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South Transept, Netley Abbey, c1880, (1897). Artist: Alexander Francis Lydon

South Transept, Netley Abbey, c1880, (1897). Artist: Alexander Francis Lydon


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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]

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Media ID 14985187

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Abbey Af Lydon Alexander Francis Alexander Francis Lydon Alexander Lydon Cistercian Disrepair Frederick Frederick Ross Hampshire Lydon Mackenzie Overgrown Ross Ruined Abbeys Of Britain South Transept William Mackenzie Netley Netley Abbey Thirteenth Century Wood Engraving


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EDITORS COMMENTS
This print takes us back in time to the South Transept of Netley Abbey, captured around 1880 by the talented artist Alexander Francis Lydon. The image is part of a collection featured in "The Ruined Abbeys of Britain" by Frederick Ross, published in London in 1897. In this mesmerizing shot, we witness the haunting beauty of an overgrown medieval ruin nestled amidst the picturesque landscape of Hampshire. The disrepair and decay tell a story of centuries past, evoking a sense of mystery and awe. The ruined abbey stands as a testament to the rich history and enduring legacy of Christianity in Britain. Within this atmospheric setting, we see a group of men engrossed in deep conversation while surrounded by the remnants of religious architecture. Their presence adds scale to the scene, emphasizing both its grandeur and desolation. Lydon's wood engraving technique beautifully captures every intricate detail, from the weathered stone walls to delicate foliage reclaiming its territory. This print transports us back to a time when ruins like Netley Abbey were not only physical structures but also symbols that inspired literature and art. As we gaze upon this remarkable piece from "The Ruined Abbeys" we are reminded once again that even through decay and abandonment, these ancient sites continue to hold immense cultural significance for generations yet to come.

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