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From the North-West, Kirkstall Abbey, c1880, (1897). Artist: Alexander Francis Lydon
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From the North-West, Kirkstall Abbey, c1880, (1897). Artist: Alexander Francis Lydon
From the North-West, Kirkstall Abbey, c1880, (1897). From The Ruined Abbeys of Britain by Frederick Ross. [William Mackenzie, London, 1897]
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Media ID 14985173
© The Print Collector
Abbey Af Lydon Alexander Francis Alexander Francis Lydon Alexander Lydon Direction Disrepair Frederick Frederick Ross Kirkstall Kirkstall Abbey Leeds Lydon Mackenzie North Northern Remains Ross Ruined Abbeys Of Britain Sheep West Yorkshire William Mackenzie Faaade Wood Engraving
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EDITORS COMMENTS
This print takes us back in time to the late 19th century, capturing the majestic beauty of Kirkstall Abbey from its north-western perspective. The artist behind this masterpiece is Alexander Francis Lydon, whose attention to detail and artistic flair are evident in every stroke. The image showcases the architectural grandeur of Kirkstall Abbey, a renowned religious site located in West Yorkshire, England. Standing tall amidst lush greenery, the abbey's facade exudes an aura of tranquility and spirituality that has stood the test of time. In this snapshot of history, we see a group of men and women admiring the ruins with awe-struck expressions on their faces. Their presence adds a sense of scale to the scene while emphasizing how these ancient structures have captivated generations throughout centuries. Notably, a flock of sheep grazes peacefully nearby, reminding us that nature coexists harmoniously with human creations. This juxtaposition symbolizes both man's ability to shape his surroundings and nature's resilience against the passage of time. The photograph originates from "The Ruined Abbeys of Britain" by Frederick Ross - a literary work published by William Mackenzie in London during 1897. It serves as an invaluable historical document for those interested in British heritage and architecture. As we gaze upon this remarkable wood engraving brought to life by Lydon's skillful hand, we can't help but feel transported back into history—a testament to both our fascination with ruins and our appreciation
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