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A pattern made of brightly colored parrots and a fun paisley design. Rebekah Leigh Marshall 2010
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The Grange was the home of Augustus Pugin, and the design and decoration of the house, and of course the church next door are simply stunning.
And yet, I could not get away from the feeling this was not a house, or did not feel like one. Of course I am looking at it with modern eyes, but an effigy of the Madonna and child in the entrance hall, and one of the Virgin Mary looking down on the marital bed does not seem normal to me, but then who am I to judge.
Also wonderful was the wallpaper which covered all rooms, but this was my favourite, much more to come.
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The Grange is important today because it is the house Augustus Pugin built for himself and his family. Listed Grade I, it was rescued from development by the Landmark Trust in 1997 with a grant from the Heritage Lottery Fund. The HLF provided a further grant for its repair and restoration (2004-6), with generous additional support from English Heritage, Thanet District Council, charitable trusts and many private individuals.
Augustus Welby Northmore Pugin (1812-52) was one of the most influential and prolific architects and designers of the 19th century. Only 40 years old when he died, Pugin spent his life trying to revive medieval Gothic architecture and design as the only fit architecture for a Christian society, part of a movement known as the Gothic Revival. He looked back wistfully and sometimes whimsically to medieval society, which he thought morally superior to the increasingly mechanised and secular society he saw around him. A devout convert to English Catholicism, Pugin built many churches, schools, convents, monasteries and country houses. He also designed the interiors for the Houses of Parliament. As a man, Pugin was passionate, intense, naïve, impatient, combative and funny. He worked ceaselessly to recreate, in his own life and works, the Gothic life that he idealised, supported by a loyal team of craftsmen and builders who translated into reality his countless designs.
Pugin built few domestic houses and the site in Ramsgate is particularly important because here he was building for himself, to create his ideal setting for his family. He wanted to bring Catholicism back to this part of Kent and so a church and monastery were also part of his plan, to recreate the medieval social structure that he so admired. Here he was able to build according to his own true principles, imposing ‘No features … which are not necessary for convenience, construction or propriety.’ Built of yellow stock brick and surrounded by walls of knapped flint, The Grange was not an inherently extravagant house despite the richness of its interiors. However, it is quietly revolutionary in the arrangement of rooms and their outward expression in architecture. Pugin was reacting against mainstream Classical architecture, which had been the most popular style for the past hundred years and which he considered pagan. Pugin’s starting point for The Grange was not outward symmetry but internal function - how he and his large family were to live in the house. Windows, roofs and chimneys were placed to suit life inside rather than external appearance. This cheerful and uncontrived asymmetry became and remains such a familiar feature of English domestic architecture that it is easy to forget how radical it was after the formal terraces of the 18th century. The principle it reflects, that form should follow function, remains central to much of today’s architecture.
Pugin bought the site on the West Cliff at Ramsgate in 1841. The house was built between 1843 and 1844 by his builder, George Myers. The original floorplan (now reinstated) was a distinctive ‘pinwheel’ arrangement: three principal ground floor rooms (the drawing room, library and dining room) grouped around a square entrance hall, with a corridor leading off to a small kitchen, a square tower (from which Pugin would watch for vessels in distress on the Goodwin Sands) and a private chapel. The house was designed to enjoy views of the sea and the monastic site next door from all angles and was richly wallpapered, painted and panelled. It was full of furniture to Pugin’s own designs and of the paintings and 'objets' that he collected avidly.
As his second wife Louisa died in 1844 just before the family moved into the house, it was only after his marriage to Jane Knill in 1848 that the house became the happy family home he dreamed of. Sadly, Pugin himself died in 1852, just two years after the interiors were completed, worn out by his pace of work and unbalanced and poisoned by the mercury prescribed to cure recurring eye inflammation.
After a decade away, Augustus’s eldest son Edward Pugin returned to live in the house in 1862 with his stepmother Jane and other family members. Edward too was an architect and became a substantial local figure in his own right. It was Edward who designed and built most of St. Augustine’s monastery and finished the church. He also altered his father’s house, adding the entrance corridor and the gate piers, extending the drawing room, adding a conservatory and making various extensions and changes to the internal layout to adapt it for mid-Victorian life. The house remained in family ownership until the death of Augustus’s last son Cuthbert in 1928, after which its contents were dispersed and it became a school run by the monks of St Augustine’s monastery next door. It passed into private ownership in the early 1990s, but sadly continued to deteriorate until it was put on the market again with talk of turning it into flats. By now, its importance was more widely recognised and the Heritage Lottery Fund stepped in to enable Landmark to acquire it.
www.landmarktrust.org.uk/our-landmarks/properties/grange-...
Augustus Welby Northmore Pugin (1 March 1812 – 14 September 1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style; his work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.[1] Pugin was the son of Auguste Pugin, and the father of E.W. and Peter Paul Pugin, who continued his architectural firm as Pugin & Pugin.
Wearing a square
Pattern Magic 2, by Tomoko Nakamichi
also
handmadebycarolyn.blogspot.com.au/2011/09/pattern-magic-2...
Patterns in Bahrain. Black and white photography by Donna Corless.
Prints and notecards are available in my Black and White Abstracts Gallery.
This photo has been included in the ABSTRACT ELEMENTS book at www.blurb.com/books/1473730.
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Patterns made by 4wd dricing down the beach. Sorry it's been so long without an upload, finally have interent conected, so more photos from now on.... Tell us what you think about them!
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All Rights Reserved. Please do not use my images without prior consent.
Jewellery was a big part of Elizabethan Tudor fashion, especially for those who were rich and important. It showed both their wealth and status. Jewellery was also used to convey political messages, display religious beliefs and to remind people of friends and relatives who have died. Jewellery in Tudor times was not widespread and is essentially worn by the upper classes and those who could afford such finery.
Tudor bracelets tended to be made out of silver or gold and decorated with precious stones. Strands of pearls could also be wrapped around the wrist. The Elizabethan cuff is reminiscent of bracelets of the era. A wide cuff - elaborate, luxurious and intricately woven. A central panel of bezelled large beads form a bold focal point to the cuff. Eminently suited to the delicate wrists of the Elizabethan Tudor lady of the upper classes.
Yarn: Cascade 220
Wraps Per Inch: 10 wpi
Needles: US #6
Gauge: 22 sts X 26 rows over 4 inches X 4 inches (10 cm X 10 cm) in pattern
Pattern: Pier-Glass Pattern
Stitch Count Repeat: Multiple of 13 plus 1
Book: A Second Treasury of Knitting
Chapter: Twist-Stitch Patterns
Page: 148
Not as elastic as ribbing, but a stretchy fabric. Walker recommends knitting with smallish needles and I agree that it looks best when knit at a tighter gauge than recommended for the yarn. If I did it again, I'd probably go down at least a needle size.
Vintage mail order pattern by Anne Adams, from an ad in the newspaper (the envelope says San Diego Evening Tribune).
Timeless style.
Not sure of the date, but the postmark says 2 cents.
I found this in my box of old patterns, so perhaps it was my grandmothers. I think it's adorable.
I find the "pedestrian" symbol used on North American roadsigns somehow fascinating. There's something endearing about the intrepid way s/he seems to be stepping into the road. (To be fair, roads aren't always very pedestrian friendly that side of the pond!) Not to mention that s/he is found in some unlikely places.
Here, our intrepid explorer steps onto the major road on the bridge over Granville Island in Vancouver. The cables are for electric trolley buses, and I just love the pattern they make against the clear blue sky.
The sky was only this blue on the last day of my time in Canada.
I liked the patterns made by the wind blowing the grass and funnelling through the dunes. Taken at Kinshaldy.