A long time ago in a land far away, when I was first learned the term rustication, my professor, already an angry and unhappy man, immediately explained to his rapt audience that every year the entire class would always confuse the word and write it as rustification. He said always — and without fail, and of course, that’s what sunk me. I still fight that f to this day.
This was of course by design since he followed with a story about his friend who teaches at Harvard. I’m sure the person is more of an acquaintance since I doubt this man has any friends but apparently the Harvard architectural professor deliberately pronounced facade to his freshman audience as fakAde, and was greatly amused that the class followed his precedent into their later years in school.
Back to the images. This facade of the Pump Room faces Stall Street. This stage was designed by Thomas Baldwin but the building was taken over in 1792 and redesigned and completed by John Palmer. This particular type of rustication present on each block is termed vermiculated, expressing the appearance of a worm-ridden block. The simple inversed-beak joints between the blocks are simply termed as chamfered. Note the Ionic order here along the famed colonnade.
The street musician in the first photo performs on Stall Street when Abbey’s cloister square is occupied by another. There is some agreed upon schedule, as each act always ends five minutes to the hour and the musicians switch spots.
One of Bath’s joys is its incredible stone. Containing just a bit of iron, the stone has a warm creamy color that positively glows at sunrise and sunset. Like Italy, almost the entire place is constructed with the same material, so the color surrounds the viewer and makes the whole rigorously ordered, individualistic, and finely executed pieces of architecture feel as if all part of one piece. As such, Bath is a World Heritage site, rightfully treated as one entity but this singularity on the wealth of Georgian architecture and its unique building material discriminates against the other materials of bath, such as the brick Gothic Cottage of Sion Hill and this engaging more or less modern timber structure, just off Prior Park. Rebel materials in this Bath stone town have enjoyed brief periods of popularity. For instance, when before the Kennet and Avon canal, brick (imported) was far more expensive than finely cut ashlar Bath stone! There is at least one example of a Bath stone house with a one brick thick front facade. I enjoy this house for the same reason, mainly its surrounding Bath stone wall, which you find throughout the city and countryside here. Besides, it has a great view!
Monument designed and built by William Cure, mason. Nicholas Johnson was the carver.
Click here for whole block.
Click here for a section without an added balcony but with all the restored/original sill windows (without Victorian plate glass).
On Bathwick Hill Road immediately after St. Mary the Virgin Church (and thus on the slope Bathwick Hill) lies Raby Place, designed by John Pinch the Elder between 1818-1825. The street name was originally Church Street (and remains so on my really outdated ordinance map). This series of eighteen two-bay terrace houses features Pinch’s famous design of a ramped cornice, similar to what can be found on a staircase banister and equally appropriate when one tries climbing this hill while carrying a litre of milk and some groceries. (Also see the same ramped cornice detailing on Cavendish Place, also by Pinch)
Window with septennial cusping, four-four over six-six lights? Or how would you describe this window? I have no idea. I’m sure there is a formula though.
prepared by JosyC