3.6. Art on display in Kenwood grounds can hardly be called classical. What is your opinion of abstract art - is it a sign of changing times or changing mentality? Does any of the names seem familiar? (if not, some research is in store for you)
RIEVAULX ABBEY
3.7. Prepare a mini-report on ancient specimen of Belorussian religious architecture (you may start with Kalozha Church in Grodno).
BELSAY HALL
3.8. Study Appendix 1 and prepare a report on your favourite house plants.
TINTAGEL CASTLE
3.9. Study Appendix 2 and prepare a report on King Arthur's early life.
3.10. Now try to prepare a similar chart about one the many ancient architectural relics situated on Belarusian soil.
AUDLEY END
3.11. Conduct a research on the Dodges' Palace in Venice, Italy that inspired so many great masters, Canaletto included.
3.12. Audley End is but one place out of many on the British roil connected with the names of Royalty.
Make mini-research about one of such places and present your findings to the group.
STONEHENGE
3.13. Remember where famous commemorative stones are placed on Belarusian soil. What names or events are associated with them? Prepare a mini-report on each.
BATTLE ABBEY
3.14. Prepare a narration to accompany a tour of British school students to the Brest Fortress.
OSBORNE HOUSE
3.15. Reread the famous ballad Recessional (1897) by Rudyard Kipling and add a new dimension to your commentary on it.
3.16. Rudyard Kipling's father, Lochwood Kipling, made designs for part of hors d'ouevre's room. Do you think the designer's son took great pride in the fact? Do you think it could have shaped Kipling's attitude towards the great concept of the Empire where the sun never set?
4. ИНФОРМАЦИОННЫЙ БЛОК: дикторские тексты видеофильма
STOKESAY CASTLE
Not far from the border with Wales stands the ancient market town of Lladllow which grew up on the banks of the river Teem. In the late 13th century the leading wool-merchant of his day Lawrence of Lladllow decided to build a new home a few miles north of the town at the head of a narrow valley that runs to the midst of the Shropshire hills. The result is the most perfectly preserved early fortified manor house in England.
This is an extraordinary picturesque huddle of castle, parish church and gate house, quite simply, an architectural gem.
Built at the time of newly established peace on the Welsh borders, Stokesay took advantage of the first chance in centuries to create a community that had more a domestic atmosphere than a military one. It gives a unique glimpse into how a rich merchant would have lived seven hundred years ago.
The core of the house is the great hall, a vast room where an entire household would have eaten together including guests and servants as well as the family. The six large windows were glazed in the top half but only shuttered in the low half. The magnificent timber roof, recently restored as a part of extensive renovation program at Stokesay, is supported by huge curved pieces of wood standing on stone core walls. At the north end a very rare example of the surviving medieval staircase supported by large timber brackets built into the walls and made up of solid timber treads cut from whole tree trunks.
The stairs lead to the north tower where a spacious second floor apartment provided extra accommodation for family or guests. The arched recess would probably have held a lamp. Beside it is fine example of the late 13th century decorated fireplace, on the floor medieval clay tiles, some of which still show traces of decoration. The roofs on the north and west walls are timber framed and by projecting out of the outer wall give considerably more floor space.
On the other side of the great hall is the solar block, a three-storeyed unit where principal members of the family would live. The rooms were updated in the middle of the 17th century with Jacobine paneled woodwork, a sure sign of opulence and decorated with grotesque carved figures based on Flemish design.
This was a place of privacy, of intimacy in which to work or entertain as well as keeping an eye on what was going on down in the great hall.
The only really-fortified part of the house is the south tower built on a perfectly geometrical base. It has a battlement parapet with arrow loops.
Although the windows are narrow, the wide splays increase their light; the emphasis, again, is on comfort rather than defense.
The original stone gate house was replaced in the 17th century by a timber framed building. Its highly decorated elaborate interior is typical of the region and is similar to the gate house in Shropshire nearby, which was built in 1620.
What is remarkable about Stokesay is not so much that it has survived in such good condition, but rather after centuries of neglect and a civil war which destroyed so many other manor houses of its type that it has survived at all.
KENWOOD
It's a perfect setting. On the crest of Hamstead Heath commanding a superb view over London in a midst of spectacularly beautifuly landscape is a house which contains one of the finest collections of paintings in Britain...
Kenwood and its renowned art collection was bequeathed to the nation in 1927 by Edward Guinness, first Earl of Ivy. It's known as the Ivy bequest the original house dating from the 17th century was remodeled by Robert Adam, the leading architect and interior designer of his day in the 1760 - 70's. Many of the rooms in Kenwood stand as works of art in their own right. In Adam's new wing is one of the most impressive late 18th century interiors to be found anywhere in the country. The library or great room, considered by many to be Robert Adam's finest room, this is a shining example of neo-classical style that Adam made so fashionable in the late 18th century.
The eminent Venetian painter Antonio Zucci, husband of Angelica Kaufmann, whose paintings can also be found in Kenwood was chosen to paint the finely ornate ceilings.
Mirrored recesses were designed to reflect the fine prospects through the opposite windows. Balancing the room they provided an alternative to windows; they could only have had a rather grandiose view on kitchen garden.
Later, new rooms were designed by George Sonders who was heavily influenced by Henry Holland's modifications to Carlton House in Pall Mall. The striking similar circular balustrade here in the dining room lobby recalled Carlton's octagone vestibule.
But it's in the dining room that one comes across the finest of Kenwood's paintings. Here are the richest of the old masters' work from Lord Ivy's bequest. This is one of the most famous paintings in the world - Rembrandt's "Portrait of an Artist". Dated from four years before his death it has all the grandeur of an autobiography presented to posterity. Employed by his son to avoid creditors and living off his daughter's savings this tragic figure still seems heroic, confident of his genius. A fine painting by Rubens of the Madonna and Child and St Joseph, the child Jesus like an infant Hercules with a halo of golden hair. Lord Mainsfield's dressing room offers still more beautiful paintings by great artists like Gainsborough. Lord Ivy gathered together in his collection of paintings a dazzling array of beautiful women/Gainsborough's portrait of Mary, Countess How, is perhaps the most striking image in the Kenwood collection. In one of the Gainsborough's most admired works his seemingly casual swirls of paint create the impression of the most ornate lace. There is also "Lady Hamilton of the spinning wheel", Lord Nelson's rather wayward future mistress by Romney.
The art on display at Kenwood is not merely restricted to paint on the canvas. Robert Adam described the grounds as amazingly gay, beautiful, magnificent and picturesque. On the eastern end of a 1000 pound pond, so called because it cost 1000 pounds to make in the 1790's is the Sham Bridge, only inches wide. Here too is eye catching art of a different era - sculptures by Henry Moore and other modern sculptors.
In his bequest Lord Ivy also insisted that his fabulous art collection and magnificent landscape that surrounds it must remain open to the public free of charge. No wonder Kenwood remains one of the most popular as one of the most beautiful places in the whole of London.
In 1132 in the valley of the river Rye in Yorkshire work began on the north of England's first Cistercian monastery. Today its ruins are the most important of their type on the British Isles.
This has always been a lonely place, deliberately built by the monks as far away as possible from the temptation of town and city. In time though the community here was to become a very busy thriving one.
At the heart of the Abbey the great church with its splendid early English arcades and three-tiered wall - a breathtaking example of English Gothic architecture. It was built in the early 13th century and later fine buttresses were added to support the north aisle wall and to pin the building which had started to slide down the hill. The raised platform of the high altar which according to convention usually faces east, is actually nearer to the south side of the Abbey. Because of the site of the Abbey in the Rye valley was so narrow, the monks had to abandon the normal rules of Ecclesiastic architecture and build an new monastery on an almost south-north access.
Built into the walls of the south transept is the remains of a passage, which led directly to the monks dormitories. Services were often held in the middle of the night. The oldest part of the church is the nave. This is the earliest surviving Cistercian nave in Britain. It's a good demonstration of the early belief in simple and unelaborated design. Below the nave the cloisters where monks and the lay brothers would spend much of their day working, writing or at discussion. A cones section of the 12th century arcade around the cloisters has been built from original stone and it looks exactly as if would have been done 800 years ago. Beyond the cloister, an area set aside for the more practical aspects of Abbey life. This is the lavatorium, equipped with rows of recessed wash basins. And beside it - the huge refectory, where the community would take its meals.
Страницы: 1, 2, 3, 4, 5, 6, 7
