View allAll Photos Tagged Windows
Kyneton.
The Carlsruhe sheep run taken up in 1838 by Ebden covered a huge area from modern Woodend to Kyneton. In 1839 it was split into two pastoral runs and the run near Kyneton was taken over Charles Wedge and then shortly after by Henry Jeffreys who built his slab homestead on the current town site astride the Campaspe River. In 1848 Henry Jeffreys went into partnership with Lieutenant Governor Charles La Trobe as this was still part of NSW then (the Governor was based in Sydney but the Lieutenant Governor was based on Port Phillip Bay.) Perhaps not coincidentally a small courthouse was established in 1848 on the Campaspe River at this spot after La Trobe had visited his and his partner’s property. La Trobe decided to make the courthouse site a town site which he called Kyneton after the birthplace of Henry Jeffreys’ wife who was born in Kineton Warwickshire. The town was gazetted as Kyneton in 1850 just before the first gold was found at Bendigo and Mt Alexander in late 1851. Kyneton grew quickly as it was a resting place on the journey from Melbourne to Bendigo and impressive basaltic bluestone buildings were erected as there was a plentiful supply of good bluestone between Kyneton and Taradale. By the late 1850s there was an impressive array of bluestone public buildings in Kyneton including: the Kyneton Courthouse erected in 1856; the Anglian church (built 1852 and rebuilt 1856 with the west tower added 1928); the Congregational Church (built 1853 and rebuilt 1860 but now a theatre); the Mechanics Institute built 1854 (and rebuilt 1897); the Catholic Church built in 1857, the Presbyterian Church also built in 1857 and numerous banks, shops, the school (built in 1855, extended 1861 and in 1906 and still in use as the state school) and the hospital. Also built in the 1850s in bluestone was the De Graves three storey flourmill (1857) a few kilometres out of the town and another steam flourmill for Willis Brothers was built partially in bluestone in Piper Street in 1862. Some notable houses and residences were also built in the 1850s including the Attic House in 1858, the rear part of Carn Brae built in 1854 and Inverugie opposite the old town school which was built in 1858. The two storey grand Kyneton Hospital built between 1854 and 1856 with an amazing little morgue behind it which was built in 1859 when the east wing was added to the hospital. The west wing was added in 1874. The hospital’s lacework wrought iron veranda was added in 1910 thus destroying the Georgian appearance of the hospital. General use of the hospital ceased in 1942. Alas it is now vacant and vandalised but there are plans to restore it and convert it into apartments. The oldest house in Kyneton is believed to be the Anglican rectory built in 1853. One of the many fine two storey banks - the former Bank of NSW built in 1856 is now the town museum which has the homestead of Theaden station (1840) relocated in its grounds.
Kyneton also has a fine Botanic Garden along the edge of the Campaspe River. It was established in the 1880s although the site was reserved for this purpose back in 1867. Across the river from the Botanic Gardens is the bluestone railway station and goods shed which were built in 1862. Some of the later buildings of Kyneton, not in bluestone, are also of great interest. They include the rebuilt Royal George Hotel which was built in its current style in 1915 to replace an earlier structure from 1860 which was called the Diggers Arms Hotel; the wonderful Art Nouveau style Bank of New South Wales built in 1904 in Mollison Street; the impressive Post Office and tower built in 1871; the Congregational Sunday School built in Arts and Crafts style in 1898; the former Kyneton Market on the corner of Piper and Ebden Streets built in 1878 which is again being used for that purpose; and the slightly bizarre Ellim Eek house with tower and griffins along the roof which was built in 1890 and remodelled in 1906 with the griffins etc. It is now used as solicitor’s offices. Many of the shops of Kyneton date from the 1850s but one in classical style is worth special mention as it was constructed in 1852 exemplifying the optimism and confidence of the early settlers of Kyneton because of the nearby goldfields. This fine classical store is at 68 Piper Street almost opposite the town museum.
Annunciation - one of 3 stained glass windows by Kempe, designed by Herbert Bryans, in memory of John Lloyd Wharton dedicated by his daughter Mary Dorothea Darwin 1913
(John was MP for Durham and Ripon. He was a director of the North Eastern Railway He married Susan Frances Duncombe Shafto in 1870 who died 2 years later. One of the bells was also donated in his memory). - Church of All Saints Elston, Nottinghamshire
i go to this window
just as day dissolves
when it is twilight(and
looking up in fear
i see the new moon
thinner than a hair)
making me feel
how myself has been coarse and dull
compared with you, silently who are
and cling
to my mind always
But now she sharpens and becomes crisper
until i smile with knowing
-and all about
herself
the sprouting largest final air
plunges
inward with hurled
downward thousands of enormous dreams
by E.E. Cummings
I do love the windows of our apartment house corridor.
Sadly this picture doesn't came out like I wished. But it's my fault, I'm a month late. Actually I wanted to take this shot while the sun is shining trough so that you can see the whole glory of these coloured windows. But the sun don't reach this window in August. Maybe I should try it again next June or July.
Anyway, I wish you a nice week. I'm some days off for viisting my family.
See you!
Wednesday, 15.8.2012
The Elutherian College, Jefferson County, Indiana.
Students attending school in this historic building would autograph the cloak room as classes. This class chose an illuminated location.
English
en.wikipedia.org/wiki/Church_of_Santa_Maria_do_Olival
The Church of Santa Maria do Olival is a Roman Catholic church in the city of Tomar, in Portugal.
The church was built in the second half of the 12th century by the provincial master of the Order of the Knights Templar in Portugal, Gualdim Pais. It was used as a burial place for the Knights Templar of Tomar and, later, by the Knights of the Order of Christ, which succeeded the Templars in the 14th century. Gualdim Pais is buried in the church, and his original tomb slab, dated from 1195 and bearing a gothic inscription, is still preserved inside.
The current building is mostly the result of a reconstruction carried out in the 13th century in early Gothic style. The main façade has a beautiful rose window and a simple portal with several archivolts, and is flanked by a free-standing bell tower. The interior is very simple. The church has three naves covered by a wooden roof, and the columns of the pointed arches of the naves are devoid of capitals. The main chapel of the apse is covered by a Gothic ribbed vault. The tracery of the small rose window in the Eastern wall of the nave has the shape of a pentagram.
In the 16th century the church was restored and several chapels were added to the Southern side of the church. Notable are the polychromed statue of the Virgin Mary and Child (early 16-century) in the main altar and the funerary monument of Diogo Pinheiro, first Bishop of Funchal, a fine Renaissance work dated from 1525, located on the wall of the main chapel.
Português
pt.wikipedia.org/wiki/Igreja_de_Santa_Maria_dos_Olivais
A Igreja de Santa Maria dos Olivais, também conhecida como Igreja de Santa Maria do Olival, situa-se na cidade de Tomar, na margem esquerda do Rio Nabão. O templo, cuja fundação remonta ao século XII, foi a sede da Ordem do Templo em Portugal, tendo servido como panteão dos mestres templários. Após a extinção desta ordem, a igreja tornou-se a cabeça da nova Ordem de Cristo, tornando-se na matriz de todas as igrejas do Império Português, com honras de Sé Catedral. Este templo, Monumento Nacional desde 1910, é um dos exemplares mais emblemáticos da arte gótica em Portugal, tendo servido de modelo às igrejas de três naves construídas até ao período manuelino.
A igreja primitiva foi fundada por volta de 1160 por D. Gualdim Pais, mestre da Ordem do Templo, no local onde anteriormente se erguia um mosteiro beneditino, mandado edificar no século VII por São Frutuoso, Arcebispo de Braga. Esta zona fazia parte da antiga cidade romana de Sellium, facto confirmado por escavações levadas a cabo nas imediações do templo, e que puseram a descoberto alicerces e estruturas dos antigos edifícios e arruamentos. Não muito longe dali, foi encontrado o antigo fórum da cidade. A igreja e a sua envolvente serviram como necrópole dos freires da ordem, tendo o próprio Gualdim Pais sido sepultado no interior do templo, em túmulo datado de 1195 do qual resta a inscrição funerária.
Na segunda metade do século XIII, durante o reinado de D. Afonso III, a primitiva igreja sofre uma ampla reforma, dando lugar ao edifício gótico actual. Da feição românica inicial, apenas resta a porta de arco de volta perfeita da fachada norte. O novo templo tornou-se uma referência para a arquitectura gótica mendicante portuguesa, tendo servido como protótipo a várias igrejas paroquiais, monacais e catedralícias de norte a sul do país. Após a extinção da Ordem do Templo, em 1314, a igreja tornou-se a sede da recém-instituída Ordem de Cristo, mantendo a sua função funerária.
A grande importância da igreja na época medieval é comprovada pela existência de uma bula papal, passada ainda durante o período templário, que colocou o templo a depender directamente do Papa e da Santa Sé, fora da alçada de qualquer diocese. Mais tarde, em 1455, uma bula do Papa Calisto III tornou-a matriz de todas as igrejas dos territórios descobertos na Ásia, na África e na América, sendo-lhe conferida a honra de Sé Catedral. A este facto não foi estranha a intensa participação da Ordem de Cristo nas viagens de descoberta quatrocentistas.
No século XVI, durante os reinados de D. Manuel I e de D. João III, foram levadas a cabo obras de reparação e de alteração, que resultaram na construção da abóbada e da janela de verga golpeada da sacristia, da galeria corrida da fachada sul, do púlpito, das capelas maneiristas do lado sul e, do túmulo renascentista de D. Diogo Pinheiro, primeiro bispo do Funchal – executado em 1528 e atribuído a João de Ruão. Durante esta campanha de obras, dirigida por Frei António de Moniz e Silva, foram destruídos os túmulos e epigrafias dos mestres templários e da Ordem de Cristo, sendo poupados apenas quatro deles.
Já no século XVII, foi colocado o revestimento azulejar das capelas do lado sul, que viriam a ser destruídas no século XIX, durante a realização de obras de restauro. A campanha de obras levada a cabo na primeira metade do século XX, pretendeu recuperar a aparência gótica da igreja, sendo então reconstituídas a cantaria do altar-mor e a grande rosácea da fachada principal. A janela moderna que existia sobre o arco do cruzeiro foi substituída por uma rosácea, enquanto que a primitiva porta românica da fachada norte foi desentaipada. Ainda nesta intervenção, foram reconstruídos, nas capelas laterais, os altares de alvenaria com frontal de azulejo, que haviam sido apeados no século anterior.
A igreja, de invocação de Nossa Senhora da Assunção, é uma obra marcante da arquitectura gótica mendicante, apresentando ainda diversos elementos característicos do renascimento e do maneirismo.
A fachada principal apresenta três corpos, que definem as naves. O corpo central inclui o pórtico gabletado, de quatro arquivoltas ogivais assentes em colunas capitelizadas, sobrepujando-o uma magnífica rosácea de doze folhas trilobadas. No frontão do gablete, que envolve o portal, está gravado um signo-saimão. Nos corpos laterais, separados do central por dois gigantes, rasgam-se duas frestas de verga trilobada e espelho duplo. A abside, flanqueada por gigantes, é rasgada por altas frestas de ogiva pouco apontada, que iluminam amplamente a capela-mor. A fachada sul apresenta uma galeria corrida, ao nível das naves, enquadrada por colunas toscanas. No adro, ergue-se uma vigorosa torre de fundação medieval que serve como sineira, possuindo a particularidade de se apresentar separada da igreja. Esta torre teve inicialmente a função de atalaia, tendo sido adaptada a sineira na época de D. Manuel I.
O interior é constituído por três naves, de cinco tramos, de diferentes alturas, sendo a central a mais elevada. A cobertura das três naves é em madeira, com as arcadas quebradas suportadas por pilares cruciformes facetados sem capitel. Do lado do evangelho, merece destaque o púlpito de balaústres, adossado ao último pilar e constituído por um feixe de colunas, que assenta numa coluna coríntia estriada. A inexistência de transepto, leva a que a capela-mor abra imediatamente para as naves, através de um arco triunfal gótico, coroado por um espelho que rompe a empena. A cabeceira, abobadada, compõe-se de capela-mor de dois tramos, sendo o derradeiro de sete faces, e é ladeada por dois absidíolos rectangulares. A sacristia encontra-se adossada ao absidíolo do lado sul, sendo ladeada por um pequeno torreão quadrangular. Esta dependência, à qual se tem acesso através de uma porta renascença, tem uma cobertura quinhentista em abóbada de florões e é iluminada por uma janela manuelina de verga golpeada.
Do lado da epístola, abrem-se cinco capelas, com arcos de pedraria quinhentistas, de volta perfeita, sobre pilastras com capitéis jónicos. As capelas são intercomunicantes, sendo iluminadas por frestas e cobertas por abóbadas nervuradas, cujos fechos possuem ornatos diferenciados. Os altares, em alvenaria, são revestidos de azulejos policromos seiscentistas, com excepção do da terceira capela, que é em talha dourada. Nestas capelas, é possível admirar imagens de Santa Ana, escultura dos finais do século XVI, de Santa Maria Madalena e de São Brás.
A capela-mor, que apresenta uma cobertura em abóbada nervurada, possui dois altares, sendo o altar-mor de calcário e o outro de madeira. Nesta capela, admiram-se uma escultura de pedra quinhentista, exposta no altar-mor, representando Nossa Senhora do Leite, e a arqueta renascença do bispo D. Diogo Pinheiro, abrigada sob um arcossólio de volta perfeita, com intradorso em abóbada de caixotões e decoração com querubins na arquivolta. As capelas colaterais, que se acedem através de arcos de volta quebrada, são revestidas por azulejos do tipo padrão e apresentam altares em alvenaria, cujos frontais são revestidos com azulejos policromos. A capela do lado da epístola, conhecida como Capela de Simão Preto, tem uma cobertura em abóbada nervurada azulejada, apresentando uma imagem de Nossa Senhora da Conceição no altar. A capela do lado do evangelho é coberta por uma abóbada de berço quebrada e azulejada.
Algumas das lápides parietais, que se encontram espalhadas um pouco por toda a igreja, são dignas de registo, nomeadamente a de D. Gualdim Pais e a do Mestre Lourenço Martins, ambas embebidas no paramento da segunda capela do lado da epístola, e a do Mestre D. Gil Martins, na capela-mor, todas elas com inscrições em caracteres góticos.
A ground-floor window of Iford manor, built 1725-30. 'The windows are all pedimented', Pevsner tells us. Here, as you can see, the shutters are almost closed, presumably to protect the interior from too much sun.
Press [L] or click on the image to view the image in full screen.
————————————————————————————————————————
Vienna, 2014.
Window shopping - the most affordable type of shopping ;-)
————————————————————————————————————————
A triple bay window at West Park Asylum sits with paint peeling and its net curtains rotting as time passes...but to me this is beauty...It simply beats Megan Fox and Angelina Jolie,however if either want to get in touch i'm free most nights apart from thursdays when i'm at night school doing cake decorating..lol
Best Viewed Large
Please take a look at my West Park Asylum set
While driving home in my neighborhood I spotted these two pooches looking out the front window. Of course I had to stop and take a picture to go with my "two cats" looking out the front window [see photostream].
Can't remember excactly where I photographed this in Manchester... all I'm happy about is that I don't have to work in the building.
Shot on slightly expired Fujicolor Superia X-TRA ISO400, with a Canon EOS 30 and a Samyang 35mm f1.4
Window display at the General Store at Bodie. Light source is the low wattage carbon filament light bulb and the near full moon on the outside of the building.
Lubenice is an ancient fort city on the island of Cres, Croatia that was founded approximately four thousand years ago on top of a 380 m high ridge that overlooks the Adriatic Sea. It is a small local center that comprises forty buildings and seven permanent inhabitants. Buildings in the city are constructed out of the same material as the surrounding cliffs and there are two well-preserved extant city gates on the North and South of the city as well a wall in the East.
It was nominated to be a UNESCO World Heritage site in 2005.
Sign On The Window
Sign on the window says, "Lonely"
Sign on the door said, "No company allowed"
Sign on the street says, "You don't own me"
Sign on a porch says, "Three's a crowd"
Sign on a porch says that three's a crowd.
Her and her boyfriend went to California
Her and her boyfriend done changed their tune
My best friend said, "Now didn't I warn you ?
Brightoon girls are like the moon
Brightoon girls are like the moon".
Looks like a-nothing but rain
Sure gonna be wet tonight on Main Street
Hope that it don't sleet.
Built me a cabin in Utah
Marry me a wife, catch a rainbow trout
Have a bunch of kids who call me pa
That must be what it's all about
That must be what it's all about.
Bob Dylan
I really did like this one, with its elaborate scroll-work around the central cross-and-flowers design element. This was based on a design found in a local church.
Guess what they sell in this establishment.
I was waiting for my husband in the car outside and it struck me that I may get a photo out of it.
The place had two windows both showing their wares in this fashiom
THANK YOU ALL FOR YOUR FAVS AND LOVELY COMMENTS. THEY ARE VERY MUCH APPRECIATED
Another in the growing "growth" series.
"Growth" is an accidental project - a sort-of spin-off from my Rhydymwyn work. The loose theme is plant growth in unexpected contexts.