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Pevsner's Architectural Glossary
Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 1 PEVSNER’S ARCHITECTURAL GLOSSARY Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 2 Nikolaus and Lola Pevsner, Hampton Court, in the gardens by Wren's east front, probably c. Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 3 PEVSNER’S ARCHITECTURAL GLOSSARY Yale University Press New Haven and London Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 4 Temple Street, New Haven Bedford Square, London www.pevsner.co.uk www.lookingatbuildings.org.uk www.yalebooks.co.uk www.yalebooks.com for Published by Yale University Press Copyright © Yale University, Printed by T.J. International, Padstow Set in Monotype Plantin All rights reserved. This book may not be reproduced in whole or in part, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 5 CONTENTS GLOSSARY Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 6 FOREWORD The first volumes of Nikolaus Pevsner’s Buildings of England series appeared in .The intention was to make available, county by county, a comprehensive guide to the notable architecture of every period from prehistory to the present day. Building types, details and other features that would not necessarily be familiar to the general reader were explained in a compact glossary, which in the first editions extended to some terms. -
Excursions 2012
SIAH 2013 010 Bu A SIAH 2012 00 Bu A 31 1 1 10 20 12 127 EXCURSIONS 2012 Report and notes on some findings 21 April. Clive Paine and Edward Martin Eye church and castle Eye, Church of St Peter and St Paul (Clive Paine) (by kind permission of Fr Andrew Mitchell). A church dedicated to St Peter was recorded at Eye in 1066. The church was endowed with 240 acres of glebe land, a sure indication that this was a pre-Conquest minster church, with several clergy serving a wide area around Eye. The elliptical shaped churchyard also suggests an Anglo-Saxon origin. Robert Malet, lord of the extensive Honour of Eye, whose father William had built a castle here by 1071, founded a Benedictine priory c. 1087, also dedicated to St Peter, as part of the minster church. It seems that c. 1100–5 the priory was re-established further to the east, at the present misnamed Abbey Farm. It is probable that at the same time the parish church became St Peter and St Paul to distinguish itself from the priory. The oldest surviving piece of the structure is the splendid early thirteenth-century south doorway with round columns, capitals with stiff-leaf foliage, and dog-tooth carving around the arch. The doorway was reused in the later rebuilding of the church, a solitary surviving indication of the high-status embellishment of the early building. The mid fourteenth-century rebuilding was undertaken by the Ufford family of Parham, earls of Suffolk, who were lords of the Honour of Eye 1337–82. -
Discover the Styles and Techniques of French Master Carvers and Gilders
LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig. -
Chian Relief Pottery and Its Relationship to Chian and East Greek Architectural Terracottas
CHIAN RELIEF POTTERY AND ITS RELATIONSHIP TO CHIAN AND EAST GREEK ARCHITECTURAL TERRACOTTAS (PLATES23, 24) rT HE RELATIONSHIP between the relief decorationof temple entablaturesand relief potteryhas been discussedmany times in the past.1Scholars have suggestedsome pos- sible ways that architecturalreliefs might have affectedthe arrangementof the decoration on relief pottery (i.e., compositionin metopes or in a continuous band2),but for the most part they have focusedon the analogies existing between the moldings of temple simas and the formationof the lip of some Cretan relief pithoi, especially those from Arkades. Fea- tures such as the strongly flaring lip of these pithoi, the decorationof the rim with molded tori or with other patternswhich was currentas early as the first half of the 7th century,and particularlythe ridged protrusionshanging from the lip, frequentlyin the form of the head of a lion, bull, panther, or horse, have led many scholarsto comparethe design of these lips with the similar arrangementof the temple sima and to correlatethe protrusionsand the heads with the water spouts of the sima.3 l Some of the problems set forward here were outlined briefly in Simantoni-Bournias,1987. In the paper which follows, comparisonswith Chian material are limited for the most part to parallels from the realm of East Greek art, since influenceis more likely to come from a culturallyrelated area. I am grateful to Dr. M. E. Caskey, who read a draft of this paper and polished my English. I also wish to express my thanks to the Ephor of Chios-Mytilene, Mrs. A. Archontidou,for facilitatingmy study of the material in the Museum of Chios and kindly giving me permissionto present the perirrhanterionstand from the Attaliotis'plot. -
Gothic Beyond Architecture: Manchester’S Collegiate Church
Gothic beyond Architecture: Manchester’s Collegiate Church My previous posts for Visit Manchester have concentrated exclusively upon buildings. In the medieval period—the time when the Gothic style developed in buildings such as the basilica of Saint-Denis on the outskirts of Paris, Île-de-France (Figs 1–2), under the direction of Abbot Suger (1081–1151)—the style was known as either simply ‘new’, or opus francigenum (literally translates as ‘French work’). The style became known as Gothic in the sixteenth century because certain high-profile figures in the Italian Renaissance railed against the architecture and connected what they perceived to be its crude forms with the Goths that sacked Rome and ‘destroyed’ Classical architecture. During the nineteenth century, critics applied Gothic to more than architecture; they located all types of art under the Gothic label. This broad application of the term wasn’t especially helpful and it is no-longer used. Gothic design, nevertheless, was applied to more than architecture in the medieval period. Applied arts, such as furniture and metalwork, were influenced by, and followed and incorporated the decorative and ornament aspects of Gothic architecture. This post assesses the range of influences that Gothic had upon furniture, in particular by exploring Manchester Cathedral’s woodwork, some of which are the most important examples of surviving medieval woodwork in the North of England. Manchester Cathedral, formerly the Collegiate Church of the City (Fig.3), see here, was ascribed Cathedral status in 1847, and it is grade I listed (Historic England listing number 1218041, see here). It is medieval in foundation, with parts dating to between c.1422 and 1520, however it was restored and rebuilt numerous times in the nineteenth century, and it was notably hit by a shell during WWII; the shell failed to explode. -
K a L L O S G a L L E R
KALLOS GALLERY 4 Kallos Gallery – 2019 No.1 Cover.qxp_Layout 1 25/02/2019 14:46 Page 1 Kallos Gallery – 2019 No.1.qxp_Layout 1 21/02/2019 08:01 Page 1 catalogue 4 14-16 Davies Street london W1K 3Dr telephone +44 (0)20 7493 0806 e-mail [email protected] WWW.KalloSgallery.coM 9 27 june – 3 july 16–24 March Kallos Gallery – 2019 No.1.qxp_Layout 1 21/02/2019 08:01 Page 2 Kallos Gallery – 2019 No.1.qxp_Layout 1 21/02/2019 08:01 Page 3 Kallos Gallery – 2019 No.1.qxp_Layout 1 21/02/2019 08:01 Page 4 1 | A CYPRIOT BLACK ON RED WARE POTTERY OINOCHOE cyPro-archaIc, cIrca 750 – 600 Bc height: 20.2cm e deep reddish ground decorated with concentric circles, with a trefoil mouth and a double strip handle. ProVenance luigi Palma di cesnola collection, 1865 – 1876, inventory no. c.P.563, duplicates, Stanford Metropolitan Museum of art, new york Purchased in 1884 by governor leland Stanford of california (1824 – 1893) and sent in 1893 to the leland Stanford Museum cyprus Museum, jacksonville lIterature For the type, see V. Karageorghis, Ancient Art from Cyprus, e Cesnola Collection in e Metropolitan Museum of Art, new york, 2000, p. 92. 4 Kallos Gallery – 2019 No.1.qxp_Layout 1 21/02/2019 08:01 Page 5 2 | A GREEK GEOMETRIC POTTERY KANTHAROS attIc, late 8th century Bc Width: 15 cm With twin high-arching handles, decorated with rectangular geometric patterns. e body on both sides has been separated into two scenes by parallel lines and zig-zags. -
Pick of the Churches
Pick of the Churches The East of England is famous for its superb collection of churches. They are one of the nation's great treasures. Introduction There are hundreds of churches in the region. Every village has one, some villages have two, and sometimes a lonely church in a field is the only indication that a village existed there at all. Many of these churches have foundations going right back to the dawn of Christianity, during the four centuries of Roman occupation from AD43. Each would claim to be the best - and indeed, all have one or many splendid and redeeming features, from ornate gilt encrusted screens to an ancient font. The history of England is accurately reflected in our churches - if only as a tantalising glimpse of the really creative years between the 1100's to the 1400's. From these years, come the four great features which are particularly associated with the region. - Round Towers - unique and distinctive, they evolved in the 11th C. due to the lack and supply of large local building stone. - Hammerbeam Roofs - wide, brave and ornate, and sometimes strewn with angels. Just lay on the floor and look up! - Flint Flushwork - beautiful patterns made by splitting flints to expose a hard, shiny surface, and then setting them in the wall. Often it is used to decorate towers, porches and parapets. - Seven Sacrament Fonts - ancient and splendid, with each panel illustrating in turn Baptism, Confirmation, Mass, Penance, Extreme Unction, Ordination and Matrimony. Bedfordshire Ampthill - tomb of Richard Nicholls (first governor of Long Island USA), including cannonball which killed him. -
Architectural and Functional/Liturgical Development of the North-West Church in Hippos (Sussita) 148 JOLANTA MŁYNARCZYK
CENTRE D’ARCHÉOLOGIE MÉDITERRANÉENNE DE L’ACADÉMIE POLONAISE DES SCIENCES ÉTUDES et TRAVAUX XXII 2008 JOLANTA MŁYNARCZYK Architectural and Functional/Liturgical Development of the North-West Church in Hippos (Sussita) 148 JOLANTA MŁYNARCZYK In July 2007, the eighth season of excavations was completed at the so-called North- West Church at Hippos (Sussita), one of the cities of the Decapolis. The church was explored by a Polish team within the framework of an international project devoted to the unearth- ing of the remains of that Graeco-Roman and Byzantine-Umayyad period town, headed by Arthur Segal of the University of Haifa. Despite the fact that as many as four churches have so far been uncovered at Sussita,1 it is only the North-West Church (NWC) that became one of the examples discussed by A. Ovadiah in his paper listing Byzantine-peri- od churches excavated within the borders of the present-day Israel, in which architectural changes apparently refl ect some liturgical modifi cations.2 Unfortunately, A. Ovadiah’s interpretation of the NWC (published in 2005) not only was based on the reports of the early seasons of our fi eldwork (2002, 2003), but also proved to be rather superfi cial one, a fact which calls for a careful re-examination of the excavation data. Perhaps the most important fact about the NWC is that this has been one of rare in- stances attested for the region of a church that was still active as such during the Um- ayyad period. Archaeological contexts sealed by the earthquake of A.D. -
The Seaxe Newsletter of the Middlesex Heraldry Society
The Seaxe Newsletter of the Middlesex Heraldry Society Editor – Stephen Kibbey, 3 Cleveland Court, Kent Avenue, Ealing, London, W13 8BJ (Telephone: 020 8998 5580 – e-mail: [email protected]) ……………………………………………………………………………………………………………………………………… No.56 Founded 1976 September 2009 ……………………………………………………………………………………………………………… Queen Charlotte’s Hatchment returns to Kew. Photo: S. Kibbey Peach Froggatt and the restored Queen Charlotte‟s Hatchment in Kew Palace. Late afternoon on Thursday 23rd July 2009 a small drinks party was held at Kew Palace in honour of Peach Froggatt, one of our longest serving members. As described below in Peach‟s own words, the hatchment for Queen Charlotte, King George III‟s wife, was rescued from a skip after being thrown out by the vicar of St Anne‟s Church on Kew Green during renovation works. Today it is back in the house where 191 years ago it was hung out on the front elevation to tell all visitors that the house was in mourning. “One pleasant summer afternoon in 1982 when we were recording the “Funeral Hatchments” for Peter Summers “Hatchments in Britain Series” we arrived at Kew Church, it was our last church for the day. The church was open and ladies of the parish were busy polishing and arranging flowers, and after introducing ourselves we settled down to our task. Later the lady in charge said she had to keep an appointment so would we lock up and put the keys through her letterbox. After much checking and photographing we made a thorough search of the church as two of the large hatchments were missing. Not having any luck we locked the church and I left my husband relaxing on a seat on Kew Green while I returned the keys. -
Acanthus a Stylized Leaf Pattern Used to Decorate Corinthian Or
Historical and Architectural Elements Represented in the Weld County Court House The Weld County Court House blends a wide variety of historical and architectural elements. Words such as metope, dentil or frieze might only be familiar to those in the architectural field; however, this glossary will assist the rest of us to more fully comprehend the design components used throughout the building and where examples can be found. Without Mr. Bowman’s records, we can only guess at the interpretations of the more interesting symbols used at the entrances of the courtrooms and surrounding each of the clocks in Divisions 3 and 1. A stylized leaf pattern used to decorate Acanthus Corinthian or Composite capitals. They also are used in friezes and modillions and can be found in classical Greek and Roman architecture. Amphora A form of Greek pottery that appears on pediments above doorways. Examples of the use of amphora in the Court House are in Division 1 on the fourth floor. Atrium Inner court of a Roman-style building. A top-lit covered opening rising through all stories of a building. Arcade A series of arches on pillars. In the Middle Ages, the arches were ornamentally applied to walls. Arcades would have housed statues in Roman or Greek buildings. A row of small posts that support the upper Balustrade railing, joined by a handrail, serving as an enclosure for balconies, terraces, etc. Examples in the Court House include the area over the staircase leading to the second floor and surrounding the atria on the third and fourth floors. -
Park Report Part 1
Alcatraz Island Golden Gate National Recreation Area Physical History PRE-EUROPEAN (Pre-1776) Before Europeans settled in San Francisco, the area was inhabited by Native American groups including the Miwok, in the area north of San Francisco Bay (today’s Marin County), and the Ohlone, in the area south of San Francisco Bay (today’s San Francisco peninsula). Then, as today, Alcatraz had a harsh environment –strong winds, fog, a lack of a fresh water source (other than rain or fog), rocky terrain –and there was only sparse vegetation, mainly grasses. These conditions were not conducive to living on the island. These groups may have used the island for a fishing station or they may have visited it to gather seabird eggs since the island did provide a suitable habitat for colonies of seabirds. However, the Miwok and Ohlone do not appear to have lived on Alcatraz or to have visibly altered its landscape, and no prehistoric archeological sites have been identified on the island. (Thomson 1979: 2, Delgado et al. 1991: 8, and Hart 1996: 4). SPANISH AND MEXICAN PERIOD (1776-1846) Early Spanish explorers into Alta California encountered the San Francisco Bay and its islands. (Jose Francisco Ortega saw the bay during his scouting for Gaspar de Portola’s 1769 expedition, and Pedro Fages described the three major islands –Angel, Alcatraz, and Yerba Buena –in his journal from the subsequent 1772 expedition.) However, the first Europeans to record their visit to Alcatraz were aboard the Spanish ship San Carlos, commanded by Juan Manuel de Ayala that sailed through the Golden Gate and anchored off Angel Island in August 1775. -
The European Fortifications on the Coast of the Pacific Ocean
Scientific Journal of Latvia University of Agriculture Landscape Architecture and Art, Volume 10, Number 10 The European fortifications on the coast of the Pacific Ocean Nikolay Kasyanov, Research Institute of Theory and History of Architecture and Urban Planning of the Russian Academy of Architecture and Construction Sciences, Moscow, Russia Abstract. In the Russian Empire during XIX and early XX centuries, fortresses were built and strengthened along the frontiers. We studied the architecture of the Far Eastern Russian cities-fortresses using as examples Nikolaevsk-on-Amur, Port Arthur (now Luishun) and mainly Vladivostok. Coastal fortresses significantly influenced the urban development of the Far Eastern cities. The architectural peculiarity of the fortress architecture at that period was associated with the transition from the brick and stone fortifications to the complex systems of monolithic reinforced concrete. In 1860, a military post with the expressive and geopolitically ambitious name "Vladivostok" ("Possess the East") was established. By the beginning of the XX century, Vladivostok became a rapidly growing city of the European culture and one of the most powerful marine fortresses in the world. The Vladivostok Fortress was an innovative project in early XX century and has distinctive features of the modern style (Art Nouveau), partly of the Russian and classical style in architecture, as well as an organic unity with the surrounding landscape. Plastic architectural masses with their non-linear shape are typical of the fortifications of Vladivostok. Vast and branching internal communication spaces link fort buildings, scattered on the surface and remote from each other. Huge, monumental forts located on the tops of mountains and fitted perfectly in the landscape are successful examples of landscape architecture.