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Plate XLVI: Persian No. 3, Ornaments from Persian manuscripts in the British Museum. (Nos. 7, 16, 17, 21, 23-25, are very common ornaments for the heads of chapters in Persian manuscripts.)
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.
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.
The Pantheon (126 AD)
Architect: Apollodorus of Damascus.
Piazza della Rotonda.
Rome, Lazio, Italy.
Technical data: Nikon D800 | Nikkor AF-S 14-24 mm f/2.8G ED at 14mm. 1/8s | f/8 | ISO 100.
Processing: Lightroom 4 | Nik Silver Efex Pro 2
Weekend evening party game: Gather together all of your pictures of Interstate 35E signs and make your friends guess whether they're from the Interstate 35E in St. Paul Minnesota or the Interstate 35E in Dallas Texas.
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In St. Paul, Minnesota, on March 6th, 2012, a building on the north side of East 8th Street, opposite Olive Street.
The building is a warehouse owned by the Meritex Company, erected in 1967 according to the government of Ramsey County.
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Getty Thesaurus of Geographic Names terms:
• Ramsey (county) (2001060)
• Saint Paul (7013947)
Art & Architecture Thesaurus terms:
• architectural ornament (300378995)
• beige (color) (300266234)
• exterior walls (300002523)
• façades (300002526)
• geometric patterns (300165213)
• Mid-Century Modernist (300343610)
• trees (300132410)
• warehouses (300007722)
Wikidata items:
• 6 March 2012 (Q12966177)
• 1960s architecture (Q7160120)
• arrow (Q1139519)
• Buildings and structures completed in 1967 (Q8318753)
• Dayton's Bluff (Q5243468)
• Interstate 35E (Q2445518)
• Interstate Highway System (Q94247)
• March 6 (Q2399)
• March 2012 (Q694827)
• Minneapolis–Saint Paul (Q1480013)
• ornamental tree (Q33249028)
Transportation Research Thesaurus terms:
• Direction signs (Dcmthrkbgd)
Library of Congress Subject Headings:
• Trees in cities (sh85137261)
A striking modern interior corner where a black steel lattice ceiling grille, woven in a tight crosshatch of diagonal lines, catches soft overhead light and casts a delicate shadow pattern across the surrounding plaster. Below it, warm cedar plank paneling wraps a built-in bench seat, its honey-toned wood grain contrasting sharply against the cool gray and white walls. The geometric rigor of the diamond mesh screen plays beautifully against the organic texture of the timber, creating a striking study in material contrast. Minimalist, angular, and quietly architectural, the space reads like a passage between a formal gallery and a cozy alcove.
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: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.00669
Title: Model of The Nunnery [Las Monjas], Uxmal, for 1933 Chicago World's Fair
Model maker: G. Kramer
Photograph date: ca. 1933
Building Date: ca. 600-ca. 900
Materials: gelatin silver print
Image: 7 3/4 x 13 1/2 in.; 19.685 x 34.29 cm
Style: Mayan
Provenance: Transfer from the College of Architecture, Art and Planning
Persistent URI: http://hdl.handle.net/1813.001/5ss5
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.
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Rosettes flower 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
Rosettes 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
Plamtrees 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
Plamiers 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
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/1813.001/61b4
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: 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: 1900 Republican National Convention Admission Ticket
Political Party: Republican
Election Year: 1900
Date Made: 1900
Measurement: Ticket & Stub: 2 5/8 x 6 in.; 6.6675 x 15.24 cm
Classification: Ephemera
Persistent URI: http://hdl.handle.net/1813.001/61b0
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.
"Carwel" is a wonderfully stylised Streamline Moderne Art Deco Villa in the Melbourne suburb of Essendon. The house name is written in Old English script above the lamp in the centre of the portico.
The villa is large and stand alone, with its original garage next to it. The clean uncluttered lines of "Carwel", the speed lines around the pedement of the rounded portico, down the chimney and across the facade around the windows, feature bricks in geometric patterns on the portico and the overall low slung design of the house are very Streamline Moderne in design. It also features leadlight windows with a beautiful Art Deco sunburst pattern picked out in frosted, bevilled and plain glass.
The whole property is surrounded by "Carwel's" original low brick wall featuring brick nogging and its original wrought-iron gate.
Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Modern villas like these were very much the style of home that aspirational middle-class families in the 1930s saught. Although very fashionable in style, it is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted.
Opposite the temple, as I waited for the group to come out of the allergy-inducing smoke, I noticed this building with the black geometric patterns on a light cream colour.
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: 1896 Republican National Convention Admission Tickets and Envelope
Political Party: Republican
Election Year: 1896
Date Made: ca. 1896
Classification: Envelopes
Persistent URI: http://hdl.handle.net/1813.001/619w
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.
Built in the late 1930s, this very stylised Art Deco villa can be found in the Melbourne suburb of Travancore. The rounded roofline featuring speed lines and the horizontal focus of the design of the house all pay homage to the chic, uncluttered lines of Functionalist Moderne Art Deco architecture, which often featured a horizontal emphasis.
Travancore is a bijou suburb named after a beautiful Victorian mansion erected in 1863. The mansion's grounds were subdivided in the late 1890s to form the new suburb, which consists only of only about five streets. With commanding views of Royal Park, the area was much sought after by aspiring middle and upper middle-class citizens. This medium-sized residence was built on the lowest section of the hill which the Travancore estate once covered, however, its owners had it elevated to allow views over the trees of the parkland, and it is approached by way of a wide sweeping set of stairs which cut their way through a terraced garden. This would suggest it may have been acquired by an aspiring middle-class family who wanted modernity and had enough money to build in the area. The mistress of this house would probably have kept it without any help from outside except for a "daily" woman to do the harder, more manual chores.
This iron garden gate belonging to a clinker brick Art Deco villa features a wonderfully stylised geometric pattern. Like the villa, this gate pays homage to the chic, uncluttered lines of Australian Art Deco architecture in the late 30s, just before the Second World War.
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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. =)
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.
Designed by T. J. Crouch in 1888, although it looks like one large high Victorian mansion, this property, 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. The houses have ornate ceilings, wide arches, marble mantelpieces, cedar paneling and Australian blackwood staircases.
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 as is the hipped roof of the verandah. 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. All window sills are bluestone as is the foundation of the property. Perhaps its most outstanding features are the twin towers both of which are sixty feet in height, which make the property stand out for miles around. These towers are solidly built and are roofed with lead. They have railings and four large draped urns on each. The building is a landmark to the area and is referred to affectionately as "Coburg Castle".
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.
One was occupied between 1889 and 1924 by the Reverend Dr Mathew, Minister of Coburg Presbyterian Church, and the property survived Melbourne's property bust of the 1890s and the new boom after Federation in 1901. However, its luck ran out during the Great Depression and the stables and outhouses were demolished during the early 1930s. The property was then turned into a cheap rooming house (as were so many other fine Victorian houses and mansions during this period of history). It remained so for nearly sixty years, and then it was sold. The new owners restored the property fully, and live in one half, whilst renting the other half out (which has now been converted into several modestly sized flats).
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.
The amazing Kikagaku Moyo playing at Blaue Fabrik (Dresden, Germany) on a magical summer night in June 2016.
Listen: geometricpatterns.bandcamp.com/
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.
Situated at 25 to 29 Barkly Street in the Victorian provincial city of Ballarat, the former East Ballarat Free Library is to this day, still an imposing building. When it was built in 1867, it must have been even more imposing, as it would have been one of only a few permanent structures in the area, which was filled with tents as the are was hit by goldmining fever.
The East Ballarat Free Library is not only imposing, but has an unusual design using polychromatic brickwork to define separate highly individual elements of the facade, rather like much of the Methodist Church architecture built during slightly later periods. The library is the only known work of the architect C. Ohlfsen Bagge, and dates from 1867. At that date it represents an early use of coloured brick-work in Victoria. The building is of architectural importance as an early example of the polychromatic Gothic Revival style which survives substantially intact with a number of fine interiors including the spiral staircase, the original library, the hall and the pine-lined rear rooms. The construction of the front section of the Barkly Street was completed in 1869. C. Ohlfsen-Bagge acted as honorary architect and the interior design and supervision as carried out by J. J. Lorenz. The builders were Boulton and Fyfe and the interiors were completed by Fly Brothers.
Established in 1862 the East Ballarat Free Library was amongst the earliest of Ballarat's social and educational institutions and when housed in its own building in Barkly Street, the library built up an outstanding collection which was second in Australia only to the State Library of Victoria . It served as a focal point for educational purposes; the school of design founded there in 1870 advancing to become the Ballarat East branch of the school of mines in the 1900s. The library was officially closed in 1973 after a life of 111 years. The books were taken to the Camp Street Library and the Ballarat Historical Society's exhibits were moved from Camp St to the Old Ballarat East Library. In 1980 the Ballarat School of Mines Council presented a proposal to the Ballarat City Council regarding occupying and managing the East Ballarat Free Library as a School of Traditional Crafts. The proposal included maintaining the building in optimum condition. In 1983, land formally occupied by the East Ballarat Free Library in Barkly St was gazetted as a reserve for educational purposes and allocated to the Ballarat School of Mines. In 1987 the former East Ballarat Library reopened after extensive renovations and repairs, as the Management Training Centre of the Ballarat School of Mines.
This block of Art Deco flats in East Melbourne has a wonderful entranceway with geometric Jazz Age designs around its stairwell windows.
This block of flats is typical of the Art Deco architecture that came out of England after the war. They are as chic today as when they were first built in the 20s or early 30s.
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.
Whitework sampler, mid 17th century. Linen with linen thread in cut and drawn work with needlepoint fillings. The figures on the bottom row include a mermaid and woman and child. 48.5x17 cm.
Built in a ribbon development along a tramline during the 1930s, this clinker brick Streamline Moderne Art Deco villa in the Melbourne suburb of Coonans Hill is very evocative of the age when modernity and minimalism were the keywords of the day.
The choice of locally manufactured red and brown bricks, the Art Deco swirls just discernible on the wrought-iron vestibule grille, the clinker brick features above the windows and the geometric patterns in the leadlight and frost glass windows are typical of the uncluttered lines of Australian Art Deco architecture in the late 30s, just before the Second World War. However what makes this villa so much more unusual than its more traditional neighbours is its wonderful rounded enclosed vestibule. Rounded and featuring minimal decoration it is the epitome in Streamline Moderne living for the chic 1930s family!
The whole house is surrounded by well kept garden of magnolias, roses and camelias with hedges and a well kept lawn.
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01203
Title: Royal Architectural Museum. Plaster Casts (Capitals) from the Worksop Priory and Adel Church, Yorkshire
Photographer: Henry Bedford Lemere (English, 1840-ca. 1911)
Photograph date: ca. 1874
Location: Europe: United Kingdom; London
Materials: albumen print
Image: 8 1/8 x 10 5/8 in.; 20.6375 x 26.9875 cm
Provenance: Gift of Andrew Dickson White
Persistent URI: http://hdl.handle.net/1813.001/5tc2
There are no known 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!
The grouping of my rings has the mod look, which I do love and is now rather hot….
Just a bit of info about "The Mod Look"...
The mod look of the mid to late 1960’s was innovative, creative, bold and brash. Sixties fashion belonged to London, England. “The Brits set the tone and the world followed.”
Color played a big role in defining the look. The muted and pastel palette of Fifties fashions gave way to bright, bold color often splayed in geometric patterns.
For my Flickr groups…
Loreto College Ballarat, a Catholic school for girls was established in 1875 by Mother Gonzaga Barry (1834 – 1915) a member of the order of the Institute of the Blessed Virgin Mary whose members are commonly known as the Sisters of Loreto; a courageous woman with a truly visionary approach that saw her create educational opportunities for girls never before considered in the society of that day. The Loreto Sisters arrived in Australia in response to a request by the Bishop of Ballarat, Bishop O'Connell. The group of ten sisters from Ireland, led by Mother Gonzaga Barry, set up a convent in Ballarat, Victoria and their first girls school, known as Mary's Mount, which today is known as Loreto College.
The Loreto Chapel, or Children’s Chapel as it is known, was built between 1898 and 1902. The architect was William Tappin and the builder George Lorimer. It is built in an English Gothic style with French influences. The stone from which it is constructed is Barrabool Hills sandstone taken from a quarry near Geelong. It also features white stone detailing from Oamaru in New Zealand. Building was interrupted through lack of funds, but the project was finally completed with a large bequest from the German Countess Elizabeth Wolff-Metternich, who had arrived at Ballarat unannounced in 1898, was captivated by the post Gold Rush city and decided to teach German to the Loreto students. A direct descendent of St Elizabeth of Hungary, Countess Elizabeth later found that she loved the peace and simplicity of the Mary's Mount cloister, and informed Mother Gonzaga that she wished to be accepted as a novice. The Mother Superior urged the young woman to return to Germany to discuss her future with her family prior to making a decision. Sadly, Countess Elizabeth was never to return to Ballarat: tragedy struck the RMS India, in the Straits of Messina en route Europe, when Countess Elizabeth died suddenly in April 1899, possibly from cholera, as she was nursing sick passengers on board the ship during its journey. When her will was read, it was found that Countess Elizabeth had left a generous 16,000 pounds to the astonished Mother Gonzaga to `be used as she thought fit'. Funds were once again available to finish the Children's Chapel, but there was to be another, seemingly impenetrable, obstacle: Germany had instituted a law forbidding money to be sent out of the country, so the funds remained frozen in Germany indefinitely. However, Countess Elizabeth's relatives contacted their distant relative, Kaiser Wilhelm of Germany (eldest grandson of England's Queen Victoria and Prince Albert) to petition that the funds be released for the Australian convent. It was only through the direct intervention of the Kaiser that the law was waived in this particular case. The Children’s Chapel was officially opened in December 1902.
The inside of the Children’s Chapel is decorated in soft pastel colours with artwork and statuary donated to the Sisters of Loreto by families in Ballarat and back in Ireland. The Rose Window over the Organ Gallery depicts Saint Cecilia the patron saint of music, surrounded by symbols of the four Evangelists, Matthew Mark Luke and John. The windows over the alter depict the instruments of the Passion of Christ. The marble alter features the Nativity scene as was requested by the girls attending Loreto at the time.
The "Brightlea" flats are a two storey complex in the Melbourne suburb of Balaclava. Their facade of white stuccoed brick is very Art Deco in style. The speed lines picked out in clinker brick around the walls, the stepped chimney with its geometric pattern also picked out in clinker bricks, the rounded portico bearing the name "Brighlea" in stylised Deco lettering and the streamlined windows all pay homage to the chic, uncluttered lines of Art Deco architecture. The low fence with its pyramid peaked pillars are also very Art Deco, and perhaps pay homage to the Egyptomania of the 1920s.
"Brightlea" probably takes it name from Brightlea in England which is located within the county of Tyne and Wear which is in the north east region of England.
After the Great War (1914 - 1918), higher costs of living and the "servant problem" made living in the grand mansions and villas built in the Victorian and Edwardian eras a far less practical and attractive option for both those looking for new housing, and those who lived in big houses. It was around this time, in answer to these problems, that flats and apartments began to replace some larger houses, and became fashionable to live in.
Flats like those found in the "Brightlea" complex would have suited those of comfortable means who could afford to live in Balacalva, and dispense with the difficulties of keeping a large retinue of staff. With clean lines and large windows, it mirrored the prevailing uncluttered lines of architecture that came out of England after the war.
Styles and Attitudes ......
Some GEOMETRIC Patterns in Fashion
#pfw16 # #paris #ADR #AnnaDelloRusso #fashion #trend #geometricpatterns #geometry #streetstyleparis #streetstyle #mode #skirts #navystyle #colors #beauties #stylishpeople #
Standing amid a well maintained garden of exotics and standard roses with a well clipped lawn, this substantial 1920s Art Deco villa in the Ballarat suburb of Wendouree, would have been for a larger sized upper-class family.
Built of honeyed clinker bricks with red and brown feature brick detailing, this sprawling house with its high gables is far simpler than some of its older 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. Built in the years after the Great War (1914 - 1918), you can start to see the transition from Edwardian villa to the popular Californian Bungalow of the early 1920s. The overall design is very in keeping with the Arts and Crafts Movement. However, decoration typical of the "Metroland" Art Deco period are starting to appear in the design: most notably in the window design which features leadlight glass, rather than stained glass, in geometric patterns. This is most noticable in the centre bay window.
This style of house would have appealed to the moneyed upper-classes of Ballarat whose money came from either the Nineteenth Century gold rush, or from the wool or farming industries that developed post the boom. Comfortable and very English, it would have shown respectablity and not inconsiderable wealth.
The "Brightlea" flats are a two storey complex in the Melbourne suburb of Balaclava. Their facade of white stuccoed brick is very Art Deco in style. The speed lines picked out in clinker brick around the walls, the stepped chimney with its geometric pattern also picked out in clinker bricks, the rounded portico bearing the name "Brighlea" in stylised Deco lettering and the streamlined windows all pay homage to the chic, uncluttered lines of Art Deco architecture. The low fence with its pyramid peaked pillars are also very Art Deco, and perhaps pay homage to the Egyptomania of the 1920s.
"Brightlea" probably takes it name from Brightlea in England which is located within the county of Tyne and Wear which is in the north east region of England.
After the Great War (1914 - 1918), higher costs of living and the "servant problem" made living in the grand mansions and villas built in the Victorian and Edwardian eras a far less practical and attractive option for both those looking for new housing, and those who lived in big houses. It was around this time, in answer to these problems, that flats and apartments began to replace some larger houses, and became fashionable to live in.
Flats like those found in the "Brightlea" complex would have suited those of comfortable means who could afford to live in Balacalva, and dispense with the difficulties of keeping a large retinue of staff. With clean lines and large windows, it mirrored the prevailing uncluttered lines of architecture that came out of England after the war.
Unlike conventional floral ceilings, its 296 panels depict a remarkable variety of plants, reflecting the botanical knowledge introduced to Satsuma. Looking up, it feels less like a decorated ceiling and more like a botanical atlas spread across the shrine's ceiling
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.00900
Title: Durham Cathedral. Door of Galilee
Photographer: Henry Bedford Lemere (English, 1840-ca. 1911)
Building Date: 1093-1128
Photograph date: ca. 1865-ca. 1885
Location: Europe: United Kingdom; Durham
Materials: albumen print
Image: 8 1/4 x 5 3/8 in.; 20.955 x 13.6525 cm
Style: Romanesque
Provenance: Gift of Andrew Dickson White
Persistent URI: http://hdl.handle.net/1813.001/5t0g
There are no known 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.
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