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I was making the bed one day, when the updraft caused the droplet to flip up. There is stayed for quite a while. Everything has life energy. Clearly this droplet has an anti establishment vibe........
Rear cover of an Alfred Gardiner & Sons catalogue: "Illustrated Price List of High-Class Furnishing Ironmongery" of about 1880. The firm, with premises in Nelson St., and All Saints St., Bristol, later became Gardiner, Sons, & Co. Ltd. The All-Saints Iron Works made all sorts of iron and brass work in addition to the ecclesiastical work being promoted here..
My first day in Egypt included the short bus ride from my Cairo hotel to Al-Jīzah on the outskirts of the city.
Our first stop was at Marriott Mena House.
Once the site of an old hunting lodge set on 16 hectares of gardens, Mena House in Giza first opened to the public in 1886. Photographs of screen stars, presidents and princesses who have visited sit in a case in the elaborate drawing room of this oId stone palace, and I could well imagine Hercule Poirot sitting under the elaborate gas chandelier, looking out over the manicured lawns and the Great Pyramid.
For the story, please visit: www.ursulasweeklywanders.com/history/stories-in-ancient-s...
Surrounded by modern office and apartment blocks the grand red brick mansion “Warwillah”, built on the corner of Beatrice Street and St Kilda Road, is one of the few remaining examples of a time Melbourne’s St Kilda Road was still a grand boulevard of elegant residences.
In March 1875 the government announced that the land on the western side of St Kilda Road would be alienated from parkland and that the land would be sold for residential purposes. Following the subdivision, a gentleman of means named Rudolph D. Benjamin purchased the land on which he planned to build an elegant residence as befitting his station.
Designed by well known Melbourne architect John Beswicke, “Redholme” was a sixteen-roomed brick mansion built on Mr. Benjamin’s block in 1896 by the builder James Downie. Although not in the Benjamin family, “Redholme” survived the death taxes that came after the Great War and the Great Depression of 1929. It was still a privately owned home in its entirety in 1939 when it was owned by Mr. and Mrs. C. J. Reddish. Sadly, after the Second World War, “Redholme” changed ownership, usage and even name. From the early 1950s, the red brick building became the “Warwilla Guest House”. The name “Warwilla” is what the house has been known as ever since.
“Warwilla” is an unusual mansion as it is an early example of a transition from Modern Gothic to Queen Anne design. The red brick tuckpointed facade is asymmetrical with picturesque massing, but the larger half-timbered gable and cantilevered banked window on the south side is balanced by the octagonal corner tower and ‘candle snuffer’ roof on the north. The Modern Gothic is suggested by the depressed pointed arches to main openings, and engaged colonettes at the porch entrance, whilst the half-timbered gable, octagonal tower with ‘candle snuffer’ roof and Art Nouveau stained glass windows are very much stylistic elements of Queen Anne architecture. These elements were to remain popular for at least another decade. The tall banded brick chimneys (done in the style of Henry Kemp) dominate the terracotta tile roof, as do the decorative finials which include a dragon.
Walking through the stained glass framed front door, you enter “Warwilla’s” lofty entrance hall. The original ornate Art Nouveau plaster ceilings and foyer fireplace with brass, wood and tiled surround still remain intact. A grand early twentieth century crystal chandelier hangs from the central ceiling rose. On the landing of the original staircase a fine stained glass window by British born, German trained, Melbourne stained glass artist William Montgomery still overlooks St Kilda Road. Featuring a beautiful woman in Tudor garb in a garden setting, the window is typical of the British Arts and Crafts Movement which would have dominated interior design at the time. Framed by stylised Tudor flowers and pomegranates the line “a merlin sat upon her wrist, held by a leash of silken twist” appears on a scroll. Taken from the long narrative poem “The Lay of the Last Minstrel” written in 1805 by Sir Walter Scott (1771 – 1832) the choice of image and literary quote hark back to heraldic times, a great driver of the aesthetics of the British Arts and Crafts Movement. The stair hall window is signed by William Montgomery in the bottom left-hand corner of the frame, where it also lists his address as 164 Flinders Street.
At the time of photographing “Warwilla” was partly a Seasons heritage boutique hotel and partly the entrance to a towering modern apartment block which has been built directly behind it.
John Beswicke (1847 – 1925) was a Melbourne architect and surveyor between 1882 and 1915. He was apprenticed to the firm Crouch and Wilson at the age of sixteen. He worked there for eighteen years, finishing as head assistant. In 1882 Ralph Wilson and John Beswicke formed the partnership Wilson and Beswicke. Through his career he was in sole practice as J. Beswicke, between and following three partnerships including Beswicke and Hutchins, and Beswicke and Coote. John Beswicke designed many commercial and residential buildings during his career. These include: the Brighton Town Hall, the Dandenong Town Hall, the Essendon Town Hall, the Hawthorn Town Hall, the Malvern Town Hall, the St Kilda Presbyterian Church, the Auburn shopping strip along Auburn road, “Bendigonia” in Leopold Street Melbourne which runs off St Kilda Road, “Tudor House” in Williamstown, “Tudor Lodge” (later renamed “Hilton House”) home to Mr. Cullis Hill in Hawthorn, “Redholme” (later renamed Warwilla) and his own Hawthorn home “Rotha”.
Hanging from the front of one of the more decayed tractors on the beach, this light fitting seems unlikely to illuminate anything...
Surrounded by modern office and apartment blocks the grand red brick mansion “Warwillah”, built on the corner of Beatrice Street and St Kilda Road, is one of the few remaining examples of a time Melbourne’s St Kilda Road was still a grand boulevard of elegant residences.
In March 1875 the government announced that the land on the western side of St Kilda Road would be alienated from parkland and that the land would be sold for residential purposes. Following the subdivision, a gentleman of means named Rudolph D. Benjamin purchased the land on which he planned to build an elegant residence as befitting his station.
Designed by well known Melbourne architect John Beswicke, “Redholme” was a sixteen-roomed brick mansion built on Mr. Benjamin’s block in 1896 by the builder James Downie. Although not in the Benjamin family, “Redholme” survived the death taxes that came after the Great War and the Great Depression of 1929. It was still a privately owned home in its entirety in 1939 when it was owned by Mr. and Mrs. C. J. Reddish. Sadly, after the Second World War, “Redholme” changed ownership, usage and even name. From the early 1950s, the red brick building became the “Warwilla Guest House”. The name “Warwilla” is what the house has been known as ever since.
“Warwilla” is an unusual mansion as it is an early example of a transition from Modern Gothic to Queen Anne design. The red brick tuckpointed facade is asymmetrical with picturesque massing, but the larger half-timbered gable and cantilevered banked window on the south side is balanced by the octagonal corner tower and ‘candle snuffer’ roof on the north. The Modern Gothic is suggested by the depressed pointed arches to main openings, and engaged colonettes at the porch entrance, whilst the half-timbered gable, octagonal tower with ‘candle snuffer’ roof and Art Nouveau stained glass windows are very much stylistic elements of Queen Anne architecture. These elements were to remain popular for at least another decade. The tall banded brick chimneys (done in the style of Henry Kemp) dominate the terracotta tile roof, as do the decorative finials which include a dragon.
Walking through the stained glass framed front door, you enter “Warwilla’s” lofty entrance hall. The original ornate Art Nouveau plaster ceilings and foyer fireplace with brass, wood and tiled surround still remain intact. A grand early twentieth century crystal chandelier hangs from the central ceiling rose. On the landing of the original staircase a fine stained glass window by British born, German trained, Melbourne stained glass artist William Montgomery still overlooks St Kilda Road. Featuring a beautiful woman in Tudor garb in a garden setting, the window is typical of the British Arts and Crafts Movement which would have dominated interior design at the time. Framed by stylised Tudor flowers and pomegranates the line “a merlin sat upon her wrist, held by a leash of silken twist” appears on a scroll. Taken from the long narrative poem “The Lay of the Last Minstrel” written in 1805 by Sir Walter Scott (1771 – 1832) the choice of image and literary quote hark back to heraldic times, a great driver of the aesthetics of the British Arts and Crafts Movement. The stair hall window is signed by William Montgomery in the bottom left-hand corner of the frame, where it also lists his address as 164 Flinders Street.
At the time of photographing “Warwilla” was partly a Seasons heritage boutique hotel and partly the entrance to a towering modern apartment block which has been built directly behind it.
John Beswicke (1847 – 1925) was a Melbourne architect and surveyor between 1882 and 1915. He was apprenticed to the firm Crouch and Wilson at the age of sixteen. He worked there for eighteen years, finishing as head assistant. In 1882 Ralph Wilson and John Beswicke formed the partnership Wilson and Beswicke. Through his career he was in sole practice as J. Beswicke, between and following three partnerships including Beswicke and Hutchins, and Beswicke and Coote. John Beswicke designed many commercial and residential buildings during his career. These include: the Brighton Town Hall, the Dandenong Town Hall, the Essendon Town Hall, the Hawthorn Town Hall, the Malvern Town Hall, the St Kilda Presbyterian Church, the Auburn shopping strip along Auburn road, “Bendigonia” in Leopold Street Melbourne which runs off St Kilda Road, “Tudor House” in Williamstown, “Tudor Lodge” (later renamed “Hilton House”) home to Mr. Cullis Hill in Hawthorn, “Redholme” (later renamed Warwilla) and his own Hawthorn home “Rotha”.
I was taking a few shots of the new Designer Lights showroom in Glasgow today, and thought this was fun.
I don't know what this is, or was, as it's clearly damaged - looks like a light fitting, but it's a strange shape. Is the facing surface mica ? It's set on the side of a rusty warehouse at Gravesend's Albion Parade (or was, I don't know if it's still there).
[DSCF6524a]
Surrounded by modern office and apartment blocks the grand red brick mansion “Warwillah”, built on the corner of Beatrice Street and St Kilda Road, is one of the few remaining examples of a time Melbourne’s St Kilda Road was still a grand boulevard of elegant residences.
In March 1875 the government announced that the land on the western side of St Kilda Road would be alienated from parkland and that the land would be sold for residential purposes. Following the subdivision, a gentleman of means named Rudolph D. Benjamin purchased the land on which he planned to build an elegant residence as befitting his station.
Designed by well known Melbourne architect John Beswicke, “Redholme” was a sixteen-roomed brick mansion built on Mr. Benjamin’s block in 1896 by the builder James Downie. Although not in the Benjamin family, “Redholme” survived the death taxes that came after the Great War and the Great Depression of 1929. It was still a privately owned home in its entirety in 1939 when it was owned by Mr. and Mrs. C. J. Reddish. Sadly, after the Second World War, “Redholme” changed ownership, usage and even name. From the early 1950s, the red brick building became the “Warwilla Guest House”. The name “Warwilla” is what the house has been known as ever since.
“Warwilla” is an unusual mansion as it is an early example of a transition from Modern Gothic to Queen Anne design. The red brick tuckpointed facade is asymmetrical with picturesque massing, but the larger half-timbered gable and cantilevered banked window on the south side is balanced by the octagonal corner tower and ‘candle snuffer’ roof on the north. The Modern Gothic is suggested by the depressed pointed arches to main openings, and engaged colonettes at the porch entrance, whilst the half-timbered gable, octagonal tower with ‘candle snuffer’ roof and Art Nouveau stained glass windows are very much stylistic elements of Queen Anne architecture. These elements were to remain popular for at least another decade. The tall banded brick chimneys (done in the style of Henry Kemp) dominate the terracotta tile roof, as do the decorative finials which include a dragon.
Walking through the stained glass framed front door, you enter “Warwilla’s” lofty entrance hall. The original ornate Art Nouveau plaster ceilings and foyer fireplace with brass, wood and tiled surround still remain intact. A grand early twentieth century crystal chandelier hangs from the central ceiling rose. On the landing of the original staircase a fine stained glass window by British born, German trained, Melbourne stained glass artist William Montgomery still overlooks St Kilda Road. Featuring a beautiful woman in Tudor garb in a garden setting, the window is typical of the British Arts and Crafts Movement which would have dominated interior design at the time. Framed by stylised Tudor flowers and pomegranates the line “a merlin sat upon her wrist, held by a leash of silken twist” appears on a scroll. Taken from the long narrative poem “The Lay of the Last Minstrel” written in 1805 by Sir Walter Scott (1771 – 1832) the choice of image and literary quote hark back to heraldic times, a great driver of the aesthetics of the British Arts and Crafts Movement. The stair hall window is signed by William Montgomery in the bottom left-hand corner of the frame, where it also lists his address as 164 Flinders Street.
At the time of photographing “Warwilla” was partly a Seasons heritage boutique hotel and partly the entrance to a towering modern apartment block which has been built directly behind it.
John Beswicke (1847 – 1925) was a Melbourne architect and surveyor between 1882 and 1915. He was apprenticed to the firm Crouch and Wilson at the age of sixteen. He worked there for eighteen years, finishing as head assistant. In 1882 Ralph Wilson and John Beswicke formed the partnership Wilson and Beswicke. Through his career he was in sole practice as J. Beswicke, between and following three partnerships including Beswicke and Hutchins, and Beswicke and Coote. John Beswicke designed many commercial and residential buildings during his career. These include: the Brighton Town Hall, the Dandenong Town Hall, the Essendon Town Hall, the Hawthorn Town Hall, the Malvern Town Hall, the St Kilda Presbyterian Church, the Auburn shopping strip along Auburn road, “Bendigonia” in Leopold Street Melbourne which runs off St Kilda Road, “Tudor House” in Williamstown, “Tudor Lodge” (later renamed “Hilton House”) home to Mr. Cullis Hill in Hawthorn, “Redholme” (later renamed Warwilla) and his own Hawthorn home “Rotha”.
During 1916 the British born Australian architect Walter Richmond Butler (1864 – 1949) designed a new Anglican Mission to Seamen to be built on an oddly shaped triangular block of land at 717 Flinders Street on the outskirts of the Melbourne central city grid, to replace smaller premises located in adjoining Siddeley Street, which had been resumed by the Harbour Trust during wharf extensions.
The Missions to Seamen buildings, built on reinforced concrete footings, are in rendered brick with tiled roofs. Walter Butler designed the complex using an eclectic mixture of styles, one of which was the Spanish Mission Revival which had become a prevalent style on the west coast of America, especially in California and New Mexico during the 1890s. The style revived the architectural legacy of Spanish colonialism of the Eighteenth Century and the associated Franciscan missions. The revival of the style is explicit in the Mission’s small, yet charming chapel with its rough-hewn timber trusses, in the bell tower with its pinnacles and turret surmounted by a rustic cross and in the monastic-like courtyard, which today still provides a peaceful retreat from the noisy world just beyond the Missions to Seamen’s doorstep. The chapel also features many gifts donated by members of the Harbour Trust and Ladies’ Harbour Lights Guild, including an appropriately themed pulpit in the shape of a ship's prow and two sanctuary chairs decorated with carved Australian floral motifs. Some of the stained glass windows in the chapel depict stories and scenes associated with the sea intermixed with those Biblical scenes more commonly found in such places of worship.
The adjoining Mission to Seamen’s administration, residential and recreational building shows the influence of English domestic Arts and Crafts architecture, with its projecting gable, pepper pot chimneys and three adjoining oriel windows. The lobby, with its appropriately nautically inspired stained glass windows, features a large mariner's compass inlaid in the terrazzo floor. Built-in timber cupboards, wardrobes, paneling and studded doors throughout the buildings evoke a ship's cabin.
Walter Butler, architect to the Anglican Diocese in Melbourne, had come to Australia with an intimate knowledge and experience of the Arts and Crafts movement and continued to use the style in his residential designs of the 1920s. The main hall has a reinforced concrete vaulted ceiling. Lady Stanley, wife of the Mission's patron, Governor Sir Arthur Lyulph Stanley, laid the foundation stone of the complex in November 1916. The buildings were financed partly by a compensation payment from the Harbour Trust of £8,500.00 and £3,000.00 from local merchants and shipping firms. The Ladies' Harbour Lights Guild raised over £800.00 for the chapel. Most of the complex was completed by late 1917 whilst the Pantheon-like gymnasium with oculus was finished soon afterwards. The substantially intact interiors, including extensive use of wall paneling in Tasmanian hardwood, form an integral part of the overall design.
The Missions to Seamen buildings are architecturally significant as a milestone in the early introduction of the Spanish Mission style to Melbourne. The style was to later find widespread popularity in the suburbs of Melbourne. The choice of Spanish Mission directly refers to the Christian purpose of the complex. The Missions to Seamen buildings are unusual for combining two distinct architectural styles, for they also reflect the imitation of English domestic architecture, the Arts and Crafts movement. Walter Butler was one of the most prominent and progressive architects of the period and the complex is one of his most unusual and distinctive works.
The Missions to Seamen buildings have historical and social significance as tangible evidence of prevailing concerns for the religious, moral, and social welfare of seafarers throughout most of the Nineteenth and Twentieth Centuries. The complex has a long association with the Missions to Seamen, an organisation formed to look after the welfare of seafarers, both officers and sailors, men "of all nationalities". It had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Reverend Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobsons Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. In 1905 the Reverend Alfred Gurney Goldsmith arrived at the behest of the London Seamen's Mission to establish a city mission for sailors working on the river wharves and docks. The building reflects the diverse role played by the Mission with its chapel, hall and stage, billiards room, reading room, dining room, officers' and men’s quarters, chaplain's residence, and gymnasium. It is still in use to this day under the jurisdiction of a small, but passionate group of workers, providing a welcome place of refuge to seamen visiting the Port of Melbourne.
Walter Butler was considered an architect of great talent, and many of his clients were wealthy pastoralists and businessmen. His country-house designs are numerous and include “Blackwood” (1891) near Penshurst, for R. B. Ritchie, “Wangarella” (1894) near Deniliquin, New South Wales, for Thomas Millear, and “Newminster Park” (1901) near Camperdown, for A. S. Chirnside. Equally distinguished large houses were designed for the newly established Melbourne suburbs: “Warrawee” (1906) in Toorak, for A. Rutter Clark; “Thanes” (1907) in Kooyong, for F. Wallach; “Kamillaroi” (1907) for Baron Clive Baillieu, and extensions to “Edzell” (1917) for George Russell, both in St Georges Road, Toorak. These are all fine examples of picturesque gabled houses in the domestic Queen Anne Revival genre. Walter Butler was also involved with domestic designs using a modified classical vocabulary, as in his remodelling of “Billilla” (1905) in Brighton, for W. Weatherley, which incorporates panels of flat-leafed foliage. Walter Butler also regarded himself as a garden architect.
As architect to the diocese of Melbourne from 1895, he designed the extensions to “Bishopscourt” (1902) in East Melbourne. His other church work includes St Albans (1899) in Armadale, the Wangaratta Cathedral (1907), and the colourful porch and tower to Christ Church (c.1910) in Benalla. For the Union Bank of Australia he designed many branch banks and was also associated with several tall city buildings in the heart of Melbourne’s central business district such as Collins House (1910) and the exceptionally fine Queensland Insurance Building (1911). For Dame Nellie Melba Butler designed the Italianate lodge and gatehouse at “Coombe Cottage” (1925) at Coldstream.
Living room lighting should greet as well – all things considered, it's the place your loved ones gather frequently.
blog.lightdoctor.com/a-quick-guide-to-bright-up-your-livi...
#forabrighterlife #light #ledlightingsolutions #lightingsolutions #lightingfixtures #lightingsolution #lightingfixture #ledlighting #Livingroomlighting #contemporarylight #lightfixtures
Working from home today and I was banished to the dining room for an hour as my wife needed to use the study. I looked up as I was considering a particularly knotty problem (or perhaps I was idly looking around the room) when I spotted myself in the reflection of the light fitting above my head. I took the shot accordingly...it was not until I checked out the shot that I saw just how dusty and cobwebby the fitting was!
Princess Lointaine is a character from Medieval romances who is 'an ideal but unattainable woman' and also the romantic interests of many knights.
In October 1898, Hymettus won the Caulfield Cup in Melbourne, much to the delight and excitement of humble Ballarat railway porter Michael Taffe who had put a small amount of money on the horse, at great odds, to win. Married only five years to Julia Berkery, whose parents were district pioneers from nearby Bungaree, the substantial win enabled Michael to purchase a permanent home for the young couple close to the other Taffe families of Ballarat.
After purchasing the land at 6 Cardigan Street, the proud new owners employed local architect J. Turton to build them a cottage, which when completed in 1901, they named “Hymettus Cottage” in memory of the win that changed their lives. Julia Taffe had such a strong sense of history and family, that she requested that upon her death in 1928, “Hymettus Cottage” remain the family home.
The weatherboard “Hymettus Cottage” consists of six rooms, many of which still retain original or 1920s interiors. They also contain many of the original furnishings and fittings. The hallway retains the original “tile pattern” linoleum, whilst the parlour, excluding the original 1901 fireplace, was redecorated upon Julia’s death and the décor of the room remains unchanged from the 1920s, and it houses generational wedding presents and objects that have been gifted over the years from Michael and Julia’s wedding in 1892. The dining room is probably the most in-tact Edwardian room. Textured wallpaper created using sawdust and a reflective frieze called “Fairyland at Lake Wendouree” add a uniquely local sense of history to the room. The ceiling is stencilled with several different patterns. The dining room furniture is Blackwood, whilst a burr walnut piano sits in a corner of the room ready to be played. The room is dwarfed by a very impressive overmantle stamped “Sussman and Kornblum, Ballarat”. Amongst the numerous pieces of Edwardian brick-a-brack that clutter the shelves of the overmantle stands a mayoral trophy for the “Champion Cottage and Garden, City of Ballarat, 1915 –1918” which was won by Michael, a passionate gardener, for his wonderful front and rear garden.
The front flower garden of “Hymettus Cottage” features Nineteenth Century varieties of standard roses with flower beds edged in miniature English Box (Buxus Sempervirens). It also features a large holly bush which was planted when the garden was first established, and today blocks the front door from view when looking towards “Hymettus Cottage” from the street. The rear garden is much more utilitarian and is set in a grid pattern with a variety of heritage vegetables and more Nineteenth Century varieties of standard roses. As in 1901, chickens are still kept at the rear of the property, adjunct to an old orchard, and pet rabbits lop freely about the white gravel paths.
The current generation of Taffes open “Hymettus Cottage” to the general public at different times of the year, so that others may enjoy the wonderful time capsule that the house is. “Hymettus Cottage” was open to the public as part of the 2012 Ballarat Heritage Weekend, an annual two day event when buildings and private properties not usually open to the public are made available for viewing, as a way of celebrating Ballarat’s rich heritage.
Place settings for three in sleek kitchen of Barbican Apartment, London, UK., Architects: Architects: Mackay and Partners LLP
In October 1898, Hymettus won the Caulfield Cup in Melbourne, much to the delight and excitement of humble Ballarat railway porter Michael Taffe who had put a small amount of money on the horse, at great odds, to win. Married only five years to Julia Berkery, whose parents were district pioneers from nearby Bungaree, the substantial win enabled Michael to purchase a permanent home for the young couple close to the other Taffe families of Ballarat.
After purchasing the land at 6 Cardigan Street, the proud new owners employed local architect J. Turton to build them a cottage, which when completed in 1901, they named “Hymettus Cottage” in memory of the win that changed their lives. Julia Taffe had such a strong sense of history and family, that she requested that upon her death in 1928, “Hymettus Cottage” remain the family home.
The weatherboard “Hymettus Cottage” consists of six rooms, many of which still retain original or 1920s interiors. They also contain many of the original furnishings and fittings. The hallway retains the original “tile pattern” linoleum, whilst the parlour, excluding the original 1901 fireplace, was redecorated upon Julia’s death and the décor of the room remains unchanged from the 1920s, and it houses generational wedding presents and objects that have been gifted over the years from Michael and Julia’s wedding in 1892. The dining room is probably the most in-tact Edwardian room. Textured wallpaper created using sawdust and a reflective frieze called “Fairyland at Lake Wendouree” add a uniquely local sense of history to the room. The ceiling is stencilled with several different patterns. The dining room furniture is Blackwood, whilst a burr walnut piano sits in a corner of the room ready to be played. The room is dwarfed by a very impressive overmantle stamped “Sussman and Kornblum, Ballarat”. Amongst the numerous pieces of Edwardian brick-a-brack that clutter the shelves of the overmantle stands a mayoral trophy for the “Champion Cottage and Garden, City of Ballarat, 1915 –1918” which was won by Michael, a passionate gardener, for his wonderful front and rear garden.
The front flower garden of “Hymettus Cottage” features Nineteenth Century varieties of standard roses with flower beds edged in miniature English Box (Buxus Sempervirens). It also features a large holly bush which was planted when the garden was first established, and today blocks the front door from view when looking towards “Hymettus Cottage” from the street. The rear garden is much more utilitarian and is set in a grid pattern with a variety of heritage vegetables and more Nineteenth Century varieties of standard roses. As in 1901, chickens are still kept at the rear of the property, adjunct to an old orchard, and pet rabbits lop freely about the white gravel paths.
The current generation of Taffes open “Hymettus Cottage” to the general public at different times of the year, so that others may enjoy the wonderful time capsule that the house is. “Hymettus Cottage” was open to the public as part of the 2012 Ballarat Heritage Weekend, an annual two day event when buildings and private properties not usually open to the public are made available for viewing, as a way of celebrating Ballarat’s rich heritage.
Back to the Costa in the Bullring (accessed via Forever 21).
Inside this time, as too cold and blustery to use the balcony.
Interesting look lamp fittings on the ceiling!
Again went to level 2 of Forever 21, before realising I had to go down the stairs to level 1, to get to this Costa!
Selfridges building and Church of St Martin outside!
To be published in the Birmingham Mail readers letters page. Sometime during the week of 10th to 15th March 2014.
Might be on Friday 14th March 2014 (free in the city centre).
Still trying to capture some sparkle! Have I got it this time Crow with this crystal chandelier? Spare/Replacement for
Scavenge Challenge - Oct 2012 - Scavchal #7 - Capture some sparkle! let those little highlights shine to good effect
I'm so glad to had time to stop by! Your comments are always appreciate, thank you. Have a great day! :-)
A light fixture, light fitting, or luminaire is an electrical device used to create artificial light and/or illumination, by use of an electric lamp. All light fixtures have a fixture body, a light socket to hold the lamp and allow for its replacement—which may also have a switch to operate the fixture, and also require an electrical connection to a power source, often by using electrical connectors (e.g. plugs) with portable fixtures. Light fixtures may also have other features, such as reflectors for directing the light, an aperture (with or without a lens), an outer shell or housing for lamp alignment and protection, and an electrical ballast and/or power supply
from "Morco" Illuminating Fittings, Catalogue 102 (n.d. c.1930); T B Morley & Co. Ltd., Jameson St., Hull and Wheatley Hall Rd., Doncaster
Recent project: Mrs W has been redecorating our front room (a process I loath with a vengence, I must admit). She decided that she wanted to modernise it a bit, so she's brought it about twenty years more modern - from '30s to '50s style. So the deco glass lamp shade has gone into store, awaiting redeployment, and this item has been put up in place of the wooden patress and bakelite fittings.
It wasn't easy. The main mounting bracket was a doddle: there's already a joist directly above the position, so no problem there. The wiring mods were easy, as I had already organised all that from the previous time it was replaced. The light assembly itself hangs from the bracket by a large split pin, which goes through the top of the vertical chromed tube, and the conical cover then pushes up to the ceiling and is 'locked in place' by a single grub screw. I put 'locked in place' in inverted commas because, of course, a grub-screw is a fairly useless way of locating anything on a hard chrome surface, so I ended up super-glueing a small piece of rubber band on the end of the screw, to give it a bit of grip. It all took quite a lot of juggling, and I wouldn't want to disturb it more than I have to.
Interior Main Hall, Melbourne Town Hall.
Construction of the existing Melbourne Town Hall began in 1867 on the site of the first Town Hall at the corner of Swanston and Collins Streets. Architects Reed and Barnes won a competition for the design of the new Town Hall, and the firm was responsible for the portico which was added to the Swanston Street facade in 1887. An Administration Building was constructed to the north of the town hall in Swanston Street in 1908, and various alterations were made after a fire in 1925.
Reserved by the government in 1837, the site at the corner of Swanston and Collins Streets was issued as a Crown Grant to the Corporation of Melbourne in June 1849 as a site for a town hall. Designed by the City Surveyor, James Blackburn, the first Town Hall was subsequently completed c 1854. By the early 1860s it was already of insufficient size and the foundation stone of its successor was laid by the Duke of Edinburgh in 1867.
The new Town Hall included a public hall, administrative offices, Lord Mayor's rooms and council chambers. Built in a French Renaissance style with slate mansard roofs, this freestone building consists of a rusticated bluestone plinth, a two storey section of giant order Corinthian columns and pilasters, an attic storey and a corner clock tower. The main Swanston Street facade is divided into five parts, with a central and two end pavilions. The central portico, added to this facade some twenty years after the initial construction to provide a grand entrance and balcony, is of a pedimented, temple form, with materials and details used to match the existing building.
From the mid-1880s to the late 1890s, the Town Hall was the venue for several important meetings on the question of Federation. These meetings marked significant advances in the progress of the Federation movement and were attended by many prominent individuals who were intimately involved in the issue. Among the critically important meetings held at the Town Hall were the January 1890 Australian Natives' Association Inter-Colonial Conference on Federation, the series of meetings in mid-1894 to found the Australasian Federation League of Victoria, the public meeting attended by three colonial premiers in January 1895, and the large public meeting of May 1898 that marked the climax of the pro-Federation campaign in Victoria for the first Federation referendum.
In 1888 the Melbourne Council bought the adjacent Police Court building from the government, therefore securing a site for future offices. In 1908 a building was erected on this site to accommodate the administrative staff, including the office of the Town Clerk, and also incorporated committee rooms and a new council chamber. The exterior was designed by J. J. and E. J. Clark, emulating much of the detail of the adjacent building, and the interior was completed by Grainger, Little and Barlow. The council chamber has been the meeting place of the City Council since 1910 and its design displays a post-Federation pride in Australian materials.
A fire in 1925 effected the first changes made to the Town Hall building. The main hall, together with the organ, was destroyed and as a result a new hall, designed by Stephenson and Meldrum, was built. By extending to the adjacent site in Collins Street, a larger hall was constructed and the existing Collins Street facade was extended. An additional, lower hall was also created, a new organ was built by British firm, Hill, Norman and Beard and decorative murals, featuring larger than life size figures, were installed in the main hall, to designs by Napier Waller, in conjunction with J. Oliver and Sons.
The Melbourne Town Hall is of architectural significance as a distinguished and important work by the prominent Melbourne architects Reed and Barnes, who designed a number of significant Melbourne buildings. It is also important as a prototype for numerous suburban town halls that were built in the late 1870s and 1880s. The Administration Building is of architectural significance for its functional and stylistic relationship to the Town Hall, which results in a coherent civic centre.
The Melbourne Town Hall is of historical significance as the civic centre of Melbourne since 1867 and for its association with the Federation movement in Victoria.
The Melbourne Town Hall is of scientific (technical) significance for its organ which is an intact, large and rare example of 1920s British organ-building craftsmanship. As the second largest organ built in the British tradition between World War I and 2, it is now the third largest organ in Australia, those at the Sydney Town Hall and the Sydney Opera House being larger. Few organs of this size are intact from this period, particularly of a secular/concert hall design. As part of the 1925 rebuilding, the intact case, grilles, pipework and console of the organ are architecturally integral to the main hall.
The Melbourne Town Hall is of aesthetic significance for the murals by Napier Waller, which provide an example of this important artist's work.
A visit to the Dorset town of Shaftesbury - home of Gold Hill.
This is King Alfred's Kitchen on the High Street in Shaftesbury. We went here for out lunch the day we went to Shaftesbury.
At 17 and 19 High Street.
King Alfred's Kitchen 17 and 19, Shaftesbury
1.
1615 HIGH STREET
(South Side)
Nos 17 & 19
(King Alfred's Kitchen)
ST 8622 2/58 20.6.52.
II GV
2.
Plastered front. The south end has very low room with oak beams etc internally
and has a C17 origin [see RCBM] 2 storeys; 1 window above, 4 windows
below including 1 canted bay and 1 C18 sash window to left of it. North
end has a 3rd storey and most of the external features are quite modern.
Nos 5 to 13 (odd), The Fruit Shop, Nos 17 and 19 form a group.
Listing NGR: ST8623022947
Inside King Alfred's Kitchen.
On the first floor.
The room we had out lunch in, you could see the inside of the roof! Looks like it's medieval (made to look like).
Basic light fitting (before the chandelier evolved).
There was coat of arms shields on the roof / ceiling.
This pretty floral style reading lamp casting a honeyed glow across a tabletop is French and made of brass. Featuring its original ruffled glass shade of cream glass, the lamp’s stand is perhaps its most interesting feature. Decorated with vine leaves, the sinewy vine holding the glass shade “flower” is held aloft by a little hand whose fingers grip the vine very tightly. It is very Art Nouveau in its form and design, and has its original Edwardian flex of brown and cream woven cotton.
Private collection.