View allAll Photos Tagged sashes
they are hilarious when the bathtub is running. also, when no one is in it, they like to jump in there and play.
Sash (Lafi), late 19th–early 20th century (Wallis and Futuna Territory), Barkcloth and pigment, 55.9 x 363.9 cm (The Metropolitan Museum of Art)
Sash (Lafi), late 19th–early 20th century (Wallis and Futuna Territory), Barkcloth and pigment, 55.9 x 363.9 cm (The Metropolitan Museum of Art)
Impossible PQ B&W 8x10 instant film, expired 04/2015
1/25th sec exposure at f11
12" Kodak Ektar lens
Eastman Commercial View
Spending some time restoring the sash of one of the upstairs windows.
Will be stripping the paint and stain/finish from the outside and inside, do the glazing repair, and then repaint and stain/finish.
A valuable lesson on the damage caused by moisture in an unheated room in winter. I now run fans on timers during the winter to deal with it.
I bought this woven belt last year but have no idea where it was made. It looks Latin American to me. If anyone does know where this was made, please let me know. Many thanks
Grade I listed. Formerly known as :Mary Ward Settlement Institute. circa 1896-98. By Arnold Dunbar Smith and Cecil Brewer. For the Passmore Edwards Settlement (later known as the Mary Ward Settlement). Load bearing red brick with wide cement band under the eaves. Floors of steel I-beams. Slated mansard roof with projecting eaves and dormers.
EXTERIOR: wide modillion cornice formed by exposed undersides of I-beams. Flush sash and casement windows with exposed boxing and brick sills. Courtyard faced with grey stock bricks. Rectangular courtyard plan with the Great Hall lengthwise across the main facade and residential and common rooms to the rear. Base of courtyard occupied by a sunken gymnasium lit by a pitched, glazed roof.three storeys, attics and basements. Broadly symmetrical façade with projecting wings flanking the recessed hall in an advanced Arts and Crafts manner.Main entrance an asymmetrically placed, projecting, square-headed porch of large stonework with segmental arch over segmental-arched doorway with two-leaf oak plank doors with strip hinges. Delicate projecting cornice with a stone egg at either end (symbolising rebirth); left hand return with large lead rainwater head inscribed "1897", similar to those used around the building. Stonework of porch at base continues through a curve to provide a low base for area railings before sweeping in an upward curve to form low walls to entrances on the projecting wings. Entrance to the hall (left wing) and secondary entrance for performers (right wing) with plain, bracketed, projecting wooden hoods. two-leaf wooden doors with small rectangular glazed panels in the top third. Panels above the doors, right hand of beaten copper (now painted) with inscription and decoration, both with lamp-holders on either side. Each wing with three casements on opposing diagonals markingthe stairs through the first floor. In vertical alignment across the top of the stair windows, three similar casements. 3rd storeys rendered with three-light casements, the centre lights bowed. Projecting modillion cornice. Recessed hall with four round-arched transom and mullion semi-basement windows with gauged red brick heads. Hall expressed by four two-light casements with louvred shutters and a Diocletian window above the main entrance. Wide rendered band beneath eaves which sweep down to third floor level. Central dormer of Palladian window type. West elevation: composed of gabled hall end and accommodation. Hall with large Palladian transom and mullion window with exaggeratedly squat columns beneath the sill of which, nine small sashes (1:2:3:2:1). Ground floor level, six sashes with gauged brick flat arches. Semi-basement, segmental-arched half sashes. Residents' entrance with large cantilevered canopy over a splayed, deeply recessed entrance with stone reveals and two-leaf doors. Canopy with paired, plain brackets at either side between which paired single light windows; above, a Diocletian window with keystone. seven sashes at second and third floor levels;Third floor rendered. Modillion cornice and dormers.
HISTORICAL NOTE: the Settlement was founded by the best-selling novelist Mrs Humphrey Ward, who had been deeply influenced by the charitable philosophies of TH Green and who had obtained funding from Passmore Edwards, after whom the building was first named. It is their initials which adorn the doorplates and fireplaces in the building, though in 1920 the building was named after Mrs Ward herself. The aim was to restore contact between social classes by providing a building in a working class neighbourhood where young middle class professionals would live. Working at their usual occupations by day, their leisure time would be spent with, and hopefully influencing, the local inhabitants who were able to join the settlement and use its facilities as a social club. The combination of Arts and Crafts detailing, a Lethaby-inspired symbolism, and the demonstration of its social purpose through the well-preserved interior makes this an exceptional building.
I should be back to blogging this upcoming weekend. I am getting everything ready in sl to be back to blogging. So please just be a tid more patient. Thank you to the sponsors, who were understanding :)
Since Sasha has been spayed she has turned into a cuddle monster love bug, it like she is trying to get all the petting in that she missed when she was in heat.
Carte de visite by an unidentified photographer. Civil War history is filled with anecdotes of how the bonds of Masons were stronger than the political parties and military organizations that divided the Northern and Southern states. This portrait reminds me of the various stories I’ve read or researched that involve Confederate and Union soldiers coming to each others’ assistance once it was known they shared the Masonic connection.
This man, wearing a sash wrapped and knotted around his waist and a hat with plume and tassel, posed for this portrait in the studio of an unidentified photographer during the 1860s. Though his name is currently lost in time, his distinctive accouterments and a pencil inscriptions along the bottom of the card stock mount, “Knights of Virginia,” are clues to his identity. The Knights Templar of Virginia were a sect of the Masons, sharing the same moral and ethical teachings, an emphasis on brotherhood, and symbols and rituals rooted in medieval and religious traditions. But the Knights Templar required its members to be professed Christians, which was not required in the larger Masonic fraternity.
Was this man a soldier during the war? If so, did he ever have the need to call on his Masonic connection to help himself out of a tough spot on a battlefield? Or, did he hear the call of a fellow Mason on the other side and did a good deed for him?
Until he is unidentified, we cannot know.
However, in researching the Knights Templar of Virginia, I learned that the Masonic ties between brothers on opposite sides of the conflict were frayed between the national and state organizations that governed Templar Masons across the country.
Virginia is a case in point.
The middle of the 19th century was a period of strife for the Knights Templar of Virginia. From its earliest days in the first quarter of the century until the 1850s, Templar Masonry evolved into a national organization with member states as the nation expanded from coast to coast, and agricultural to industrial. In the late 1850s, a flurry of name changes and related actions further unified national and state organizations. They include the titles “Grand Master” for organization leaders and “Encampment” for the chapters.
When civil war divided the country, the separation between the states played out among the national and state Templars. On April 18, 1861, less than a week after the bombardment of Fort Sumter shocked the nation, Grand Master Benjamin Brown French, the head of the Knights Templar of the United States of America, distributed a circular reminding all Knights of their historic fidelity to each other. Nine days later, on April 27, a letter from Sir Knight Edward H. Gill, the leader of the Virginia Templars, announced Virginia’s secession from the national organization.
French’s circular and Gill’s letter parallel what was happening in the national conversation in the disunited states.
Here’s is French’s circular:
Office of the Grand Master of Knights Templar of the United States of America:
To all True and Patriotic Templars:
Brotherly Love, Peace, Honor.—An awful fratricidal conflict seems to be impending. He alone who rules the destinies of Nations can prevent it. He works through human instruments. I implore every Templar Knight on the Continent of America, after humbly seeking strength and aid from on High, to exert all the means at his command to avert the dread calamity, which, to human vision, seems inevitable.
Let each templar to whom this may come, remember how often we have stood at each other’s side, and raised our voices in prayer for the prosperity of a common country and a common cause. Let us call to mind how the Knights of Virginia, mingling in fraternal brotherhood with those of Massachusetts pledged themselves to each other, on Bunker Hill, only a few brief years ago; and when another hear had passed away, the same noble bands stood together in the city of Richmond, in the state of Virginia, the birth-place of Washington, and with mutual vows bound their souls in an everlasting covenant! Let them remember these things, and, with hearts on fire with love for each other, and for their countrymen, go forth among these countrymen and implore the arbitrament of peace, instead of that of the sword.
I ask no one to surrender a principle that has become dear to his heart, but I ask every one to labor and to pray that such counsels may take place between the contending parties who have for so many years acted with a common impulse, as to restore harmony and kind feeling, and avoid the course of having fraternal blood crying to Heaven from the ground, and bringing down its maledictions on our children’s children through all future time! Labor and pray that hostilities may be suspended until the mild counsels of peace can be appealed to, and that the appeal may not be in vain.
Casting aside every political feeling, every political aspiration, and asking every Templar to do the same, let us, as one man, unite in one grand effort to prevent the shedding of fraternal blood, and to inaugurate here that blessed result which our Lord and Master initiated: “Peace on earth and good will to men.”
Templars! you count in this land by tens of thousands. Each one has his influence in the circle about him. Never, no never was there an opportunity to exert that influence in a more holy cause, or to a more sublime purpose. Forward, then, to the rescue of your country from fratricidal war!
But, if war must come — which dread calamity may God, in His infinite mercy, avert — then I call on every Knight Templar to perform that sacred duty which so well becomes our Order, of binding up the wounds of the afflicted, and comforting those who mourn.
Dated at the city of Washington. on this 18th day of April, in the year of our Lord, 1861 and in the year of our Order 743.
B. B. French, Grand Master.
Here is Gill’s reply:
Justice.
]office of the Grand Master of Knights Templar of Va.,
Lynchburg, Va., April 27, 1861.
Hon. B. B. French. Grand Master Grand Encampment Knights Templar of the United States.
M.E. Sir Knight:—Your Circular of the 18th instant., relative to the “awful fratricidal conflict which seems to be impending” between the citizens of the North and the South, has been received; and as the people of the South are merely acting on the defensive in this conflict, those of the North, regardless of that “Brotherly Love, Peace and Honor” alluded to in your circular, having trampled upon their constitutional rights, and being now about to invade their soil, their homes and their firesides, and desecrate their altars, I am at a loss to understand why you should send such a circular to the Knights Templar of Virginia.
Residing as you do, at Washington, you cannot be ignorant of the fact that Virginia has exhausted every honorable means to avert this conflict. “Casting aside every political feeling, every political aspiration,” she has plead to prevent the “shedding of fraternal blood;” she has plead for “Peace on earth and good will to men,” and she has plead that her constitutional rights, and those of her sister States of the South, should not be trampled upon; but her pleadings have been disregarded, and conscious of the justice of her cause, she now appeals to the “God of Battles,” confident that Heaven will smile approvingly upon her efforts in resisting unto the death this Cain-like and marauding attack of the vandals of the North; and I thank God that the valiant Knights Templar of Virginia unanimously participate in this feeling of resistance, and are prepared to welcome their invaders “with blood stained hands to hospitable graves,” designated by no “sprig of evergreen.”
For the reasons stated, I now, as the Grand Master of the Grand Encampment of Knights Templar of the State of Virginia, give you notice that that body is no longer under the jurisdiction of the Grand Encampment of the United States, and will no longer regard or obey any orders or edicts emanating from it or its officers.
E. H. Gill, Grand Master.
I encourage you to use this image for educational purposes only. However, please ask for permission.
Original image: King Otto Of Greece, by Joseph Karl Stieler
Photoshopping by Francesca Favetti
Face: Wally De Backer
Quilted and Bound ... Yay! Finished a week early? Gadzooks!
This is for my fairy god-daughter Frankie's 10th birthday ... I so remember reaching double figures - I thought it would be nice for her to have something that could travel alongside her through the next 10 years! (If the stitching's up to it!) I also haven't been the most attentive of FGMs, so I hope this makes up for the last couple of years a bit ...
Pingwheels: Happy Mochi Yum Yum (my giveaway winnings from Lily's Quilts ) & Kona white - The Mochi Yum Yum is just wonderful to sew with. It's soft and supple, yet it completely keeps its shape for HSTs. Lovely stuff! Monica @HappyZombie you are genius!
Sashing: lightweight pale blue 100% linen (slippery little sucker!)
Outer Sashing: white Klona cotton - it's a bit stiffer than the Kona ... keeps its shape better, I think ...
Binding: Happy Mochi Yum Yum
Batting/Wadding: Bamboo blend - This is fantastically soft and light and I thoroughly recommend it. Next quilt I'm going to double it up for even more loft but it's just wonderful.
Pieced Backing: Mochi, linen and bright multi polka dot cotton ...
Hand quilted with Anchor Perle no. 8 in toffee, blue, green and white.
Pieced with: Aurifil 50 netural thread (heavenly!)
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Ha Ha! That was like the credits on a boring movie!
I took it into work to photograph ... the college is a modern building with a huge glazed atrium ... duh!! ... light! Not like my gloomy for photography but not living basement.
The students and staff thought I was a bit mad ... Nothing really new there - When someone asked me what I was doing I told them I was photographing my quilt! And he walked off, nodding his head and muttering "As one does ... as one does ..."
This quilt was a delight to make. I made it up as I went along but I had some form of picture in my mind, of which this is a pretty good representation! I think it really helps when you have someone you love in mind too.
I'm entirely converted to using linen as my main solid. I love the feel of it.
you can see more pics of the process in my flickr set here
Please press L to view full screen.
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But, if you do use, it would be nice to know where and what for - hit me up on twitter @ianlivesey
As the August Moon Festival gears up, men with lion (dance) legs can be seen near the local beauty queens teetering by on their high heels.
marketplace.secondlife.com/p/tst-Scallywag-Pants-WEAR-CLI...
!!! ONLY FOR THE NIRAMYTH AESTHETIC BODY MESH BODY !!!
[ t.s.t ] Scallywag Pants
COPY - NO MOD - NO TRANSFER
Includes:
- Brown/black leather with black/brown stitches.
- Brown/block cloth with black/brown stitches.
- Sash with red, blue, green, white, teal, orange, purple, and black options.
Contact thesanguinetree or Sithas Slade in-world for any questions/concerns.