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The Roman Catholic cathedral in Montreal made my jaw drop, my eyebrows rise, and I think I said 'Wow' for about 20 minutes straight, albeit very quietly. I think it might have been designed to do that.
Cathedral vaulted ceiling from below - apparently the longest uninterrupted medieval vaulted ceiling in the world. Just a few of the more than 400 ceiling bosses.
Submitted for Monthly Scavenger Hunt - October for "Over the Top."
Looking upward, this is the colorful glass ceiling at the Bellagio Hotel in Las Vegas.
The ceiling was specially commissioned for the hotel in 1998 and created by renowned glass sculpter and artist Dale Chihuly.
It is really quite a sight to look up and see these more than 2,000 pieces of handblown glass sweeping above the lobby. To me, they look like colorful surrealist creatures floating in the sea.
Vader was really getting upset with the Stormtrooper who would not get down from the ceiling. Or was he???
Now a Marriott hotel, staying in this location is a great experience. en.wikipedia.org/wiki/San_Diego_Trust_and_Savings_Bank_Bu...
The ceiling fan in my bedroom - Straight Out Of Camera.
Our Daily Challenge: FAN
#53 Long Exposure in 113 pictures in 2013
in frank lloyd wright's office at taliesin west.
he would have had a similar view while sitting at his desk. [scroll down on page]
I went to the Real Ale Brewery for their Friday tasting. I took a bunch of pictures and for some reason this is my favorite - the one of the ceiling. Who knows...
Detail of the south choir aisle ceiling at St Paul's, with mosaic decoration by William Blake Richmond, completed during the 1900s.
Sir Christopher Wren's masterpiece, St Paul's Cathedral dominates the heart of the City of London as it has always done (if a little overshadowed by more recent developments these days). The only English cathedral to require total building, Wren embraced the opportunity for a fresh start after the Great Fire of London destroyed its predecessor in 1666. The present building was completed in 1715 when Wren's vision of a major dome (something he had proposed adding to the medieval building before the fire) was finally realised.
England's only purpose built Baroque cathedral, it is built on an impressive scale, one of the very largest churches in the country (echoing the impressive scale of its predecessor, which was an even longer building).
The interior is vast and richly adorned (especially the choir which was adorned with glittering mosaics in the late 19th century) and contains many monuments (many to military heroes) with yet more to be found in the sprawling crypt beneath.
St Paul's always arouses mixed emotions in me, it is beyond doubt a magnificent building, a true spectacle that cannot fail to impress within and without. Wren was a genius, pure and simple, though it should be added this wasn't the design he wanted to build which is closer in plan to a medieval cruciform church; his original proposals deviated from the traditional layout more dramatically and failed to win the support of a more conservative elite.
My appreciation of the present building is always tainted by a sense of loss, of what the great medieval St Paul's might have been had it survived, leaving a permanent gap in our legacy of great medieval cathedrals. We know the appearance of Old St Paul's from engravings and it was a remarkable building, the longest in the country, with a solid Romanesque nave and transepts (crowned by a gothic tower and formerly a soaring spire too) and a splendid Gothic choir culminating in a huge rose-window, and the home of many important tombs and monuments which have almost all been lost. However owing to Civil War damage and neglect, the building was in very bad shape in the years immediately before the Great Fire and had already undergone major alterations in classical/Baroque style with Wren proposing far more radical changes, so had there been no Great Fire we still likely would not have had the complete medieval church but some sort of strange Baroque/Gothic hybrid, and Wren would still have had his dome crowning it.
Like many major London attractions the cathedral now charges fees which discourage lower income visitors and bans photography within its walls. Happily however some evening events have been held during August 2017 where photographers were allowed free reign (full access to cathedral and crypt though not the dome galleries), thus I bought a ticket and had my first look around inside for many years......
Soon after the triumphal victory over Napoleon, Emperor Alexander I thought of creating a gallery in the Winter Palace for displaying the portraits of the glorious military leaders of the Patriotic War of 1812. The English artist George Dawe was invited to Petersburg to do the portraits. The program tells about this unique monument to Russian military glory, the 1812 Gallery, and presents all the portraits decorating its walls.
The State Hermitage is a museum of art and culture in Saint Petersburg, Russia. As one of the largest and oldest museums in the world, it was founded in 1764 by Catherine the Great and has been open to the public since 1852. Its collections, of which only a small part is on permanent display, comprise over three million items,[ including the largest collection of paintings in the world. The collections occupy a large complex of six historic buildings along Palace Embankment, including the Winter Palace, a former residence of Russian emperors.
The Church of the Savior On the Spilled Blood derives its terrible name from the murder of Tsar Alexander I whose death occured under the stones where this church was built. It houses some of the most spectacular mosaics of any church on the planet, which is why I have posted all my photos of these masterpieces. This is religious art at its peak of perfection.
Chelmsford Cathedral
(dedicated to St Mary the Virgin, St Peter and St Cedd)
Chelmsford, Essex, England, UK
I am lying on the floor and turned the camera to the ceiling.
Camera Canon Eos-1Ds
Lens Sigma 50mm f1.4 EX DG
Exposure 0.1 sec (1/10)
Aperture f/1.4
Focal Length 50 mm
ISO Speed100
Exposure Bias 0 EV
Distance 0.5m
AB9S9530
Baghdad Pavilion Ceiling, Topkapi Palace, Istanbul, Turkey
According to Wikipedia, The Baghdad Pavilion or Kiosk is situated on the right side of the terrace with a fountain and was built to commemorate the Baghdad Campaign of Murad IV after 1638. It closely resembles the Yerevan Kiosk and the three doors to the porch are located between the sofas. The façade is covered with marble, strips of ornate stones. The marble paneling of the portico is executed in Cairene Mamluk style while the interior is an example of an ideal Ottoman room. The recessed shelves and cupboards are decorated with early 16th-century green, yellow and blue tiles. The blue-and-white tiles on the walls are copies of the tiles of the Circumcision Room, right across the terrace. With its tiles dating to the 17th century, mother-of-pearl, tortoise-shell decorated cupboard and window panels, this pavilion is one of the last examples of the classical palace architecture. The doors have very fine inlay work. On the right side of the entrance is a fireplace with a gilded hood. In the middle of the room is a silver charcoal stove, a present of King Louis XIV of France. From the mid-18th century onwards, the building was used as the library of the Privy Chamber.
The Topkapi Palace (or Topkapı Sarayı) 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 Mohammed'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 under UNESCO's criterion iv as "the best example[s] of ensembles of palaces [...] of the Ottoman period.". 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. It contained mosques, a hospital, bakeries, and a mint. Construction began in 1459, ordered by Sultan Mehmed II, the conqueror of Byzantine Constantinople and was originally called the New Palace to distinguish it from the previous residence. It received the name "Topkapı" (Cannon Gate) in the 19th century, after a (now lost) gate and shore pavilion. The complex was expanded over the centuries, with major renovations after the 1509 earthquake and the 1665 fire. Following the end of the Ottoman Empire in 1923, 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.
El Palacio de Topkapi (Topkapı Sarayı)
İstanbul, Türkiye
Sant' Agostino wurde von 1479 - 83 erbaut und ist eine der frühesten Renaissancekirchen Roms. Das Kircheninnere wurde jedoch im 18. und 19. Jh. weitgehend verändert.
Die Deckenfresken in der Kapelle des hl. Nikolaus von Tolentino entstanden mit vielen Unterbrechungen zwischen 1582 und 1861 und wurden von Giovan Battista Cavagna, Giovan Battista Ricci und Pietro Gagliardi ausgeführt. Neben Szenen aus dem Leben des hl. Nikolaus von Tolentino (ca. 1245 - 1305), der dem Augustiner-Eremitenorden angehörte, sind die vier Kirchenväter Ambrosius, Augustinus, Hieronymus und Gregor dargestellt.
The ceiling of the Hypostyle Hall at Dendera Temple is enriched with an incredible amount of figurative detail carved in low relief and painted in subtle shades against a blue background. The subjects include numerous deities and hybrid figures (some familiar, others much less so) and even astrological elements, such as recognisable figures from the zodiac.
Over the centuries the ceiling had become so darkened by dirt and soot to become heavily obscured and hard to read, and this is how I saw it for the first time in the 1990s, when many visitors probably missed it altogether. Now it has been fully cleaned and restored it shines again not only as one of the glories of the temple but one of the most remarkable surviving decorative schemes of ancient Egypt. The contrast with its previous blackened, unrestored condition is dramatic, giving an entirely different impression from our previous visit.
The Temple of Hathor at Dendera is one of Egypt's best preserved and most beautiful ancient shrines. This magnificent edifice dates to the Ptolemaic period, late in Egyptian history, though the site long had been the cult centre for the goddess Hathor for centuries before (the earliest extant remains date to c360BC but a temple is recorded here as far back as c2250BC). Most of the main building dates to the reigns of the last Cleopatras and further decoration and building work within the complex continued in the Roman period up to the reign of Trajan.
The dominant structure in the complex is the Temple of Hathor, an enormous structure with a rectangular facade punctuated by the Hathor-headed columns of the hypostyle hall within. This hall is an architectural wonder, a masterpiece of ancient Egyptian design and decoration, which covers every surface and has been recently cleaned, revealing a superb astrological ceiling in all its original vibrant colours.
Sadly there was much iconoclasm here during the early Christian period and most of the reliefs of the walls and pillars have been defaced. Worse still is the damage to the 24 Hathor-head capitals: not one of the nearly a hundred huge faces of the goddess that once smiled down on this hall has been left unblemished, most with their features cruelly chiselled away.
The main temple building is otherwise structurally intact, and extends into further halls and chapels beyond, again with much relief decoration (much of which is again defaced). In one corner is an entrance to a crypt below, an unusual feature in Egyptian temple architecture consisting of several narrow passages adorned with carved relief decoration in good condition.
There are further sanctuaries and chapels above on the roof of the temple, accessed by a decorated staircase and including the room where the famous Dendera Zodiac was formerly located (today its place in the ceiling taken by a cast of the original, now displayed in Paris). The highest part of the roof complex is no longer accessible to tourists, but I can still recall making the ascent there on our first visit in 1992.
Several other buildings surround the main temple, the most impressive of which is the mammisi or 'birth-house'. This consists of a large rectangluar hall surrounded by a colonnade near the entrance to the site and has some well preserved relief decoration on its exterior. Most of this structure dates to the Roman period, but the ruins of its predecessor built under Nectanebo II (Egypt's last native pharoah) stand nearby.
Dendera temple is one of the most rewarding in Egypt and shouldn't be missed. It is one of the most complete and evocative ancient monuments in the country and its recent restoration has revealed a surprisingly extensive amount of colour surviving within (we were amazed by the dramatic contrast with the soot-blackened ceiling we'd beheld on our previous visit in the 1990s). Despite its relative youth (in Egyptian terms at least!) it is easily one of my favourite sites in Egypt.