View allAll Photos Tagged Ceiling
I would say this ceiling is 3 stories high and I took the photo at my shortest focal length, 16mm.
Canon 6D
Canon EF 16-35mm II @ 16mm
Day 1 of Project 365
well i think its victorian , it has got that feel to it .
This is inside that old mill found on the side of the canal
Kasteel VP - explored with eye_art_peter
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Nevada, and it's weird betting-tilt, is an abstract place. Quirky. Fun. Unpredictable (unless you think that you can beat the gambling establishment).... Prospector Hotel, Ely, Nevada.
....there was a table....so put camera facing upwards on table on a 10 second delay.
www.ayrshirescotland.com/brodick-castle/Brodick-Castle-Ba...
Vatican Museums Ceiling. This ceiling bears the the symbol of the papacy, which is the image of two crossed keys that represent the keys to the Kingdom of Heaven.
AIMG_2428
Polychromed and gilt but in need of some expert restoration, which will be undertaken in due course.
Palau Güell (arch. Antoni Gaudì 1885-1889), Barcelona. Catalunya, Spain
CROSSVIEW
To view 3D pics cross your eyes focusing between at the pictures until both images overlap one another in the middle.
Per vedere le foto in 3D incrociare (strabuzzare leggermente) gli occhi fino a che le due immagini si sovrappongono formandone una sola centrale.
This is a detail of the Paris Opera House, also known as the Palais Garnier. The Opera House is still the site of some productions of the Opera National de Paris (www.operadeparis.fr/en/), and is the host of many other events. Wikipedia details (en.wikipedia.org/wiki/Palais_Garnier) the history and architecture of the Palais Garnier, observing that "The Palais Garnier is a building of exceptional opulence. The style is monumental and considered typically Beaux-Arts, with use of axial symmetry in plan, and its exterior ornamentation. Its audience sits under a central chandelier which weighs more than six tons, and it has a huge stage with room to accommodate as many as 450 artists." The architect for this building was Charles Garnier.
More photos to come ....
When I say it's "quack time" that means it's time to duck! Keep your head low and squat walk towards the back wall of this cave. Access to the cave interior is around a bend on the left. Kaminiwa Cave, Saitama, Japan.
The ceiling of the Great Staircase by John Soane (1790s) at Wimpole Hall, Cambridgeshire, with a domed skylight and four large thermal windows. The gasolier was installed by Soane and dates from 1816.This early eighteenth-century staircase replaced an earlier, seventeenth-century one. Wimpole was largely the creation of Edward Harley, earl of Oxford (1689-1741) who expanded the core of an earlier house. This phase of work was undertaken circa 1719-21 by James Gibbs who was largely responsible for the Great Staircase as it exists today. In 1740, the house was bought by Charles Yorke, first earl of Hardwicke (1690-1764), and a new phase of work was initiated under Henry Flitcroft between 1742 and 1745. He refaced the exterior and did much additional work in the interior, including making several modifications to the Great Staircase, as seen here, which involved removing Gibbs's ceiling and inserting the gallery. Lastly, in the 1790s, John Soane inserted a new ceiling for Philip Yorke, third earl of Hardwicke. The plasterwork on the dome is by John Papworth.
Winchester Cathedral is one of our most rewarding churches, a treasure house of art and history that is also a textbook in stone of architectural styles, from the Romanesque period to the last flowering of Gothic. It also epitomises the English preference for length over height, being the longest medieval church in Europe.
The earliest parts of the present building are 12th century Romanesque, begun in 1079 to replace the smaller Saxon cathedral (whose foundations can be traced in the churchyard) and comprise the unusually squat central tower and both transepts. The Norman crypt also survives under the choir, but suffers frequently from flooding.
The Norman nave also partially survives, but is totally unrecognisble since the late 14th century remodelling of the western limb, which now appears entirely of that date. This Gothic makeover was an immense success internally, beautifully proportioned with a magnificent sweeping vault studded with foliate bosses.
By comparison the choir is much shorter, and is the result of seperate 14th and 15th century rebuildings. It too has delicate vaulting with bosses, though here all is of wood. The dominant feature by far is the towering altar screen reredos dating from 1455-75. It's original statues were destroyed at the Reformation and are now replaced with Victorian figures; fragments of some of the original 15th century figures survive in the cathedral museum and show them to have been of very high quality indeed, a grevious loss.
Behind the great altar screen in the retrochoir stood the shrine of St Swithin, lost at the Reformation but today marked by a more modest modern replacement. This part of the building with it's chapels dates mainly from the 13th century, with the main Lady chapel remodelled in the 15th century (still possessing a sequence of early 16th century murals, hidden today under modern reproductions).
The cathedral is packed with items of interest, from the superb and amazingly preserved choir stalls of c1308 to a sequence of magnificent chantry chapels, mostly ornate late medieval creations and the largest collection in any English cathedral, the Wykeham, Beaufort , Fox and Waynflete chantries being among the finest examples of the English Perpendicular style. The Gardiner chantry is also of interest as the very last, showing a transition from Gothic to Renaissance forms.
Earlier works of art in the cathedral include the 12th century black marble font, carved with scenes from the life of St Nicholas, and some superb late 12th/early 13th century murals in the chapel of the Holy Sepulchre and the vault of the Guardian Angels chapel. Most famous of all is the exquisite Winchester Bible, one of the finest of 12th century illuminated manuscripts, on show in the cathedral library. Visitors to the library can also access the museum in the south transept gallery which contains many superb fragments of medieval sculpture.
Most of the stained glass is Victorian, the medieval glass having been mostly destroyed during the Civil War. The huge west window still shows the patchwork of fragments installed at this time, and other pieces from the 14th and 15th centuries can be found scattered throughout the building. More substantial work however survives in several of the higher choir windows but is very hard to see; the east window is still largely filled with the fine early 16th century glass installed by Bishop Fox, somewhat restored but surprisingly complete (some figures not in situ, brought from other windows to fill gaps) and remains largely unappreciated because of it's inaccessibility.
More recent artworks include some beautiful glass made to designs by Edward Burne Jones by Morris & Co in the north transept chapel. More recent still are the striking series of nave banner paintings that are often hung from the nave pillars with rich batik designs on a theme of Creation and Redemption by the late Thetis Blacker.
The former monastic buildings have mostly disappeared, the site of the cloister is still apparent on the south side (where modern buttresses were built as part of the campaign to secure the cathedral's failing foundations in the 1900s) and a nearby group of Norman arches are all that remain of the chapter house. the cathedral is still fortunate though in being seperated from the city by the relative peace of the Cathedral Close.
Here is my virtual tour through the city - portfotolio.net/jup3nep/album/72157631887823501
The Topkapı Palace (Turkish: Topkapı Sarayı or in Ottoman Turkish: طوپقپو سرايى) is a large palace in Istanbul, Turkey, that was the primary residence of the Ottoman Sultans for approximately 400 years (1465-1856) of their 624-year reign.
As well as a royal residence, the palace was a setting for state occasions and royal entertainments. It is now a major tourist attraction and contains important holy relics of the Muslim world, including Muhammed's cloak and sword. The Topkapı Palace is among the monuments contained within the "Historic Areas of Istanbul", which became a UNESCO World Heritage Site in 1985, and is described in Criterion iv as "the best example[s] of ensembles of palaces [...] of the Ottoman period."
Construction began in 1459, ordered by Sultan Mehmed II, the conqueror of Byzantine Constantinople. The palace complex consists of four main courtyards and many smaller buildings. At its peak, the palace was home to as many as 4,000 people, and covered a large area with a long shoreline. The complex was expanded over the centuries, with major renovations after the 1509 earthquake and the 1665 fire. The palace contained mosques, a hospital, bakeries, and a mint. The name translates as "Cannon gate Palace" from a nearby gate which has since been destroyed.
From the end of the 17th century the Topkapı Palace gradually lost its importance as the Sultans preferred to spend more time in their new palaces along the Bosporus. In 1856, Sultan Abdül Mecid I decided to move the court to the newly built Dolmabahçe Palace, the first European-style palace in the city. Some functions, such as the imperial treasury, the library, and the mint were retained in the Topkapı Palace.
Following the end of the Ottoman Empire in 1921, the Topkapı Palace was transformed by a government decree dated April 3, 1924 into a museum of the imperial era. The Topkapı Palace Museum is administered by the Ministry of Culture and Tourism. The palace complex has hundreds of rooms and chambers, but only the most important are accessible to the public today. The complex is guarded by officials of the ministry as well as armed guards of the Turkish military. The palace includes many fine examples of Ottoman architecture. It contains large collections of porcelain, robes, weapons, shields, armor, Ottoman miniatures, Islamic calligraphic manuscripts and murals, as well as a display of Ottoman treasures and jewelry.