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Converting this image to black and white helped emphasize the building's dramatic curves and geometric patterns. The upward perspective and tight cropping create a sense of power and momentum in the architectural composition.
O Claustro Pequeno, núcleo mais antigo do Convento da Madre de Deus, atual Museu Nacional do Azulejo, em Lisboa, exibe uma rica combinação de estilos arquitetónicos, do gótico tardio ao Renascimento. Fundado em 1509 pela Rainha D. Leonor, o claustro apresenta paredes revestidas a azulejos, destacando-se o padrão geométrico "ponta de diamante", em relevo, característico da azulejaria maneirista dos finais do século XVI, com influências sevilhanas e produção em Lisboa. Integra ainda um lavabo ou fonte em pedra, elemento comum nos claustros conventuais. Ao longo dos séculos, o complexo sofreu alterações, nomeadamente sob o reinado de D. João III e após o terramoto de 1755, acumulando traços manuelinos e barrocos. O piso superior apresenta uma galeria de arcadas em pedra calcária, assentes em colunas com capitéis coríntios, com painéis de azulejos hispano-mouriscos em padrão geométrico azul e amarelo. O espaço serve como um testemunho vivo da evolução da azulejaria em Portugal.
The Small Cloister, the oldest part of the Madre de Deus Convent, now the National Tile Museum in Lisbon, displays a rich combination of architectural styles, from late Gothic to Renaissance. Founded in 1509 by Queen Leonor, the cloister has walls covered with tiles, featuring the geometric “diamond point” pattern in relief, characteristic of Mannerist tile work from the late 16th century, with Sevillian influences and production in Lisbon. It also includes a stone washbasin or fountain, a common feature in convent cloisters. Over the centuries, the complex underwent changes, particularly during the reign of King João III and after the 1755 earthquake, accumulating Manueline and Baroque features. The upper floor features a gallery of limestone arcades, resting on columns with Corinthian capitals, with panels of Hispano-Moorish tiles in a blue and yellow geometric pattern. The space serves as a living testimony to the evolution of tile work in Portugal.
The Westhafen Tower is a striking modern skyscraper located in Frankfurt, Germany.
Completed in 2004, it stands 109.8 meters tall with 30 floors. Its most iconic feature is the cylindrical design, covered with a green-tinted, diamond-shaped glass facade, often referred to as "the Geripptes" for its resemblance to a traditional Frankfurt apple wine glass.
Positioned near the Main River, the tower is primarily used for office spaces and is a prominent part of the city's skyline, blending contemporary architecture with its vibrant surroundings.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: 1872 National Democratic Convention Admission Ticket
Political Party: Democratic
Election Year: 1872
Date Made: 1872
Measurement: Ticket: 2 3/4 x 4 1/4 in.; 6.985 x 10.795 cm
Classification: Ephemera
Persistent URI: http://hdl.handle.net/1813.001/619j
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01501
Title: Cairo. Egyptian Home (Interior, Staircase)
Photograph date: ca. 1865-ca. 1889
Location: Africa: Egypt; Cairo
Materials: albumen print
Image: 16.4173 x 11.1417 in.; 41.7 x 28.3 cm
Style: Modern Egyptian
Provenance: Gift of Andrew Dickson White
Persistent URI: http://hdl.handle.net/1813.001/5tqj
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
We had some help with the geocoding from Web Services by Yahoo!
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: 1908 Republican National Convention Admission Ticket
Political Party: Republican
Election Year: 1908
Date Made: 1908
Measurement: Ticket with 2 stubs: 2 3/4 x 7 1/4 in.; 6.985 x 18.415 cm
Classification: Ephemera
Persistent URI: http://hdl.handle.net/1813.001/61b3
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Description:
Plate XXV: Pompeian No. 3 (Collection of mosaics from Pompeii and the Museum at Naples. - From the author's sketches.)
Owen Jones (British designer, 1809-1874)
1856 57 cm (page height) x 39 cm (page width)
From: Jones, Owen. The grammar of ornament ; Illustrated by examples from various styles of ornament. One hundred and twelve plates, Folio ed., London: B. Quaritch, 1910
See MCAD Library's catalog record for this book.
Style period: Islamic, Spain (Nasrid period)
Title/Subject: Alhambra: Mexuar (Concil Chamber)
View: interior, detail view of décor showing calligraphic stucco work and glazed ceramic tile mosaic in geometric patterns
Date: 14th century CE
Classification: Architecture; mosaic
Work type: buildings, houses, official residences, palaces; building divisions, interior spaces, halls
Location: Granada, Andalusia, Spain
Image_Filename: ISP011
original photograph by Allan T. Kohl
Rights: Creative Commons (Use with attribution)
This beautiful, stylised, Art Nouveau stained glass of a geometric pattern features in a window in a bakery shop front along the busy shopping precinct of Glenhuntly Road in the Melbourne suburb of Elsternwick.
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01500
Title: Egypt. Group of Minarets
Photographer: J. Pascal Sébah (Turkish, active 1860-1880)
Photograph date: ca. 1865-ca. 1889
Location: Africa: Egypt
Materials: albumen print
Image: 14.1732 x 10.5906 in.; 36 x 26.9 cm
Style: Mamluk
Provenance: Gift of Andrew Dickson White
Persistent URI: http://hdl.handle.net/1813.001/5tqh
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
We had some help with the geocoding from Web Services by Yahoo!
Styles & attitudes ...
Some glittering pieces of trend
Miss ZENDAYA COLEMAN
#pfw16 # #paris #zenayacolemen #glitter #brillant #metaliccolors #strasses #fashion #trend #geometricpatterns #geometry #streetstyleparis #streetstyle #mode #skirts #navystyle #colors #beauties #stylishpeople #
Colorful diamond shapes embroidered on taupe linen make a colorful statement.
I embroidered rows of colorful diamond shapes on linen, and mounted the embroidery on a brass circle to give the pendant weight so it would hand nicely from a chain. I backed the embroidery with soft purple ultra suede, and created a beaded bezel around the embroidery to frame the pendant using tiny metallic bronze seed beads. The pendant hangs from a brass chain with teal beaded accents at the ends. The chain is threaded through an ultra suede loop on the back of the pendant and the closure is a brass lobster claw clasp.
Dimensions: The pendant is 1.625 inches in diameter. The chain measures 18 inches overall, including the clasp.
All rights reserved ©
A recycled photo from Macro Mondays--for 7DOS. Hope you don't mind--it seemed to fill the bill for this mono Monday shot.
Here is a link to a photo that will tell you what this is. You are actually looking at the "inside" or "underside" of it. And I only used the purple ones. =)
Styles and Attitudes ......
Some GEOMETRIC Patterns in Fashion
#pfw16 # #paris #fashion #trend #geometricpatterns #geometry #streetstyleparis #streetstyle #mode #skirts #navystyle #colors #beauties #stylishpeople #
Geometric pattern of the famous glazed bricks friezes found in the apadana (Darius the Great's palace) in Susa (Shush) by french archeologist Marcel Dieulafoy and brought in Paris. Such polychromic friezes used to decorate the walls of the Achaemenian king's palaces in their capitales of Shush, Ecbatan, and Persepolis.
Pavillon Sully at the Louvre museum, Paris, France, March 2010
Motifs géométriques décorant les fameuses frises de céramique en briques cuites à glaçures trouvées dans le tell de l’Apadana (palais de Darius le Grand) à Suse (Shush) par l’archéologue français marcel Dieulafoy et ramenées à Paris. De telles frises polychromiques décoraient les façades des palais royaux achéménides dans leurs capitales d’Ecbatane, Suse et Persépolis.
Pavillon Sully, musée du Louvre, Paris, France, Mars 2010
This black and white photo showcases a modern building in Panama during nighttime. The clear geometric lines and patterns of the building stand out against the dark backdrop. The layered glass structures are highlighted, creating a sense of depth. The overall composition reflects the simplicity and functionality of contemporary architecture in an urban setting.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: Theodore Roosevelt "Progressive Battle Flag" Portrait Textile, 1912
Political Party: Progressive
Election Year: 1912
Date Made: 1912
Measurement: Handkerchief: 22 x 24 in.; 55.88 x 60.96 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/6017
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Styles and Attitudes ......
Some GEOMETRIC Patterns in Fashion
La luminosa GIOVANNA BATTAGLIA
#pfw16 # #paris #giovannaBattaglia #fashion #trend #geometricpatterns #geometry #streetstyleparis #streetstyle #mode #skirts #navystyle #colors #beauties #stylishpeople #
This wonderful Art Deco walnut case wireless radio was made by the New Zealand manufacturers, Temple. According to its serial number, it was made in 1935 and is very much typical of a wireless found in most middle-class homes during the 1930s. It has a pyramid case; still a popular shape after “Egyptomania” or “Tutmania” gripped the world after the discovery of Pharaoh Tutankhamen’s tomb in 1922. Its edges however, are rounded, hinting at the Streamline Moderne style so popular in the mid 1930s. Whilst the fine veneer is a warm walnut, the very Art Deco speaker grille and the two fin details on the front are made of stained blackwood. The manufacturer’s name is picked out in brass on red enamel above the convex glass dial and the lozenge knobs are of mottled chocolate brown Bakelite (an early form of plastic that came into everyday use in the 1920s and 30s). Worked with beautiful glass valves, this radio has to be allowed to warm up before use, but still works beautifully, sending forth a soft, slightly dappled sound that only wireless radios of this era and vintage can do. It can still pick up all AM radio stations as well as shortwave radio from around the world.
Private collection.
Observation point of Ismail I.
Royal Chamber.
Palacio del Generalife (1302-1324).
Granada, Andalucía, Spain.
Palmettes and geometric pattern of the famous glazed bricks friezes found in the apadana (Darius the Great's palace) in Susa (Shush) by french archeologist Marcel Dieulafoy and brought in Paris. Such polychromic friezes used to decorate the walls of the Achaemenian king's palaces in their capitales of Shush, Ecbatan, and Persepolis.
Pavillon Sully at the Louvre museum, Paris, France, March 2010
Palmettes et motifs géométriques décorant les fameuses frises de céramique en briques cuites à glaçures trouvées dans le tell de l’Apadana (palais de Darius le Grand) à Suse (Shush) par l’archéologue français marcel Dieulafoy et ramenées à Paris. De telles frises polychromiques décoraient les façades des palais royaux achéménides dans leurs capitales d’Ecbatane, Suse et Persépolis.
Pavillon Sully, musée du Louvre, Paris, France, Mars 2010
These intricately carved wooden doors once welcomed visitors into Ruth Asawa’s own San Francisco home. The swirling patterns feel alive—organic forms flowing with a quiet rhythm, echoing the movement in her wire sculptures. It’s not just a door; it’s an extension of her artistic language, sculpted by hand and infused with care. Standing before them, you feel her presence—protective, playful, and deeply rooted in craft. These doors are more than entryways; they’re guardians of a life lived in devotion to art, family, and form. A deeply personal work, now shared with the world.
Built in 1901, the former Caledonian Hotel in Yea’s main thoroughfare of High Street is today known as the Grand Central Hotel. Like many other hotels of the same era, the former Caledonian Hotel features a beautiful dado wall of majolica tiles. This building’s glazed Arts and Crafts style tiles are green and the wall features a frieze of arabesques and ellipses edged by black and white chequered tiles.
Yea is a small country town located 109 kilometres (68 miles) north-east of Melbourne in rural Victoria. The first settlers in the district were overlanders from New South Wales, who arrived in 1837. By 1839, settlements and farms dotted the area along the Goulburn River. The town was surveyed and laid out in 1855 and named after Colonel Lacy Walter Yea (1808 – 1855); a British Army colonel killed that year in the Crimean War. Town lots went on sale at Kilmore the following year. Settlement followed and the Post Office opened on 15 January 1858. The town site was initially known to pioneer settlers as the Muddy Creek settlement for the Yea River, called Muddy Creek until 1878. When gold was discovered in the area in 1859 a number of smaller mining settlements came into existence, including Molesworth. Yea expanded into a township under the influx of hopeful prospectors, with the addition of several housing areas, an Anglican church (erected in 1869) and a population of 250 when it formally became a shire in 1873. Yea was promoted as something of a tourist centre in the 1890s with trout being released into King Parrot Creek to attract recreational anglers. A post office was built in 1890, followed by a grandstand and a butter factory (now cheese factory) in 1891. There was a proposal in 1908 to submerge the town under the Trawool Water Scheme but it never went ahead. Today Yea is a popular stopping point for tourists on their way from Melbourne to the Victorian snow fields and Lake Eildon, and is very popular with cyclists who traverse the old railway line, which has since been converted into a cycling trail.
Plate XXXIV: Arabian No. 4 (Portion of an illuminated copy of the "Koran". These designs were traced from a splendid copy of the Koran in the Mosque El Barkookeyeh, founded A.D. 1384)
Owen Jones (British designer, 1809-1874)
1856 57 cm (page height) x 39 cm (page width)
From: Jones, Owen. The grammar of ornament ; Illustrated by examples from various styles of ornament. One hundred and twelve plates, Folio ed., London: B. Quaritch, 1910
See MCAD Library's catalog record for this book.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: 1904 Democratic National Convention Admission Ticket
Political Party: Democratic-Republican
Election Year: 1904
Date Made: 1904
Measurement: Ticket with 3 stubs: 2 3.4 x 8 3/4 in.; x 22.225 cm
Classification: Ephemera
Persistent URI: http://hdl.handle.net/1813.001/61b1
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
This Spanish Mission style villa with its impressive canopied entrance may be found in the Victorian provincial city of Ballarat.
Built of red and brown bricks, this smart villa with its stuccoed wall treatment is far simpler than some of its older late Victorian or Federation Queen Anne style neighbours, extolling the clean lines of the Art Deco movement so popular across Britain and her dominions during the 1920s and 1930s. The overall design of the villa is very in keeping with the Spanish Mission Movement. The stuccoed wall treatment, ledged and boarded windows with their fan detailing and the decorative parapet over the entrance with its barley twist columns are typical features of Spanish Mission style architecture. However, decoration typical of the "Metroland" Art Deco period are present as well: most notably in the window design which features leadlight glass, rather than stained glass, in geometric patterns. This is also reflected in the arched front door.
The Spanish Mission style was typically a style that emerged in California during the interwar years and spread across the world.
This style of home was one that aspirational middle-class families in the 1920s sought. Cottage like in style, it represented the comfort and modernity that the burgeoning Australian middle-class wanted.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: 1892 Republican National Convention Admission Ticket
Political Party: Republican
Election Year: 1892
Date Made: 1892
Measurement: Ticket: 2 3/4 x 4 7/8 in.; 6.985 x 12.3825 cm
Classification: Ephemera
Persistent URI: http://hdl.handle.net/1813.001/619q
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Located on Coburg's elm lined and most prestigious street, The Grove, this property was one of the original buildings of the Moreland Park Estate.
Although it looks like one large high Victorian mansion, this property, constructed in the 1890s is a clever piece of architectural trickery, and is in fact two semi-detatched double storey residences. This in no way suggests that they were small. Quite the contrary, each was of a substantial size with their own towers, stables and outbuildings, and would have suited a wealthy upper middle-class Victorian family.
Built of polychromatic bricks, each villa is a mirror to that of its neighbour with a return verandah featuring elegant cast iron lacework. The roof is made of slate tiles with a striped pattern laid out as part of the design, whilst the verandah is of corrugated iron. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the shared wall between the two villas a smart feature. Even the chimney is built of polychromatic bricks. Perhaps its most outstanding features are the distinctive French inspired Second Empire mansard roofed towers, which make the property stand out for miles around.
This villa represents the brief initial period of development prior to the bust of the 1890s and subsequent housing boom of the early 20th Century, in which much of Coburg's residential development occurred.
The Grove, was part of the Moreland Park Estate. This was Coburg's most prestigious subdivision in the 1880s. In 1882 Charles Moreland Montague Dare, a St Kilda businessman, bought Jean Rennie's forty acre farm and, with his architect, T. J. Crouch, subdivided thirty acres of it into 147 allotments. The Grove was originally christened Moreland Grove after its owner. A covenant was placed on the subdivision prohibiting the building of hotels or shops, or any house under the value of 400 pounds. By 1890 there were twenty-four brick houses on the estate, twenty one of them owned by Charles Moreland Montague Dare himself. There was a caretaker to tend the streets, the wooden pavilion and the tennis courts, which soon became a bowling rink to suit the more sedate interests of the residents. Men of substance, including a banker, a merchant, a manufacturer and several civil servants and accountants lived on the estate and the Moreland Park Ladies' College in The Grove offered a genteel education. By the 1890s the Melbourne property boom had burst and by 1900 there were still only twenty seven houses in The Grove and many vacant allotments; Charles Moreland Montague Dare's own place at "Moreland Park", a ten acre property on Merri Creek, added to the rural atmosphere. In 1896 Dare fell into financial difficulties and had to transfer many of his properties to the Australian Widows' Fund Life Assurance Society. In 1900 he owned only seven houses, a few allotments and Moreland Park. He died in 1919.
"Bailey's Mansion" is a magnificent boom period mansion built in 1883 for successful mine manager William Bailey on the corner of Drummond and Mair Streets, in the provincial Victorian city of Ballarat.
William Bailey was born in 1827 in Wellington, Somersetshire, and came to Australia in 1848. He landed at Melbourne and was employed at a wine and spirit merchants however he remained only a short time, and he also had a short stay of eight months at the Ampitheatre Station, Lexton, when he was made manager at the Mt Cook Station, Werribee. He left Mt Cook Station in 1851, having been bitten, like so many others, by gold fever. After initially being involved in mining he entered into partnership with Wilson Brothers in the operation of general stores. Bailey returned to mining with the Staffordshire Reef Company near Smythesdale where he remained for three years as manager before accepting a similar managerial position with the Egerton Mining Company where he was occupied for the next 12 years. The mine was owned by the renowned Learmonth family. Bailey was a loyal manager and when the Learmonths decided to sell the mine he arranged the sale. As a reward the Learmonths paid him a five per cent commission on the sale amounting to 675 pounds, a very sizable sum even in those days. At the time of the sale the returns from the mine had been diminishing, and when the Learmonths paid him his sizeable commission they were unaware that they had rewarded him for arranging the sale of a mine of which he was actually now a part owner. Fortunately, almost immediately after the mine was sold its returns increased dramatically and William Bailey was left a very wealthy man.
For the princely sum of £1,400, William Bailey had a Victorian Italianate mansion, complete with tower, designed by architects Caselli and Figgis. William Bailey and his wife Emily had eight children between 1861 and 1876, so the mansion, described as "one of the most palatial homes in Ballarat" was extended further and had an extra wing added, but in the same style.
The mansion features many architectural elements used in Italianate style houses of the period beyond the typical prominent tower, including; Corinthian columns, arcaded loggias, grouped openings, the use of arches and stuccoed wall treatment. When William built the mansion it originally had cast iron verandah posts, frieze and corner brackets along the loggias, both up and downstairs. The present heavy Ionic columns being a later modification which are not so in keeping with the overall design of the house.
Originally, "Bailey's Mansion" sat amid large and decoratively ornamental gardens, most of which have since been consumed by subsequent divisions of the land and residential construction in the early years of the Twentieth Century.
It was in his beloved mansion that William Bailey died in 1906 after catching a chill, dying a happy and still wealthy man, leaving an estate of some £10,000.
After the Great War (1914 - 1918), like so many other wealthy families of the boom period, the Baileys "gilded age" had come to a shattering end. Rates, death duties and income tax had deminished the family to far more moderate means. The "servant problem" also left them unable to live on such a grand scale as William and Emily had done. They could not sell the mansion, as no-one had the means to maintain, or the wish, to live in an old mausoleum of a bygone age in the new century. There was also a local belief that it was haunted by Bailey's ghost, which made it impossible to sell. "Bailey's Mansion", now deserted, fell into dereliction.
Salvation arrived for the grand old house in 1915 when the Catholic Church acquired it for a mere £4000, £10,000 less than its original cost and a bargain, even in the depressed property market immediately after the First World War. The church restored "Bailey's Mansion" and used it to form the St John of God hospital in Ballarat. It is still an intergal part of the hospital today, the grande dame surviving as a testimony to the wealth and tenacity of its original owner.