LaurieAnnie's photos with the keyword: cloister

Fountain Court Fountain Court was designed by Sir Christopher Wren for William III to replace Henry VIII's courtyard which stood on the same site. Above the arched cloisters are the tall windows of the State Apartments. The smaller square windows at attic level lit lodgings provided for important courtiers. Carved frames in the form of lion skins surround the circular windows and on the south side the wreaths frame 12 panels which depict (now much faded) the Labours of Hercules, painted by the French artist Louis Laguerre in 1691-4. Text from: www.hrp.org.uk/webcode/content.asp?ID=418

Fountain Court Fountain Court was designed by Sir Christopher Wren for William III to replace Henry VIII's courtyard which stood on the same site. Above the arched cloisters are the tall windows of the State Apartments. The smaller square windows at attic level lit lodgings provided for important courtiers. Carved frames in the form of lion skins surround the circular windows and on the south side the wreaths frame 12 panels which depict (now much faded) the Labours of Hercules, painted by the French artist Louis Laguerre in 1691-4. Text from: www.hrp.org.uk/webcode/content.asp?ID=418

The Medieval French Trie Cloister, has been assembled from several neighboring foundations in the Bigorre region of southwestern France. Today, in the warmer months, a cafe can be found there. www.metmuseum.org/visitor/dining_trie.asp

The Cuxa Cloister, mid-12th century French or Spanish; From the Abbey of Saint-Michel-de-Cuxa (modern France) Marble; 90 ft. x 78 ft. (2,743 x 2,377 cm) The Cloisters Collection, 1925 (25.120.398,.399,.452) The cloister, a square garden court surrounded by a covered walkway, was a central feature of the medieval monastery. The pink marble columns and capitals here come from the twelfth-century cloister of the once prosperous abbey at Cuxa, in the eastern Pyrenees. The heavy capitals are carved with vegetal and animal forms, many of them fanciful and even humorous to the modern eye. The exuberant ornament of the capitals seems to depart from the solemn restraint of monastic life. Although some medieval reformers, such as Saint Bernard of Clairvaux, deplored such decoration as superfluous and distracting to meditation, many scholars today trace it to the imaginative energy of medieval artists as well as monastic patrons. Text from: www.metmuseum.org/toah/ho/07/euwf/ho_25.120.398,.399,.452...

The Cuxa Cloister, mid-12th century French or Spanish; From the Abbey of Saint-Michel-de-Cuxa (modern France) Marble; 90 ft. x 78 ft. (2,743 x 2,377 cm) The Cloisters Collection, 1925 (25.120.398,.399,.452) The cloister, a square garden court surrounded by a covered walkway, was a central feature of the medieval monastery. The pink marble columns and capitals here come from the twelfth-century cloister of the once prosperous abbey at Cuxa, in the eastern Pyrenees. The heavy capitals are carved with vegetal and animal forms, many of them fanciful and even humorous to the modern eye. The exuberant ornament of the capitals seems to depart from the solemn restraint of monastic life. Although some medieval reformers, such as Saint Bernard of Clairvaux, deplored such decoration as superfluous and distracting to meditation, many scholars today trace it to the imaginative energy of medieval artists as well as monastic patrons. Text from: www.metmuseum.org/toah/ho/07/euwf/ho_25.120.398,.399,.452...

The Cuxa Cloister, mid-12th century French or Spanish; From the Abbey of Saint-Michel-de-Cuxa (modern France) Marble; 90 ft. x 78 ft. (2,743 x 2,377 cm) The Cloisters Collection, 1925 (25.120.398,.399,.452) The cloister, a square garden court surrounded by a covered walkway, was a central feature of the medieval monastery. The pink marble columns and capitals here come from the twelfth-century cloister of the once prosperous abbey at Cuxa, in the eastern Pyrenees. The heavy capitals are carved with vegetal and animal forms, many of them fanciful and even humorous to the modern eye. The exuberant ornament of the capitals seems to depart from the solemn restraint of monastic life. Although some medieval reformers, such as Saint Bernard of Clairvaux, deplored such decoration as superfluous and distracting to meditation, many scholars today trace it to the imaginative energy of medieval artists as well as monastic patrons. Text from: www.metmuseum.org/toah/ho/07/euwf/ho_25.120.398,.399,.452...

Saint-Guilhem Cloister, late 12th century French Limestone; 30 ft. 3 in. x 23 ft. 10 in. (922 x 726 cm) The Cloisters Collection, 1925 (25.120.1-.134) Situated in a valley near Montpellier in southern France, the Benedictine abbey of Saint-Guilhem-le-Désert was founded in 804 by Guilhem (Guillaume) au Court-Nez, duke of Aquitaine and a member of Charlemagne's court. By the twelfth century, the abbey had been named in honor of its founder and had become an important site on one of the pilgrimage roads that ran through France to the holy shrine of Santiago de Compostela in Spain. With the steady visits of travelers en route to the shrine and the gifts they brought with them, a period of prosperity came to the monastery. By 1206 a new, two-story cloister had been built at Saint-Guilhem, incorporating the columns and pilasters from the upper gallery seen here. Most of these columns are medieval versions of the classical Corinthian column, based on the spiny leaf of the acanthus. This floral ornamentation is treated in a variety of ways. Naturalistic acanthus, with clustered blossoms and precise detailing, is juxtaposed with decoration in low, flat relief, swirling vine forms, and even the conventionalized bark of palm trees. Among the most beautiful capitals are those embellished by drill holes, sometimes in an intricate honeycomb pattern. Like the adaptation of the acanthus-leaf decoration, this prolific use of the drill must have been inspired by the remains of Roman sculpture readily available in southern France at the time. The drilled dark areas contrast with the cream-colored limestone and give the foliage a crisp lacy look that is elegant and sophisticated. Like other French monasteries, Saint-Guilhem suffered greatly in the religious wars following the Reformation and during the French Revolution, when it was sold to a stonemason. The damages were so severe that there is now no way of determining the original dimensions of the cloister or the number and sequence of its columns. Those collected here served in the nineteenth century as grape-arbor supports and ornaments in the garden of a justice of the peace in nearby Aniane. They were purchased by the American sculptor George Grey Barnard before the First World War and brought to this country. A portion of the original cloister remains at Saint-Guilhem. Text from: www.metmuseum.org/works_of_art/collection_database/the_cl...

Saint-Guilhem Cloister, late 12th century French Limestone; 30 ft. 3 in. x 23 ft. 10 in. (922 x 726 cm) The Cloisters Collection, 1925 (25.120.1-.134) Situated in a valley near Montpellier in southern France, the Benedictine abbey of Saint-Guilhem-le-Désert was founded in 804 by Guilhem (Guillaume) au Court-Nez, duke of Aquitaine and a member of Charlemagne's court. By the twelfth century, the abbey had been named in honor of its founder and had become an important site on one of the pilgrimage roads that ran through France to the holy shrine of Santiago de Compostela in Spain. With the steady visits of travelers en route to the shrine and the gifts they brought with them, a period of prosperity came to the monastery. By 1206 a new, two-story cloister had been built at Saint-Guilhem, incorporating the columns and pilasters from the upper gallery seen here. Most of these columns are medieval versions of the classical Corinthian column, based on the spiny leaf of the acanthus. This floral ornamentation is treated in a variety of ways. Naturalistic acanthus, with clustered blossoms and precise detailing, is juxtaposed with decoration in low, flat relief, swirling vine forms, and even the conventionalized bark of palm trees. Among the most beautiful capitals are those embellished by drill holes, sometimes in an intricate honeycomb pattern. Like the adaptation of the acanthus-leaf decoration, this prolific use of the drill must have been inspired by the remains of Roman sculpture readily available in southern France at the time. The drilled dark areas contrast with the cream-colored limestone and give the foliage a crisp lacy look that is elegant and sophisticated. Like other French monasteries, Saint-Guilhem suffered greatly in the religious wars following the Reformation and during the French Revolution, when it was sold to a stonemason. The damages were so severe that there is now no way of determining the original dimensions of the cloister or the number and sequence of its columns. Those collected here served in the nineteenth century as grape-arbor supports and ornaments in the garden of a justice of the peace in nearby Aniane. They were purchased by the American sculptor George Grey Barnard before the First World War and brought to this country. A portion of the original cloister remains at Saint-Guilhem. Text from: www.metmuseum.org/works_of_art/collection_database/the_cl...

Saint-Guilhem Cloister, late 12th century French Limestone; 30 ft. 3 in. x 23 ft. 10 in. (922 x 726 cm) The Cloisters Collection, 1925 (25.120.1-.134) Situated in a valley near Montpellier in southern France, the Benedictine abbey of Saint-Guilhem-le-Désert was founded in 804 by Guilhem (Guillaume) au Court-Nez, duke of Aquitaine and a member of Charlemagne's court. By the twelfth century, the abbey had been named in honor of its founder and had become an important site on one of the pilgrimage roads that ran through France to the holy shrine of Santiago de Compostela in Spain. With the steady visits of travelers en route to the shrine and the gifts they brought with them, a period of prosperity came to the monastery. By 1206 a new, two-story cloister had been built at Saint-Guilhem, incorporating the columns and pilasters from the upper gallery seen here. Most of these columns are medieval versions of the classical Corinthian column, based on the spiny leaf of the acanthus. This floral ornamentation is treated in a variety of ways. Naturalistic acanthus, with clustered blossoms and precise detailing, is juxtaposed with decoration in low, flat relief, swirling vine forms, and even the conventionalized bark of palm trees. Among the most beautiful capitals are those embellished by drill holes, sometimes in an intricate honeycomb pattern. Like the adaptation of the acanthus-leaf decoration, this prolific use of the drill must have been inspired by the remains of Roman sculpture readily available in southern France at the time. The drilled dark areas contrast with the cream-colored limestone and give the foliage a crisp lacy look that is elegant and sophisticated. Like other French monasteries, Saint-Guilhem suffered greatly in the religious wars following the Reformation and during the French Revolution, when it was sold to a stonemason. The damages were so severe that there is now no way of determining the original dimensions of the cloister or the number and sequence of its columns. Those collected here served in the nineteenth century as grape-arbor supports and ornaments in the garden of a justice of the peace in nearby Aniane. They were purchased by the American sculptor George Grey Barnard before the First World War and brought to this country. A portion of the original cloister remains at Saint-Guilhem. Text from: www.metmuseum.org/works_of_art/collection_database/the_cl...

Saint-Guilhem Cloister, late 12th century French Limestone; 30 ft. 3 in. x 23 ft. 10 in. (922 x 726 cm) The Cloisters Collection, 1925 (25.120.1-.134) Situated in a valley near Montpellier in southern France, the Benedictine abbey of Saint-Guilhem-le-Désert was founded in 804 by Guilhem (Guillaume) au Court-Nez, duke of Aquitaine and a member of Charlemagne's court. By the twelfth century, the abbey had been named in honor of its founder and had become an important site on one of the pilgrimage roads that ran through France to the holy shrine of Santiago de Compostela in Spain. With the steady visits of travelers en route to the shrine and the gifts they brought with them, a period of prosperity came to the monastery. By 1206 a new, two-story cloister had been built at Saint-Guilhem, incorporating the columns and pilasters from the upper gallery seen here. Most of these columns are medieval versions of the classical Corinthian column, based on the spiny leaf of the acanthus. This floral ornamentation is treated in a variety of ways. Naturalistic acanthus, with clustered blossoms and precise detailing, is juxtaposed with decoration in low, flat relief, swirling vine forms, and even the conventionalized bark of palm trees. Among the most beautiful capitals are those embellished by drill holes, sometimes in an intricate honeycomb pattern. Like the adaptation of the acanthus-leaf decoration, this prolific use of the drill must have been inspired by the remains of Roman sculpture readily available in southern France at the time. The drilled dark areas contrast with the cream-colored limestone and give the foliage a crisp lacy look that is elegant and sophisticated. Like other French monasteries, Saint-Guilhem suffered greatly in the religious wars following the Reformation and during the French Revolution, when it was sold to a stonemason. The damages were so severe that there is now no way of determining the original dimensions of the cloister or the number and sequence of its columns. Those collected here served in the nineteenth century as grape-arbor supports and ornaments in the garden of a justice of the peace in nearby Aniane. They were purchased by the American sculptor George Grey Barnard before the First World War and brought to this country. A portion of the original cloister remains at Saint-Guilhem. Text from: www.metmuseum.org/works_of_art/collection_database/the_cl...

Saint-Guilhem Cloister, late 12th century French Limestone; 30 ft. 3 in. x 23 ft. 10 in. (922 x 726 cm) The Cloisters Collection, 1925 (25.120.1-.134) Situated in a valley near Montpellier in southern France, the Benedictine abbey of Saint-Guilhem-le-Désert was founded in 804 by Guilhem (Guillaume) au Court-Nez, duke of Aquitaine and a member of Charlemagne's court. By the twelfth century, the abbey had been named in honor of its founder and had become an important site on one of the pilgrimage roads that ran through France to the holy shrine of Santiago de Compostela in Spain. With the steady visits of travelers en route to the shrine and the gifts they brought with them, a period of prosperity came to the monastery. By 1206 a new, two-story cloister had been built at Saint-Guilhem, incorporating the columns and pilasters from the upper gallery seen here. Most of these columns are medieval versions of the classical Corinthian column, based on the spiny leaf of the acanthus. This floral ornamentation is treated in a variety of ways. Naturalistic acanthus, with clustered blossoms and precise detailing, is juxtaposed with decoration in low, flat relief, swirling vine forms, and even the conventionalized bark of palm trees. Among the most beautiful capitals are those embellished by drill holes, sometimes in an intricate honeycomb pattern. Like the adaptation of the acanthus-leaf decoration, this prolific use of the drill must have been inspired by the remains of Roman sculpture readily available in southern France at the time. The drilled dark areas contrast with the cream-colored limestone and give the foliage a crisp lacy look that is elegant and sophisticated. Like other French monasteries, Saint-Guilhem suffered greatly in the religious wars following the Reformation and during the French Revolution, when it was sold to a stonemason. The damages were so severe that there is now no way of determining the original dimensions of the cloister or the number and sequence of its columns. Those collected here served in the nineteenth century as grape-arbor supports and ornaments in the garden of a justice of the peace in nearby Aniane. They were purchased by the American sculptor George Grey Barnard before the First World War and brought to this country. A portion of the original cloister remains at Saint-Guilhem. Text from: www.metmuseum.org/works_of_art/collection_database/the_cl...

Saint-Guilhem Cloister, late 12th century French Limestone; 30 ft. 3 in. x 23 ft. 10 in. (922 x 726 cm) The Cloisters Collection, 1925 (25.120.1-.134) Situated in a valley near Montpellier in southern France, the Benedictine abbey of Saint-Guilhem-le-Désert was founded in 804 by Guilhem (Guillaume) au Court-Nez, duke of Aquitaine and a member of Charlemagne's court. By the twelfth century, the abbey had been named in honor of its founder and had become an important site on one of the pilgrimage roads that ran through France to the holy shrine of Santiago de Compostela in Spain. With the steady visits of travelers en route to the shrine and the gifts they brought with them, a period of prosperity came to the monastery. By 1206 a new, two-story cloister had been built at Saint-Guilhem, incorporating the columns and pilasters from the upper gallery seen here. Most of these columns are medieval versions of the classical Corinthian column, based on the spiny leaf of the acanthus. This floral ornamentation is treated in a variety of ways. Naturalistic acanthus, with clustered blossoms and precise detailing, is juxtaposed with decoration in low, flat relief, swirling vine forms, and even the conventionalized bark of palm trees. Among the most beautiful capitals are those embellished by drill holes, sometimes in an intricate honeycomb pattern. Like the adaptation of the acanthus-leaf decoration, this prolific use of the drill must have been inspired by the remains of Roman sculpture readily available in southern France at the time. The drilled dark areas contrast with the cream-colored limestone and give the foliage a crisp lacy look that is elegant and sophisticated. Like other French monasteries, Saint-Guilhem suffered greatly in the religious wars following the Reformation and during the French Revolution, when it was sold to a stonemason. The damages were so severe that there is now no way of determining the original dimensions of the cloister or the number and sequence of its columns. Those collected here served in the nineteenth century as grape-arbor supports and ornaments in the garden of a justice of the peace in nearby Aniane. They were purchased by the American sculptor George Grey Barnard before the First World War and brought to this country. A portion of the original cloister remains at Saint-Guilhem. Text from: www.metmuseum.org/works_of_art/collection_database/the_cl...