View allAll Photos Tagged classical
One cast stone (statuette on the left) and two hollow, plastic statuettes of famous classical musicians. I have several others, but need to find them!
Left to Right: Bach, Haydn and Rachmaninoff.
I don't usually post so many photos of the same doll in the same pose, but I couldn't resist with this doll - love everything about her. Even the bunny ears!
Hierapolis - Pamukkale
Unesco World Heritage List
en.wikipedia.org/wiki/Hierapolis
Hierapolis (Ancient Greek: Ἱεράπολις, lit. "Holy City") was an ancient city located on hot springs in classical Phrygia in southwestern Anatolia. Its ruins are adjacent to modern Pamukkale in Turkey and currently comprise an archaeological museum designated as a UNESCO World Heritage Site.
This was commissioned by the music department when I was on staff at Barnes & Noble's product development department. It was to be used on some gift packaging, but I left soon after this and don't know how or when it was finally used.
I have long loved to draw portraits with Prismacolor pencils, so this was sort of a fun twist on that ... not quite portraits, but more still life. I believe this was the last commercial piece I did in colored pencil. I'd like to do more as it's my favorite media. As with most of my colored pencil pieces, I snuck my name into part of the design. ;-)
Colored pencil on paper.
(MORE PICTURES IN COMMENTS)
Making a buck in the busy ol' tourist town called London.
This group have such energy & spunk.
Can't remember their name, but they always play in Covent Garden on the weekend.
So go on, brave the weather, get out there...
:D
London, U.K.
2007.
an architectural detail of the public library in Cooperstown NY; Ernest Flagg (1857-1947) was the architect of this classical building completed in 1898
4th January 2013 - 4/365
I don't really know what classical homoeopathy is or why it's different from regular homoeopathy but I like the skeptical character above the cafe next door showing his disdain for the practice.
Also if you look closely you may be able to see the reflection of a 365er snapping his photo...
. . . the kings of Travancore were known for their generous hospitality. Over 2000 people were served free meals in this grand dining hall on a daily basis. Each storey of this two-storeyed building is built to accomodate one thousand people at a time.
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Padmanabhapuram Palace (Tamil: பத்மநாபபுரம் அரண்மனை, Malayalam: പത്മനാഭപുരം കൊട്ടാരം) is located in at Padmanabhapuram Fort, in Padmanabhapuram, Kanyakumari District, Tamil Nadu, India. Padmanabhapuram is the former capital city of the erstwhile Hindu kingdom of Travancore. It is about 20km from Nagercoil, and about 50km from Thiruvananthapuram, Kerala. The palace complex is inside an old granite fortress around four kilometers long. The palace is located at the foot of the Veli Hills, which form a part of the Western Ghats. The river Valli flows nearby.
The palace was constructed around 1601 AD by Iravi Varma Kulasekhara Perumal who ruled Venad between 1592 and 1609. It is believed that the Thai Kottaram was built in 1550. The founder of modern Travancore, King Anizham Thirunal Marthanda Varma (1706–1758) who ruled Travancore from 1729 to 1758, rebuilt the palace in around 1750. King Marthaanda Varma dedicated the kingdom to his family deity Sree Padmanabha, a form of Lord Vishnu and ruled the kingdom as Padmanabha dasa or servant of Lord Padmanabha. Hence the name Padmanabhapuram or City of Lord Padmanabha. In the late 18th century, precisely in 1795 the capital of Travancore was shifted from here to Thiruvananthapuram, and the place lost its former glory. However, the palace complex continues to be one of the best examples of traditional Kerala architecture, and some portions of the sprawling complex are also the hallmark of traditional Kerala style architecture. The Palace though surrounded entirely by the State of Tamil Nadu is still part of Kerala and the land and Palace belongs to the Government of Kerala. This Palace is maintained by the Govt.of Kerala Archaeology Department. This palace may be the best to visit in anybody's pleasure trip to Thiruvananthapuram, if you are interested in history.
STRUCTURES
The Padmanabhapuram Palace complex consists of several structures:
- Mantrasala; the King's Council Chamber
- Thai Kottaram; the Queen Mother's Palace, constructed before 1550
- Nataksala; the Performance Hall
- A four-storeyed mansion at the centre of the complex
- Thekee Kottaram; the Southern Palace
COUNCEL CHAMBER
King’s Council chamber is the most beautiful part of the entire palace complex. It has windows, with coloured mica, which keep the heat and the dust away, and the interior of the council chamber remains cool and dark. Delicate and beautiful lattice work can be seen all over the council chamber.
The floor is also beautifully done, with a fine and perfect finish. The floor is dark and is made of a mixture of varied substances, including burnt coconut shells, egg white and so on. The remarkable aspect is that this particular floor finish and texture could not be duplicated in any other construction.
QEEN MOTHER´S PALACE
Mother’s palace, designed in traditional Kerala style, is the oldest construction in the entire palace complex and is believed to be constructed around mid-16th century. True to the traditional Kerala style, there is an inner courtyard, called 'nalukettu'. In the inner courtyard, sloping roofs from all four sided taper down. Four pillars on four corners support the roof.
On the south-west corner of the mother’s palace, there is a relatively small room, called the chamber of solitude or 'ekantha mandapam'. The chamber of solitude has very beautiful and intricate wood carvings of every description all around. Of particular interest is a pillar of single jackfruit wood, with very detailed and beautiful floral designs.
PERFORMANCE HALL
This is a relatively new building, constructed at the behest of Maharaja Swathi Thirunal, who reigned in Travancore from 1829 to 1846. He was a great connoisseur of arts, especially music and dance. He himself composed music and has left a rich legacy to classical carnatic music.
The Nataksala or the hall of performance has solid granite pillars and gleaming black floor. There is a wooden enclosure, with peepholes, where the women of the royal household used to sit and watch the performance.
CENTRAL MANSION
The four-storied building is located at the centre of the palace complex. The ground floor houses the royal treasury. The first floor houses the King's bedrooms. The ornamental bedstead is made of 64 types of herbal and medicinal woods, and was a gift from the Dutch merchants. Most of the rooms here and in other parts of the palace complex have built-in recesses in walls for storing weapons like swords and daggers. The second floor houses the King's resting and study rooms. Here the King used to spend time during fasting days. The top floor (called upparikka malika) served as the worship chamber of the royal household. Its walls are covered with exquisite 18th century murals, depicting scenes from the puranas, and also few scenes from the social life of the Travancore of that time. Ths top floor was supposed to be Sree Padmanabha Swamy's room. This building was constructed during the reign of King Marthandavarma. He was also designated as Padmanabha Dasa and used to rule the Travancore kingdom as a servant of Sree Padmanabha Swamy.
SOUTHERN PALACE
The southern palace is as old as the ‘Thai kottaram’ (Mother's palace), which would make it about 400 year old. Now, it serves as a heritage museum, exhibiting antique household articles and curios. Collections of items give an insight into the social and cultural ethos of that period.
OTHER FEATURES
The Padamnabhapuram Palace complex has several other interesting features:
- The palace is located in Kanyakumari district of Tamil Nadu state but administered by the Government of Kerala state.
- The clock tower in the palace complex has a 300 year old clock, which still keeps time.
- A big hall now bare, which can accommodate around 1000 guests, and where ceremonial feasts were held, on auspicious occasions.
- A secret passage, now blocked, through which the king, his immediate family members, and their entourage could escape to another palace, located several kilometers away in the event of any emergency. Name of this palace is Charottu kottaram.
- A flight of steps leads to a bathing pond, which has lost its freshness due to neglect and years of disuse.
- The palace complex also has a section of curios and several interesting objects:
- An entire room filled with old Chinese jars, all gifts by Chinese merchants.
- A variety of weapons (which were actually used in warfare), including swords and daggers.
- Brass lamps, wood and stone sculpture, a variety of furniture and large mirrors made of polished metal.
- A gallery of paintings depicting incidents from the history of Travancore.
- A wooden cot made of up to 64 wooden pieces of a variety of medicinal tree trunks
- Polished stone cot, meant for cool effect
- Toilet and well
WIKIPEDIA
Swedish institute garden, Paris
Other composition here: www.flickr.com/photos/roodixx/11826358174/in/photolist-j2...
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Since 1941 the former Pavilion of Fine Arts houses the Archaeological Museum of Seville. It was built between 1911 and 1919 in Neo-Renaissance style by Aníbal González for the Ibero-American exposition of 1929.
"Zephyr Dancing with Flora" 19th-century sculpture by Giovanni Maria Benzoni, with ancient Roman sculptures in the background; in the Detroit Institute of Arts.
11th Asia Pacific Dance Competition
July 17-19, 2009
Bangkok, Thailand
Please Do Not Use Without Permission.
Midtown Manhattan, New York City, New York, United States
The Joseph B. and Josephine H. Bissell House was originally constructed as one of five Italianate style brownstone row houses designed by architect Thomas Thomas and built in 1869 by owner and builder John W. Stevens. When the Bissell House was initially constructed, many row houses were being built on the side streets in the area below Central Park while larger mansions were being constructed along Fifth Avenue. By the early 20 century this area was the city’s most prestigious residential neighborhood and was known as Vanderbilt’s Row because of that family’s involvement in maintaining the elite character of the neighborhood. The house was purchased by Josephine H. Bissell in 1903 and she hired prominent architect Edward L. Tilton to alter the house by removing the traditional Italianate style brownstone facade and its high stoop and replacing it with a more fashionable neo-Classical style brick and limestone facade with an American basement plan.
The Bissell House facade is a rare example of a private residential commission by Tilton, who is particularly associated with the design of libraries. The facade features a bowed front, red and black brick laid in a Flemish bond pattern and limestone details including two prominent cornices with block modillions and scroll brackets. Mrs. Bissell lived in the house with her husband, Dr. Joseph B. Bissell, and their children and sold it shortly after his death. Dr. Bissell was a surgeon who did pioneering research in the treatment of cancer with radium. Several prominent physicians lived in the house in the first half of the 20century. The next owner was Dr. James Ramsay Hunt who lived and maintained an office in the house. Dr. Hunt was a preeminent neurologist who is known today because several neurological disorders bear his name. In 1943, Drs. Harry Sidney Newcomer and Marian Anastasia Staats Newcomer purchased the house. Dr. H. Sidney Newcomer was an inventor as well as a physician and his wife, Dr. Marian Newcomer, was the author of a book that provided medical advice to laypersons. Gradually the house went from residential to non-residential use and it is currently owned by a clothing manufacturer based in Italy.
Early History of the Site and House
The site of the Bissell house was part of the common land of New York City until 1851 when the Mayor, Aldermen and Commonality of the City of New York sold it to Stephen V. Albro,a grocer who had his business and residence at 328 Bowery at the time.The land remained vacant until 1869, when owner and builder John W. Stevens constructed five Italianate style brownstone row houses designed by architect Thomas Thomas at 44-52 West 55Street.The first owners of No. 46 were Felicia S. Lowndes and Louise A. Alker,who appear to be related,although it appears from the Trow’s City Directories that Lowndes did not live in the house. Members of the Alker and Lowndes families lived in the house until 1886.By 1900 subsequent owners, who do not appear to have lived in the house, rented the house to Maria L. Grouard and her sister Elizabeth P. Grouard. The Grouard sisters lived and ran a school for girls in the building.Blondelle Malone, an artist from South Carolina, was also living in the house in 1899-1900.
Joseph B. and Josephine H. Bissell
The house had a number of owners before Josephine H. Bissell purchased it from Sadie S. Dearborn in early 1903. Mrs. Bissell hired architect Edward L. Tilton to completely alter the front facade of the house by replacing the Italianate style brownstone facade and its high stoop with a more fashionable neo-Classical style facade with an American basement plan. The alteration was carried out between May 21, 1903 and June 27, 1904.Josephine H. Bissell and her husband, Dr. Joseph B. Bissell lived there with their four children and two female servants.Joseph B. Bissell was a surgeon who did pioneering research in the treatment of cancer with radium and was visiting surgeon for many years at Bellevue and St. Vincent’s Hospitals. He graduated from Yale University and the College of Physicians and Surgeons at Columbia University. In July 1915, he opened the Radium Sanatorium of New York at 203 West 70Street.
Earlier that same year, the Bissell’s eldest daughter Eugenie married Lawrence Millet, son of the late American artist Francis D. Millet, in the drawing room of the house.Dr. Bissell, a major in the U.S. Army during World War I, died in December 1918 while working as chief surgeon at Fort McHenry near Baltimore, Maryland. In the following year, Josephine Bissell sold the house to Dr. J. Ramsay Hunt.She later moved to Great Neck, Long Island and married William Bradford Merrill, general manager of the Hearst newspapers and the uncle of her son-in-law Lawrence Millet.
The Bissell house is a rare example of a private residential commission by Tilton. There is one other known example of a row house that was altered with a new front by Boring & Tilton. The house at 132 West 72 Street (within the Upper West Side/Central Park West Historic District) was one of five Renaissance Revival style brownstone row houses built in 1883-84 and designed by Gilbert A. Schellenger. In 1901-02, the front was replaced by Boring & Tilton’s design for a new brick and ashlar facade that featured a bowed front at the third and fourth storiesand stone details such as quoins and keystones.
Subsequent History
James Ramsay Hunt bought the house from Josephine Bissell a few months after being discharged from the military in 1919, and lived in the house with his wife Alice St. John Nolan Hunt and their two children until his death in 1937. He was a preeminent neurologist who is known today because several neurological disorders bear his name.Dr. Hunt was educated at the University of Pennsylvania and was stationed in France in the medical corps of the U.S. Army during World War I. The Hunts hosted dinner parties each week in their home that were attended by others within the medical profession and wealthy members of the business world, according to their daughter, Alice Hunt Sokoloff.During this time, he was a professor of neurology at Columbia University and had consulting privileges at several hospitals. He eventually moved his office to the ground floor of the house. He recorded his experiences with private patients from 1903 to 1937 in what are known as the James Ramsey Hunt Casebooks. The Hunt family continued to live in the house after his death; however, the house was foreclosed by the Bowery Savings Bank in 1940 and then sold by the bank to Drs. H. (Harry) Sidney Newcomer and Marian Anastasia Staats Newcomer in 1943.
Dr. Marian Newcomer was educated at the Syracuse University Medical School and was best known as the founder of the Mater Christi Guild, a Catholic guidance center for the assistance of young people in family difficulties, and as the author of a 1936 book, Bewildered Patient, which provided medical advice for laypersons. She maintained an office in the house.Her husband, Dr. H. Sidney Newcomer, developed a three-stage amplifier using thermionic valves that amplified nerve action currents with fellow Johns Hopkins School of Medicine student Herbert S. Glasser in 1921.Newcomer also invented and received several U.S. patents for optical devices. In 1930 he exhibited an anamorphic lens that was used as a projection device. Similar research was being done in France by Henri Chretien at the same time. This technology developed into Cinemascope in the 1950s.Newcomer was associate medical director of the pharmaceutical company, E. R. Squibb and Sons, when they lived in the house. According to a Certificate of Occupancy issued in 1944and the New York Telephone Company Address Directories, there were non-residential uses in the building while the Newcomers lived there; these included Marian Newcomer’s Mater Christi Guild, Dioptric Instrument Corp., a manufacturer of precision lenses, and Reach Yates Matton Inc., an advertising firm.
In 1954, H. Sidney Newcomer sold the house to Edward A. Viner and it served as the main office of Edward A. Viner & Co., Inc., an investment firm. In addition to offices, a Certificate of Occupancy dated 1954 indicates that there was a laboratory in the cellar and a duplex apartment at the fourth and fifth stories.After the building was sold by the Estate of Edward A. Viner in 1956 it housed a variety of commercial firms, mostly in the garment industry.The owner Jean Robert Ltd., a clothing retailer, altered the building by replacing the windows and enlarging the door opening in 1987 and received a new Certificate of Occupancy that did not include any residential use.Les Copains, a manufacturer of women’s clothing based in Italy has occupied the premises as its U.S. headquarters since purchasing the building in 2001.
Design and Construction
In the late 19 century, the New York City row house began to be transformed by architects and housing developers interested in moving beyond the traditional form to achieve a more “scientific division of space,” while at the same time effecting an “artistic disposition” on the interior as well as the exterior.One of the most notable solutions was what came to be called the American basement plan. According to architectural historian Russell Sturgis, the American basement plan was first introduced around 1880. It gained widespread popularity during the 1890s and first few years of the 1900s, when it was promoted in the architecture and real estate press as a practical, stylistic, and even social improvement over the speculatively built brownstone row houses that had predominated into the latter half of the 19century. In the traditional row house plan, the main entrance was reached by a tall flight of stairs—the stoop, from the Dutch for “step”—which was set to one side of the facade. The main reception hall shared the first floor with the parlor, beyond which was usually another parlor, a library, or sometimes a dining room. More often the dining room was located in the front of the raised basement, which was entered via a short flight of stairs sunk beneath the stoop; visitors to the house would therefore enter on the level of the family’s main living space. The Bissell house, when constructed in 1869, was a traditional row house.
The entrance to an American basement plan row house was instead lowered virtually to street level, and was often centered on the facade. The resulting changes in the interior arrangement of space were quite dramatic; the main entrance hall and stair now occupied the front of the ground story with the kitchen behind, and on the first floor the parlor now occupied the entire building frontage, separated from the rear dining room by a stair hall that functioned as a secondary reception hall. Moving the entrance to the center of the ground floor created the possibility of a generous foyer leading to a grand main stairway, and a larger, better lit parlor occupying the entire building frontage on the first floor.Architecture critic Montgomery Schuyler summed up the innovations embodied by the “New New York House,” writing in 1906 for Architectural Record that “…there is a practical consensus to the effect that the “American basement,” with the full frontage available on the second floor, is the most convenient arrangement, and the most economical in reality in spite of the ‘waste’ of the entrance hall. And the narrower the front, the more desirable it is, practically and especially architecturally, that the entrance be at the centre.”
The introduction of this new row house type coincided with increased stylistic experimentation by architects and developers seeking to create distinguished facades that would be readily marketable as private, upper-class residences. Fostered in part by the classical styles used at the Chicago World’s Columbian Exposition of 1893, many of the row houses employing the American basement plan were given facades in a variety of architectural styles including Renaissance Revival, Modern French, Beaux-Arts, and Georgian Revival.
After the turn of the century, brownstone row houses throughout the city were remodeled by the removal of the stoops, rearranged of the interior floors layouts and, sometimes, the replacement of the whole front facade. In 1903 architectural critic Herbert Croly observed that high-stooped brownstone dwellings had become “extremely unfashionable, both in design and plan” and described a new movement “gradually gathering momentum toward the substitution of reconstructed American basement dwelling for old brownstone fronts.”There was also an increasing desire for individualized designs. Reacting against “the monotony of the once fashionable … brownstone-front, in blocks of a dozen of more houses exactly alike,”architects and developers entered into “a persistent and deliberate striving after individuality” using a variety of different styles, designs, and materials to create distinctive facades that would be readily marketable as private upper-class residences.
The facade alteration by Edward L. Tilton in 1903-04 for the Bissells altered the house from a traditional row house plan to an American basement plan row house and removed the Italianate style brownstone facade and replaced it with a then-fashionable neo-Classical style brick and limestone facade. Tilton employed red and black brick laid in a Flemish bond pattern with limestone details and a bowed front at the first through fourth stories. The house has two prominent limestone cornices above the first and fourth stories with block modillions and scroll brackets. The triple windows at the second and third stories have continuous limestone surrounds with pilasters between the windows and a paneled spandrel between the second and third stories. The Bissell house is a distinguished example of the fashionable townhouses that once characterized the neighborhood.
Description
The Bissell House is a five-story building that is situated on a rectangular lot measuring 20 feet by 100.5 feet. The front facade is constructed of red stretcher and black header bricks laid in a Flemish bond pattern above the first story; except that at the eastern and western lot lines, where the facade is slightly recessed, it is constructed of red brick and projects above the cornice forming side parapet walls that are capped by stone. There are two wide granite steps that lead to the front door. The first four stories have a bowed front. The first story is constructed of limestone with a wide molded door surround having the building number (“46”) at the center above the door and is surmounted by a prominent cornice with large block modillions and scroll brackets. The door and window openings at the first story were altered in 1987 to accommodate an enlarged door opening that has four paneled wood doors set within a wood return. Non-historic light fixtures and bronze plaques (“Les Copains”) are located on either side of the doors and there is a Siamese connection, two remote utility meters with exposed conduit and a metal plate to the east of the door. There is an intercom and card entry panel on the eastern end of door return.
A two-story molded limestone window surround at the second and third stories has square pilaster mullions with simple capitals, inset panels between the second and third stories and above the third story windows and is surmounted by a molded cornice. There is a molded limestone band between the third and fourth stories behind the cornice that forms a continuous sill for the fourth story windows. The second and third stories have triple windows with multi-pane wood casements and multi-pane wood transoms. A flagpole was attached to the sill of the center third story window after 1939. The fourth story has three multi-pane wood casement windows, above the windows is a prominent limestone cornice with block modillions and scroll brackets and a molded band beneath the brackets that form a continuous lintel for the fourth story windows. The fifth story is set-back from the bowed front of the lower stories and has three single windows with splayed red brick lintels and one-over-one double-hung windows that appear to be wood sash. The windows were replaced in 1987. The molded roof cornice is partially constructed of bronze and has four roundels. There is a non-historic metal rooftop railing and a metal leader at the western end of the facade.
The visible part of the western facade, which projects beyond the adjacent setback row house, is constructed of red stretcher and black header bricks laid in a Flemish bond pattern.
- From the 2010 NYCLPC Landmark Designation Report
Model: Saint Alkaline
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Classical ballet tutu in terracotta silk dupion, white net, gold coloured appliques and topaz crystals.
The Gateshead Schools Youth Orchestra performing during the concert.
Our children's ‘In Celebration!’ concert was held in the presence of The Mayor of Gateshead Councillor Malcolm Brain and celebrated some of the best young musical talent in the North East. Winners from this year's Avison Ensemble Young Musicians' Awards were joined by the Gateshead Schools Youth Orchestra (conducted by John Treherne MBE) and the Gateshead Schools Senior Wind Band ‘Notability’ (directed by David Milner). www.g-y-o.org.uk
The concert included the presentation of the 2013 Young Musicians' Awards by The Mayor of Gateshead. The engraved glass awards were created by the North East glass artist Dominic Fonde and are inscribed with music from the Avison workbooks. These are displayed in the winners' schools for a year. The Awards were founded in 2006 and this year's Awards and concert have been supported by the Esmée Fairbairn Foundation. www.esmeefairbairn.org.uk
The Avison Ensemble is the outstanding period instrument orchestra based in Newcastle upon Tyne, which plays and popularises the music of Charles Avison (1709-1770) and other English classical composers of the Baroque period, such as Garth, Arne and Herschel. The Ensemble also performs Purcell, Handel, Vivaldi, Corelli, Geminiani, Pergolesi, Teleman, Rameau, Bach, Mozart, Haydn and Beethoven.
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Ralph Waldo Emerson. “The happiest man is he who learns from nature the lesson of worship”
Colors:
Black
Kameomiruku
Gureju
Chocolat
Outer:
(Black, Kameomiruku, Gureju)
Wool 81% Angora 7%
Nylon 12%
(Chocolat)
Urumeranji
Wool 68%
Angora 3%
Polyester 25% nylon 4%
Lining:
Particle twill
100% polyester
Chemical Lace
Feikufatepu
Velveteen Ribbon
Body:
Length 101cm (BNP ~)
Shoulder width 34cm
Sleeve length 62cm (except fur)
Cuff 26cm (external dimension)
Bust 91cm (external dimension)
Waist 78cm (external dimensions / adjustable with ribbon belt)
Hem around 315cm
Cape:
Length 29.5cm (rear / BNP ~)
※ ribbon with detachable cape fur cuffs.
※As for shoulder length at nude size 37cm. We assume.
Memo:
※ The fur of black, the ribbon and race/lace are attached to the black chocolate.
※ Only the chocolate other color and the frontal land differ.
※ Length of the waist ribbon becomes 20cm short.
Lakshmi Parthasarthy, Bharata Natyam, Mumbai
Lakshmi is a disciple of Padmashree Smt. Chitra Visweswaran’s
Chidambaram Academy of Performing Arts, Chennai. Recipient of the
CCRT Scholarship from Govt. of India. She has been teaching Bharata
Natyam in Mumbai since June 2008.. She has participated in several
dance productions of Smt. Chitra Visweswaran performed at various
festivals all over the country, including the Konark Dance Festival
and the Mahabalipuram Dance Festival. Lakshmi was awarded the
prestigious ‘Yuva Kala Bharathi’ by Bharat Kalachar in 2009.