Lee, too, is anxious to find unleavened goodness in the drawing rooms of Washington.
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We now move on to the Pillard room, the largest of three drawing rooms.
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Two adjacent drawing rooms each have a fireplace, one dating to the 19th century and the other contemporary.
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When not idling in drawing rooms, members of the leisured class took long walks and stared at trees.
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The overall effect is of a tidal social flux coursing beneath the stationary drawing rooms that Austen's characters inhabit.
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All three couples gathered together for the ultimate royal photo op in one of the stunning palace drawing rooms.
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Weigel points out that it turned women, primly cloistered in their drawing rooms, into passive objects of male desire.
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Afternoon tea, served in one of the property's three drawing rooms, stars Kinloch's famous scones, layered with jam and whipped vanilla cream.
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On Friday Trump and first lady Melania will have tea with the Queen in one of her drawing rooms before leaving for Scotland.
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As an adult, Theo moves silkily between the drawing rooms of the rich and the dusty labyrinth of an antiques store where he works.
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The Catskills became notable, particularly among patrons who commissioned paintings to be hung in European salons and the drawing rooms of wealthy New Yorkers.
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The most basic requirement was a suite of rooms, including anterooms, drawing rooms and a bed chamber, to recreate the ceremony of royal courts.
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The physical setting was unfamiliar too: the lovingly-restored Dilgosha Palace, a 1914 mansion complete with a pillared central hall and high-ceilinged drawing-rooms.
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Inside the ornate drawing rooms of the neo-Classical Hôtel Salomon de Rothschild were bursts of hypersaturated color, explosive proportions and dazzling feats of construction.
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Kiefer doesn't footle around in drawing rooms with palette and pen, or ever find himself preoccupied by the delicacy of a single delicate female wrist.
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While English drawing rooms might be an old hat, it would be great to see Anderson turn his head to the seedier side of Britain.
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The house's main entrance opens into a large reception hall that provides access to the spacious dining and drawing rooms, which look out on parklike grounds.
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He is a "social mountaineer" who wants nothing more than to be admitted to the drawing rooms and soirees of the duchesses whose houses he builds.
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Alas, despite appealing actors, handsome drawing rooms and impressive estates, "the story's lone joke and its grinding literalness grow dull," Manohla Dargis wrote in The Times.
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Austen novels are largely set in sunny backyards and drawing rooms, whereas Taboo's London is a blasted hellscape of mud and feces beneath a perpetually cloudy sky.
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These created electricity, which traveled to homes and businesses within about one square mile, illuminating drawing rooms without the use of a match for the first time.
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Entitled "Les Sauvages de la Mer Pacifique", the wallpaper once covered wealthy European drawing rooms and staged native people as exotics, albeit posed and draped in neoclassical style.
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On the second day of his working visit to Britain, the U.S. president is due to meet the queen in one of her drawing rooms at Windsor Castle.
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The American style was open, tolerant, optimistic—the opposite, in fact, of the simple certainty offered by aristocratic Europeans in their draughty drawing rooms that things used to be better.
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Courtrooms, boardrooms, nicely decorated drawing rooms, and newsrooms furnished with little more than telephones and smoke: they all feel cocked and combat-ready, and every deadline looms like an ambush.
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The two large drawing rooms on the second floor, done alike in pale amber-yellow satin brocade, were thrown into one large salon running the width of the two houses.
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Despite the latest episode's dramatic staging of the Battle of Borodino, the result of the series' cursory approach to war is that in the drawing rooms of Moscow, feeling falls flat.
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Insisting that Austen's work has always been misread as "an undifferentiated procession of witty, ironical stories about romance and drawing rooms," Kelly promises to reveal a hitherto unknown and unrecognized Jane Austen.
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"Our drawing rooms are filled with overfed aristocrats who have no idea what real is," he announces to a drawing room full of overfed aristocrats who have no idea what real life is.
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The writer-director Burr Steers came prepared for battle, if not much else, with appealing actors — Charles Dance, Jack Huston and an amusing Lena Headey — as well as handsome drawing rooms and impressive estates.
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And as the president-elect spends his days lashing out on Twitter, it's a relief to retreat into the stuffy drawing rooms of Buckingham Palace, where being well mannered is part of everyone's job description.
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All the latent nobility of the instrument was on display there: its ancient lineage, from Laotian and Chinese metal-reed pipes, and its aristocratic birth in the early 19th century, as an instrument for fashionable drawing rooms.
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Champagne flowed — as did elderflower cocktails for those observing a dry January — as a throng of film directors, actors, journalists, fashion designers and music executives held court on the Persian rugs of the three state drawing rooms.
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The sun sank behind the hills of Ankara, and the Old New York opera houses and drawing rooms grew increasingly vivid, as did the fraught relationship between Newland Archer, his fiancée, May Welland, and her unconventional cousin, Countess Ellen Olenska.
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Finally, the regalia put away, the first couple is scheduled for tea with the Queen inside one of Windsor Castle's drawing rooms, a right proper end to their brief sojourn in England before once again jetting off, next stop: Scotland.
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An anxiety riddled anger captured by the New York Times and other reporters in New York City drawing rooms where Democratic elites complained bitterly about the sorry state of the field and a rash of billionaires yelling at CNBC cameras.
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Nonfiction Julian Fellowes may be adapting the "Downton Abbey" formula to a stateside setting, but why wait for his late-19th-century period piece, "The Gilded Age," when you can escape right now into the well-apportioned drawing rooms of the past?
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They are trapped, or believe themselves to be, in the provincial drawing rooms of their lives, but in the vast forests of their thoughts they are free to roam, forgetting themselves, as we do, in conversation, our lapses revealing our wishful thinking.
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"Our drawing rooms are full of overfed aristocrats who have no idea what real life is, who have even forgotten how to speak their own languages," he proclaims to a room full of those very same overfed aristocrats, suggesting that a conquest by Napoleon might be for the better.
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Alexander Bruno, like Lethem, was raised by bohemians in the late 1960s and '703s and earns a glamorous living doing what millions of people do for fun — in Bruno's case, playing backgammon against rich guys, "suavely robbing them at clubs and in their private drawing rooms" all over the world.
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Jeeves, it turns out, already is working for HMG through his club, the Junior Ganymede, whose members use their "unfettered admission to the country's most consequential drawing-rooms, dining tables, libraries and bedrooms" to report the doings of their employers and their prominent, and/or nefarious, guests to British Intelligence.
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Think of Christopher Kane's dresses in a damask that seemed better destined to upholster the drawing-rooms of English stately homes, or Simone Rocha's clutch of tea dresses with faux fur stoles that, despite their embroidered flowers, skewed towards the distinguished pair of septuagenarians she included in her model casting.
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In Love & Friendship, for better or worse, she's the Walter White of polite British society, charging into quiet drawing rooms with only her self-interest in mind and attempting to finagle her way into an advantageous marriage, all while marrying off her daughter to someone the poor girl has no interest in.
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We want to see her prevail over the scheming wealthy white people who callously brush off concerns about the grotesque inhumanity on the US southern border in drawing rooms, who feign principle in opposition to their most egregiously offensive family members but ultimately only maintain their noble beliefs from the comfort of wealth.
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It is easy to imagine the great and good of Victorian society sashaying up the stairs with its wrought-iron banisters and hefty columns to be greeted on the second floor, where there is another hallway, before being ushered to the dining and drawing rooms at either end, each more than 40 feet long.
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Ninon's return to the gayeties of her drawing rooms was hailed with loud acclamations from all quarters.
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"Drawn Together," Chronogram, February 2008, p. 40–1. 2008. Retrieved August 17, 2020.Jordan, Courtney. "Drawing Rooms," Smithsonian Magazine, March 10, 2008.
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In life drawing rooms of art schools, the platform where the model poses for the students is sometimes referred to as the dais.
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Vestiges brought widespread discussion of evolution out of the streets and gutter presses and into the drawing rooms of respectable men and women.
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The terracotta Bankura horse, the logo of All India Handicrafts, and an item which now adorns drawing rooms across the world as symbols of Indian folk-art, is produced in Panchmura.
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We got into some dry clothing, and while our supper was preparing we loafed forsakenly through a couple of vast cavernous drawing-rooms, one of which had a stove in it.
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Unlike similarly styled houses of the time, the house has two drawing rooms on the first floor rather than locating one on the second floor. Instead, there are four bedrooms on the second floor.
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He envisioned a stage that would be as elegant as the drawing rooms in which he was hired to perform. He also thought that a magician should be dressed as such by wearing traditional evening clothes.
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Full dress was worn at courts, evening state parties, drawing rooms, state balls, state concerts, etc.; levée dress was worn at levées, and other ceremonies where full dress was not worn. Neither were worn after retirement without special permission.
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The club had 600 members by 1888. Membership of the club was only available to women eligible to attend the Queen's Drawing Rooms. Amy Levy in her 1888 novel, The Romance of a Shop considered the merits of the Alexandra Club against other clubs for women and concluded that the phrase "who has been or who would probably be precluded from Her Majesty's Drawing Rooms" to be "full of the sound and fury of exclusiveness and signifying not so much after all". Smoking was forbidden at the club, and members were not permitted to entertain men.
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Casa Rocca Piccola was designed with long enfilades of interconnecting rooms on the first floor, while leaving the ground floor rooms for kitchens and stables. The house has over fifty rooms, including two libraries, two dining rooms, many drawing rooms, and a chapel.
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On the ground floor are two open plan and spacious drawing rooms and a screening room with 67 Ferrari leather seats, showing films in the evening. The hotel also has two meeting rooms, a library and a fitness room on the lower ground floor.
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Drawing rooms and several classrooms are available to all students for private study. The library opens from 8:00 to 16:00 on weekdays. It holds a wide variety of technology-based books, magazines, journals and past papers. Internet and computer access are also available.
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There are three marble fireplaces. The dining and drawing rooms are divided by an arch with cedar fitted panelled folding doors. Present kitchen has marble floor and was the dairy. Addition on north side of house is of similar brick and is not offensive.
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The core consists of four rooms paired on either side of a hall. An arched opening divides the rooms which originally were dining and drawing rooms. It is interpreted as a conjectural Townsville interior furnished to demonstrate the lifestyle of an affluent family of the period.
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The present appearance of the house dates from its restoration in 1936. However, one of the original drawing rooms, noted for its excellent carved wood panelling and other decorations in the style of Thomas Chippendale, still survives in the Museum of Fine Arts at Boston, Massachusetts.
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The staircase hall has an open timber roof, and contains a cantilevered staircase and a first floor gallery. The dining and drawing rooms have moulded timber ceilings and contain marble fireplaces. The rooms are divided by an 18th-century wooden screen with Corinthian pilasters. columns and an entablature.
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Two south-facing drawing rooms were connected by double doors, allowing them to be joined into one large space.Kirk (2005), p. 136. The south elevation, which had three gables, also featured a large balcony with a canvas awning, built over a loggia. It overlooked a terrace for outside dancing.
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There is a dining room and a parlour on the ground floor. On the half-landing there is a waiting room and a water-closet. On the first floor are the drawing rooms. These rooms could be used separately, by using folding doors, or as one large party space.
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He made several powerful friends who introduced him to the highest levels of English society. Tosti was a staple in fashionable drawing rooms and salons, and in 1880, he was made singing master to the Royal Family. His fame as a composer of songs grew rapidly while he was in England.
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The two front rooms open into the street with French glass doors. Those on one side are the dining & drawing rooms, the others, chambers. The front rooms, when inhabited by Americans, are the family rooms, & the back rooms the chambers.”Benjamin Henry Latrobe, Impressions Respecting New Orleans, Diary & Sketches, 1818-1820.
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Beyond the wide front door is a rectangular reception hall with access to the rooms. There are twin drawing rooms and a stairway that sweeps from the basement to the attic. Each room has its own fireplace. The manor house was listed on the National Register of Historic Places in 1997.
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She performed in the drawing rooms of the wealthy, taking inspiration from the Greek vases and bas-reliefs in the British Museum.Duncan (1927), p. 55 The earnings from these engagements enabled her to rent a studio, allowing her to develop her work and create larger performances for the stage.Duncan (1927), p.
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The drawing rooms were filled with selected country made and foreign showpieces and pictures of the royalty. On the way out, one again got to see a mix of gardens, ponds and residential quarters, with some Shiva temples nearby. There were many other temples. On the southern side were rangmahal, rasmancha and dolmancha.
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Facilities included library, drawing rooms, dressing rooms and a cafeteria. By March 1930 membership had grown to 320. The foundation committee consisted of secretary/manager E. Gill (Eileen?), and president Adelaide Miethke, with two vice presidents Amy Tomkinson and Phebe Watson, treasurer Gertrude May Fulston JP (1893–1954), and six ordinary members.
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London concert halls and drawing rooms... lapped up this neat vodka as avidly as a man who has spent months in the desert or a monastery. The fellow, it was plain, was a savage, a moujik. A vagabond of the Steppes, a wastrel from the Siberian snows. Men were shaken out of their complacency.
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Warner (1995), 221. Furthermore, Perrault emphasizes the danger posed to women from men, as in his moral written for "Little Red Riding Hood"—wolves wait in the forest (or in the drawing rooms) for les jeunes demoiselles (the young maidens).Carpenter (1984), 319. Bluebeard shown in this illustration printed by Edmund Evans, c. 1888.
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There was a verandah front and back, the front verandah being long and wide, under which there were three spacious cellars. French doors opened onto the front verandah. The dining and drawing rooms were separated by folding doors. The attic contained three rooms, two of which were large enough to make suitable bedrooms "if required".
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Mrs. George Batten Singing by John Singer Sargent She was a leading "patroness of music and the arts, mezzo-soprano and composer" of drawing rooms songs. One of her best composition was the setting of "The Queen's Last Ride" by the poem of Ella Wheeler Wilcox. She was an accomplished singer, pianist and guitar player.
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Doors had full height vertical recessed panels and the drawing rooms on the upper floors had wide doors with multiple rectangular panes of glass set in narrow cames. The building makes a strong aesthetic contribution to the streetscape along Kingsford Smith Drive and is prominent when viewed from the Hamilton Reach of the Brisbane River.
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The drawing rooms contain fine Rococo plasterwork on both ceilings, and on the walls and the chimneypiece of the front room. Hartwell et al. describe the plasterwork as being "quite sumptuous and exceptionally delicate". In the staircase hall is a panel between the windows containing a bust of Diana, with decorative plasterwork including festoons and hunting trophies.
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It had three drawing rooms, four bedrooms and a library. Meals were supplied to members and their guests. Lectures, debates and discussion were held on Thursday evenings on social political and literary themes.Mark Clement, ‘Massingberd, Emily Caroline Langton (1847–1897)’, Oxford Dictionary of National Biography , Oxford University Press, 2004 Professional and other working women, typists, dressmakers and milliners joined.
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Bankura horses Bankura district produces a number of terracotta handicrafts, the most popular being the Bankura horse. It has been praised for "its elegant stance and unique abstraction of basic values". Originally used for village rituals, it now adorns drawing rooms across the world as symbols of Indian folk-art. It is the logo of All India Handicrafts.
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The main palace has two floors. Petras Vileišis' office and an ante-room were located on the first floor, as were a hallway, two drawing rooms and a dining room. The large chandelier in the vestibule was a gift from the workers at the Vilija factory. A terrace between the first and second floors was surrounded by a balustrade.
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If the outside was extravagant, the interior was no anti-climax. The central hall (not unlike the galleried two-storey hall at Mentmore Towers) was furnished as the "grand salon". Two further drawing rooms (the east and west) continued the luxurious theme. The dining and billiards rooms too were furnished with 18th- century panelling and boiseries.
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During the Civil War, Altona became a favorite headquarters for Union and Confederate forces. The front drawing rooms were used for conferences, and Sheridan used the farm's horses and carriage. Altona was therefore saved from the destruction that overtook other nearby estates. Altona served as a refuge when nearby Locust Hill was the scene of fighting and destroyed.
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Bankura horse is the terracotta horse, produced in Panchmura village in Bankura district in the Indian state of West Bengal. It has been praised for “its elegant stance and unique abstraction of basic values.” Originally used for village rituals, it now adorns drawing rooms across the world as symbols of Indian folk-art. It is the logo of All India Handicrafts.
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There is one three-storey main building that measures long, wide, and tall. Additionally, there are five two- storey buildings that measure long, wide, and tall. There are 33 classrooms, one principal room, three management rooms, two stuff rooms, one convocation room, two practical science rooms, one language-lab room and three drawing rooms. There are three one-storey workshops that measure .
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The school has a mini-theatre for educational and entertainment purposes and also has a television room. The school has two drawing rooms that are used for drawing and arts. Four Gardens including two play parks, one botanical garden and one tracking garden are on the grounds. The school has three halls: Antonians hall Old Little Hall and the Alumnus Hall.
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Designed in 1775 for Lady St Aubyn, the house has oval dining and drawing rooms. From 1794 to 1797 Mylne built a house for himself, The Grove, at Great Amwell.Ward, p.154 City of London Lying-in Hospital, 1770–1773 St Cecilia's Hall in Edinburgh was one of Mylne's first public buildings, built 1761–1763 for the Musical Society of Edinburgh.
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The dining hall was called the White Sea, a name that was inherited for the resulting hall after the wall had been removed. In connection to dinners in the Charles XI's Gallery, the White Sea is furnished as a salon with sofas, chairs and coffee tables. On those occasions, the room is used as a drawing rooms after the dinners.
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The centre of this ornate suite of state rooms is the Music Room, its large bow the dominant feature of the façade. Flanking the Music Room are the Blue and the White Drawing Rooms. At the centre of the suite, serving as a corridor to link the state rooms, is the Picture Gallery, which is top-lit and long.Harris, p. 41.
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This was to allow amateur acting companies to perform the dramas at minimal cost, allowing them to be more widely performed and spread pro-suffrage sentiment. Due to the low cost of organizing a performance, suffrage plays were often performed in the drawing rooms of private residences and in small professional theaters.Finnegan, Margaret Mary. Selling suffrage: consumer culture & votes for women.
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Guests could order from 30 meat and fish dishes offered daily. Although by the 1850s some restaurants allowed men and women to dine together, and others had special ladies' dining room with separate entrances to reserved drawing rooms, the Astor House would not admit unaccompanied women to enter, a policy which prevented prostitutes from nearby brothels from plying their trade in the hotel.
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Eventually, these spaces became sculpture area, classrooms, and studios when the structure became a school. Beside the main staircase were to two principal drawing rooms, gallery, or loggia, and living rooms on the ground floor. The staircase has double Ionic pillars in gold paint finish - same with the gallery, which contains 8 Ionic shafts. The gallery was enclosed; with seven capiz windows.
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The school has a running track, canteen, sport fields, science laboratories, library, auditorium, language laboratory, music and dance rooms, drawing rooms, a greenhouse, a student counseling center, students' council room, large assembly hall (for up to 1000 people), twenty eight classrooms, etc. The current principal is Sylviana Chrisyan, S.E., M.M. which has held the position since the 2018 - 2019 academic year.
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Sleeping car Dream Cloud Sleeping car Dream Cloud (Pullman plan number 4128) accommodated passengers in two drawing rooms, three compartments, and eight duplex roomettes, and also had 24 seats in its dome. It could sleep 20 passengers if all its beds were filled. All of its berths were mounted lengthwise in regards to the car. At the front of the car was a general use toilet.
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The centre portion is recessed with a loggia of four arches, paved with Encaustic tiles. On the left wing, the bar entrance has a pediment flanked by Doric pilasters. The right wing contained the commercial and drawing-rooms and was finished with a two-storied bay-window. A massive cornice, with parapets and pediments, covers the front, left and right sides of the building.
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In 1785, Christophe-Philippe Oberkampf invented the first machine for printing dyes on squares of wallpaper. The significance of Robert's invention was for more than mechanising a labour-intensive process, in also allowing continuous lengths of patterned and coloured paper to be produced for hanging. This offered the prospect of novel designs and nice tints to be printed and displayed in drawing rooms across Europe.
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This was the start of the glass industry in Firozabad. Since then Firozabad has been the home of India's glass industry. White and coloured glass pieces being manufactured for the purpose of assembling jhad and fanus (chandeliers) which were in demand by royal courts and nobles for decorating their assembling and drawing rooms. Later on phials for Itra, scents, and other cosmetic products were made.
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By 1910 the fort was occupied as a grace and favour residence by Sir Malcolm Murray, the Comptroller to the Duke of Connaught. The Duke was the owner of nearby Bagshot Park. The fort was extended with a new service wing and entrance porch in 1911–12, which was subsequently demolished. The dining and drawing rooms were also extended and new entrance lodges were built.
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There was often a more modest room called the parlour, where the family took its meals when eating alone. Large houses gradually acquired a greater range of specialised living rooms, such as libraries, drawing rooms, and music rooms. By the early 18th century, great chambers had been replaced by rooms called "saloons", and these soon lost their function as dining rooms. Many great chambers survive.
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Clarke, p. 24. Over the next few years, the lodgings of the various nobles were gradually repossessed, and Victoria was able to take up a second floor apartment in 1871, freeing up the former royal apartments as dining and drawing rooms, as well as a throne room. From 1854 the historic apartments in the north-west tower were formally opened to the public.Clarke, p. 26.
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Originally part of the suite of Maria Feodorovna, these two drawing rooms were redesigned for Nicholas II and his wife in a French style, the Silver Drawing Room in a 19th- century interpretation of the Louis XVI style and the Empire Drawing Room in a faux Napoleonic empire style. From these rooms, the Tsaritsa was able to withdraw to still more private apartments, her boudoir, dressing room and bedroom.
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Neither has led to any problems between the two households. 1823 or later – The Greek motifs were put into the drawing room and what is now the master bedroom on the 1st floor probably by General Sir Henry Wheatley (era of Byron, and schools then taught Greek). After 1858 the two drawing rooms were made into one. Lady Clinton put bow windows onto the front of the house.
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The second floor holds three large drawing rooms connected by ornamented sliding doors, whose walls are decorated with plaster rosettes, carved woodwork, black marble mantle pieces and fluted pilasters. In April 2007, actor Nicolas Cage bought the house for a sum of $3.45 million. To protect the actor's privacy, the mortgage documents were arranged in such a way that Cage's name did not appear on them.CNN Money (November 16, 2009).
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It has also served as a billiard room and as a school room. Charity events are sometimes held in this part of the house. Both drawing rooms have access to the garden through the South Front's external staircase. Three corridors called 'the Tapestry Gallery', 'the Burlington Corridor' and 'the Book Passage' are wrapped around the south, west and north passages at this level, and give access to family bedrooms.
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By the start of the 20th century, competing groups had sprung up—some to worship her and some to defend her from the "teeming masses"—but all claiming to be the true Janeites, or those who properly appreciated her. The "teeming masses", meanwhile, were creating their own ways of honouring Austen, including in amateur theatricals in drawing rooms, schools, and community groups.Looser, Devoney. The Making of Jane Austen. 83–97.
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The flooring of the ground floor was made out of native marble tiles. A second sala, smaller than the gallery, opens up to a series of drawing rooms inside. On the second floor was the foyer, or caida, connecting the main corridor above the carriageway. The main sala, overlooking the street, was located on the one side while a terrace, or azotea, was located on the other end of the corridor.
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Like the dome windows, the rest of the windows in the train were made of Thermopane and "designed for maximum viewing of the passing scenery." They ranged in size from for sleeping car Dream Cloud's roomettes to in Dream Cloud's two drawing rooms and the chair car Star Dust. Including the domes, the total height of the cars "from rail to roof" was . Each car measured in length, and weighed when unloaded.
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'Making History', book review by Peter Ward He also wrote Austral Eden, an idiosyncratic history of Australian architecture, and contributed articles to magazines in Australia and England.Building Design magazine, 10 September 1999 In 1999, he formed his own publishing company,The Australian Financial Review, 6 November 1999, p. 14\. 'Drawing rooms to sit the way Australians live', by Anne Susskind Pesaro Publishing, which was to publish many books on Australian architecture within a few years.
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Bruce, suspicions aroused by Lily's passionate tirade, asks if she ever had a relationship with Oscar. She recites a long list of former lovers and insists that Oscar was never one of them. Still, in their separate drawing rooms, Oscar and Lily recall the relationship they once had ("Our Private World"). In the observation car, passengers complain that the religious lunatic has stuck "Repent for the time is at hand" stickers everywhere.
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Bruce is equally confident that Lily will continue to act opposite him in Hollywood. In their respective drawing rooms, each prepares to meet with Lily again and vows that she will be his ("Mine"). As Oliver and Owen prepare a press release for the new play, Letitia remarks that she sponsors creative endeavors. She declares that she is the founder and president of Primrose Restoria Pills, and she does good works with her extra capital.
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At the front of the car the B&O; installed a speedometer, clock, altimeter, and barometer. In December 1950 the B&O; acquired three dome-sleepers from the C&O.; The Budd Company had built these cars for the Chessie, a Washington, D.C.–Cincinnati, Ohio luxury streamliner which was cancelled before it entered service. Each of these had 24 dome seats, with 3 drawing rooms, 5 roomettes, 1 bedroom in the lower level.
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Since then there have been relatively few changes. The chapel was replaced by a concrete building holding the documentation and information centers, with a second gym in the basement. The building that holds the drawing rooms was raised by one floor to create dormitories. The college was designated a historical monument in 1992 and is indexed in the Base Mérimée, a database of architectural heritage maintained by the French Ministry of Culture, under the reference .
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She was christened by the Duchess of Hamilton. The visitors were impressed by the size and luxury of the ship's interiors which had been designed by William Leiper and William De Morgan and mostly completed before the launch. The decorators had used Louis XIV style for the reception rooms, "Crimean-Tartar style" for the drawing rooms and "the simple kind of modern English style" for the private rooms.Brett 1992, pp. 21-22.
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Architect Claude Chambers, whose Brisbane work spanned fifty years (1885-1935), won a competition to design the residence known as Drysllwyn. The building was large and spacious with richly decorated main interior spaces. The ground floor contained dining, breakfast and drawing rooms, library, kitchen, bathroom, laundry and storerooms. On the first floor were located a main bedroom with dressing room and bathroom, two other bedrooms, another bathroom, a visitor's room and servant's bedroom.
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28; Nicolson, p. 184. The White, Green and Crimson Drawing Rooms include a total of 62 trophies: carved, gilded wooden panels illustrating weapons and the spoils of war, many with Masonic meanings.Nicolson, pp. 197–8. Restored or replaced after the fire, these trophies are famous for their "vitality, precision and three-dimensional quality", and were originally brought from Carlton House in 1826, some being originally imported from France and others carved by Edward Wyatt.
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Between the two storeys are valances of timber lattice within broad timber frames. The ground floor is reached by two sets of concrete steps, that to the main entrance leading into the hall. On the ground floor there are two large rooms with deep bay windows accessed from this hallway and from the verandahs. These were the former dining and drawing rooms and have high plaster ceilings, ornate cornices and imported carved mantelpieces.
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The builder was the London firm George Myers, frequently employed by members of the Rothschild family.Hall (The Victorian Country House), p16. In keeping with the contents intended to be displayed within, the interiors take their inspiration principally from the Italian Renaissance, although the house also contains drawing rooms and cabinets decorated in the gilded styles of late 18th-century France.Crewe, Vol, p116 The design is closely based on that of Robert Smythson's Wollaton Hall.
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One of her most memorable visits was to Rome, Italy, where she met several of the leading women amongst the Roman nobility who were promoting the woman movement in Italy. She admired Queen Margherita for her care and efforts on behalf of poor working girls. Mr. and Mrs. Haweis were welcomed by the Queen personally and invited to a public ball during which Mary Eliza Haweis admired the gorgeous court pageantries and Drawing Rooms.
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The function room is the largest room of the house and comprises the original dining and drawing rooms. As such it has a dual fireplace. The skylight room ceiling is punctuated by a leadlight skylight and is currently used as gathering entry space to the museum as well as housing exhibits. Leading off the skylight room are the Toft room, Store Bell room and Gooburrum room, all of which house museum exhibits.
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The trains featured first-class dining cars and sleepers built by the Wagner Palace Car Company. The sleepers featured 10 open sections and two drawing rooms, “finished in polished mahogany beautifully inlaid with lighter woods [with] ceilings of green and gold, in the Empire style, and the upholstering…of a rich green plush.”Smith, Ibid. In 1900, the ICR revised the schedule of the eastbound Maritime Express to depart Montreal at 11:30 a.m.
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The ground floor originally contained six rooms; clockwise from the doorway they are the entrance hall, two drawing rooms, the staircase hall, the dining room, and a study or morning room. An extra room was added in the 19th century. The entrance hall is relatively plain, with a stone fireplace and pulvinated friezes over the doors. The study is panelled, and contains doorcases, a chimneypiece and an overmantel all of which are carved with flowers and fruit.
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The Lustschloss was often located in a splendid castle park, mostly distinguished by especially extensive and valuable decorations. At the same time the rooms and drawing rooms became more intimate and more comfortable. Significant artists from their respective region would work on many of their paintings in the castle. Famous examples are the Grand Trianon and the Petit Trianon in the gardens of Versailles, the Château de Marly, and the Amalienburg in the Schlosspark of Nymphenburg.
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Dedicated mouthpieces were produced for the C melody saxophone, though these may be hard to find in the 21st century. The C melody has a muted sound when compared to other saxophone types, particularly if an original vintage mouthpiece is used. This made it particularly useful for its originally intended environment of playing in drawing rooms. C melody mouthpieces often give a C melody saxophone a slightly muffled sound, which may or may not be what the player desires.
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43-45, 2006, p. 219. Usual visitors included persons such as Aglaia Moruzzi (notorious for her annual Copou festivities), Marghiolița Rosetti Rosnovanu, Leon Bogdan, Natalia and Elena Suțu, Maria Catargi or Dimitrie Mavrocordat.idem. The fashionable crowd of Moldavia's capital are known to have used their Copou excursions to engage in displays of social cohesion and play: "replacing their drawing rooms, the aristocratic Copou took on all of the functions of sociability, becoming an enormous public salon".ibidem, p. 220.
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He also frequented the aristocracy drawing rooms, meeting artists and poets, playing for them and dedicating several compositions to them. In 1808 the Conservatoire of Music in Milan was inaugurated and Rolla was appointed professor of violin and viola. In this capacity he composed many didactic works for his own pupils, graded in difficulty, many of which were published by the newly established publishing house Ricordi.Several of these esercizi are composed with progressive technical difficulties and in all keys.
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All the cornices are moulded plaster profiles. Decorative cast plaster is featured in the consoles, decorative panels and colonnettes under the arches, and also in the ceiling roses. The ceilings are commonly lath and plaster, but the drawing rooms have a shallow pattern that may be pressed metal. The marble mantelpieces are commonly white, with a dark grey in the dining room, typical of those constructed in Australia using imported stone, coloured tiles and cast iron grates.
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The Palm Room serves as the entrance to the bedroom, to the south and decorated like the antechamber, and to two cabinets to the north. The first of the latter is the Writing Cabinet, painted in shades of gray and ornamented with more golden stucco. The second, and smaller, is the Library Cabinet, whose walls are painted in a mimicry of woodgrain. The east wing consists of drawing rooms for visitors, namely two halls and four cabinets.
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The three-storey complex is coated in red sandstone quarried from the Thar Desert. The complex contains the features considered essential for a late 19th-century palace: drawing rooms, smoking rooms, guest suites, several grand halls, lounges, cupolas, pavilions, including a dining room which could seat 400 diners. The complex features magnificent pillars, elaborate fireplaces, Italian colonnades and intricate latticework and filigree work. The Karni Niwas wing houses the darbar hall and an art deco indoor swimming pool.
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After Samuel Prime junior died in 1813, the hall was sold to Charles Calvert, Whig MP for Southwark from 1812 to 1832. He further expanded the house (to designs by Philip Hardwick), adding drawing rooms at the east and west ends of the building. Calvert died of cholera in 1832 and his widow inhabited until her death about 1845. The house was then acquired by the government as a teacher training college, but it needed substantial reconstruction.
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Rhyndarra was typical of the large houses built by Brisbane's more prosperous citizens in the late 19th century. The house was raised off the ground on a stone base forming cellars and storerooms, with the ground floor containing dining and drawing rooms with bedrooms on the first floor. A pantry, kitchen and scullery were located at the rear of the house at ground level, with maids' rooms and a bathroom above. Williams appears to have over-extended financially in his 1880s land dealings.
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When he left school his father wanted him to join the Foreign Office, and he was appointed assistant secretary of the Department of Public Highways. The work was light, which allowed Glinka to settle into the life of a musical dilettante, frequenting the drawing rooms and social gatherings of the city. He was already composing a large amount of music, such as melancholy romances which amused the rich amateurs. His songs are among the most interesting part of his output from this period.
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The popularity of "Excelsior" inspired many parodies, adaptations, and references in other media. The poem was set to music as a duet for tenor and baritone by the Irish composer Michael William Balfe, and became a staple of Victorian and Edwardian drawing rooms. Longfellow's acquaintance Franz Liszt composed an adaptation as a prelude to his longer Longfellow adaptation of The Golden Legend. He began writing it for Baroness von Meyendorff in 1869; it premiered in Budapest on March 10, 1875.
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The house covers . Many of the rooms are set aside for official state occasions—for example, two dining rooms, a ballroom, a conservatory and drawing rooms. Government House is where the governor-general confers with the leader of the New Zealand Government, hosts foreign dignitaries, and performs the functions of New Zealand's head of state, as the representative of the monarch of New Zealand. The residence is also open to the public, running free tours of the state rooms throughout the year.
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Portrait by Richard Westall Byron became a celebrity with the publication of the first two cantos of Childe Harold's Pilgrimage (1812). "He rapidly became the most brilliant star in the dazzling world of Regency London. He was sought after at every society venue, elected to several exclusive clubs, and frequented the most fashionable London drawing-rooms." During this period in England he produced many works, including The Giaour, The Bride of Abydos (1813), Parisina, and The Siege of Corinth (1815).
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Eugène Train designed a complex with three colleges – lower, middle and high – each arranged round a court. The colleges had separate entrances on the Boulevard des Batignolles, Rue de Rome and Rue Andrieux, and each had its own classrooms, study rooms and one or more amphitheaters. The colleges were connected by covered galleries to shared facilities in the center including the refectory, gymnasium, drawing rooms and lecture halls for physics and chemistry. The facade on the Boulevard des Batignolles included the administrative offices.
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Although Morris was born in London, she lived with her parents until the age of five in France. She had no formal academic education, but attended dancing classes. In 1894 she began reciting professionally in French and later in English, at parties, smoking concerts and court drawing rooms. In 1899 she had her first stage engagement in pantomime - Little Red Riding Hood at the Theatre Royal, Plymouth, playing First Fairy 'Twinkle Star' with solo dances and recitations before a front drop.
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In the original ground-floor plan, the porte-cochère led into the entrance hall with the staircase hall on its right. To the right of these were two drawing rooms and in front of halls, overlooking the garden, was the dining room. To the left were the servants' quarters with a billiard room at the extreme left on the first floor. Considerable alterations were made in the 20th century to the interior of the house to adapt it for its later purposes.
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Débutantes were aristocratic young ladies making their first entrée into society through a presentation to the monarch at court. These occasions, known as "coming out", took place at the palace from the reign of Edward VII. The débutantes entered—wearing full court dress, with three ostrich feathers in their hair—curtsied, performed a backwards walk and a further curtsey, while manoeuvring a dress train of prescribed length. The ceremony, known as an evening court, corresponded to the "court drawing rooms" of Victoria's reign.
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Wardian cases soon became features of stylish drawing rooms in Western Europe and the United States and helped spread the fern craze and the craze for growing orchids that followed. Ferns were also cultivated in fern houses (greenhouses devoted to ferns) and in outdoor ferneries. Besides approximately seventy native British species and natural hybrids of ferns, horticulturalists of this era were very interested in so-called monstrosities – odd variants of wild species. From these they selected hundreds of varieties for cultivation.
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The clubs were "the drawing rooms of the great country houses placed outside" and thus came to play an important role in the social networks of the local upper class. As well as its emphasis on display and status, the sport was notable for its popularity with females. Young women could not only compete in the contests but retain and show off their sexuality while doing so. Thus, archery came to act as a forum for introductions, flirtation and romance.
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In 1963-1964 the Santa Fe ordered 24 Hi-Level coaches for use on the San Francisco Chief. In 1960 the San Francisco Chief carried "chair cars" (coaches), a "Big Dome" dome lounge, a dining car, and sleeping cars. The sleeping cars included sections, roomettes, double bedrooms, compartments, and drawing rooms. The train handled through sleepers from Tulsa, Oklahoma (to Chicago), Lubbock, Texas (to Chicago), and Dallas and Houston (to California) plus a set-out sleeper at Kansas City, Missouri.
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Originally a Saxon hall, then a church, it was then converted to a Norman hall, complete with a crypt and undercroft. Testing has shown that these remains date back to the 5th century. However, when records began of the house in 1080, it had evolved into a substantial medieval manor house which was eventually replaced with a Jacobean house in 1612. The hall has seven bedrooms, a coach house, a dining room, sitting and drawing rooms, a stable, living room and cellar.
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On the first floor the saloon and drawing rooms were fitted out with Memel pine panelling, greatly used in Scottish country houses at the time. 'Lord Jeffrey's study' in the tower, was a nine-sided decorative room, with much gilt. The centre of the ceiling was a painting of a man flying away with a lightly clothed female - a classical motif. Haltoun House was approached by an original avenue, half a mile long, abutted by tall elms and beeches, lime trees, hollies, Yews, and rhododendrons.
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The tour of the five decks open to the public includes the Queen's Bedroom, which can be viewed behind a glass wall, and the State Dining and Drawing Rooms, which hosted grand receptions for kings and queens, presidents and prime ministers throughout the world. The clocks on board are stopped at 3:01, the time that the Queen last disembarked. The Royal Deck Tea Room was added in 2009. The 1936 racing yacht Bloodhound, once owned by the Queen and Prince Philip, is now berthed alongside Britannia.
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The music room arches are crowned with rococo crests bearing busts of English sovereigns. In the dining room, a Renaissance-style sideboard and mantel, originally designed for this room, contrast with the Gothic diamond-paned windows with etched, amber- colored, stained-glass borders. The sliding doors between the dining and drawing rooms retain their panels of etched glass. In 1902, a large wing was built onto the north side adjoining the former billiard room and picture gallery extension followed the Gothic style of the original castle.
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A new style of court dress, worn from the 1840s, comprised a dark, frequently black, cloth (or silk-velvet) single-breasted dress coat (lined with black silk, except for the tail, which was white), with a stand collar. This was worn with a white satin or black silk collarless waistcoat, and white neckcloth. For levées, this was worn with matching velvet trousers with a gold lace stripe down the seam. For drawing rooms matching breeches with white silk stockings, and a white neck-cloth was worn.
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The hall, while in the middle of the house, is not centered, being offset to the right and lit by the window to the right of the entrance door. The hall narrows at the stair hall, which contains an unusually fine curved walnut staircase. To the right of the hall, in front, is a small reception room with a larger dining room behind, connected by a narrow hall with a service stair. On the left side of the hall are two paneled drawing rooms.
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There is approximately 2,500 square feet on each of the first and second floors, and somewhat less in the unfinished attic and basement. The original interior configuration had a grand central hall and stairwell, with four large rooms at each corner, all with fireplaces. On the first floor these were identified as a dining room, a parlor (or library), and two drawing rooms. On the second floor, these were four bed chambers; an additional sewing room spanned the area across the front of the house.
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Later it offered this description: > The house and offices are brick built and complete, and fit for the > residence of a genteel family; they have been erected under the proprietor's > own superintendence and combine elegance with comfort. The house contains > entrance hall, dining and drawing rooms, six bedrooms, pantry, stores and > servants' apartments, and having in front a spacious and elegant verandah. > The offices are detached, and consist of kitchen, laundry, dairy, store, > office, larder, cellars, granary, servants' rooms, coach-house and stabling > for ten horses'.
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The Persian painting on its ceiling depicts a royal hunting expedition led by King Fateh Ali Shah of Persia. The walls have fresco paintings. The two state drawing rooms, the state supper room and the state library are each on the four corners of Durbar Hall. There are also other rooms such as many loggias (galleries with open air on one side) which face out into the courtyards, a large dining hall with an extremely long table to seat 104 persons, sitting rooms, billiards rooms and staircases.
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Mason, p. 63 The title role was first played by Mrs Patrick Campbell, who made her name in the part. His acting style contrasted sharply with hers: she was extrovert and bold, whereas Alexander was understated and subtle. A contemporary profile commented that his range did not extend to parts requiring great dramatic power or tragic passion: "He is graceful in all that he does, but with an everyday humanity, the graceful, charming, well-bred, nicely-toned humanity proper to the drawing-rooms of Culture".
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One of the most interesting castles of northeast Scotland, according to noted architectural historian Nigel Tranter, it is designed in the classic L style with a further extension wing at the west end. Muchalls Castle entered national history in 1638 when a seminal Covenanter gathering took place here precedent to the English Civil War. The plasterwork ceilings of the principal drawing rooms are generally regarded as among the three finest examples of plasterwork ceilings in Scotland. These adornments date to 1624 and are in virtually perfect condition.
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Gorman & Williams Attorneys at Law: Sources on the Wilkes Booth case. The Court of Special Appeals of Maryland (September 1995), No. 1531; Russell Conwell visited homes in the vanquished former Confederate states during this time, and he found that hatred of Lincoln still smoldered. "Photographs of Wilkes Booth, with the last words of great martyrs printed upon its borders...adorn their drawing rooms". Eight others implicated in Lincoln's assassination were tried by a military tribunal in Washington, D.C., and found guilty on June 30, 1865.
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Recreational archery soon became extravagant social and ceremonial events for the nobility, complete with flags, music and 21 gun salutes for the competitors. The clubs were "the drawing rooms of the great country houses placed outside" and thus came to play an important role in the social networks of local elites. As well as its emphasis on display and status, the sport was notable for its popularity with females. Young women could not only compete in the contests but retain and show off their sexuality while doing so.
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Next came drawing room E, which featured a large sofa facing the window that folded down into a bed at night, two more upper berths that folded down from the walls, and two chairs near the window. The drawing room also had a small lavatory known as an "annex". The next room, drawing room D, was a mirror image of drawing room E, although the two were decorated differently. Under the dome roughly in the center of the car were the three compartments, which each had (like the drawing rooms) a window-facing sofa.
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Access to the yard is via a gate under a tower with a steeple. The main building is flanked by two lower wings marking the boundaries of a vast yard. The rich interior has remained pretty much as it was at the time of building. The interior is truly exceptional; many talented artists were called upon: stuccos in the chapel, the superb entrance hall paved with marble with its beautiful staircase, the various drawing rooms with tapestry, the dining room with walls decorated with hand-painted engravings, and the huge library.
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More relevant today is the rather striking number of his works which are now familiar signposts of Danish history and culture: scenes from drawing-rooms and streets of Copenhagen during his younger days; the festivity and public life captured in Rome; the many representative portraits of citizens and innovators; even the monumentalist commissions for university and monarchy. Still, as the 20th century progressed, his work had become less valued artistically and downright unfashionable; conversely, recent decades seem to have afforded new appreciation.Gitte Valentiner, 1992, pp. 159–160.Hans Edvard Nørregård- Nielsen, 1995, p. 197.
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The house is described in the following terms. "It consists of an elegant mansion having an entrance hall, very handsome dining and drawing rooms of large dimensions with a good sized breakfast room, five bedrooms equally proportional (excluding servants rooms), an excellent kitchen, back kitchen, dairy, cheese house and salting room with stone troughs, pump etc. Two large underground cellars, a wine cellar, excellent stables with suitable outbuildings."Exeter Flying Post - Thursday 04 August 1814, p. 3. Sale notice for Burnville 1860 In 1819 the whole of William Sleman’s property was sold including East Langstone.
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Another problem caused by the redecoration was that the state and principal bedrooms were now moved upstairs, thus rendering the state rooms an enfilade of rather similar and meaningless drawing rooms. On the west terrace the French landscape architect Achille Duchêne was employed to create a water garden. On a second terrace below this were placed two great fountains in the style of Bernini, scaled models of those in the Piazza Navona which had been presented to the 1st Duke. Consuelo, Duchess of Marlborough Blenheim was once again a place of wonder and prestige.
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Tabby Manse gathers its essential architectural features from the inspiration of Andrea Palladio, the 16th- century Vicentine architect of country villas, and from the style of English country houses. These twin influences also inspired Thomas Jefferson in his contemporaneous design of Monticello, the most famous Palladian-style house in America. The floor plan of Tabby Manse is symmetrical, each room having its twin on the opposite side. The two drawing rooms on the first floor and the one upstairs, called the “ballroom”, are paneled in native longleaf pine and cypress.
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These two rooms are connected by a small passage from which, against the interior chimney, arises an extremely narrow service stair, as at Stenton. Tulip Hill and Stenton seem to be the only houses of their time and dimensions in which this feature is found. Galloway spent much time in Philadelphia with his relatives, the Chews of Cliveden, and friends, the Logans of Stenton. On the left side of the center hall ase two large and fully paneled drawing rooms, each about 20 by 17 feet in size.
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Other smaller modifications were made, a door between the former morning and drawing rooms for example. The first warden, Dr Edgar Booth, wanted to create a family atmosphere. In the first years all students lived in Booloominbah, its Lodge or Sub-lodge and everyone ate together in the dining hall. In later years, when the student population grew, townhouses had to be rented for the additional students, they still ate together in the dining hall, being picked up by bus at 8am in time for breakfast and then returned after dinner.
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He more than doubled the size of the house by adding a west wing containing dining and drawing rooms, a top-lit staircase, a tower, and Gothic style windows. The tower also acted as a water tower for the house. Later, in 1848, after Sharpe had been joined as a partner by E. G. Paley, a stable and a service block were added to the east of the house. In 1875–76 a southeast block including a billiard room and a clock tower was added by the successors in the practice, Paley and Austin.
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Many of the furnishings still seen in the house at Camden Park were acquired by James Macarthur on a subsequent trip to England, where he met his wife Emily Stone. Their only child Elizabeth was to inherit the estate. She later married Captain Arthur Onslow, and through that marriage their son James Macarthur-Onslow was to inherit both Camden Park and Elizabeth Bay House (the Onslows being related to the Macleay family) in Sydney. Portraits of the principal family members hang in the house's dining and drawing rooms.
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The plants arrived in good shape, after a stormy voyage around Cape Horn. One of Dr. Ward's correspondents was William Jackson Hooker, later director of the Royal Botanic Gardens, Kew. Hooker's son Joseph Dalton Hooker was one of the first plant explorers to use the new Wardian cases, when he shipped live plants back to England from New Zealand in 1841, during the pioneering voyage of HMS Erebus that circumnavigated Antarctica. Another style of the Wardian case Wardian cases soon became features of stylish drawing rooms in Western Europe and the United States.
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It is entered through porch under a triangular pediment supported on Corinthian columns. A graceful lantern dome, found in many such civic buildings of the period in England, and also in Ahsan Manzil, rising behind the pediment in the south elevation, crowns the building. In plan the building is nearly symmetrical with a square entrance hall, a number of drawing rooms and a ballroom. A broad bifurcated staircase from the entrance hall leads to the second floor that has four large bedrooms with wide verandas on both the north and south sides.
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Chomet, p. 30 However, Helena's daughter, Princess Marie Louise, described her as: Music was one of her passions; in her youth she played the piano with Charles Hallé, and Jenny Lind and Clara Butt were among her personal friends. Her determination to carry out a wide range of public duties won her widespread popularity.Chomet, p. 40 She twice represented her mother at Drawing Rooms, which was considered equivalent to being presented to the Queen herself. Helena was closest to her brother, Prince Alfred, who considered her his favourite sister.Van der Kiste, p.
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Detailing is unusual in the use of round or diamond-shaped holes "punched" through the pediments, window heads and balconies. Front verandahs at ground floor level are separated by a masonry wall and feature discrete concave, corrugated iron awnings supported by broad timber posts. A set of French doors opens onto each verandah from the drawing rooms. Internally each house is a mirror image of the other, with ground floor hall, drawing room and dining room, a bathroom at the first landing, and bedrooms on the top floor.
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There is also a walnut and parcel gilt chair and footstool made for the use of George III at Westminster. The King James and State Drawing Rooms have been redecorated over the centuries, and contain portraits by Reynolds and Van Dyck, European furniture, and yellow Soho Tapestries woven by Joshua Morris around 1730. The South Corridor contains thrones used by Prince Albert and Edward VII, as well as the desk on which Queen Victoria signed her coronation oath. A series of rooms follows in the Tudor east range, with recessed oriel windows and ornate ceilings.
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Although the Central Pavilion of the south front appears to be only two floors high, there are in fact bedrooms over the State Music & Drawing rooms, these are lit by windows facing respectively east and west. The centre is filled by the Marble Saloon which rises to the full height of the building. There are more bedrooms on the 1st, 2nd and 3rd floors of the north front, and the west and east pavilions of the south front, where the 2nd floor is disguised in the same way as in the central pavilion.
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Blackwood's first job was with Hulton Press as a secretary, but she was soon given small reporting jobs by Claud Cockburn. Ann Fleming, the wife of "James Bond" author Ian Fleming, introduced Lady Caroline to Lucian Freud, and the two eloped to Paris in 1952. In Paris she met Picasso (and reportedly refused to wash for three days after he drew on her hands and nails). She married Freud on 9 December 1953 and became a striking figure in London's bohemian circles; the Gargoyle Club and Colony Room replaced Belgravia drawing rooms as her haunts.
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All the balcony railings were of gilded metal work. The mural paintings were notable: four panels, two at either end of the room, and twelve pendentive panels, six on either side and painted by Edward Simmons depicted the four seasons and the twelve months of the year. The "Colonial Room" was decorated in red, contrasting with white woodwork. The second floor contained a private suite of apartments at the northeast corner, with large drawing rooms, dining room, butler's pantry, hallway, three bedrooms, three maids' bedrooms and five bathrooms, all finished in old English oak.
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In a letter to his close friend Jane Octavia Brookfield while the book was being written, Thackeray confided that "You know you are only a piece of Amelia, my mother is another half, my poor little wife y est pour beaucoup". Within the work, her character is compared and connected to Iphigenia, although two of the references extend the allusion to all daughters in all drawing rooms as potential Iphigenias waiting to be sacrificed by their families. Her sacrifice of her child to her wealthy relatives is compared to the biblical Hannah.
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On 21 October 1896 The North Queensland Register reported that Daking-Smith's new residence, one of the finest in the town, was approaching completion. The position of the building, facing the corner, was apparently designed to secure an expansive outlook, while increasing privacy. The building's style, the bungalow, was seen as the most suitable for the local climate, and features mentioned at the time included: a handsome flight of front steps; a spacious verandah with cast iron railings; glass front and rear doors, both with sidelights; an arch in the hallway and one between the dining and drawing rooms; cedar cornices and an embossed stamped paper frieze in the dining and drawing rooms; two floor-to- ceiling bay windows to the front verandah; varnished interior woodwork; three large bedrooms in the main building; ventilation tubing from the ornamental panels in each ceiling, with an iron ventilator on the roof; and bedrooms on either side of the latticed back verandah, separated from the main building. There was also a separate pantry, on piles set in vessels of water, off the rear verandah; and the kitchen wing included the kitchen, a bathroom and three bedrooms (counting the bedroom on the south end of the rear verandah).
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By 1867 Akroyd was Member of Parliament for Halifax and obliged to entertain on a grand scale. When the future Edward VII visited Halifax to open the town hall in 1863, the royal party ate lunch and dinner with the mayor who had more space at Manor Heath, although the prince did visit the Akroyd family business at Haley Hill Mills. For this reason, the 1867 wing, designed by John Bownas Atkinson of York at a cost of £20,000, was spacious and decorated to impress. It had a porte-cochere, saloon, drawing rooms, library and billiard room.
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Hand-blocked wallpapers like these use hand-carved blocks and by the 18th century designs include panoramic views of antique architecture, exotic landscapes and pastoral subjects, as well as repeating patterns of stylized flowers, people and animals. In 1785 Christophe-Philippe Oberkampf had invented the first machine for printing coloured tints on sheets of wallpaper. In 1799 Louis-Nicolas Robert patented a machine to produce continuous lengths of paper, the forerunner of the Fourdrinier machine. This ability to produce continuous lengths of wallpaper now offered the prospect of novel designs and nice tints being widely displayed in drawing rooms across Europe.
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Devarshi Ramanath Shastri possessed a charming personality and was a versatile person having varied interests in which he excelled. He learnt painting from J.J. School of Art, Mumbai and created many remarkable paintings in oil and water colour. Some of his famous oil paintings, like ‘Sheron ka Swarajya’ (the kingdom of the lions), ‘Shardool Vikram’, and ‘Radha Madhav’ were much talked about and were displayed at various exhibitions with a sign board saying ‘Not for Competition’. Many of his paintings have found a place of honour in the drawing rooms of art connoisseurs and in art galleries.
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", and that indeed is what is printed in the script. However, according to Darwin Porter, director John Hayden crossed out that line and replaced it with "Tennis anyone?" before opening night. And several observers have asserted that he did say it, reportedly including Louella Parsons and Richard Watts Jr.. Erskine Johnson, in a 1948 interview, reports Bogart as saying "I used to play juveniles on Broadway and came bouncing into drawing rooms with a tennis racket under my arm and the line: 'Tennis anybody?' It was a stage trick to get some of the characters off the set so the plot could continue.
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When John Quincy Adams was appointed James Monroe's Secretary of State in 1817, the family moved to Washington, D.C. where Louisa's drawing room became a center for the diplomatic corps and other notables. Music enhanced her Tuesday evenings at home, and theater parties contributed to her reputation as an outstanding hostess. The pleasures of moving into the White House in 1825 were dimmed by the bitter politics of the election, paired with her deep depression. Though she continued her weekly "drawing rooms", she preferred quiet evenings of reading, composing music and verse, and playing her harp.
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Beckford used it as a library and a retreat, with the cupola at the top acting as a belvedere providing views over the surrounding countryside. The Italianate building at the base of the tower housed drawing rooms and a library. Extensive grounds between Beckford's house in Lansdown Crescent and the tower were landscaped and planted to create Beckford's Ride. William Beckford’s ability to build, and to collect, was made possible by the wealth he inherited and continued to accumulate as an owner of plantations and enslaved people, and through the compensation he received from the government following the abolition of slavery.
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Operating as #524 northbound and #525 southbound, the trains were called the New York Express and the Washington Express, respectively, in the 1910s and 1920s. The Marylander and its predecessors offered a high level of passenger amenities, such as parlor cars with private drawing rooms, full dining car service, deluxe lounge cars, and onboard radio and telephone service. The Marylander made history in 1948 when it was the first moving train to offer onboard television reception. It was one of B&O;'s faster trains on the route, maintaining a four-hour schedule until its discontinuation in October 1956 due to declining patronage.
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In 1845, the manager of the mine, Captain James Ninnis, had a two level brick dwelling of 11 rooms built at Momona Bay (what is now called Mansion House Bay). When Grey purchased the island, he was impressed with the building, commenting favourably on its thick walls, kauri timber and surrounding landscape. He contracted the architect Frederick Thatcher to extend the house with additional bedrooms, as well as dining and drawing rooms. Thatcher maintained the original Georgian style of the house, designing a new wing with an elongate verandah and bay window. The work was completed by an Auckland builder for £5,000.
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Pitts chased a portion of the "Wellington Shield" designed by Thomas Stothard for Green & Ward, and the whole of the "Shield of Achilles" designed by John Flaxman for Rundell & Bridge. In later life he modelled, in imitation of those, a "Shield of Æneas" and "Shield of Hercules" from Hesiod only a portion of the former was carried out in silver. Pitts had a very prolific imagination, and In 1830 he executed the bas-reliefs in the bow-room and drawing-rooms at Buckingham Palace. He exhibited models at the Royal Academy, and made two designs for the Nelson monument.
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Gray's School of Art Foyer The first floor houses second and third year painting studios, visual communication studios, textiles studios, life drawing rooms, the head of school's office in the east wing and the printmaking staff room in the west. The second floor until recently exclusively housed the fourth year painting studios. However, in the last two years two rooms have been reallocated to the new photography and electronic media (PEM) course. Gray's School of Art also has some studios in the adjacent Scott Sutherland (School of Architecture and Built Environment) building where the studios for Communication Design are housed.
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Nirmal Paintings-Village lady Nirmal Art, encompassing a 400-year- old tradition of making soft wood toys and paintings, occupies a place of pride in the world of handicrafts. The finely carved figures and dainty paintings are still being used to decorate drawing rooms in thousands of homes across the country. Nirmal district in Telangana was once famous as a production centre of as diverse things as cannons and toys. While the foundry supplied heavy artillery to the army of the Nizam of Hyderabad, the Naqqash craftsmen and artists brought out exquisite wooden toys and duco paintings under the name of Nirmal Art.
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Compton House - Plaque In 1873 two years after being abandoned Compton House reopened as Compton Hotel under the management of William Russell. Although a hotel, the ground floor featured a number of different shops including a hatters, a hosiery and a drapers. The hotel itself consisted of 250 rooms with numerous more including a saloon, coffee room, billiard room, reading room, writing room, smoking room, dining room as well as adjoining ladies and gentlemen's drawing rooms. A main focus of the hotel was in accommodating for American guests arriving via Trans-Atlantic steamers at Liverpool's landing stage.
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Also in 1924, the saloon was redecorated in oak panelling, and cantilevered landings added around three sides of the second storey of the room. The saloon was flanked by a serving room (adjacent to the dining room), a dressing room, the second (servants') staircase, and a waiting room. The saloon led onto a large picture gallery at the back of the house, which was flanked either side by two drawing rooms, one of which gave access through to the conservatory. With the exception of the saloon, the rooms were "very plain", the only design features being Gothic cornices.
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At this time, the 1865-66 dining and drawing rooms were redecorated by the Sydney firm Beard Watsons with ornate timber mantelpieces (replacing earlier white marble) and new wallpapers and carpets. Duckett White also subdivided the estate, with land sales starting from 1911, and the grounds surrounding Lota House were reduced to just under . The pine trees lining the driveway from Oceana Terrace to the front of the house were most likely planted at this time. Graham Ernest Mylne, son of Captain Graham Douglas Mylne and Helena White, purchased Lota House from his cousin Duckett White in 1913.
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Internally, the ground floor of the west wing housed the dining room, service areas and led through to the kitchen and bakehouse. The service area was fitted with a mezzanine floor to provide sleeping facilities for male servants; the sleeping quarters for female servants were on the top floor of the mansion to keep the two sexes a good distance away from each other. On the same level, the east wing had a study with ante-room set in the northwest corner, a boudoir, two drawing rooms and a billiard room. An expansive library, divided into sections by pillars, was between the boudoir and study, beside the large bay window.
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The motivation of a rake to change his libertinistic ways is either hypocritical (falsewits) or honest (truewits). In other words, penitent rakes among the falsewits only abandon their way of life for financial reasons, while penitent truewits ever so often succumb to the charms of the witty heroine and, at least, go through the motions of vowing constancy. Another typology distinguishes between the "polite rake" and the "debauch", using criteria of social class and style. In this case, the young, witty, and well-bred male character, who dominates the drawing rooms, is in sharp contrast to a contemptible debauch, who indulges in fornication, alcoholism, and hypocrisy.
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The title of the book refers to ships passing back and forth across the Atlantic and creating alliances between England and America like the weaving of a shuttle: "As Americans discovered Europe, that continent discovered America. American beauties began to appear in English drawing-rooms and Continental salons... What could be more a matter of course than that American women, being aided by adoring fathers sumptuously to ship themselves to other lands, should begin to rule these lands also?" Burnett made the transatlantic voyage thirty-three times, which was a lot for the era. Marriages between English aristocrats and American heiresses were common and of considerable public interest at the time.
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Baron James de Rothschild died in 1868, just three months after purchasing the Chateau Lafite vineyard. As Nathaniel de Rothschild reported, on his funeral, 4,000 guests waited in his drawing rooms, while another 6,000 guests waited in the courtyard. The streets of Paris, from the Rue Laffitte across to Père Lachaise Cemetery, were lined with unknown thousands of citizens, who paid tribute to the banker. De Rothschild had remained active in business throughout his life, expanding his railways, industries, factories, shipping, and mining interests so successfully that by the time of his death, the capital of the Paris house perhaps even exceeded some of his other prominent family members.
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Tinniswood (1999), 48–49. Either side of the Saloon are two smaller drawing rooms (8, 10), which would originally have served as private withdrawing rooms from the more public activities which would have taken place in the Marble Hall and Saloon. One of these rooms, now called the Tyrconnel Room (10), was transformed into the principal or state bedroom during the occupancy of Lord Tyrconnel in an attempt to create a more fashionable suite of Baroque state rooms on the first floor. After his death in 1754, it became a Billiard Room, until the 3rd Earl Brownlow had it refurnished more than a century later.
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Compartment C had two lower berths and a single chair, as well as a sanitary column in the corner with a lid-capped "hopper" (toilet) and a fold-down sink. Similarly to drawing rooms E and D, compartments C and D were mirror images of each other, again the only difference being in terms of decor. Compartment A shared its layout with compartment C, although during the Train of Tomorrow's tour it was used as the train's office. The dome in the car was similar to the other domes on the train, although all of its seats were reserved for passengers booked on Dream Cloud.
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A 19th-century view of the private wing showing projecting, canopied balconies; these along with the wall surrounding the private garden have now been removed. The Silver and Empire Drawing Rooms were part of the suite of rooms reserved for the private use of the Tsaritsa. They form an enfilade which culminates in the Malachite Drawing Room, which served as the Tsaritsa's State Drawing Room, where she gave audiences and conducted her official business. It was also in the Malachite Drawing Room that Romanov brides were traditionally robed before walking in procession through the state rooms to the Palace's Grand Church for their weddings.
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The main house comprises a main pavilion of three rooms, flanked by narrow relatively long hyphens that connect to the east and west end pavilions, giving a five-part elevation facing south. On the north side the ground falls away, revealing a full basement story beneath the main house, with additional extensions running beyond the end pavilions. The central house features a square main hall with a coved ceiling rising to , flanked by drawing rooms on either side. The south portico faces the Severn River, while a small balcony on the north side of the main hall leads to a pair of stairs to grade level.
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These were designed to Anderson's original plans; no trace of their existence prior to the restoration was discovered. If extensions had been built the privy would have included one of the first water closets in the United States. A second floor was added by John Ridout in 1793, with bedrooms directly above the drawing rooms in the main pavilion, with a gabled roof whose ridge coincided with the portico roof. The second story was removed during the comprehensive restoration that began in the 1950s under Charles Scarlett, Jr. The site immediately to the north of the house is surrounded by earth mounds in the form of a bastioned breastwork.
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From the church the party repaired to the home of the bride's parents on Daniel's Hill, where an elaborate bridal breakfast was served. The gracious hospitality never presented a fairer appearance The young couple received the guests in the large hall, and later the company adjourned to the spacious drawing rooms, where the breakfast tables were spread. The bridal party was seated at a large circular table, exquisitely decorated with Easter lilies and garlands of smilax. Many candles in silver candelabra shed their light on the beautiful scene, and after a delicious menu had been served, the bride's cake was cut amid much mirth and eagerness.
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The main block of the old house was demolished, to be replaced from 1806, by a Gothic building, to the designs of the brothers James and Archibald Elliot. The English-Italian Francis Bernasconi carried out the ornate plasterwork of the staircase and drawing rooms between 1809 and 1812. In 1818, the old east wing was pulled down and replaced by a two-storey wing designed by William Atkinson. In 1793, John Campbell formed three regiments of fencibles, known as the Breadalbane Fencibles to help defend the land in time of need. He managed to raise 2,300 men, of whom 1,600 were from his own estate.
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At this time, a stucco decoration (long since disappeared) to the wine and drawing rooms was added by Pietro La Francini, who worked for Daniel Garrett (who had worked for Lady Bowes on Gibside Banqueting House). William Howitt's Visits to Remarkable Places (1842) notes the rooms had "stuccoed ceilings, with figures, busts on the walls, and one large scene which seemed to be Venus and Cupid, Apollo fiddling to the gods, Minerva in her helmet, and an old king".Meadows & Waterson, p.43 Garrett probably designed the Gothic porch installed in the west entrance and the Gothic screen and single-storey, bow-fronted rooms installed to close off the east entrance.
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Maryland: Rowman & Littlefield It was said that he rejected many good plays in favour of those which were more financially rewarding and ran the theatre into the ground as a creative force. Upon criticism of Blythe only performing comedies, he replied: "There is no reason, snobbery apart. Why, in their plays, dramatists should boycott ordinary dwellings. Most people in Ireland are the habituees of farmhouse kitchens, city tenements or middle-class sitting-rooms and their loves and hates, disappointments and triumphs, grief’s and joys, are just as interesting and amusing, or as touching, as those of, shall we say alliteratively, denizens of ducal drawing-rooms, or boozers in denizened brothels".
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It was not however until major renovations in the 1820s that the Lodge came to be used regularly by viceroys. It is now known as Áras an Uachtaráin and is the residence of the President of Ireland. By the mid-19th century, Lords Lieutenant lived in the Castle only during the Social Season (early January to St. Patrick's Day, 17 March), during which time they held social events; balls, drawing rooms, etc. By tradition the coat of arms of each Lord Lieutenant was displayed somewhere in the Chapel Royal in Dublin Castle; some were incorporated into stained glass windows, some carved into seating, etc.
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Sessions of parliament drew many of the wealthiest of Ireland's Anglo-Irish Ascendancy to Dublin, particularly as sessions often coincided with the Irish Social Season, running from January to 17 March (St. Patrick's Day), when the Lord Lieutenant presided in state over state balls and drawing rooms in the Viceregal Apartments in Dublin Castle. Leading peers flocked to Dublin, where they lived in enormous and richly decorated town houses, initially on the Northside of Dublin, later in new Georgian residences around Merrion Square and Fitzwilliam Square. Their presence in Dublin, along with large numbers of servants, provided a regular boost to the city's economy.
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Writers of the day reported that people flocked from all over the country to see such extraordinary works of whimsy and technical skill. The same year, the three craftsmen showed their figurines in drawing rooms and royal palaces all across Europe, from London to Russia and Paris to Madrid, receiving high acclaim wherever they went. Perhaps aware of impending revolutionary violence in France and Switzerland, Jaquet-Droz sold the figurines to a collector in Spain in 1778. After the conflicts, in 1812, they reappeared in Paris and began touring again. Some twenty years later, they became the centrepiece of Martin and Bourquin's “Museum of Illusions”, which toured Central Europe until the turn of the 20th century.
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Drawing rooms, cabinets, boudoirs, sitting rooms and chapels were arranged so as to form in their grouping a whole by having art and trade appliances put into the place for which they were intended. Where this was not possible, a partition or a wall would be placed with picturesque effect in some adjoining room. Miller established a center of exhibition and sale for the society, and procured himself a home especially for the social intercourse of artists and art craftsmen. In 1840 he married Anna Pösl (1815–1890), daughter of the Chancellor of the regional government of Landshut, who bore him 14 children, including Ferdinand Freiherr von Miller, Oskar von Miller and Fritz von Miller.
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A ballad which she wrote in 1905, "The Ballad of Shawe-Taylor and Hugh Lane", dealing with a controversy involving Hugh Lane, was described by Thomas Bodkin as "a delicious comic ballad, which she sang herself, in a pleasant throaty voice, at many gatherings in Dublin drawing-rooms and studios." She became acquainted with William Butler Yeats, Padraic Colum, George Moore and others. She also contributed verse for several cards produced by the Cuala Press between 1909 and 1946, some of which are held at the National Library of Ireland. Although she always had a touch of humour in her writing, she wrote a book-length study of Moore and his work that was not a little acerbic.
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The beetles are nocturnal and are attracted by the lights of dwellings as noted by Hudson in 1892 "it is greatly attracted to light, and this propensity frequently leads it on summer evenings to invade ladies' drawing-rooms, when its sudden and noisy arrival is apt to cause much needless consternation amongst the inmates". They have powerful mandibles, which can produce a painful bite. Adult females of P. reticularis produce an olfactory cue which attract adult males to the female. Adult individuals of both sexes will show a display behaviour if disturbed with the head jutting forward, mandibles opening to their full extent, antennae flailing and the head being raised and lowered.
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Also, Wentworth was an Anglican in a predominantly Calvinist/Congregationalist region, furthering his ties to British culture, and differentiating himself from the locals among whom he was born and raised. Those who disliked him, referred to him as a Spanish grandee, associating his imperious self-presentation with his exposure to European culture through his trade with Spain back in the 1720s. The formal style Wentworth mimicked characteristically had public areas including an impressive hall and a grand salon, known in Britain as a saloon. Lesser in scale but typically more opulent in finish were semi-private drawing rooms, and still smaller and more opulent were bedrooms and small studies called cabinets (by the French) or closets (by the English).
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The House had come to the Bowes family by the fifteenth century. For much of the nineteenth century, it was owned by John Bowes, the eldest son of the 10th Earl of Strathmore who was illegitimate under English law as his parents married after he was born (and under Scottish law as they had no Scottish domicile), but was able to inherit a life interest in the family's English wealth and properties. During his tenancy, Streatlam was described as consisting of twenty-four bedrooms, two oak drawing-rooms, the yellow drawing room, the great dining room, the billiard-room, the study and the gentlemen's room. Following his death without issue, the estate was reunited with the Earldom in 1885.
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251 Examiner, while praising all Brontës as "a hardy race", who "do not lounge in drawing-rooms or boudoirs", and "not common-place writers", considered The Tenant's frame structure "a fatal error: for, after so long and minute a history [of Helen's marriage to Arthur], we cannot go back and recover the enthusiasm which we have been obliged to dismiss a volume and half before". The gossiping of the inhabitants of Linden- Car village reminded it of Jane Austen's style, but "with less of that particular quality which her dialogues invariably possessed". Considering the novels structure as "faulty", Examiner concludes that "it is scarcely possible to analyze [the novel]".Allott, The Brontes: The Critical Heritage, pp.
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Dabney moved from Washington, D.C., to New York around 1901, two or three years before James Reese Europe moved there. In New York, Dabney studied music and played piano in parlors. He played many piano engagements in drawing rooms filled to capacity with prominent society. Dabney and Europe's early days in New York apparently overlapped because, reportedly, they often met at the Marshall Hotel in Midtown's Tenderloin District, at 127–129 West 53rd Street, between Sixth and Seventh Avenues – one of two avant-garde hotels for creative, intellectual black New Yorkers. James L. Marshall (1874–1925), with the assistance of his brother, George Marshall – both accomplished African- American bonifaces – operated the hotel from 1901 through 1914.
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When opened in 1890, the attendant advertising in The Southern World of 22 October emphasised the proximity of the new hotel to the Woolloongabba Fiveways, and that country visitors would be well catered for with superior accommodation. This included single and double bedrooms, bathrooms, and drawing rooms, with luxurious and comfortable appointments throughout. The hotel offered Extensive and Superior Stabling and trams and buses passed the hotel every five minutes. McKenna remained the proprietor and licensee until 1903, when he leased the hotel to a succession of licensees. In 1917 he sold the property to the Castlemaine Brewery of Quinlan Gray & Co. From 1949 until the early 1980s the licensees were Ron and Ivy Hogarth.
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From the late 17th to early 19th centuries, European armies wore uniforms more or less imitating the civilian fashions of the time, but with militarized additions. As part of that uniform, officers wore wigs more suited to the drawing rooms of Europe than its battlefields. The late 17th century saw officers wearing full-bottomed natural-coloured wigs, but the civilian change to shorter, powdered styles with pigtails in the early 18th century saw officers adopting similar styles. The elaborate, oversized court-styles of the late 18th century were not followed by armies in the field however, as they were impractical to withstand the rigours of military life and simpler wigs were worn.
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In the 16th and early 17th centuries, in a house such as Montacute, the Parlour was where the family would dine, possibly with some of their upper servants. It allowed them not only privacy from dining publicly in the hall, but also less state and pomp than if dining in the Great Chamber above. Like its grander cousin above, the Parlour also had an adjoining principal bed chamber, now the Drawing Room, originally known as the White Chamber and later as the Round Parlour. As fashions and uses changed, and privacy from servants became desirable, like the later Baroque state apartments, these ground-floor rooms lost their original purpose and became a series of seemingly meaningless drawing rooms.
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The procuring of these items was often a considerable task and served to emphasise the purchasing power of the elite and their ability to live in decadence. The Big House had extensive parts of it devoted to leisure and entertainment, included ballrooms, drawing rooms and parlours, as well as the outside grounds of the demesne that allowed for hunting or playing fashionable sports, like cricket. Much time was devoted to these spaces as the elite had the means to pursue leisure extensively. Photography became a major leisure activity among the Anglo-Irish in the late 19th century, and photographs today serve as one of the principle references for historians of the Anglo-Irish big house.
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'In 1781 there was one water closet, hung with green flock paper and equipped with what was called a 'Mahogany Watercloset with Bason and Handles Compleat', situated on the ground floor. The library on the same floor, which had an out-of-order wind-dial over the chimneypiece, was hung with green gilt-bordered flock paper. Above, the curtains, hangings and upholstery of the two drawing-rooms were all of crimson damask, and the two Wilton carpets each covered 'the whole Floor'.' Following the 5th duke Bolton the lease holders or occupiers were the 3rd Duke of Grafton, Prime Minister, 1765; 4th Earl of Tankerville, 1769–79; Baron Alvensleben, Hanoverian Minister, c.
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Later occupants included the future George V, the late Duke and Duchess of Gloucester from 1936 to 1970, and Princes Charles, William and Harry, who used it before moving to Clarence House. As Edward, Prince of Wales, the future Edward VIII lived at York House, before his refurbishment of Fort Belvedere in Windsor Great Park. The plan of the building is as follows: a suite of somewhat low-pitched rooms on the ground-floor, several drawing- rooms on the first floor, a corridor in the rear, and the servants' rooms on the top storey; all facing Cleveland Row. The ceilings of the top floor are low; height having been sacrificed to that of the drawing-room floor, during the nineteenth century a common practice in London mansions.
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Parfums Lubin is one of the oldest perfume houses in the world List of oldest companies. Its early history is linked to the high society of the Napoleonic era, and its products became the imprimatur of haute couture, and indicators of fashion and social hierarchy. Pierre François Lubin founded the company in 1798 when he began supplying scented ribbons, rice powderballs and masks to "Les Merveilleuses," socially exulted women who frequented Thermidorian drawing rooms of Napoleonic France; and the "Incroyables," members of the subculture that mixed fashion and propaganda which emerged following the terror that was the immediate aftermath of the French Revolution of 1789. The fragrance won over the Imperial Court, and was worn by the likes of Joséphine and Pauline Bonaparte.
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The château's richly sculpted interior decoration once again reflects the influence of the Italian Renaissance. It is made up of several drawing rooms and stately apartments, most of which are decorated in the neo-renaissance style popular during the 19th century. Many of these rooms display 16th- and 17th-century Flemish tapestries, most notably the 'Scenes from the Old Testament' woven in Audenarde, and the 'Story of Psyche', which was created in Brussels and which, in 2009, provided the inspiration for the château's exhibition dedicated to the Greek myth. The château also houses a significant collection of artwork, including a 'Dame au Bain' (possibly depicting Diane de Poitiers) by François Clouet, and several portraits of French monarchs, including Francis I, Henry III and Catherine de Medici.
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Boden & Co.) and conducted a large sewing class weekly. Boden was regarded as leader in many social and religious undertakings, conducting and addressing many drawing-rooms and public meetings in England. She was a founder of the Derby Branch of the National B. W. T. A. She was the Vice-President of the British Temperance League, Vice-President of the Girls' Friendly Society, Treasurer of the Women's Union Church of England Temperance Society (Derby Branch), an active member of the Committee of the Association for the Help and Protection of Girls, and Vice-President of Derby and Derbyshire Bands of Hope, Woman's Auxiliary Union. Her husband, a wealthy manufacturer, left the Conservative party on account of its opposition to the Local Veto Bill.
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He also had a private income. His tall, willowy figure became a familiar sight in the Reform Club and London drawing-rooms, including that of George Eliot and George Henry Lewes, whose Fortnightly Review welcomed Beesly's articles. Beesly joined Congreve and Harrison, both now in London, in supporting the struggle of the workers in the building trades for shorter hours. He also attacked the economic theories used by critics of the "new model" trade unions of the 1860s. The notoriety he gained culminated in 1867, when he declared in the aftermath of the "Sheffield outrages" that a trade union murder was no worse than any other: he almost lost his post at University Hall and Punch dubbed him Dr Beastly.
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The new structure, opened in 1969, contained six science laboratories, two music rooms, three art rooms, two technical drawing rooms, two woodwork rooms, a metalwork room, a new library and several classrooms, new toilets and a new canteen. This extension was connected to the old building via overhead walkways, and due to it being constructed around a central courtyard, quickly gained the name of the 'doughnut' block. The appearance of the school changed little over the next two decades, however that was changed in 1988. Canterbury had been campaigning for a multipurpose hall for many years, and so there was much disappointment when a major refurbishing program for the original building and the provision of another classroom block did not include a school hall.
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The garden furniture was first sighted by White in Paris, tracked to a New York supplier and then to an agent in Melbourne. The only period furniture is a bentwood rocking chair, a favourite of White's which he purchased at a shop in Bondi, and the two revolving bookcases, that were purchased by placing an advertisement in the Sydney Morning Herald. A stool is another item brought from the previous house, which at Castle Hill was used for milking and later was used for waiting for the opening of the Macquarie Galleries Christmas sale. White's plays and novels included commentary on interiors, including humorous and derogatory comments about the fussiness of drawing rooms, with nests of little tables, and "living life behind holland".
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James Holland In 18th-century London, the royal morning receptions that the French called levées were called "drawing rooms", with the sense originally that the privileged members of court would gather in the drawing room outside the king's bedroom, where he would make his first formal public appearance of the day. During the American Civil War, in the White House of the Confederacy in Richmond, Virginia, the drawing room was off the parlor where CSA President Jefferson Davis greeted his guests. At the conclusion of these greetings, the men remained in the parlor to talk politics and the women withdrew to the drawing room for their own conversation. This was common practice in the affluent circles of the Southern United States.
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Restaurants above and below stairs were always open. The building was advertised as being the only hotel in the city that was practically fire-proof in construction, stone, iron, and cement being used to the entire exclusion of wood in the walls, floors, staircases, and so on. In addition to its fire-proof qualities the safety of the house was insured by the introduction of a most powerful complete water system, with tanks on the roof holding 14,000 gallons, and a hose room on each floor, so that absolute security from fire was guaranteed to the public. There were three main entrances to this building, wide halls leading to the office rotunda, and with the reception parlors and drawing-rooms, were decorated and furnished elaborately.
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Wilde's final play again returns to the theme of switched identities: the play's two protagonists engage in "bunburying" (the maintenance of alternative personas in the town and country) which allows them to escape Victorian social mores. Earnest is even lighter in tone than Wilde's earlier comedies. While their characters often rise to serious themes in moments of crisis, Earnest lacks the by-now stock Wildean characters: there is no "woman with a past", the principals are neither villainous nor cunning, simply idle cultivés, and the idealistic young women are not that innocent. Mostly set in drawing rooms and almost completely lacking in action or violence, Earnest lacks the self-conscious decadence found in The Picture of Dorian Gray and Salome.
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In 1773, it passed to a branch of Campbell of Craignish: Sir Archibald Campbell became the owner of the estate. Though neither the largest nor the grandest of his several estates, it was Archibald's favourite, but he was unable to live on the land as he was appointed Governor of Jamaica and then of Madras in India, dying a few months after his return. It was his elder brother, Sir James Campbell of Killean, Perthshire, who first made a home at Inverneill, using it as a summer 'cottage' for his family. The house was of a good size in those days, having dining and drawing rooms, 8 bedrooms, a housekeeper's room, servants' rooms, pantry, kitchen and scullery, as well as outhouses containing wash house, laundry and dairy.
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After she married Harvey Edward Orrinsmith, however, she stopped painting tiles for Morris, Marshall, Faulkner & Co., and changed her surname from Faulkner to Orrinsmith. This is one of the primary reasons that she is overshadowed by her sister, Kate. For this reason, many of her works were previously mis-attributed to Kate Faulkner, until it was discovered that Lucy would sign her tiles with either LJF or simply LF. Orrinsmith was also known for writing a book about drawing room decoration entitled The Drawing Room: Its Decorations and Furniture while living in Beckenham, simply under the name “Mrs. Orrinsmith”. In the book, she emphasizes the importance of “properly” decorating the elements of drawing rooms, including ceilings, walls, moldings, fireplaces, chimneys, skirting, and much more.
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Meeting his first winter at Moose Factory with equanimity, even as members of the crew were dying despite his best efforts, he discovered that the key to successful Arctic life was to learn the survival skills of the native peoples. The hardy Rae, raised in the windswept Orkney Islands of northern Scotland, and a gifted hunter and sailor, would become one of the greatest explorers of his generation. He would survey 1765 miles of uncharted territory, travel 6555 miles on snowshoes and sail 6700 miles in small boats. Building on the work of explorers who had gone before him and aided by only a handful of native people, Métis and Scots, Rae became the consummate Arctic explorer, as much at ease in the wilderness of ice as in London drawing rooms.
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Flowers on the Windowsill, 1884 The dark and smoky Victorian era saw the first use of houseplants by the middle class, which were perceived as a symbol of social status and moral value, and were used on windows, in Wardian cases, trellises and stands.How To Decorate a Victorian House with Plants – A brief history of the Victorian obsession with houseplants, which turned parlors into bowers by Old House Online Journal, June 21, 2011. Exotic and hardy foliage plants became popular as they tolerated the typical gloomy and snug environment inside a Victorian house.5 Houseplants That Changed History by Amanda Gutterman from Gardenista, November 11, 2013 Popular plants in that era included palms (kentia palms and parlour palms), maidenhair ferns, geraniums, ferns and aspidistras that were often placed on window ledges and in drawing rooms.
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It was renovated in the late Gustavian style but was lacking many of the more capricious aspects of the style, replacing them with a more serious and romantic tone which is referred to as the Karl XIII Empire style. As part of the modernisation a series of new interiors were created, the most notable of which are the Orange and Red drawing rooms, and the Hogland Room. Flower pot and balcony with royal emplems It was a favourite among the palaces for Karl XIV Johan and Queen Desideria, the first of the Bernadotte line, who spent their summers relaxing at Rosersberg and were the last royals to use the palace as a residence. Karl Johan's bedchamber is regarded as one of the most important examples of an early 19th-century Swedish interior.
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Despite the rooms' long, narrow configuration, lavish entertainment could still take place, in part because the high ceilings made the rooms seem larger. Bulfinch's drawing of the Crescent suggests that the first- and second-floor windows were of the same height; this is consistent with the interiors shown in the painting and contrasts with London terraces of the period, where the second-floor parlor windows were usually taller. The furnishings that Sargent depicts represent contemporary high-style Boston interiors, in most respects similar to what could be found in London. The dining room in The Dinner Party is quite masculine, with mahogany furniture and large portraits suitable to the gathering of gentlemen, the two parlors or drawing rooms shown in The Tea Party are lighter in feeling, more feminine, and ornamented with many French and Italian decorative objects.
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It was also reputedly said to be re-sung lustily by the "after-the-show" crowd at the next door Theatre Tavern, (to the south, towards East Fayette Street between and adjacent to the "Assembly Rooms" on the corner) of Captain McCauley. To its south at the northeast intersection of Holliday with East Fayette Street was the landmark "Old Assembly-Rooms", built also in 1799 by Robert Cary Long, Sr. of Georgian/Federal styled architecture for the old Baltimore Dancing Assembly, founded in the 1780s with elaborate decorative chambers and drawing rooms for social dancing, receptions and levees for the upper middle class ladies and gentlemen of the era. On its upper floor were housed the influential Library Company of Baltimore - a non-circulating subscription library founded in the late 1790s and later supplemented with the adjacent Mercantile Library.
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Theatrical agent and author Edward Peron Hingston described the hotel in 1863, :An air of sumptuous splendor and easeful comfort strikes us immediately as we enter the doors, as being characteristics of the house. Newly built, only a portion of the intended edifice completed, and the grand staircase not yet opened, the Occidental is but an incomplete sample of that which it is intended to be. The interior fittings are those of a first-class hotel; the bedrooms are airy, the beds soft and large; the salle-a-manger is a spacious hall, with elaborate embellishments and columns of noble proportions. There are breakfast rooms and supper rooms, hot and cold baths for everybody, well-carpeted stairs, elegant drawing rooms for the use of the ladies, pianos of the best manufacture, and lounges and rocking chairs of the most luxurious construction.
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The house of the King Petar I Karađorđević represents a two-storey vacation house of the late 19th century, with the desire to show the reputation and the wealth overcame the need for the adjustment to the nature and resembles more to the urban mansion than to the vacation house. Therefore, the house consists of two completely separated parts, one public, on the ground floor, accessed by a representative stairway and a covered terrace with columns, and the other private one, on the upper floor, accessed by a side entrance. The ground floor contained two drawing rooms and a dining room, bedrooms were on the upper floor, and the kitchen in the semi basement.S. Ivančević, The House of King Petar I Karađorđević on Senjak, The Heritage V, Belgrade 2004, 89 The facades exhibit characteristic elements of the style of academism.
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After the death of Alexander II, his son Alexander also stayed in the palace with his family, whereas Tsar Nicholas II and his family chose to stay at the New Palace instead. The two story fifty-five roomed palace, had included the Tsar's Study and Sitting room, the Imperial bedroom and bathroom, the Sitting room and Dressing room of the Empress Maria Alexandrovna of Russia, the Blue and Floral Drawing rooms, the bedrooms of the Imperial children, and the Dining room. The palace grounds had a formal garden with several statues, a well and a fountain, and a white marble outdoor tub and a wood and rock bridge that was over a creek. Grand Duchess Xenia Alexandrovna of Russia, the eldest daughter of Tsar Alexander III, chose to give birth to her first child and only daughter, Princess Irina Alexandrovna of Russia at the palace.
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The cost of the great ocean liner approximated to £350,000, and she has a register of 12,077 tons, with a capacity for carrying many hundreds of passengers in the three classes. The chief dining saloon is superb, and so are the smoking, reading, and drawing rooms set apart for first-class travellers. Even the apartments reserved for second class passengers are fitted in a much more, costly fashion than are the best hotels in this city, while the third- class dining saloon is a spacious chamber the full width of the ship, and well lighted from both sides. The acme of comfort has been reached in the staterooms, which are as large and as airy as many bedrooms ashore, while the suites consisting of staterooms, bathroom, sitting-room, and maids' room were so attractive that they instilled a desire for ocean travel into many hearts.
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The Soane Museum is now a national centre for the study of architecture. From 1988 to 2005 a programme of restoration within the Museum was carried out under Peter Thornton and then Margaret Richardson with spaces such as the Drawing Rooms, Picture Room, Study and Dressing Room, Picture Room Recess and others being put back to their original colour schemes and in most cases having their original sequences of objects reinstated; Soane's three courtyards were also restored with his pasticcio (a column of architectural fragments) being reinstated in the Monument Court at the heart of the Museum. (Much of the cost of the work was financed by the Sir John Soane's Museum Foundation, in New York.)Paula Deitz (13 April 1995), Sir John Soane's New Tricks New York Times. In 1997 the trustees purchased the main house at No. 14 with the help of the Heritage Lottery Fund.
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Wiltshire wrote about Austen's use of "gendered space" in Emma, noting the female characters have a disproportionate number of scenes in the drawing rooms of Highbury while the male characters often have scenes outdoors.Wiltshire, John "Mansfield Park, Emma, Persuasion" pages 58-83 from The Cambridge Guide To Jane Austen, Cambridge: Cambridge University Press, 1997 page 69. Wiltshire noted that Jane Fairfax cannot walk to the post office in the rain to pick up the mail without becoming the object of town gossip while Mr. Knightley can ride all the way to London without attracting any gossip. Wiltshire described the world that the women of Highbury live in as a sort of prison, writing that in the novel "...women's imprisonment is associated with deprivation, with energies and powers perverted in their application, and events, balls and outings are linked with the arousal and satisfaction of desire".
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Interior of a drawing room, now installed in the Philadelphia Museum of Art In the 1930s, the Metropolitan Borough of Westminster Council decided to build a road from Berkeley Square to Curzon Street, which required the demolition of all the garden front rooms of Lansdowne House. One of Adam's three drawing rooms was removed and installed at the Philadelphia Museum of Art, while the Dining Room went to the Metropolitan Museum of Art in New York City.Drawing Room from Lansdowne House with elements by Robert Adam, Antonio Zucchi, Giovanni Battista Cipriani, and Joseph Perfetti on the website of the Philadelphia Museum of Art The façade was rebuilt in a modified form at the front of the reduced house; about half of the north-west corner has also been lost. Many collections, such as the Lansdowne Amazon and the Lansdowne Hercules, were also bought by American and British museums.
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This variety of features is easy to spot with a variety of window placement and sizes, while Observation Car windows tend to be more uniform in size and placement. Among North American railroads, their observation cars often featured any of a variety of upcharge revenue seating, reserved sitting/drawing rooms or sleeper roomettes in the forward section, in the form of reclining coach seats, plush parlor car chairs near side tables or bedrooms and the occasional crew dormitory, such configurations varying greatly between railroads. A lighted drumhead adornment, usually indicating the name of the train or the name/logo of the railroad would invariably (except on the Milwaukee Road, see below) be hung from the tail end of the observation car. Some early trains offered two observation cars: a traditional enclosed type for its compartment or "first class" passengers and an open type resembling a flat car for its tourist class riders.
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In order to escape his poor, illiterate mother, he promoted his artistic inclinations and courted the cultured middle class of Odense, singing and reciting in their drawing-rooms. On 4 September 1819, the fourteen-year-old Andersen left Odense for Copenhagen with the few savings he had acquired from his performances, a letter of reference to the ballerina Madame Schall, and youthful dreams and intentions of becoming a poet or an actor. After three years of rejections and disappointments, he finally found a patron in Jonas Collin, the director of the Royal Theatre, who, believing in the boy's potential, secured funds from the king to send Andersen to a grammar school in Slagelse, a provincial town in west Zealand, with the expectation that the boy would continue his education at Copenhagen University at the appropriate time. At Slagelse, Andersen fell under the tutelage of Simon Meisling, a short, stout, balding thirty-five-year-old classicist and translator of Virgil's Aeneid.
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Killinaskully received poor reviews from critics but earned large viewership figures. Shane Hegarty, The Irish Times's television critic, said the programme emphasised the rural/urban divide and "because TV critics tend to stand very firmly on one side of that gap, they have seldom attempted to understand the popularity of something so old- fashioned, predictable and lazy." John Drennan of the Irish Independent commented if there was "a sweeter sound in Irish journalism than the wails of the effete South Dublin TV critic when RTÉ viewing figures show Killinaskully has trounced John Kelly's The View once again?" Drennan said division over the show was the modern equivalent of the 19th-century cultural wars over the language movement, with one side featuring "the sort of cultural snob who faints at the sight of a Centra breakfast roll and who also fondly imagines the drawing rooms and restaurants of South Dublin bear an uncanny resemblance to the set of Frasier".
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After months of financial difficulty and lack of market success, Punch became a staple for British drawing rooms because of its sophisticated humour and absence of offensive material, especially when viewed against the satirical press of the time. The Times and the Sunday paper News of the World used small pieces from Punch as column fillers, giving the magazine free publicity and indirectly granting a degree of respectability, a privilege not enjoyed by any other comic publication. Punch shared a friendly relationship with not only The Times, but also journals aimed at intellectual audiences such as the Westminster Review, which published a 53-page illustrated article on Punch's first two volumes. Historian Richard Altick writes that "To judge from the number of references to it in the private letters and memoirs of the 1840s...Punch had become a household word within a year or two of its founding, beginning in the middle class and soon reaching the pinnacle of society, royalty itself".
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Robert Henri, in some ways the spiritual father of this school, "wanted art to be akin to journalism... he wanted paint to be as real as mud, as the clods of horse-shit and snow, that froze on Broadway in the winter."Robert Hughes, American Visions BBC-TV series (ep.5 - "The Wave From The Atlantic") He urged his younger friends and students to paint in the robust, unfettered, ungenteel spirit of his favorite poet, Walt Whitman, and to be unafraid of offending contemporary taste. He believed that working-class and middle-class urban settings would provide better material for modern painters than drawing rooms and salons. Having been to Paris and admired the works of Edouard Manet, Henri also urged his students to ‘’paint the everyday world in America just as it had been done in France.’’ The name "Ashcan school" is a tongue-in-cheek reference to other "schools of art".
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Red cedar used in the panelling in the dining and drawing rooms reputedly came from Wivenhoe in the Brisbane River Valley and was milled at Woodlands. Cabinet maker and joiner Joseph Klee is understood to have worked on the timber panelling for over a year. In the 1890s, economic depression, falling sugar prices, unreliable rainfall, and government encouragement to dairy farmers, led to a decline in sugar cultivation in the Marburg district. TL Smith took out a substantial mortgage on his property in 1897, and in January 1906 the Woodlands Estate was subdivided and put up for sale by order of his mortgagees. At this time the estate comprised 29 improved scrub farms, a large sugar mill (to be sold with farm no.22), 1¾ miles of sugar tramway, 38 iron cane trucks, distillery, saw mill, milking herd, numerous small sheds, 12 small cottages and Woodlands Homestead, offered on about 7 acres with an orchard of fruit trees and olives.
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Beyond is a broad staircase, also flagged with white marble which leads to the upper storey. On the west of the entrance hall are a couple of drawing rooms of similar dimensions, measuring 25 by 34 feet, and these rooms are terminated by a north-south oriented verandah and a long corridor around a large rectangular inner courtyard. On the east, there is a ball room which measures 60 by 55’-0” and is fronted by a verandah on the south. The inner central courtyard is overlooked on both the east and west wings by long covered corridors and a circular projection in the centre of each wing, whilst the two-storeyed northern wing facing south, accommodates four large bedrooms measuring 28’-0” x 17”-8” and 25’-0” x 16”-0” with dressing rooms and bathrooms between them. These also are flanked by two 9’-8” wide verandahs on both the front and back.
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From the early 18th century, as aristocratic lifestyles slowly became less formal, there was a move on the one hand to increase the number of shared living rooms in a large house and to give them more specialised functions (music rooms and billiard rooms for example) and on the other hand to make bedroom suites more private. In houses from earlier than around 1720 which survived without major structural alteration, the state rooms sometimes became a meaningless succession of drawing rooms and the original intention was lost. This is certainly true at Wilton House, Blenheim Palace, and Castle Howard. On the other hand, there were a few houses, and royal palaces, most of them exceptionally large, which were laid out in such a way that the state rooms could be left in their original form, while other rooms were converted to meet the new needs of the 18th and 19th centuries, or where funds were available to simply add on extra wings to meet the new requirements.
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Engraving of section of the Irish House of Commons chamber by Peter Mazell based on the drawing by Rowland Omer 1767 Engraving of section of the Irish House of Lords chamber by Peter Mazell based on the drawing by Rowland Omer 1767 Sessions of Parliament drew many of the wealthiest of Ireland's Anglo-Irish elite to Dublin, particularly as sessions often coincided with the social season, (January to 17 March) when the Lord Lieutenant presided in state over state balls and drawing rooms in the Viceregal Apartments in Dublin Castle. Leading peers in particular flocked to Dublin, where they lived in enormous and richly decorated mansions initially on the northside of Dublin, later in new Georgian residences around Merrion Square and Fitzwilliam Square. Their presence in Dublin, along with large numbers of servants, provided a regular boost to the city economy. The Parliament's records were published from the 1750s and provide a huge wealth of commentary and statistics on the reality of running Ireland at the time.
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You spend all week in Bermuda shorts, with your hair in curlers, worrying over who's going to take you to Amherst or New Haven Friday night. It seems to me that sort of thing actually retards you in the long run."Arlen, M.J. "The Girl with the Harvard Degree," in "The New York Times Magazine," Sunday, June 10, 1962, p. 16. (Conversely, the greater seclusion of places such as Smith, Vassar and Mt. Holyoke sometimes made these latter institutions more attractive to socially conservative families.) Reflecting on her time at Radcliffe, writer Alison Lurie stated that "most of the time we were in a mild state of euphoria...our lives were luxurious by modern undergraduate standards...We had private rooms, cleaned and tidied by tolerant Irish maids; a laundry called for our dirty clothes every week and returned them carefully washed and ironed; we ate off of china in our own dining room and sat in drawing rooms that resembled those of a good women's club.
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The school moved several times at its beginnings and was housed in three different locations in its first three years before returning again to the original townhouse building on Courtland Street. Finally, in 1843, the City Council allocated $23,000 to acquire the vacant old landmark "Assembly Rooms" structure at the northeastern corner of East Fayette and Holliday Streets for the new school. The famous Assembly Rooms was operated by the old Baltimore Dancing Assembly and were the site of social functions for the upcoming middle class who did not yet have fine drawing rooms and mansions for throwing parties. In 1850, the City Council granted the Board of School Commissioners the right to confer graduates of the decade old high school with certificates of graduation, and the following year in the old Front Street Theatre, along the Jones Falls stream (between East Fayette and Lexington Streets) the high school held its first commencement ceremony under the name of the "Central High School of Baltimore" with well-known influential civic citizen and lawyer Severn Teackle Wallis (1816-1894), as its first speaker.
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The auction notice declared that "Summer Hill Farm" was entirely "stumped and free for the plough from one end to the other". In addition to a cottage (no longer a 'handsome homestead'!) with dining and drawing rooms, four verandah rooms, detached kitchen and laundry, the improvements included a 'moderate sized barn, men's huts, stables' and "a large tank".The Sydney Morning Herald, 2 June 1845 The reference to a large tank in this context is a reference to a dam, probably intended to hold water for livestock (The 1833 edition of the New South Wales Calendar and General Post Office Directory notes that Thomas Rose who then owned Mount Gilead, the property to the north of Summer Hill, had been 'the first to construct a tank sufficiently capacious to secure him from the want of water in dry seasons'). Summer Hill was offered as a property that was "desirable as either a country residence for any party desirous of living away from the city, yet within a comfortable drive of it, or, as a dairy or agricultural farm".
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