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Facing Valetta (Malta capital) are the 3 cities.
From there you get lost in little street and enjoy a spectacular view on the harbour.
At tihs time of the year, golden hou is perfectly in line with the end of the harbour and light are sometime awsome.
Toward the very end, you have fort Ricasoli, some old stone dating probably from the war. The whole place is collapsing but if your are cautious you will find the best old stone to compose and play with the light
This is one I posted when I first joined Flickr and one of my own personal favorites!!!Windows of Ireland - Gas station window in Ennistymon of County Clare with the ivy growing around it taking on the colors of fall. Reflection in the window is of the house across the street. Ennistymon is a market town close to Lahinch, it is located in the north west of county Clare Ireland. Ennistymon may be reached directly from Ennis by the N85 road through Inagh. The town is known for the traditional shop fronts of its centre and the lively “craic" pubs to be found here during the tourist season. The history of the town is relatively short, it was established as a town only in 1588, the year of the Spanish Armada, which features extensively in the local history all along the Co.Clare coast. The Falls Hotel was originally the residence of the McNamara family, and has since been extended to a hotel. A small river - the Inagh - runs by the town, and descends by means of some small waterfalls, known locally as 'the falls' or 'the cascades'. The best places to view these are from the road bridge and - better still - from inside The Falls Hotel, a short walk off the main street.
The broken windows theory is a criminological theory of the norm-setting and signaling effect of urban disorder and vandalism on additional crime and anti-social behavior. The theory states that maintaining and monitoring urban environments to prevent small crimes such as vandalism, public drinking, and toll-jumping helps to create an atmosphere of order and lawfulness, thereby preventing more serious crimes from happening.
[Wikipedia]
This window is at the east end of St Martins and
is an absolutley beautiful window, This window
alone is worth the visit to St Martins church, in Ongar, Essex, England.
So, I had a lot of fun with this week's theme. Just walking down the alley behind my work I found all kinds of blue things. It was very hard to decide what to add to the group. I also realized I like old stuff.
Victorian window in the south aisle at Measham.
St Laurence's at Measham sits tucked back from the town's main street with an open space in front, allowing a good view of the western side (the rest is harder to appreciate being somewhat hemmed in). The most noticeable feature is the tower dating from sometime after 1733 (according to Pevsner). The rest of the building is of 14th century date and unusually appears as simple a spacious nave and aisles, since there is no structural distinction of the chancel, the east window being where one would normally expect to see a chancel arch.
There is some interesting glass, a collection of medieval fragments are arranged into a collage at the west end of the south aisle, whilst many other windows have a patchwork of brightly coloured late Georgian glass in their traceries. Some of these were casting attractive colours across the interior when we called.
I believe this church is usually open to visitors within reasonable hours. We called rather late in the day (after 6pm) but luckily encountered the vicar who was about to lock up and kindly left the church open a little longer for us.
This bizarre assembly of a window is in the south aisle and seems to have been filled in three stages from left to right; the left hand figure appears to be c1880 by Lavers & Barraud, whilst the adjoining King David's canopy matches but the figure itself is executed differently, more in the manner of Ward & Hughes. The right hand lights with the Good Samaritan appear to be early 20th century, possibly by Percy Bacon.
A wonderful old church well worth exploring but little visited on the edge of suburban Rugby, but as it's normally kept locked I timed my visit close to a sunday evening service to get in. Very friendly people, but alas little time to get decent photos, though they seemed happy to open up for me if I wanted to return. I've known the church for years having grown up in the area but only been inside a few times years ago, when it used to be more accessible. It was one of the first ancient churches I ever experienced and left a lasting impression.
Despite serving what is now a large suburb of Rugby the church retains a country feel, being cut off from the town by the main line between Birmingham and London, meaning it is completely invsible from Hillmorton itself. Normal approach is thus bizarrely through a tunnel under the railway line that leads to the churchyard!
It's a mainly 13th/14th century building, the west tower is of a rich red sandstone whist the body of the building has been patched up at various dates giving it an attractive unrestored patina. Inside is equally unspoilt, retaining a late Georgian feel with it's furnishings, Royal Arms and whitewashed walls (though oddly just chancel and south aisle have been scraped). Victorian glass is confined to 2 south aisle windows (including one strange piecemeal affair) the main east window with it's intersecting tracery is left plain.
The main items of interest here are the monuments, three medieval tombs and an elegant brass of a lady. Of the effigies the best is the early 14th century lady in the south aisle with wimple and canopy over her head. The nearby knight is more damaged whilst the 13th century priest under an arch in the north aisle (almost hidden behind benches) is badly mutilated.
All in all well worth a look, but unless you're lucky with timing will probably require a phonecall to open up, unfortunately there are no keyholder details.
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» © Jeff Krol 2011 | Do not use/modify without my authorization.
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The Window©
Photography : Alessandro Cirillo,
Hair e make-up artist : Oreste Durini,
Concept & Assistant :Susy Paternoster,
Model: Chiara De Masco & Gloria Occhipinti
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Spring-Summer 2011 De Vivo Tessile (Ischia)
Just a silly one today, went running with a friend in all that snow yesterday and when we got back her husband and his Dad were grinning at us from out of the window and who can resist.
Installed in 1967, this is the fhe first and largest of the windows designed by Marc Chagall for All Saints' Tudeley, in Kent. It is a memorial to Sarah d'Avigdor-Goldsmid, daughter of a local landowner, who drowned in a sailing accident off the Isle of Wight at the age of 21.
Combining elements from Sarah's life and death in graphic detail, it moves from despair in the dark , swirling seas of the bottom lights , to hope and the joy in the brighter colours of the top lights, where a crucified Christ awaits Sarah's arrival with welcoming arms out-stretched.
Sarah was the daughter of a Jewish father and an Anglican mother but had been brought up as an Anglican. Having a keen interest in art, she had seen and admired the Twelve Tribes of Israel windows which Chagall had designed for the Hadassah Medical Centre synagogue in Ein Karem, Jerusalem, when they were displayed in Paris prior to their installation. Her parents, therefore, decided to ask Chagall, a Jew himself but with a strong spiritual sense which crossed religious boundaries, to design the memorial window, which he duly did.
If you look on the church website you can also see one of Chagall's earlier sketches for this same window but featuring Sarah floating in a kind of sea of flowers. It's under the heading 'The window that never was' at www.tudeley.org/allsaintstudeley.htm