Nice Niche Markets photos

A few nice niche markets images I found:

All Saints Church – Bakewell – North Church Street
niche markets
Image by ell brown
The Church of All Saints in Bakewell, Derbyshire.

Seen when we went to the Old House Museum.

North Church Street view and church yard.

Grade I listed.

Church of All Saints, Bakewell

BAKEWELL

SK2168 SOUTH CHURCH STREET
831-1/4/166 (North side)
13/03/51 Church of All Saints

GV I

Church, originally of collegiate status. C12 and C13 possibly
incorporating some Saxon masonry; C14 and C15 additions; tower
and transepts rebuilt 1841-52 by William Flockton of Sheffield
who replicated the medieval design; nave arcades replaced 1852
by Weightman and Hadfield of Sheffield; chancel restored
1879-82 by Gilbert Scott the younger. North vestry 1897; most
roofs C20.
MATERIALS: ashlar sandstone; lead roofs.
PLAN: cruciform plan having south porch to 4-bay aisled nave,
3-bay south transept with chapel in east aisle, 3-bay chancel
and one-bay north transept adjoined by low north vestry.
Embattled throughout.
EXTERIOR: nave: offset buttresses flank C12 west door with 2
orders of colonnettes, beakhead ornament and saltire crosses;
fragmentary blind arcading above has chevrons. C15 3-light
west window having C19 Geometrical tracery and hoodmould. C15
south porch with diagonal buttresses, double-chamfered arch
and hoodmould beneath niche; C18 oval sundial to right.
Unrestored C13 inner door with dogtooth ornament. Restored C13
north door.
Perpendicular clerestory lit by square-headed 2- and 3-light
windows; arms of Vernon and Pype on south parapet; insignia of
Thomas Haywood to north.
South transept: moulded plinth, angle buttresses with offsets
and gablets with fleur-de-lys. 2 south doors with clustered
colonnettes beneath cusped roundel and embellished pointed
arch. 4-light window over has Geometrical tracery; outer
shafts rise from carved heads; hoodmould returns as a string
course; octagonal corner pinnacles.
West side with pilaster buttresses and lancets with
hoodmoulds; carved string course beneath 3 trefoils. Lean-to
east chapel with more elaborate buttresses and Decorated
tracery to 3-light windows with hoodmoulds.
North transept: Perpendicular 3-light window to east; 3-light
window to north with Geometrical tracery; gable cross. Vestry:
diagonal buttresses and central north buttress; square-headed
windows of 2 and 3 lights having cusped ogee heads.
Tower: octagonal belfry has string course beneath louvred
2-light openings; moulded oversailing course with gargoyles
beneath embattled parapet behind which rises the octagonal

spire with weather-vane.
Chancel: buttresses between bays, to the angles and to centre
of east end. South-west window obscured by east chapel of
south transept. Priest’s door with 2-centred arch, colonnettes
and hoodmould. String course with gargoyles; cross to east
parapet. Restored C13 Y-tracery windows to the chancel and
nave aisles.
INTERIOR: C12 round arches to short west bay of nave, also
similar blind arches in the west walls of the aisles; some
walling above the arches may be Saxon. Remaining aisle arcades
of 1852 with round piers, octagonal capitals and
cavetto-moulded arches.
Crossing: restored 1841-43 with tall arches having filleted
shafts and colonnettes; ribbed vault. South transept (known as
the Newark) c1220-1240 rebuilt 1841-52: arcade to Vernon
Chapel with quatrefoiled piers having shafts in the diagonals;
deeply-moulded arches.
Chancel: late C13 sedilia and double piscina under linked
hoodmoulds. Windows have nook shafts and rere arches. Mosaic
floor of c1880. C14 octagonal font with cusped arches over
whole figures.
Near the font are parts of 3 medieval misericords; Royal Arms
of Charles II dated 1678 and an early C19 board listing church
fees.
FITTINGS: stone pulpit. Brass eagle lectern. Altar and reredos
in north transept by Sir Ninian Comper. Chancel woodwork of
1879-82 incorporates some medieval fragments. Canopied choir
stalls; misericords and carved panels in niches adjoining the
screen. Altarpiece with Crucifixion, woodcarving by Kuchemann
of Battersea, 1882. Screen to Vernon Chapel C14 modified C17.
Organ by Brindley and Foster of Sheffield 1883; resited and
enlarged 1954, rebuilt 1989. Newark screen of 1983. In the
north aisle a C15 oak parish chest and a Church Warden’s Safe
of 1814.
MONUMENTS: of particular note the small alabaster wall
monument to Sir Godfrey Foljambe and wife c1377 (east end of
south aisle). Vernon Chapel: to Sir Thomas Wendesley d.1403
lying in armour on a later base.
Small alabaster tomb-chest to John Vernon, d.1477.
Polychromatic tomb chest to Sir George Vernon, d.1567, with 2
wives.
Standing wall monument to John Manners, d.1584 and wife
Dorothy Vernon; they kneel facing across a prayer desk, the
children below.
Large and more impressive standing monument to Sir George
Manners, d.1623 and wife Grace Pierrepoint d.1650 with their
children in prayer and a baby in swaddling clothes.
Various plaques on west wall of south transept include several

C17 brasses; the most elaborate to William Savile, d.1658,
‘Steward to the Earle of Rutland’.
Various wall monuments in the chancel.
STAINED GLASS: north aisle window of 1893 by Henry Holiday;
another by Kempe. Chancel east window of 1892. North transept
window of 1881 by Hardman. Resurrection window in Vernon
Chapel, 1859 also by Hardman. South porch contains a
remarkable and very important collection of Anglo-Saxon,
Norman and early medieval fragments discovered during the
major works of the mid C19; other fragments against west wall
of north aisle.
(The Buildings of England: Pevsner N: Derbyshire:
Harmondsworth: 1986-: 71-74; Knighton L: Bakewell Church
(Guide): 1985-).

Listing NGR: SK2155668483

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Source: English Heritage

Listed building text is © Crown Copyright. Reproduced under licence.

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Cool Market Niche images

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A Mediterranean Harbour at sunset (1771) – Claude-Joseph Vernet (1714-1789)
market niche
Image by pedrosimoes7
Calouste Gulbenkian Museum, Lisbon, Portugal

Materials : Oil on canvas

BIOGRAPHY

Claude-Joseph Vernet became one of the most famous landscape and marine painters of eighteenth-century Europe.

His father, a decorative painter, was his first teacher. Thus the young Joseph came into contact with the architects, painters, and sculptors who worked for the local nobility and clergy on a number of decorative schemes in Avignon (which still belonged to the papacy) and the surrounding area. Destined to become a more ambitious painter than his father, Vernet studied with the local history painter Philippe Sauvan. He soon established his own contacts with patrons. For the Marquise de Simiane, he executed in 1731 some landscape paintings as decorative overdoors for her Aix-en-Provence hôtel, which may have been his first independent commission.

This background in decorative painting remained an important influence on Vernet’s art, not just because he continued to paint tableaux de place from time to time–for example, a suite of four marine paintings to decorate the Bibliothèque du Dauphin at Versailles in 1762–but also because his paintings always manifest a sure sense of pictorial design and sheer attractiveness; even the most dramatic subjects are done with good taste.

To study in Rome was the dream of most ambitious young French artists in the eighteenth century. In 1734 the twenty-year-old Vernet was able to make the trip, thanks to the help of several patrons, including the Marquis de Caumont, a cultivated and enlightened nobleman from Aix-en-Provence. In Rome, Vernet could study some of the greatest collections of art formed since the Renaissance, full as they were of famous antiquities and modern masterpieces. Vernet also lost no opportunity in exploring the landscape in and around Rome and south to Naples, classic ground rich in literary, historical, and artistic associations.

He found his market niche painting topographical views of Rome and Naples, imaginary italianate landscapes, and, above all, marine scenes, usually showing either a calm harbor at dawn or dusk or a rocky shore beaten by storms and peopled with the distraught victims of shipwreck. Part of Vernet’s success lay in the fact that his works were reminiscent of the great landscape masters of the previous century, such as Claude Lorrain and Gaspard Dughet, but were rendered with the lighter palette and sharper sense of observation characteristic of his own time.

In Rome, Vernet studied for a short time with the French painter of marine subjects Adrien Manglard, who had long resided there. Although he was encouraged by Nicolas Vleughels, the sympathetic director of the French Academy at Rome, who introduced him to the French artistic community there, Vernet did not enjoy French royal patronage, and of necessity led an independent existence. He established friendships with other French painters resident in the Eternal City, such as Pierre Subleyras, and he also knew Giovanni Paolo Panini, whose lively style of figure painting he adapted.

Vernet not only studied in Rome, but soon found patrons there and in Naples, especially among the French diplomatic community.

The close ecclesiastical connections between Avignon and Rome facilitated Vernet’s introduction to Roman prelates and their entourages. Thus in the 1740S he painted four marine paintings (Alte Pinakothek, Munich), and a grand landscape (Mauritshuis, The Hague; cat. 301) for Cardinal Valenti Gonzaga a particularly distinguished patron who was one of the greatest collectors of Settecento Rome. He also made an impressive cycle of large decorative landscape and marines for Prince Giacomo Borghese (Palazzo Borghese, Rome).

British visitors on the Grand Tour greatly esteemed Vernet’s landscape and marine pajntings, which also served as handsome souvenirs of dangerous seas crossed, ports safely gained, or the Campagna surveyed with an informed tourist’s eye. The fact that Vernet’s wife, Virginia Parker (the daughter of a captain in the papal navy), had English as her native tongue no doubt facilitated relations with the British. They remained Vernet’s most loyal patrons during his twenty years in Italy, from 1734 to 1753.

It was the visit in 1750 of Mme. de Pompadour’s brother the Marquis de Marigny–accompanied by the architect Jean-Germain Soufflot and art critics Charles-Nicolas Cochin and the Abbé Le Blanc–that brought Vernet his first royal commission for a pair of paintings and the intimation that he might be summoned to France.

Since 1746 he had been sending landscape and, above all, marine paintings from Rome for exhibition at the Salon in Paris, and this fresh breath of Italian air, this gleam of Italian light on French walls, brought him remarkable critical acclaim. Indeed a great commission was soon devised, that Vernet should paint a series of monumental views of the major commercial and military seaports of France. Thus in 1753 began a long and often onerous tour of duty, from Toulon in the south to Dieppe in the north, that would end only in 1765, with the completion of sixteen works that collectively are perhaps the greatest royal commission of the reign of Louis XV.

These large paintings are fascinating documents for the social and economic historian, because they present precisely observed pictures of seaport life in France at the time. Indeed, Vernet was required to include characteristic scenes of port life for the different regions of France, along with representative examples of local shipping. But these paintings are also great works of art, in which the artist assimilated a mass of fascinating particular observations into impressive, and unified compositions with as much authority as any history painter of the time.

On his return to France, Vernet continued to exhibit landscapes and marines at every Salon until his death in 1789. He attracted commissions from all over Europe, becoming indisputably the most famous landscape and marine painter of the second half of the eighteenth century.

Among Vernet’s admirers was Denis Diderot, who gave him some of his finest and most adulatory pages in reviewing of the Salons of 1765 and 1767. HOWEVER, IN TIME DIDEROT AND OTHER CRITICS BEGAN TO NOTICE THAT VERNET WAS RELYING MORE AND MORE ON WELL-TRIED FORMULAS, THAT HIS SUBJECTS WERE BECOMING REPETITIVE, THAT HIS OBSERVATION OF NATURE WAS LESS EXACT, AND THAT HIS STYLE WAS BECOMING TOO ELEGANT, AND EVEN MANNERED.

Vernet’s Problem–a perennial one for almost any very successful and popular artist–was that most collectors wanted typical works, recognizably by his hand: he had created a Europe-wide demand for evocative italianate landscapes, calm Mediterranean harbors at dawn or sunset, and rocky coasts with dramatic storms and shipwrecks. The critics were right: by about 1770 his eye was less sharp, his observations were becoming routine, and the touch of his brush was rather soft and even slick. But Vernet had happily established a successful market and was busy until the day he died, in December 1789, satisfying the demands of eager patrons from Paris to St. Petersburg and from London to Vienna.

Philip Conisbee, from Art in Rome in the Eighteenth Century (2000), pp. 452-453.

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