Sponsored images from 
View allAll Photos Tagged window
Look! A window!
Old glass and trees and townhouses. And a cloudy London sky.
I didn't get that many pictures at the V & A, mostly because we looked at a lot of paintings and textiles, and we were specifically asked not to take pictures of the former, and I tended on the err on the side of caution and not take pictures of the latter. (It probably would have been okay without flash, but I really don't want the demise of centuries-old fabric on my conscience.) There also seemed to be a general correlation that although I enjoyed everywhere we went, the places I enjoyed the most I have the fewest pictures of. Perhaps because that was because I was busy looking and not playing with the camera.
We loved the V & A. We were a bit disappointed with our walking tour through it, as although our guide gave some really interesting background, especially in regards to Prince Albert's interest in design and the museum's history, she seemed to spend too much time on too few things. We would have liked to have had more objects pointed out in exchange for a little less background on each.
It was a fascinating place, and I feel we only barely scratched the surface. We saw Peter the Great's snuffboxes, and a huge collection of sketches by Turner. There was a colossal Persian rug that was lit for only ten minutes every half hour to prevent its colours from fading (of course, there were people taking flash pictures of it). There was a beautiful collection of Victorian gowns (yes, so we love old dresses, okay?). I took a wrong turn trying to find a certain gallery, and wandered into a room of magnificent cartoons by Raphael. (In a bit of synchronicity, those cartoons just came up in a book I was reading. And that's 'cartoon' as in a design for a picture, not the funny pages.) One of the things our guide told us was that every time an old building is demolished in the UK, the V & A sends someone out to assess whether it is worth preserving. If they decide it is, they actually take down the interior and transport it to the museum, to be displayed or put into storage until it can be displayed. We sat in the parlor of a 18th-century townhouse that had been destroyed fifty years ago. I turned a corner and found myself looking at a room that looked amazingly like a room I thought existed only in my head. It was the interior from a Tudor-era house.
Even the washrooms were amazing. Rachel and I went to the loo--and then stepped out to call Jen in to have a look at it. Yes, it was that lovely.
Looking out from Downhill Demesne and Hezlett House, Castlerock, County Londonderry, Northern Ireland.
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 !!
Christ calling Peter and Andrew as they are fishing in Lake Gallilee, a window at Fishbourne church, West Sussex.
I want to introduce you to the tram shack I grew up in. I slept in the beds, staring at the ceiling. I opened the windows and dropped into the dining table the other side.
I hurt myself on the bars near the doors and lost toys down the retractable windows. I crawled under the tram and have many Christmas memories of this tram.
This is the Jenkin Tram shack at Pt Parham and if you ask the right people, you can rent it for some relaxing time at the beach.
My Grandfather bought the Tram and land back in 1955.
I believe the tram is a Type C. It has been in my family since the 1950's.
It is a Straight roof combination car - nickname 'Desert Gold'
This class of Adelaide tram included No's 171 - 190. (This is a photo of 190)
They were introduced in: 1918
Withdrawn: 1954
Electrics: 2 x 50hp GE 202 motors, magnetic track brakes
Size: 34ft x 8ft 11in
Seating/Crush load: 40/102
These trams were very fast cars which were used to compete with unlicensed private (known as pirate) buses in the 1920s.
www.trammuseumadelaide.com.au/01_things_02history.html
Originally known as ‘Desert Golds’ after a fast race horse of the time.
During the First World War (1914-18), the MTT (Municipal Tram Trust) urgently needed more tramcars because of passenger traffic generated by line extensions and the Port Adelaide system. Wartime conditions made it hard to obtain equipment, so twenty tram cars similar to the seventy type A trams were built – again by Adelaide car-building firm Duncan & Fraser. They looked very modern because of the simple arched roof, but this was simply a cost saving measure, not a design feature.
Larger motors made them faster. Like the A types they were modelled on, they seated forty passengers and carried a further sixty-two standees.
A planned purchase of large trams was delayed by World War I. Type C trams were small combination cars, built in 1918–1919 as an interim measure. They were similar in basic design to the older A type but had a more modern curved roof rather than a clerestory roof. During their construction, the old motors from the E type (General Electric 202 motors) were fitted to these new trams. Rated at 50 hp each compared to the 33 hp units fitted to the A types, these trams were considerably faster.
Due to the their consequent higher speeds they became known as Desert Gold trams, after a New Zealand racehorse that had won races in Australia at the same time. This speed became useful in competition against unlicensed buses in the 1920s, and they were used in peak service until 1952 with the last use for the royal visit of 1954. Trams 181 to 190 inclusive were allocated to the Port Adelaide system for a short period in the 1930s before closure of the system, mainly used on the Port Adelaide - Albert Park line.[49] During the 1930s, the original Hale Kilburn seating fitted to these trams were replaced with Brill Winner seats taken out of 20 A type trams (numbers unknown).
Introduced 1918–1919
Builder Duncan and Fraser
Weight 11.20 tons
Height 10' 5"
Length 34' 0"
Width 8' 11"
Truck type Brill 21E
Traction motor type (2x) General Electric 202
HP per motor 50 hp per motor
Type of controller Westinghouse T1F
Canon EOS 5D, EF L 24-70
2011
Img_7065
The East window in St John the Baptist church, Tideswell, Derbyshire combines a Jesse window with scenes from the life of its patron saint. Glass by Heaton, Butler & Bayne. Installed 1875 by Cecil Foljambe, in memory of his wife, Louisa , their son and of other ancestors, who were buried in the church over several generations.
East window of the north aisle at Alrewas church, the work of C.E.Kempe and depicting the Annunciation at it's centre.
two hundred and sixteen
At this point I would like to indulge in a good-natured gripe about one thing that really bothers me when I go around window shooting.
I don't know what had set our culture off to become so paranoid, but it really bothers me when people shoo me off when I am taking photos of their very pretty shop fronts.
Maybe it's just me, but I come from the school of thought where beauty has to be shared.
To shopowners who subscribe to the "see-but-don't-touch" policy, when you tactlessly wave us away, I hope you realise that you will have at best, lost a customer, or at worst, lost the free publicity rendered.
We just like admiring, that's all.
Canon AE-1, Ferrania Solaris, ISO800
Fenesta provides information about interior design of windows, window interior design so that interior windows can be constructed or modified so as to give maximum benefit to it users.
A closer look at the large stained glass window placed over the main entrance of St. Patrick's Cathedral
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.
Peterborough Cathedral, Peterborough, Cambridgeshire
Cambridgeshire is unusual as an English county in having not one but two major medieval cathedrals, and unique in that neither is in the county town. Peterborough Cathedral's setting in the heart of the busy city is quite different to that of its neighbour Ely Cathedral, which dominates a small, beautiful market town. There is something special about stepping out of Peterborough's Bridge Street, with its department stores, and Cathedral Square, with its chain restaurants, into the peaceful precinct below the superb Early English west front, a match for the spectacular frontages of both Wells and Lincoln.
Peterborough cathedral is dedicated as the Cathedral Church of St Peter, St Paul and St Andrew, and these Saints images appear in statue and stained glass form several times. Originally the church of a Benedictine Abbey, the current structure was begun in the spring of 1118, and was largely complete by about 1250. The vast wooden roof of the nave is, amazingly, the original, one of only four such roofs in Europe. The fire of 22nd November 2001 came within minutes of destroying it. As it was, the painstaking and expensive process of cleaning the roof, which had just been completed, had to be immediately repeated. The most spectacular part of the cathedral is not Early English at all, but the late medieval retrochoir with its fan-vaulting of 1496-1508, by John Wastell who used the same trick at Kings College Chapel across the Fen in Cambridge.
That Cambridgeshire can claim Peterborough Cathedral is an accident of history, of course, because Peterborough only became a part of the much enlarged county of Cambridgeshire in 1974. In fact, almost all of the county of Cambridgeshire is in the Diocese of Ely, including much of the city of Peterborough. All of the city south and east of the River Nene is in the Diocese of Ely, not Peterborough. And yet, the Cathedral close has a frontage that is almost on the Nene. Because of this, Peterborough Cathedral is closer to the edge of its Diocese than any other English cathedral, including both St Paul's Cathedral and Southwark Cathedral, separated as they are by just a few hundred yards and the River Thames.
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!
East window of St Mary's, Bloxham.
An early work dating from 1869 by Morris, Marshall & Faulkner (founded 1861, later to become Morris & Co in 1875) and one of the best examples of the early stained glass.
This design was a collaboration of Philip webb, Edward Burne Jones, and William Moris himself, each responsible for specific elements or figures within the window.