Disrepair Collection (page 6)

France, Cordes-sur-Ciel. Weathered shutters and window

The So-Called Tombs of the Kings, 1902. Creator: John Fulleylove
The So-Called Tombs of the Kings, 1902. Final resting place for the family of Queen Helene of Adiabene in the first century AD. From " The Holy Land", painted by John Fulleylove, R.I

City Gate in Tunis, 1881. Creator: Unknown
City Gate in Tunis, 1881. From " The Leisure Hour 1881", by. [The Religious Tract Society, London, 1881]

The Haunted House, 1881. Creator: Unknown
The Haunted House, 1881. From " The Leisure Hour 1881", by. [The Religious Tract Society, London, 1881]

A Local Woman of the Orkney Islands outside her house. Orkney was the site of a Royal Navy base at Scapa Flow, where the sailor who sent this card was stationed (on HMS Royal Arthur) in June 1916

Melrose Abbey. Melrose Abbey in the Scottish Borders was founded by Cistercian monks in 1136 at the request of King David I of Scotland

Low Light, North Shields, c1896. Artist: M Aunty
Low Light, North Shields, c1896. From Pictorial England and Wales. [Cassell and Company, Limited, London, Paris & Melbourne, c1896]

The Centre of the Cornish Mining District, c1896. Artist: JC Burrow
The Centre of the Cornish Mining District, c1896. From Pictorial England and Wales. [Cassell and Company, Limited, London, Paris & Melbourne, c1896]

Light streaming through window on sand covered house in Kolmanskop Ghost Town, an old diamond-mining town where shifting sand dunes have encroached abandoned houses, Namib Desert Namibia, October 2013

Chick Lane, City of London, 1825. Artist: Robert Blemmell Schnebbelie
Chick Lane, City of London, 1825. West view of Jonathan Wilds House on Chick Lane with figures and a horse and cart in the foreground

United States, South Carolina, Yemassee, Old Sheldon Church Ruins

The Old Mission in San Antonio, 19th century. From The Colonial Portfolio. [The Werner Company, London]

Sitio, 1895. Artist: Wille Reichardt
Sitio, 1895. From Sao Paulo by Gustavo Koenigswald. [S. Paulo, 1895]

Putting on the Casing, 1877, (1910). Cleopatras Needle was originally erected in the Egyptian city of Heliopolis on the orders of Thutmose III, around 1450 BC

Beginning the Framework, 1877, (1910). Cleopatras Needle was originally erected in the Egyptian city of Heliopolis on the orders of Thutmose III, around 1450 BC

Prising Up the Needle, in order to build the Framework under it, 1877, (1910). Cleopatras Needle was originally erected in the Egyptian city of Heliopolis on the orders of Thutmose III

The Needle lying as it fell at Alexandria, 1877, (1910). Cleopatras Needle was originally erected in the Egyptian city of Heliopolis on the orders of Thutmose III, around 1450 BC

Vestry, Rievaulx Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Vestry, Rievaulx Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Choir, from North, Rievaulx Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Choir, from North, Rievaulx Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Choir, looking North, Rievaulx Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Choir, looking North, Rievaulx Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

From the North, Rievaulx Abbey, c1880, (1897). Artist: Alexander Francis Lydon
From the North, Rievaulx Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Rievaulx Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Rievaulx Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Nave Looking West, Jedburgh Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Nave Looking West, Jedburgh Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Norman Arches in Nave, Jedburgh Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Norman Arches in Nave, Jedburgh Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

From South-East, Jedburgh Abbey, c1880, (1897). Artist: Alexander Francis Lydon
From South-East, Jedburgh Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Nave, from South Aisle, Jedburgh Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Nave, from South Aisle, Jedburgh Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Jedburgh Abbey, 1882, (1897). Artist: Alexander Francis Lydon
Jedburgh Abbey, 1882, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

North Transept, Whitby Abbey, c1880, (1897). Artist: Alexander Francis Lydon
North Transept, Whitby Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

North Aisle, Whitby Abbey, c1880, (1897). Artist: Alexander Francis Lydon
North Aisle, Whitby Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Whitby Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Whitby Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Furness Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Furness Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

South Transept, Netley Abbey, c1880, (1897). Artist: Alexander Francis Lydon
South Transept, Netley Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Arches in South Transept, Netley Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Arches in South Transept, Netley Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Interior, Looking East, Netley Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Interior, Looking East, Netley Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Netley Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Netley Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Chapter House, Kirkstall Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Chapter House, Kirkstall Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Kirkstall Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Kirkstall Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

From the Cloister Court, Dryburgh Abbey, c1880, (1897). Artist: Alexander Francis Lydon
From the Cloister Court, Dryburgh Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Dryburgh Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Dryburgh Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Abbots Kitchen, Glastonbury Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Abbots Kitchen, Glastonbury Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

St. Josephs Chapel, Interior, Looking East, Glastonbury Abbey, c1880, (1897). Artist: Alexander Francis Lydon
St. Josephs Chapel, Interior, Looking East, Glastonbury Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Doorway in St Josephs Chapel, Glastonbury Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Doorway in St Josephs Chapel, Glastonbury Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

St. Josephs Chapel, from North-West, Glastonbury Abbey, c1880, (1897). Artist: Alexander Francis Lydon
St. Josephs Chapel, from North-West, Glastonbury Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Glastonbury Abbey, c1880, (1897). Artist: Alexander Francis Lydon
Glastonbury Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Arches of Transept, Bolton Priory, c1880, (1897). Artist: Alexander Francis Lydon
Arches of Transept, Bolton Priory, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

From the North, Bolton Priory, c1880, (1897). Artist: Alexander Francis Lydon
From the North, Bolton Priory, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

From the West, Bolton Priory, c1880, (1897). Artist: Alexander Francis Lydon
From the West, Bolton Priory, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

Bolton Priory, 1882, (1897). Artist: Alexander Francis Lydon
Bolton Priory, 1882, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]

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Disrepair can be found in the most unexpected places, like T. E. Lawrence's House, where time has left its mark on every corner. In Philadelphia, Eastern State Penitentiary stands as a haunting reminder of its past, with crumbling walls and an eerie silence that fills the air. The Grand Portico of the Temple of Philae in Nubia tells a story through its faded colors and weathered stones, transporting us to a bygone era. Kirkstall Abbey's North-West view captures nature reclaiming what was once man-made beauty; vines intertwine with ancient ruins, creating a mesmerizing sight. Reykjanesskagi's rusting fishing boat stands as a testament to the relentless power of the sea, slowly succumbing to time and neglect. Derelict houses in Manchester UK reveal glimpses into forgotten lives and lost dreams; their dilapidated state echoes stories untold. St. Francis Praying in San Damiano Church showcases faded frescoes that have witnessed centuries pass by but still hold an ethereal charm. The abandoned red room evokes mystery and intrigue; peeling wallpaper reveals layers of history waiting to be unraveled. A pastel hallway leads nowhere but invites our imagination to wander through forgotten memories. An abandoned piano sits covered in dust, keys untouched for years; it whispers melodies from another era when music filled these empty halls. In an abandoned castle lies another lonely piano waiting for someone to breathe life back into its silent strings. The art deco control room stands frozen in time—a relic from an industrial age now obsolete—its intricate panels fading away amidst broken switches and dusty dials. In these snapshots lie stories untold—remnants of forgotten moments that remind us of our impermanence and the beauty found even within decayed fragments.