AISLE DECORATION IDEAS : DECORATION IDEAS
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Aisle Decoration Ideas
- A thing that serves as an ornament
- The process or art of decorating or adorning something
- an award for winning a championship or commemorating some other event
- the act of decorating something (in the hope of making it more attractive)
- something used to beautify
- a long narrow passage (as in a cave or woods)
- passageway between seating areas as in an auditorium or passenger vehicle or between areas of shelves of goods as in stores
- part of a church divided laterally from the nave proper by rows of pillars or columns
- A passage between shelves of goods in a supermarket or other building
- (in a church) A lower part parallel to and at the side of a nave, choir, or transept, from which it is divided by pillars
- A passage between rows of seats in a building such as a church or theater, an airplane, or a train
- A concept or mental impression
- (idea) a personal view; "he has an idea that we don't like him"
- An opinion or belief
- (idea) the content of cognition; the main thing you are thinking about; "it was not a good idea"; "the thought never entered my mind"
- A thought or suggestion as to a possible course of action
- (idea) mind: your intention; what you intend to do; "he had in mind to see his old teacher"; "the idea of the game is to capture all the pieces"
Wallmonkeys Peel and Stick Wall Graphic - Aisle of a Public Garden - 36"W x 24"H
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St. Peter's Parish Church, Hurstbourne Tarrant, Hampshire, UK
The church of ST. PETER consists of a chancel 34 ft. by 18 ft. 1 in., nave 58 ft. 8 in. by 17 ft. 6 in., north aisle 41 ft. 8 in. by 5 ft. 9 in., with a vestry at its west end 14 ft. 9 in. by 5 ft. 9 in., south aisle 52 ft. 2 in. by 6 ft. 7 in., with a south porch. At the west end of the nave is a wooden tower within the building. All these measurements are internal.
The history of the present building begins c. 1200, to which date belongs the nave as far westwards as the third bay of the arcade, with the aisles flanking it. The difference in detail between the two arcades shows that the north one is a little later than the south. The only trace of earlier work than this is the south doorway, which is of late 12th-century date. In the 14th century the church was lengthened westwards by one bay. In the north aisle the original west wall was allowed to remain and the extra bay was used to form a small chapel, but in the south aisle and nave the original west walls were removed. Other work of this century consisted of the insertion of most of the present windows to the aisles. The chancel was practically rebuilt, using the 13th-century windows again, about the year 1890, and the walls of the rest of the building were refaced at the same time. The mediaeval south porch was refaced in the 18th century and the tower was erected in 1897, partly of old timbers.
The east window of the chancel is of 15th-century date, having four cinquefoiled lights, under a low fourcentred arch. The rest of the chancel windows are of 13th-century date, three on each side, a single light between two of two lights. The heads of the lights are in all cases modern and of ogee shape, and the south-west window has had its tracery removed and two I 5th-century cinquefoiled lights substituted. The internal jambs have edge rolls dying into a chamfered rear arch.
Near the east end of the north wall is an aumbry with recessed jambs and segmental head, and traces of the fitting of a shelf, and in the same position on the south side is a piscina with chamfered jambs and trefoiled head. Between the first and second windows of the south wall is a modern doorway with plain chamfered jambs and two-centred head.
The chancel arch is two-centred and of two stopchamfered orders built of chalk. The jambs are of Binstead stone, with square hollow-chamfered abaci, and both arch and jambs have diagonal tooling.
The north arcade of the nave is of three bays with circular columns, plainly moulded capitals with squareedged abaci, and bases which were probably moulded with a hollow between two rolls, now rubbed down to a single curve. The arches have two chamfered orders and are two-centred with a plain label on the nave side. The eastern respond is chamfered, and in it is a small trefoiled piscina with a shallow basin, the projecting part of which has been cut away. The corbel over this piscina which carries the inner order of the arch is in the form of an irregular octagon, and its mouldings are very similar to those of the capitals. In the west respond the orders of the arch are continued in the jamb with a plinth at the base which does not return on the sides of the wall, and a hollow chamfered abacus at the springing. All this work is claw-tooled and probably well into the 13 th century.
Plan of Hurstbourne Tarrant Church.
The entrance to the north-west chapel, which forms the fourth bay of the arcade, has chamfered jambs and double chamfered two-centred arch without corbels or abaci, with claw-tooled masonry, and seems of early 14th-century date. In the east respond is another piscina with stop-chamfered jambs, trefoiled head and shallow circular basin, the projecting part being chamfered.
The first three bays of the south arcade are very similar to those of the north, the only differences being that the columns are a little larger, the bases have three roll mouldings, and the capitals are of an earlier type. The eastern respond is also similar, but the corbel at the springing is composed of mouldings supported by a carved head surmounted by foliage of good early 13th-century type. The tooling is all vertical, and the masonry of the arches is of a light brown stone, irregularly banded with chalk. The fourth bay of the arcade is of two edge-chamfered orders continuing the section of the jambs, with a hollow chamfered square-edged abacus at the springing. It has a label of the same section as the south arcade, and looks like early 13th-century work, re-used at the lengthening of the nave in the 14th century. Its width is not against the idea that it may have been in the west wall of the nave, but in that case a masonry tower must have existed or been intended early in the 13 th century, and of this there is no evidence.
Above the arcades the walls are thinner and evidently later additions; the only clearstory windows are two of three lights with square heads, on the south side, of late date.
The walls of the north aisle were at first much lower,
Kutna Hora-jewelly in Czech crown
Cathedral St. Barbora
Czech republic/Kutna Hora
UNESCO WORLD HERITAGE
The origins of the cathedral lie hidden in bulls, i.e. papal charters; the first one of 1381 was de facto a building permit while the last one recognised the hierarchical position of a parochial church in 1403. Construction works were initiated in 1388 just behind the town walls on a rocky cliff with a magnificent view over the valley of the Vrchlice River, outcrops of the richest silver mines and an old chapel dedicated to St. Barbara, the patron saint of miners. The first architect was a member of the Parler family – Peter Parler was the main architect of St. Vitus’ Cathedral in Prague Castle and his son Jan got married in Kutna Hora in 1389. Since the very beginning, the Kutna Hora sandstone from local quarries became the main construction material.
Works on the cathedral were interrupted for a long time by the Hussite Wars and were not resumed until 1480s when the wealthy patriciate charged local stonemason Master Hanus to carry on the construction according to original plans by Parler. Hanus completed the cross-vaulted aisles, ring of chapels around the presbytery and both wings of the planned transverse nave. The original, conservative methods, however, did not satisfy the ideas of contemporary building authorities, and thus in 1489, they charged Matyas Rejsek, author of the Powder Tower in Prague, to take up the job. Rejsek began to erect the outer supporting system, ambo ambulatory around the presbytery and completed the vaulting of the chancel in 1499. His style features sense of detail and small decorative elements: a typical example being grotesque statues on the outside of the cathedral. Rejsek died in 1506, but the works continued according to his plans. Major redesign came in 1512, when the town council contracted Benedikt Ried, renowned master builder of Prague Castle, who immediately decided to vault the main nave. His design of the vault created a great hall over the original five-aisled ground plan, in fact a new church with own altars visually separated from the ground level part. Huge glass walls are designed to refract as much light into the interior as possible, creating the unearthly impression of eternal enlightening. The vault is topped by four- and six-point stars with a complicated rib tracery. Ried died in 1534, however, works were carried out according to his projects at somewhat slower rate until 1558, when the town authorities decided to definitely wind up the construction due to lack of finance.
Most of interior decorations of St. Barbara’s Cathedral date from the late Gothic period. Rejsek’s workshop gave birth to the chancel, sanctuary and presbytery banister with the initials of “W” and “L”, a reminder of Jagello sovereigns. Choir benches were made by carver Jakub Nymbursky between 1480 and 1490. The masterpiece of fine arts are fresco decorations of the chapels, depicting religious motifs as well as scenes inspired by mining of silver and minting of coins. Such themes genuinely characterize the atmosphere of Kutna Hora – hard labour, immense wealth and humility materialized in the eternal house of God. The most exquisite example of late Gothic painting are the decorations of the Smisek’s Chapel. Michal Smisek of Vrchoviste, a typical representative of local nobility, was in charge of construction management at that time and his life story would be a concentrated history of all people, elevated to noble status due to their wealth. His opulent struggle for dignity led to his buying of the chapel in 1485 and having it decorated according to his will. The main motif of the fresco is a votive scene, depicting probably Michal Smisek himself with his family by the altar. Other motifs include Queen of Thebes Coming to Solomon, Traian’s Trial and Sibyl of Tiburt. The chapel vault is decorated by a band of angels. The chapel was designed and decorated to serve as a burial chapel and Michal Smisek was entombed there indeed in 1511. The author of the paintings is not known; certain is his inspiration by Dutch masters and he probably painted the frescoes in the Sankturinovsky house as well. The adjacent chapel was purchased by the winchers’ guild in 1493. The artistic quality of the decorations is somewhat lower, but its enormous value lies in the depiction of labour scenes. That is also the case of the Minter’s Chapel with motifs inspired by the minting of coins.
Another stage of the cathedral’s history began along with the coming of the Jesuits in 1626. At that time the famous sanctuary was in quite a miserable shape with many backlogs and traces of past wars. Baroque reconstructions carried out by the Jesuits involved mainly the chancel and the Chapel of St. Franz Xaverius. In the chapel, there is a painting by Heintsch depicting Xaverius, the first Jesuit missionary, baptising a pagan nobleman in India. Supplementing the altar of St. Franz Xaverius, a new altar was installed in the front of the northern nav
aisle decoration ideas
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Three Down the Aisle
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