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Same scary factory in Dayton. I have no idea what these metal or glass squares were for, I'm guessing a sort of skylight or ceiling configuration.
Ceiling panels of the new London Crossrail (Elizabeth Line) station at Liverpool St, London. The pattern is supposed to reflect the pinstripes of the suits of bankers who work in the area.
The Cafe Cordina in Valletta is something of an institution. Although the Cordina only occupied the building after WWII it reused the opulent interior of the former Grand Hotel. The vaulted ceiling is decorated with gilt paper-mache-work that frames a series of allegorical paintings depicting the island's historical rulers.
The entrances to the various rooms filled with art at the Vatican Museum were often extraordinary works of art themselves. This one 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_2400
Interior Scenes and Ceilings from inside the Longleat House
"I Just Had To Look Up"
We visited Longleat with the local U3a Visits Group
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I like to say that photography for me is trying to show others the way I see something. I am not sure if I managed to instill in this photograph the atmosphere I feel in the Muddy Cup coffeehouse in New Paltz, with its high ceilings painted this coppery color. The warmth is palpable and I enjoy just relaxing in a soft chair and gazing up at it.
The late Georgian plaster vaulting under the tower at Dunchurch.
St Peter's at Dunchurch is an impressive red sandstone building dating largely from the 14th & 15th centuries, but rather restored in the 19th. It's impressive west tower changes colour in it's topmost stage and has a richly detailed parapet (sadly the carvings are worn, as is it's otherwise fine cusped west doorway).
The interior of the building is somewhat dark, due both to the colour of the stonework, and the mostly Edwardian stained glass (it's east and west windows are by Bryans, and often mistaken for Kempe's work). It feels like it has been stripped of much of it's antiquity, and this is attested to by the few fragments of the once fine medieval woodwork, stalls and benches all lost by the end of the Georgian period, with only five architectural panels worked into the more recent furniture in the chancel. otherwise the furnishings are all Victorian. There is an intriguing Baroque tablet in the north aisle with it's central inscription flanked by open marble doors, suggesting the entrance to a tomb.
A further ancient feature removed from the church has survived; the east window's fine 14th century geometric tracery remained in place until the late Victorian restoration when it was replaced with the present design. The old tracery was preserved and is now in the entrance hall of the Victoria & Albert Museum, London, where thousands of visitors walk past it each year, though likely very few ever notice it!
This church's tower is one of the most familiar anywhere to me, being a regularly seen landmark throughout my childhood, growing up in nearby Rugby. I even climbed to the top of it in 1992 via the scaffolding it was then shrouded in, whilst getting some experience cleaning the west window.