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Looking out from Downhill Demesne and Hezlett House, Castlerock, County Londonderry, Northern Ireland.
An echo to another "echo" (the original danish design"
Through the windows of an old deserted hotel in S'Chanf, Engadine, Switzerland The trees in the white part are actually showing through the window of the other side of the hotel... I wanted to get a picture of them but this was the best view of them I could find.
The Berlin S-Bahn tracks run right across Museumsinsel, between the Bodemuseum and the Pergamon. As they pass, the train windows capture a reflection of the museum windows by the tracks.
I found this intresting , when i captured , actually i captured for fun , CRT monitors are rarely used ! but look this is lucky enough to have windows 8 !!
St Peter, Blaxhall, Suffolk
A remote church in a large, sparsely populated rural parish.
Blaxhall is famous for two reasons. It is the setting for George Ewart Evans' books, including The Pattern under the Plough and Ask the Fellows who Cut the Hay.
It is also the home parish of the Rope family. The stained glass work of the cousins Margaret Edith Aldrich Rope and Margaret Rope is now considered to be among the finest of the 20th century, and some of it can be found here, as well as more glass and bas-relief work by Dorothy Rope and Ellen Rope.
St Mary & All Saints, Chesterfield, Derbyshire.
Memorial Window (detail) to John Henry Walker, d1844 aged 16.
By William Warrington (1796-1869), 1853.
William Warrington (1796-1869) was born in New Romney, Kent. He became a pupil of Thomas Willement and worked for AWN Pugin in London in the late 1830s. His standing was at its highest in the late 1840s and 1850s and during that time his own style developed little. The garish colours and lack of understanding of the gothic changed little, leading to increased criticism. By the early 1860s he had been joined by his son James Perry Warrington (c1818-1892) and the firm became known as Warrington & Co or Warrington & Son. The son continued the company after his father’s death, using a style more acceptable to contemporary taste, so that the company is the only glass maker whose products span the whole period of Victorian glass and much of the Edwardian. Probably after the son’s death, the firm relocated to 70 Albion Street, Leeds, and the earliest definite mention of them there dates from 1895.
Window in my apartment, looking out to a thorough, crap-ass backlot.
Nikon D700
Nikkor 50mm f/1.2 Ai-S @ f/1.2
Single, unedited JPEG
I am a BIG fan of window lighting. It softens everything, and adds a warm glow. Here, there are 3 different windows one looks through.
North nave window at Burton Hastings, installed in 2001 and designed by local artist Roger Fifield.
Fifiled's work makes a very attractive contemporary adition to this ancient building, and is beautifully painted and stylised, echoing his earliest work from the 1960s, without looking backwards.
The subject appears to be a celebration of village life, with various landmark buildings and elements of the village featured without any obvious religious theme (beyond the small dove in the tracery light above).
This formula for stained glass seems to be popular with certain congregations, who prefer to commemorate 'down-to-earth' subjects of mainly local, secular relevance, than convey a spiritual message. The artist is then given a 'shopping list' of relevant features to include in the design at all cost!