CERAMIC KITCHEN DECOR

ponedjeljak, 03.10.2011.

VICTORIAN DECORATING TIPS. VICTORIAN DECORATING


Victorian Decorating Tips. Egyptian Party Decoration. Simple Cake Decorating Ideas.



Victorian Decorating Tips





victorian decorating tips






    decorating tips
  • Used to create decorations from icing. The size and shape of the opening on the tip will determine the decoration produced when icing is placed in a decorating bag and piped out through the tip.

  • Comes in different sizes and used in conjunction with the decorating bag to make different designs.





    victorian
  • of or relating to Queen Victoria of Great Britain or to the age in which she ruled; "Victorian morals"

  • priggish: exaggeratedly proper; "my straitlaced Aunt Anna doesn't approve of my miniskirts"

  • A person who lived during the Victorian period

  • a person who lived during the reign of Victoria











Southwold Church, Suffolk - exterior




Southwold Church, Suffolk - exterior





St Edmund's sits in the centre of Southwold on the Suffolk coast like an oasis of calm, surrounded by a large churchyard, rental for which is one rose, placed on the altar on St John the Baptist's Day (24th June) every year. A chapel built on this site around 1200 by Thetford and Wangford abbeys burned down in 1430. It was replaced by this magnificent Perpendicular church, built all at once over a relatively short period from 1430 to the 1460s, and so it has a pleasing architectural unity. It is also perfectly proportioned, with its length, height and width at a ratio of 3:2:1 (144 feet long, tower 100 feet high, and 56 feet wide).

The building materials were creamy, fine-grained limestone from Caen in Normandy, and local flint for the exterior decoration in different textures and patterns, known as 'flushwork'. Above the west window is an inscription in knapped flints, SAncT EDMUND ORA P. NOBIS ('Saint Edmund, pray for us'). The delicate fleche (or spirelet) on the roof was purely for decoration and never housed a bell.

The original medieval stained-glass was smashed by the Puritan iconoclast William 'Basher' Dowsing in 1644; the later Victorian stained-glass was blown out during the Second World War by a German bomb which landed nearby.

Inside, the ceiling is a convincing nineteenth-century restoration of the medieval original, with a flight of angels springing from the hammerbeam roof.

Another striking feature is the huge font cover. The baptismal water was only consecrated twice a year, and so lockable font covers were introduced for hygenic reasons, and also to prevent the holy water from being stolen, either for use as a good-luck charm sprinkled on crops or in pagan rituals. Font covers became increasingly more elaborate during the Middle Ages, and the one at Southwold looks for all the world like a child's crayon drawing of a spaceship, and which at twenty-four feet (7.3m) high is the tallest in any English parish church. This is a modern replacement, designed by F E Howard in 1935, for the original fifteenth-century font cover which was also destroyed by 'Basher' Dowsing; the carved figures in the niches round the font had been removed earlier, during Henry's VIII's split with the Roman Catholic Church.

The choir stalls have a good selection of misericords (wooden carvings underneath the tip-up seats) and carvings on the arm rests, including a man who from his gesture of pulling his mouth wide open must have a very bad case of toothache.

The rood screen, which stretches right across the church, dates from the late fifteenth century and is the finest in Suffolk. It is actually three separate screens, each with delicately carved and gilded wood tracery and painted figures in the panels below: the rood screen, across the chancel arch, depicts the Twelve Apostles; a parclose screen, across the north aisle, depicts angels; and a parclose screen across the south aisle depicts the prophets of the Old Testament, with such splendid names as Baruch, Hosea, Nahum and Ezekiel. Even though many of the figures have been defaced — literally in this instance, having had their faces obliterated by 'Basher' Dowsing — the Apostles are still recognisable from their apostolic emblems such as the keys for St Peter and the X-shaped cross for St Andrew. There are thirty-six figures in total, each beautifully depicted in what must have been vivid colours (if now a little faded), capturing their individual features and each fold of their garments. The gilt backgrounds retain much of their original gesso work (where plaster was mixed with animal glue and applied to wood to form a three-dimensional design, or allowed to dry and then carved into intricate patterns). The panel frames and every available wooden surface have been decorated with animals and birds or eyecatching abstract patterns.












Southwold Church, Suffolk, nave




Southwold Church, Suffolk, nave





St Edmund's sits in the centre of Southwold on the Suffolk coast like an oasis of calm, surrounded by a large churchyard, rental for which is one rose, placed on the altar on St John the Baptist's Day (24th June) every year. A chapel built on this site around 1200 by Thetford and Wangford abbeys burned down in 1430. It was replaced by this magnificent Perpendicular church, built all at once over a relatively short period from 1430 to the 1460s, and so it has a pleasing architectural unity. It is also perfectly proportioned, with its length, height and width at a ratio of 3:2:1 (144 feet long, tower 100 feet high, and 56 feet wide).

The building materials were creamy, fine-grained limestone from Caen in Normandy, and local flint for the exterior decoration in different textures and patterns, known as 'flushwork'.

The original medieval stained-glass was smashed by the Puritan iconoclast William 'Basher' Dowsing in 1644; the later Victorian stained-glass was blown out during the Second World War by a German bomb which landed nearby.

Inside, the ceiling is a convincing nineteenth-century restoration of the medieval original, with a flight of angels springing from the hammerbeam roof.

The choir stalls have a good selection of misericords (wooden carvings underneath the tip-up seats) and carvings on the arm rests, including a man who from his gesture of pulling his mouth wide open must have a very bad case of toothache.

The rood screen, which stretches right across the church, dates from the late fifteenth century and is the finest in Suffolk. It is actually three separate screens, each with delicately carved and gilded wood tracery and painted figures in the panels below: the rood screen, across the chancel arch, depicts the Twelve Apostles; a parclose screen, across the north aisle, depicts angels; and a parclose screen across the south aisle depicts the prophets of the Old Testament, with such splendid names as Baruch, Hosea, Nahum and Ezekiel. Even though many of the figures have been defaced — literally in this instance, having had their faces obliterated by 'Basher' Dowsing — the Apostles are still recognisable from their apostolic emblems such as the keys for St Peter and the X-shaped cross for St Andrew. There are thirty-six figures in total, each beautifully depicted in what must have been vivid colours (if now a little faded), capturing their individual features and each fold of their garments. The gilt backgrounds retain much of their original gesso work (where plaster was mixed with animal glue and applied to wood to form a three-dimensional design, or allowed to dry and then carved into intricate patterns). The panel frames and every available wooden surface have been decorated with animals and birds or eyecatching abstract patterns.










victorian decorating tips







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CERAMIC KITCHEN DECOR
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