea,swamps, acidic and has eroded it to form sink holes, and an ice sheet. -
The Stained Glass of St. Nicholas' Church, Blundellsands
The Stained Glass of St. Nicholas’ Church, Blundellsands Text: Philip Collins; Photographs: Peter Batey Of the twenty three stained glass windows in St. Nicholas’ Church, fifteen are the work of four firms and the remaining eight are by unidentified studios. Apart from the three apsidal east windows, there is no overall subject scheme, the donors, albeit in a number of cases with the input of Caröe, being apparently free to choose their own subjects. The earliest glass is a window with a commemorative date of 1875 and therefore more or less contemporary with the building of the church, and the latest, a window inserted in 1924. In the beginning, the appearance of the windows from inside would have looked quite different. For one thing, the intensity of light on a dark day would have been much stronger, but then gradually, as windows were filled over the years, the glare would have softened until the present effect we see today was reached. 1 This description of the windows follows the sequence shown on the Stained Glass Plan (see below) and it begins in the sanctuary. For studying windows 1-5 and 12-14 the use of a pair of binoculars is recommended. List of windows and page number 1. Transfiguration 4 2. Crucifixion 5 3. Ascension 7 4. St. Paul 8 5. Parable of the talents 9 6. Suffer the little children 11 7. Good works 12 8. St. Balbina and Dorcas 13 9. Martha and Mary 15 10. Good works 17 11. Christ with the doctors 19 12. War 20 13. -
Excerpt from Notre-Dame De Paris • Victor Hugo This Text Is Brought to You by The
Excerpt from Notre-Dame de Paris • Victor Hugo This text is brought to you by the Society of Amate ur Gentlemen You can visit us at http://societyofamateurgentlemen.wordpress.com/ The text of this translation is in the public domain, everyone is permitted, granted your local copyright laws allow, to distribute this however he sees fit. I ask only that you leave it intact, but that ultimately is your prerogative. Fight, draw the sword, O city of the light, Which fosters art, defends the cotter's right. Let, O proud home of man's equality, Howl round thee the foul hordes of bigotry-- Black props of throne and altar--hypocrites! Who, in all ages, have proscribed the lights; Who guard all gods against th' inquiring mind; Whose screech in every history we find-- At Thebes, Mycenae, Delphi, Memphis, Rome-- Like bark of unclean dogs from distance come. -Victor Hugo Excerpt from Paris Slandered Notre-Dame de Paris: This Will Kill That • Victor Hugo (Translated By William Neilson) This Will Kill That: Book V, Chapter II Notre-Dame de Paris By Victor Hugo OUR fair readers must forgive us if we halt a moment here and endeavor to unearth the idea hidden under the Archdeacon’s enigmatical words: This will kill That. The Book will kill the Edifice. To our mind, this thought has two aspects. In the first place it was a view pertaining to the priest—it was the terror of the ecclesiastic before a new force—printing. It was the servant of the dim sanctuary scared and dazzled by the light that streamed from Gutenberg’s press. -
VOLUME I (—), 1822. `Donations to the Society', Archaeol. Aeliana, Ser
VOLUME I (—), 1822. `Donations to the Society', Archaeol. Aeliana, ser. 1, I, 6 (—), 1833. `Runic gravestones found at Hartlepool', Gentleman's Mag., CIII, pt. 2, 218–20 (—), 1837. `Antiquities of Hexham abbey church', ibid., n. ser., VIII, 473–6 (—), 1838. `Sepulchral stones at Hartlepool', ibid., X, 536 (—), 1844. `Sepulchral stones found at Hartlepool', ibid., XXI, 187–8 (—), 1855a. `Donations to the Society', Archaeol. Aeliana, ser. 1, IV, 5 (—), 1855b. `Donations to the Society', ibid., 14 (—), 1855–7a. `Proceedings ..., 1855, no. 8', Proc. Soc. Antiq. Newcastle, ser. 1, I, 45–53 (—), 1855–7b. `Proceedings ..., 1856, no. 13', ibid., 89–107 (—), 1855–7c. `Proceedings ..., 1856, no. 14', ibid., 109–18 (—), 1855–7d. `Proceedings ..., 1856, no. 21', ibid., 179–85 (—), 1855–7e. `Proceedings ..., 1857, no. 30', ibid., 269–82 (—), 1860. `Exhibition 4th Jan. 1860', Archaeol. Aeliana, n. ser., IV, 254 (—), 1862–8a. `Meeting 18th May 1868', Trans. Architect. Archaeol. Soc. Durham Northumberland, I, xliv–vi (—), 1862–8b. `The church of St. Lawrence, Warkworth', ibid., 82–7 (—), 1862–8c. `St. Peter's, Monkwearmouth', ibid., 141–4 (—), 1862–8d. `Church reports, III: St. Peter's, Monkwearmouth', ibid., appendix, 1–8 (—), 1865a. `Chester-le-Street church', Archaeol. Aeliana, n. ser., VI, 188–9 (—), 1865b. `Runic legend from Monkwearmouth', ibid., 196 (—), 1865c. `Monthly Meeting 6th April 1864', ibid., 214 (—), 1869–79a. `Meetings 1868', Trans. Architect. Archaeol. Soc. Durham Northumberland, II, i–ii (—), 1869–79b. `Meeting 24th June 1869', ibid., v–vii (—), 1869–79c. `Meeting 28th–29th June 1869', ibid., vii–x (—), 1869–79d. `Meeting 4th Aug. 1871', ibid., xxx–xxxiv (—), 1869–79e. `Meeting 28th June 1872', ibid., xliv–xlvii (—), 1869–79f. -
Tiffany Windows in Richmond and Petersburg, Virginia Rachel M
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1997 Tiffany Windows in Richmond and Petersburg, Virginia Rachel M. Bradshaw [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/4389 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. APPROVAL CERTIFICATE TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW Th�sis Advisor Reader Dean, School of the Arts Dean, School of Graduate Studies 15;;c;c;i. Date TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW B.A., Troy State University, 1991 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements for the Degree Master of Arts RICHMOND, VIRGINIA April, 1997 Table of Contents Acknowledgements...... lll List of illustrations....... IV Introduction. ................................... .... Catalog ................................................. 20 Monumental Church........... 21 St. Paul's Episcopal Church.... 25 Second Presbyterian Church. ....... 62 69 Grace and Holy Trinity Church ..................... Temple Beth Ahabah ............................ 74 St. James Episcopal Church ....... 77 All Saints Episcopal Church..... 91 Ginter Park Baptist Church ...... 123 Hollywood Cemetery... 139 Old Blandford Church.. 146 Washington Street United Methodist Church........... 182 Conclusion........................................ 186 Selected Bibliography ....................................... 188 ii Acknowledgements I would like to thank my advisor, Dr. Anne Crowe, for her patience, support, and encouragement, and my reader, Dr. -
Mead-Halls of the Oiscingas: a New Kentish Perspective on the Anglo-Saxon Great Hall Complex Phenomenon
Mead-halls of the Oiscingas: a new Kentish perspective on the Anglo-Saxon great hall complex phenomenon Article Published Version Creative Commons: Attribution 4.0 (CC-BY) Open Access Thomas, G. (2018) Mead-halls of the Oiscingas: a new Kentish perspective on the Anglo-Saxon great hall complex phenomenon. Medieval Archaeology, 62 (2). pp. 262-303. ISSN 0076-6097 doi: https://doi.org/10.1080/00766097.2018.1535386 Available at http://centaur.reading.ac.uk/76215/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/00766097.2018.1535386 Publisher: Maney Publishing All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Medieval Archaeology ISSN: 0076-6097 (Print) 1745-817X (Online) Journal homepage: https://www.tandfonline.com/loi/ymed20 Mead-Halls of the Oiscingas: A New Kentish Perspective on the Anglo-Saxon Great Hall Complex Phenomenon GABOR THOMAS To cite this article: GABOR THOMAS (2018) Mead-Halls of the Oiscingas: A New Kentish Perspective on the Anglo-Saxon Great Hall Complex Phenomenon, Medieval Archaeology, 62:2, 262-303, DOI: 10.1080/00766097.2018.1535386 To link to this article: https://doi.org/10.1080/00766097.2018.1535386 © 2018 The Author(s). -
Etherley Moor 320 LK Developments Final Draft
Planning Services COMMITTEE REPORT APPLICATION DETAILS APPLICATION NO: DM/16/03395/OUT Outline application for up to 320 residential units with all FULL APPLICATION DESCRIPTION: matters reserved except from access. NAME OF APPLICANT: LKA Developments Land East Of Wigdan Walls Road, Woodhouses ADDRESS: ELECTORAL DIVISION: West Auckland Steven Pilkington, Senior Planning Officer CASE OFFICER: 03000 263964 [email protected] DESCRIPTION OF THE SITE AND PROPOSALS The Site 1. The application site consists of a rectangular shaped parcel of agricultural land located to the edge of the existing residential development of Etherley Dene, to the west of Bishop Auckland. The site extends to approximately 15.2 ha in area and comprises greenfield land in an agricultural use, consisting of arable. The most southern portion of the site is relatively level however the site falls sharply to the north to Coal Burn representing a maximum 29m level change. 2. To the east of the application site the existing residential development of Rockingham Drive is located, separated by a semi mature hedgerow. To the south the adopted highway Greenfields Road is located, separated by mature hedgerow and hedge line trees. The dwellings of 1-9 Woodhouses, including the Bay Horse Public House and Woodhouses Farm House are located to the south western corner of the application site. The highway Wigdan Walls Road forms the western boundary, separated by a mature hedgerow. The Coal Burn is located to the north, beyond which lies open countryside where the land steadily rises. 3. A public right of way (Footpath No.12 (Bishop Auckland) is located adjacent to the east of the site however this has been unusable since the adjoining housing estate was built. -
Computer-Generated Gothic Tracery with a Motif-Oriented Approach
Computer-generated Gothic Tracery with a Motif-oriented Approach Joe Takayama* *Kyushu Sangyo University, [email protected] Abstract: Drawing decorative ornaments as computer-generated imagery (CGI) is both time- and energy-intensive because it usually involves complicated motifs. Therefore, a procedural approach that is applicable to a variety of fields may be useful for drawing ornaments efficiently. Consequently, an algorithmic approach for generating complicated ornaments has been proposed in this study. This research specifically focuses on Gothic tracery, which is widely found in European architecture from the 12th to 15th centuries. Tracery constitutes stonework elements that support glass panes in windows. Although Gothic tracery comprises a wide variety of complicated patterns, it usually consists of combinations of circles with a few straight lines. These combinations and geometric operations can generate various motifs. However, it is difficult to extract the rules for obtaining desirable patterns from circle arrangements because of variations in geometric situations. Therefore, we attempted through this study to draw Gothic tracery using a motif-oriented approach whereby an algorithm automatically seeks an appropriate position in a closed 2D space for placement of the motif. Thus, the algorithm determines the arrangement of circles required to draw the motif. This algorithm can produce some principal Gothic-style motifs automatically, and recursive execution of the algorithm can generate complicated patterns. Keywords: Computer-generated imagery, Ornaments, Gothic tracery, Procedural approach 1. Introduction A procedural approach in CGI has been used mainly to represent natural objects and natural phenomena that are too complicated to be drawn or animated by artists [5]. -
Tiffany Windows in Richmond and Petersburg, Virginia
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1997 Tiffany Windows in Richmond and Petersburg, Virginia Rachel M. Bradshaw Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4389 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. APPROVAL CERTIFICATE TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW Th�sis Advisor Reader Dean, School of the Arts Dean, School of Graduate Studies 15;;c;c;i. Date TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW B.A., Troy State University, 1991 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements for the Degree Master of Arts RICHMOND, VIRGINIA April, 1997 Table of Contents Acknowledgements...... lll List of illustrations....... IV Introduction. ................................... .... Catalog ................................................. 20 Monumental Church........... 21 St. Paul's Episcopal Church.... 25 Second Presbyterian Church. ....... 62 69 Grace and Holy Trinity Church ..................... Temple Beth Ahabah ............................ 74 St. James Episcopal Church ....... 77 All Saints Episcopal Church..... 91 Ginter Park Baptist Church ...... 123 Hollywood Cemetery... 139 Old Blandford Church.. 146 Washington Street United Methodist Church........... 182 Conclusion........................................ 186 Selected Bibliography ....................................... 188 ii Acknowledgements I would like to thank my advisor, Dr. Anne Crowe, for her patience, support, and encouragement, and my reader, Dr. -
A Study of Residential Stained Glass: the Work of Nicola D'ascenzo Studios from 1896 to 1954
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1990 A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954 Lisa Weilbacker University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Weilbacker, Lisa, "A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954" (1990). Theses (Historic Preservation). 252. https://repository.upenn.edu/hp_theses/252 Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Weilbacker, Lisa (1990). A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/252 For more information, please contact [email protected]. A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954 Disciplines Historic Preservation and Conservation Comments Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Weilbacker, Lisa (1990). A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954. (Masters Thesis). University of Pennsylvania, Philadelphia, -
Historic Property Design Guidelines
Sp r i n g f i e l d gu i d e l i n e S f o r Hi Sto r i c pr o p e r t i e S Ju d i t H B. Wi l l i a m S Hi Sto r i c pr e S e r vat i o n co n S u l t a n t co l u m B u S , oH i o fr a n k el m e r , FAIA li n c o l n St r e e t St u d i o co l u m B u S , oH i o Sp r i n g f i e l d gu i d e l i n e S f o r Hi Sto r i c pr o p e r t i e S June, 2010 Acknowledgements City of Springfield Community Development Department: Shannon Meadows, Community Development Director Heather Whitmore, Planning and Zoning Administrator Mark Luttrell, CDBG Program Coordinator Stephen Thompson, Planning and Zoning Specialist City of Springfield Historic Landmarks Commission, 2009-2010: Jeffrey Smith, Chair Richard Bierley Tamara Dallenbach Mark Luttrell Mary Oliver David Pitsch Larry Vance Photography by Judith Williams, Frank Elmer, Columbus, Ohio City of Springfield Community Development Department, Springfield, Ohio Illustrations by Lincoln Street Studio, Columbus, Ohio Historic images courtesy of the Clark County Historical Society, Springfield, Ohio Present-day image of Pennsylvania House courtesy of Cyndie Gerken Springfield history by Nathalie Wright, Columbus, Ohio Graphic design by Kris Harrison & Gina Cronley - Orbit Design Inc., Columbus, Ohio This project was funded by the City of Springfield Community Development Block Grant Program. -
Cathedral of Saint Mary of the Immaculate Conception
Cathedral of Saint Mary of the Immaculate Conception Peoria, Illinois A Self-Guided Tour DISCOVER SAINT MARY’S Welcome to Peoria's Cathedral! In the middle ages, it was common for cathedrals to decorate their floors with elaborate labyrinths. These mazes in stone were very physical metaphors for the intentional wandering of the spiritual life. While there is no labyrinth in this cathedral, I invite you to wander nonetheless. This booklet is not designed to be an exhaustive historical guide or museum catalogue. This is not a theme park map to move you from point to point. Instead, we hope to provide a bit of history, a theological context, and an overview of this cathedral that is mother-church to Catholics across Central Illinois. I have been praying in this church both as a seminarian and a priest for over a decade. Over these past few years witnessing the grand restoration and parish life, I have especially been spending a lot of time here. I still never tire of wandering the church, talking to saints who are old friends, discovering new details in the windows, and gazing at the stars. I invite you to wander, to wonder, to pray. St. Mary of the Immaculate Conception, pray for us! Fr. Alexander Millar Rector 2 HISTORY OF SAINT MARY CATHEDRAL In 1851, Bishop James VandeVelde of Chicago asked a Vincentian missionary, Father Alphonse Montouri, CM, to build a new church in Peoria, offering him $200 to carry out the plan. In a year, St. Mary’s Church (right) was built and was said to be one of the finest churches between Chicago and St.