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The pieces comprising the table top are a variety of lengths and widths, arranged in a puzzle-like fashion, with a few select pieces colorfully painted and the top sealed in a satin polycrylic to create a water resistant surface.
My girlfriend and I are planning on moving into together and we’ve been discussing just this kind of coffee table! We are the professional manufacturer for Bathtub,we are proud to supply you high quality Bathtub and professional service. Built by the Arab general Uqba ibn Nafi from 670 AD (the year 50 according to the Islamic calendar) at the founding of the city of Kairouan, the mosque is spread over a surface area of 9,000 square metres and it is one of the oldest places of worship in the Islamic world, as well as a model for all later mosques in the Maghreb.[1] The Great Mosque of Kairouan is one of the most impressive and largest Islamic monuments in North Africa,[2] its perimeter is almost equal to 405 metres (1,328 feet). Under the Aghlabids (9th century), huge works gave the mosque its present aspect.[7] The fame of the Mosque of Uqba and of the other holy sites at Kairouan helped the city to develop and repopulate increasingly.
But because of the specific nature of the land, crossed by several tributaries of the wadis, the urban development of the city stretched southwards.
At the foundation of Kairouan in 670, the Arab general and conqueror Uqba Ibn Nafi (himself the founder of the city) chose the site of his mosque in the center of the city, near the headquarters of the governor.
Under the rule of Aghlabid sovereigns, Kairouan was at its apogee, and the mosque profited from this period of stability and prosperity.
The current state of the mosque can be traced back to the reign of Aghlabidsa€”no element is earlier than the ninth century besides the mihraba€”except for some partial restorations and a few later additions made in 1025 during the reign of Zirids,[27] 1248 and 1293-1294 under the reign of Hafsids,[28] 1618 at the time of mouradites beys,[29] in the late nineteenth and early twentieth century.
Several centuries after its founding, the Great Mosque of Kairouan is the subject of numerous descriptions by Arab historians and geographers in the Middle Ages. A« He built in the mosque of Kairouan the cupola that rises over the entrance to the central nave, together with the two colonnades which flank it from both sides, and the galleries were paved by him. Among the Western travelers, poets and writers who visited Kairouan, some of them leave impressions and testimonies sometimes tinged with emotion or admiration on the mosque. A« The Great Mosque is dedicated to Uqba, where there is a famous college where we will study the remotest corners of this kingdom : are taught reading and writing of Arabic grammar, laws and religion.
A« Is there a more beautiful than this still preserved old tower, the minaret, in Islamic architecture ? Today, the enclosure of the Great Mosque of Kairouan is pierced by nine gates (six opening on the courtyard, two opening on the prayer hall and a ninth allows access to the maqsura) some of them, such as Bab Al-Ma (Gate of water) located on the western facade, are preceded by salient porches flanked by buttresses and surmounted by ribbed domes based on square tholobate which are porting squinches with three vaults.[12][37] However, Arab geographers and historians of the Middle Ages Al-Muqaddasi and Al-Bakri reported the existence, around the tenth and eleventh centuries, of about ten gates named differently from today. The portico on the south side of the courtyard, near the prayer hall, includes in its middle a large dressed stone pointed horseshoe arch which rests on ancient columns of white veined marble with Corinthian capitals. The combination formed by the courtyard and the galleries that surround it covers an immense area whose dimensions are about 90 meters long and 72 meters in width.[44] The northern part of the courtyard is paved with flagstones while the rest of the floor is almost entirely composed of white marble slabs.
The door giving access to the minaret is framed by a lintel and jambs made of recycled carved friezes of antique origin.[49] There are stone blocks from the Roman period that bear Latin inscriptions. The interior includes a staircase of 129 steps, surmounted by a barrel vault, which gives access to the terraces and the first tier of the minaret.
The Mosque has several domes, the largest being over the mihrab and the entrance to the prayer hall from the courtyard. The prayer hall is located on the southern side of the courtyard ; and is accessed by 17 carved wooden doors. The central nave, a sort of triumphal alley which leads to the mihrab,[62] is significantly higher and wider than the other sixteen aisles of the prayer hall. In the prayer hall, the 414 columns of marble, granite or porphyry[68] (among more than 500 columns in the whole mosque),[69] taken from ancient sites in the country such as SbeA?tla, Carthage, Hadrumetum and Chemtou,[59] support the horseshoe arches. The covering of the prayer hall consists of painted ceilings decorated with vegetal motifs and two domes : one raised at the beginning of the central nave and the other in front of the mihrab. The painted ceilings are a unique ensemble of planks, beams and brackets, illustrating almost thousand years of the history of painting on wood in Tunisia. The boards painted under the Hafsid period (during the thirteenth century) offers a floral decor consists of white and blue arches entwined with lobed green.
The mihrab, which indicates the Qibla (direction of Mecca), in front of which stands the imam during the prayer, is located in the middle of the southern wall of the prayer hall. The mosque's mihrab, whose decor is a remarkable witness of Muslim art in the early centuries of Islam, is distinguished by its harmonious composition and the quality of its ornaments. It is surrounded at its upper part by 139 lusterware tiles (with a metallic sheen), each one is 21.1 centimeters square and they are arranged on the diagonal in a chessboard pattern. The wall of the mihrab is covered with 28 panels of white marble, carved and pierced, which have a wide variety of plant and geometric patterns including the stylized grape leaf, the flower and the shell. The maqsura, located near the minbar, consists of a fence bounding a private enclosure that allows the sovereign and his senior officials to follow the solemn prayer of Friday without mingling with the faithful. The library is near located, accessible by a door which the jambs and the lintel are carved in marble, adorned with a frieze of floral decoration. The Mosque of Uqba, one of the few religious buildings of Islam has remained intact almost all of its architectural and decorative elements, is due to the richness of its repertoire which is a veritable museum of Islamic decorative art and architecture. From the library of the mosque comes a large collection of calligraphic scrolls and manuscripts, the oldest dating back to the second half of the ninth century. Among the finest works of this series, the pages of the Blue Qur'an, currently exhibited at Raqqada National Museum of Islamic Art, from a famous Qur'an in the second half of the fourth century of the Hegira (the tenth century) most of which is preserved in Tunisia and the rest scattered in museums and private collections worldwide.
Other works of art such as the crowns of light (circular chandeliers) made in cast bronze, dating from the Fatimid-Zirid period (around tenth-early eleventh century), originally belonged to the furniture of the mosque. At the time of its greatest splendor, between the ninth and eleventh centuries AD, Kairouan was one of the greatest centers of Islamic civilization and its reputation as a hotbed of scholarship covered the entire Maghreb.
In addition to studies on the deepening of religious thought and Maliki jurisprudence, the mosque also hosted various courses in secular subjects such as mathematics, astronomy, medicine and botany. I HAVE BEEN NOMINATED FOR AN AMARA INTERIOR BLOG AWARD – THEE Award for writers like myself. So, I would be FOREVER grateful if you could take a moment to vote for me.A  I have poured my heart and soul into this website alongA with the technical and mental support from the hubby-cakes and I’m SUPER pumped about this opportunity to shine!
The post 3 Simple Ways to Style Cushions on a Sectional (or Sofa) appeared first on Kylie M Interiors by Kylie Mawdsley. Luckily, aside from Paint, toss cushions are one of the most affordable ways to update a space without breaking the kids piggy bank. But before you rush out and buy new toss cushions, you might want to read these tips and ideas for styling a sectional, so you know what you’re shopping for (or be totally impulsive like me and come home with 14 toss cushions, a box of wine and a funnel). If your sectional does not have a chaise end, you would repeat what is happening on the left side, keep the center the same and place the throw blanket wherever your lil’ heart desires! If you want to live on the wild side, buy 1 rectangular shaped cushion in a fabulous accent colour and place it in the inside corner in front of the other one. Your colourA palette should consist of the couch colour plus 1 other colour (neutral is usually easiest).A  If you have a brown or black leather sectional your colour palette should be 1 colour and 1 lighter neutral. This one is actually the easiest to do as you are repeating the same 3 cushions in 3 spots. And just like with general decorating and accessorizing, use the Rule of 3 when placing the cushions. Even though you are only using 2 colours, you are adding variety and interest via the change in pattern.
If you have a brown or black leather sectional, your colour palette should consist of 1 lighter neutral and 1 darker neutral (brown suits brown or grays, black suits grays). In this idea, you aren’t just mixing and matching fabrics, but also sizes toA create an eclectic andA layered look. The cushions in front can be the same shape as each other or different shapes as long as they are a smaller size than the back ones. A Just a Girl and Her Blog has a FANTASTIC Article on how to mix and match fabrics – she makes it look easy, because it is! The post Chalkboard Paint – The Good, The Bad and The Ugly appeared first on Kylie M Interiors by Kylie Mawdsley. By making a Chalkboard that hangs vs painting it on the drywall,A she is able to change things around on a whim, which if she’s anything like me she will do on a bi-weekly basis. Did you know that Benjamin Moore can make Chalkboard Paint in any colour you want?A  Personally, I’m a bit traditional when it comes to Chalkboards (I like black) but you can choose any colour in the crayon box! You may think you are witty and have lovely handwriting, but which masterpiece is more likely to be yours – the right or the left? So what do you think,A is Chalkboard Paint for you or will you wait for the next big trend?
The post 7 Best Teal and Blue Front Door Colours : Behr, Benjamin and Sherwin appeared first on Kylie M Interiors by Kylie Mawdsley. Soft and subtle, this blue has a lot of gray in itA and suits many styles of homes including beach themed ones!
Add a dose of FABULOUS to yourA curb appeal with this Teal.A  Now that being said, not every home could handle a colour like this.
As you can see, this navy blue can look fabulous on a gray home.A  It would also look great with white or yellow siding or even red! If you just CAN’T decide, check out my E-Design where I will custom pick 2-3 paint colour options for your Front Door for $40! This type of Staging shows a home at its absolute BEST.A  If you have the time, money and access to qualified help and rentable furnishings, then this is a great way to go.
It can also reduce the time that your home spends on the market as it will be more appealing to the majority of buyers and more attractive than the competition. Works great for homes that are empty and homeowners with funds to effectively stage the main rooms. The idea of spending 1-3% of your listing price is great if you HAVE that money to spend and trust me, not everyone does. How about you?A  If you were to sell your home today, which type of Staging appeals most to you?A  I’d love to hear from you!
The post New Home Construction – Countrylane Red appeared first on Kylie M Interiors by Kylie Mawdsley.
I love working on new homes and having worked with this client in previous years, I was more than happy to assist her with the construction of her new home in the popular Linley Point area of Nanaimo.
Rich and warm, but not heavy was the feeling my client was going for, which wasA a TOTAL shift from the World of grays and whites that I’ve been working in lately – no trendy grays for her!
Hardiboard Countrylane Red with warm coloured trim and gables complement the stonework, wood detail and landscaping. Warm toned wood cabinets and exotic wood flooring keep the palette low contrast and soft.A  She preferred black appliances to the ever-popular Stainless Steel, so we chose a palette of Quartz and a mosaic tile backsplash that would help the appliances become part of the palette.
Simple and warm toned was the goal with the fireplace.A  The stacked stone and solid wood mantle complement the wood floors.
Nature is full of pictures, and they are to be found in what appears to the uninitiated the most unlikely places.
ON A SUNNY JUNE MORNING in 1903, Lily White ventured beyond the comfort of her new houseboat, the Raysark, anchored in a snug harbor on the Columbia River near Lyle, Washington.1 With stray hairs blowing about her face, she sped away in a small gasoline-powered launch for the ten-mile crossing to The Dalles, on the Oregon side of the river, in search of a boat mechanic. Refitting the pipe joints this time with greater difficulty in the dark, and replacing the needle valve, I tried to start the engine.
WHILE THE FAMILY STORIES of Lily White and Sarah Ladd have little in common, their lives intertwined in a friendship that lasted throughout their adult years. WHEN THE FIFTH ANNUAL Oregon Camera Club exhibit opened on October 30, 1899, at the club's rooms on the second floor of the Oregonian building, three hundred photographs a€” arranged alphabetically and lit by electric lights a€” hung on a background of green burlap, surrounded by wood ferns, draperies, and banners of the stars and stripes. Art, love of the beautiful, ambitions to excel has raised the standard of the Camera Club's work high among amateurs.
Included in Ladd's six displayed prints were A Japanese Phantasy, Silent the Phantom Wood by Waters Deep, a bucolic forest scene, and Youth and Old Age, an image portraying a butterfly amid the opened seedpods of an aging plant.
TOWARD THE END of the nineteenth century, photographic salons, where a rigorous jurying process approved only the most artistic work, appeared in Europe and the United States. IN THE SPRING OF 1903, White's custom-built houseboat, the Raysark, was towed up the Columbia River rapids by the steamer Regulator, and White and her friends were now free to explore the bays and inlets of the upper river. White and Ladd intended to photograph their surroundings and develop and print the results in the Raysark's darkroom. BEGINNING IN JANUARY 1905, as entrepreneurs focused on promoting Oregon and the Lewis and Clark Exposition in Portland, Ladd's and White's photographs of the Columbia River Gorge began appearing in the Pacific Monthly, a magazine owned and published by Ladd's husband Charles. Ladd's images included a cloud-shrouded Mount Hood and photographs titled Celilo Falls, Morning Mists, St.


It was a romantic, visual tour to entice people to experience the basalt ledges and peaks of the Gorge and the serenity of the river.
FEW ARTISTIC PHOTOGRAPHERS of this era were able to devote themselves fulltime to making photographs. Sarah Ladd, A Fish Wheel is Shown at the right Extending from an Island near the Middle of the river. SARAH LADD WAS FIFTY-EIGHT years old when her husband died on March 20, 1920, at age sixty-three.
I wish to thank Terry Toedtemeier for introducing me to the work of Lily White and Sarah Ladd and also Wayne Travillion, Lily White's grandnephew, for his generosity in providing information about White's family background. Content in the History Cooperative database is intended for personal, noncommercial use only. Each table is custom-made from reclaimed and recycled hardwoods including: walnut, white oak, red oak, maple and cherry. This vast space contains a hypostyle prayer hall, a huge marble-paved courtyard and a massive square minaret.
Then there are the upheavals of Kairouan following Hilalian's invasions in 449 AH (or 1057 AD) and which led to the decline of the city.
More than a defensive role, the buttresses and towers full serve more to enhance the stability of the mosque built on a soil subject to compaction.[13] Although a seemingly harsh, the external facades, punctuated with powerful buttresses and towering porches, some of which are surmounted by cupolas, give to the sanctuary a striking aspect characterized by majestic sobriety. Around 690, shortly after its construction, the mosque was destroyed[15] during the occupation of Kairouan by the Berbers, originally conducted by Kusaila. The stories concern mainly the different phases of construction and expansion of the sanctuary, and the successive contributions of many princes to the interior decoration (mihrab, minbar, ceilings, etc.). In the history of Art, its three-storey minaret is considered such a masterpiece and a model among the most prestigious monuments of Muslim architecture.
This reflects the fact that, unlike the rest of the mosque, the enclosure has undergone significant changes to ensure the stability of the building (adding many buttresses). This porch of seven meters high is topped with a square base upon which rests a semi-spherical ribbed dome ; the latter is ribbed with sharp-edged ribs.
Near its center is an horizontal sundial, bearing an inscription in naskhi engraved on the marble dating from 1258 AH (which corresponds to the year 1843) and which is accessed by a little staircase ; it determines the time of prayers. It consists of three tapering levels, the last of which is topped with a small ribbed dome that was most probably built later than the rest of the tower.[48] The first and second stories are surmounted by rounded merlons which are pierced by arrowslits. Their use probably dates to the work done under the Umayyad governor Bishr ibn Safwan in about 725 AD, and they have been reused at the base of the tower.[49] The greater part of the minaret dates from the time of the Aghlabid princes in the ninth century.
The courtyard facade (or south facade) of the tower is pierced with windows that provide light and ventilation,[51] while the other three facadesa€”facing north, east and westa€”are pierced with small openings in the form of arrowslits.[47] The minaret, in its present aspect, dates largely from the early ninth century, about 836 AD. The dome of the mihrab is based on an octagonal drum with slightly concave sides, raised on a square base, decorated on each of its three southern, Easter and western faces with five flat-bottomed niches surmounted by five semi-circular arches,[24][57] the niche in the middle is cut by a lobed oculus enrolled in a circular frame. Wooden brackets offer a wide variety of style and decor in the shape of a crow or a grasshopper with wings or fixed, they are characterized by a setting that combines floral painted or carved, with grooves. It is formed by an oven-shaped niche framed by two marble columns and topped by a painted wooden half-cupola. Divided into two groups, they are dated from the beginning of the second half of the ninth century but it is not determined with certainty whether they were made in Baghdad or in Kairouan by a Baghdadi artisan, the controversy over the origin of this precious collection agitates the specialists.
Behind the openwork hint, there is an oldest niche on which several assumptions were formulated.
Jewel of the art of woodwork produced during the reign of the Zirid prince Al-Muizz ibn Badis and dated from the first half of the eleventh century, it is considered the oldest still in place in the Islamic world. Most of the works on which rests the reputation of the mosque are still conserved in situ while a certain number of them have joined the collections of the Raqqada National Museum of Islamic Art ; Raqqada is located about ten kilometers southwest of Kairouan. Featuring kufic character suras are written in gold on vellum dyed with indigo, they are distinguished by a compact graph with no marks for vowels. These polycandelons, now scattered in various Tunisian museums including Raqqada, consist of three chains supporting a perforated brass plate, which has a central circular ring around which radiate 18 equidistant poles connected by many horseshoe arches and equipped for each of two landmarks flared.
During this period, the Great Mosque of Kairouan was both a place of prayer and a center for teaching Islamic sciences under the Maliki current. The transmission of knowledge was assured by prominent scholars and theologians which included Sahnun ibn Sa'id and Asad ibn al-Furat, eminent jurists who contributed greatly to the dissemination of the Maliki thought, Ishaq ibn Imran and Ibn al-Jazzar in medicine, Abu Sahl al-Kairouani and Abd al-Monim al-Kindi in mathematics.
Your stately brick home might look a bit out of place with a bright birds egg blue front door.A  However, if you have a white, gray or yellow home then this might be just the colour for you!A  A good comparable would be Behr Soft Turqoise P460-3 or Benjamin Moore Mexicali Turquoise 662 which has a touch more green in it. Let the honest student then choose some district with which he is in sympathy, and let him go there quietly and spend a few months, or even weeks if he cannot spare months, and let him day and night study the effects of nature, and try to produce one picture of his own, which shall show an honest attempt to probe the mysteries of nature and art, one picture which shall show the author has something to say and knows how to say it, as perhaps no other living person could say it; that is something to have accomplished.
All day the mechanics cut, turned, and fitted, making many trips to and from the workshop, until without rest or food they finished the repairs just as the sun was sinking from view. Through their work, the Raysark became legendary, providing the two women and their friends congenial summer memories and a source of their most enduring photographs. Profiting from civic expansion projects, real estate, farming, and the burgeoning river transportation business, the Ladds became wealthy Portland bankers. The movement nurtured amateur photographers who created artistic images purely for personal pleasure as opposed to commercial photographers who mass-produced studio portraits for profit. Judd of Pendleton donated a trophy a€” a large three-handled silver loving cup with gold lining a€” to be awarded each year for best general exhibit by an individual amateur photographer. The twenty-eight-page exhibition catalogue highlighted the club's studio in the tower of the Oregonian Building, furnished with an enlarging camera, a lantern slide-reducing camera, a stereopticon, and developing rooms. In early 1901, San Francisco opened its first photographic salon at the Mark Hopkins Institute of Art with nearly five hundred photographs, including numerous works by Sarah Ladd and Lily White's A Soul Looked In and Rest.
Stieglitz could single-handedly influence a photographer's future by accepting or rejecting his or her work in exhibitions, by publishing it in Camera Notesa€” the journal of the Camera Club of New York, which he edited a€” or by returning it with his deflating comments about work being technically perfect but pictorially deficient. White confessed to creating that setting by damming a stream and letting part of it run wild in Fulton Park, an area between Portland and the Ladd estate. Camera Craft judged Ladd's Eyes of the Earth to be the best of her five carbon prints and reproduced it with their review.
Included were Ladd's A Decorative Panel, three flower studies presented as carbon prints on celluloid.37 In May 1902, the Camera Club of New York hung Ladd's work, and in July Stieglitz added Sarah Ladd to his list of photographers invited to represent the United States in the Turin International Exhibition at the Exposition of Decorative Arts in Turin, Italy. The events connected photographers from across the United States and Europe, especially when their work was reviewed and published in journals and exhibition catalogues. Each active member contributed one print a month to a portfolio that traveled to cities where the club had members.
In its regional announcement, Camera Craft emphasized the inclusion of the Secession's western members a€” Anne Brigman from California and Sarah Ladd, Lily White, and Myra Wiggins from Oregon.48 Considering the distance from New York City and the relative isolation of western states from the New York City photographic hub, the accomplishments of these women are notable. The Columbia River became her home for creating pictures at any time of day, with rock formations, clouds, water, trees, and light creating the soft moodiness that was indicative of the photographic style of the time. The periodical, with a circulation of six thousand by 1900 and distributed throughout the Pacific Northwest, published western fiction, humor, travelogues, literary installments, and articles about economic progress and development in the Pacific Northwest and California.
Like so many photographers of flowers, Ladd created images that reflect the view that all art originates in nature and defies the complicated technical requirements to leave an impression of natural simplicity. While these photos possessed the atmospheric content that asked viewers to contemplate the natural world a€” a popular theme of the era a€” they were reproduced to attract leisure-class tourists and potential new residents to the region. Sarah Ladd's social obligations often required her attention, and those appearances increased when her husband Charles became involved with the 1905 Lewis and Clark Exposition, which provided an opportunity to glorify Portland's business and society and served as the culmination of personal ambitions for many of the city's elite. About a dozen subscribers to The Nautilus have discontinued the magazine on becoming Christian Scientists.
On June 9, 1908, while living in Oswego and already a member of the First Church of Christ, Scientist, in Portland, she joined The Mother Church, The First Church of Christ, Scientist, in Boston.67 A year later, she was living with Sarah and Charles Ladd at Cedarhurst and working as a Christian Science practitioner at 616 Beck Building.
Accustomed to moving on her own path, she set in motion a new course, and in July 1921 she was elected a member of the Christian Science Society in McMinnville. Ladd was noted for her beauty and during her married life in Portland won more than local recognition because of her interest in flowers and gardening, an interest she maintained throughout her life.
White fit the archetype of the strong independent western female, while Ladd had been part of Portland's high society. I am also grateful to the staff of the Oregon Historical Society Research Library for their assistance.
Lily White probably taught photography to Fred and Oscar Kiser who, in 1903, created the Kiser Photographic Company, specializing in scenic photography.
Catalogue, Sixth Annual Print Exhibition (Portland: Oregon Camera Club, October 29a€“November 3, 1900). Constitution, Oregon Camera Club [1895], Research Library, Oregon Historical Society, Portland [hereafter OHS Research Library].
In 1899, the Oregon Industrial Exposition featured a photography exhibition judged by Ida Rae Myrick, W. Minutes of the Oregon Camera Club, December 15, 1894a€“June 10, 1902, 57 OHS Research Library [hereafter OCC Minutes].
I maintain that many photographs attributed to Lily White were actually made by Sarah Ladd. Judith Huenneke, The Mary Baker Library, e-mail correspondence with the author, July 2, 2004.
David Nartonis, Assistant for Administration, The First Church of Christ, Scientist, Boston, Massachusetts, letter to the author, June 13, 1988.
You may not reproduce, publish, distribute, transmit, participate in the transfer or sale of, modify, create derivative works from, display, or in any way exploit the History Cooperative database in whole or in part without the written permission of the copyright holder. The bathrooms look wonderful!The colors Juliet picked out and the whole design concept were much better than we had hoped for.
For all these reasons, the mosque (which occupies the same place since its founding in 670) is not any more situated in the center of the medina, and is thereby positioned on the extremity, near the walls. Among the authors who have written on the subject and whose stories have survived[31] are Al-Bakri (Andalusian geographer and historian who died in 1094 and who devoted a sufficiently detailed account of the history of the mosque in his book Description of Septentrional Africa), Al-Nuwayri (historian who died in Egypt, 1332) and Ibn Nagi (scholar and historian of Kairouan who died around 1435). The rainwater collector or impluvium, probably the work of the Muradid Bey Mohamed Bey al-Mouradi (1686a€“1696), is an ingenious system that ensures the capture (with the slightly sloping surface of the courtyard) then filtering stormwater at a central basin furnished with horseshoe arches sculpted in white marble.[45] Freed from its impurities, the water flows into an underground cistern supported by seven meters high pillars. According to the German archaeologist Christian Ewert, the special arrangement of reused columns and capitals surrounding the mihrab obeys to a well-defined program and would draw symbolically the plan of the Dome of the Rock.[71] The shafts of the columns are carved in marble of different colors and different backgrounds.
The oldest boards date back to the Aghlabid period (ninth century) and are decorated with scrolls and rosettes on a red background consists of squares with concave sides in which are inscribed four-petaled flowers in green and blue, and those performed by the Zirid Dynasty (eleventh century) are characterized by inscriptions in black kufic writing with gold rim and the uprights of the letters end with lobed florets, all on a brown background adorned with simple floral patterns.
These tiles are mainly decorated with floral and plant motifs (stylized flowers, palm leaves and asymmetrical leaves on bottom hatch and checkered) belong to two series : one polychrome characterized by a greater richness of tones ranging from light gold to light, dark or ocher yellow, and from brick-red to brown lacquer, the other monochrome is a beautiful luster that goes from smoked gold to green gold. If one refers to the story of Al-Bakri, an Andalusian historian and geographer of the eleventh century, it is the mihrab which would be done by Uqba Ibn Nafi, the founder of Kairouan, whereas Lucien Golvin shares the view that it is not an old mihrab but hardly a begun construction which may serve to support marble panels and either goes back to work of Ziadet Allah I (817-838) or to those of Abul Ibrahim around the years 862-863.[79] Above the marble cladding, the mihrab niche is crowned with a half dome-shaped vault made of manchineel bentwood. The upper edge of the minbar ramp is adorned with a rich and graceful vegetal decoration composed of alternately arranged foliated scrolls, each one containing a spread vine-leaf and a cluster of grapes. The beginning of each surah is indicated by a band consisting of a golden stylized leafy foliage, dotted with red and blue, while the verses are separated by silver rosettes. The three chains, connected by a suspension ring, are each fixed to the plate by an almond-shaped finial. One may conceivably compare its role to that of the University of Paris during the Middle Ages. Remember that your photograph is a rough index of your mind; it is a sort of rough confession on paper. She must make her own landing and arrive on the high deck of the wharf as best she could and under fire from a regiment of critical eyes.
Early amateur photographers such as White and Ladd, who had leisure time and economic freedom, undertook their work not for money, but for creative adventure.
Ayer a€” a Portland bookseller, stationer, and printer a€” and lived in her grandfather's home at 348 Fourth Street. Amateurs often printed their work on paper coated with light-sensitive platinum rather than ordinary silver coatings, and making carbon prints became popular with Camera Club enthusiasts in Portland. A photographer had to win the competition three times in order to keep the Judd Cup and have his or her name inscribed on it. Beach, general manager of the Interchange, each camera club must prepare 50 to 125 slides, each 3A? inches by 4 inches. Her Bridge of Hope, taken from her houseboat near Castle Rock that summer, recorded a rainbow, which was considered an unusual achievement for a photographer.32 White also exhibited several photographs of Native Americans, including A Shadow of the Past, which depicted a mother and her baby.


After each member wrote comments about the prints, they were sent to the next city until eventually they returned to the owners. White and Ladd remained Photo-Secession members at least through 1905.49 Overall, the camera club structure and amateur movement created a symbiotic relationship, in this case a vertical one, scaled by Lily White and Sarah Ladd. Steamers from Portland conveyed guests to and from her boat, which was often anchored near Lyle, Washington, a busy shipping port for wheat and sheep eighty-two miles east of Portland.
While White's darkroom-equipped houseboat was probably unique to Portland and the Columbia River Gorge, it was not an original idea. With this latest technology, the two friends could wait for the clouds to form, the water to calm, and reflections to appear.
Telegraph poles peer below the looming cliff of White's Upper Cape Horn, Near Celilo Falls of the Columbia. Photographs in the Pacific Monthly appeared with the descriptive titles or local literary connections that were commonly used by photographers but were also likely to appeal to tourists. When making flower photographs, there were aesthetic considerations of composition and lighting along with the formal qualities connected to the photographers' intentions, from the desire to portray botanical specimens to romantic associations, emotions, or beauty.
Ladd and White had become successful, benefiting from the prestige associated with their work and maintaining their economic independence by making artistic photographs for commercial projects.
The Ladds attended a banquet to honor the arrival of Vice President Charles Fairbanks, for example, and joined a thousand people at an opening reception of the American Inn, which Charles Ladd built on the fairgrounds.63 The festive activities offered quite a contrast to Sarah Ladd's life on the river. Elizabeth Struble Towne, born in Portland in 1865 (one year before White), was a follower of Quimby's and the publisher of the Nautilus, an influential periodical associated with New Thought. On June 2, 1911, Ladd joined White as a member of the Mother Church of the First Church of Christ Scientist in Boston.69 In July, she and nine other women organized the Carlton Civic Improvement Association. Together, they joined the local Christian Science Church, where they remained members until their deaths.
Each had a photographic and aesthetic vision that gave them the same status as the men who photographed the Columbia River at the same time, and both adopted a religion that allowed them to take prominent roles that were not permissible in traditional religions.
The Kiser brothers grew up on the Columbia River opposite Beacon Rock, near Dodson, Oregon, where White would sometimes stop. The lectures were available after the club renewed its membership with the American Lantern Slide interchange in 1901. The slides most preferred by the Interchange board of managers were cloudy landscapes, figures studies, and genre subjects.
According to Penrose Annuals from this time period, Photoloid was introduced as a print material that would give a "true carbon [look] unattended with the great labor and care that the latter requires.
Given that Bell's intention was to organize the Salon Club as a challenge to Alfred Stieglitz and his Photo-Secession, it is interesting to note the inclusion of Sarah Ladd and the initial listing of Myra Wiggins, both Photo-Secession members. Twenty-two-year-old Oscar Kiser disappeared on Saturday, November 4, 1905, from the Charles Ladd boathouse at Riverdale, where he worked as the caretaker. Ladd left $3,000 to the Christian Science Society of McMinnville for the maintenance of their grounds and set aside $1,500 for a drinking fountain in Carlton in memory of her husband.
From 1930, Lily White lived on Scenic Drive between Martin Way and Carmel Point with Mabel Spicker. Those in white marble come from Italy,[59] some shafts located in the area of the mihrab are in red Porphyry imported from Egypt,[72] while those made of greenish or pink marble are from quarries of Chemtou, in the north-west of current Tunisia.[59] Although the shafts are of varying heights, the columns are ingeniously arranged to support fallen arches harmoniously.
The coating around them is decorated with blue plant motifs dating from the eighteenth century or the first half of the nineteenth century. Other scrolls and calligraphic Qur'ans, as that known as the Hadinah's Qur'an, copied and illuminated by the calligrapher Ali ibn Ahmad al-Warraq for the governess of the Zirid prince Al-Muizz ibn Badis at about 1020 AD, were also in the library before being transferred to Raqqada museum. When a woman will step into the world of action and do a few vigorous things for herself, she may do all the resta€”ahem!
And here it was, during the time which followed, that I learned the real meaning of stillness.
In Portland, privileged men and women chartered riverboats for moonlight excursions on the Willamette and Columbia rivers and enjoyed the new sport of golf a€” and they documented their leisure activities by taking photographs. Her mother, Nancy Hoffman White, had crossed the plains from Illinois at age eleven with her parents and twelve brothers and sisters. Ladd's son, Charles Elliot, graduated from Amherst College in 1881 and brought his bride Sarah L. Lily White taught Oregon Camera Club members the latest photography and darkroom techniques, using ready-to-expose, emulsion-coated glass plate negatives and platinum paper for image-making.
Favored for its permanence and ability to produce colored prints at a time when color photography was rare, carbon printing involved exposing a negative against pigmented tissue sensitized with potassium bichromate. To select the winner, the club chose three judges a€” a professional photographer, an artist, and an amateur who was not a club member a€” to evaluate each personal grouping of photographs (at least six but not more than ten pictures mounted, with framing optional).
Individual slides had to be as technically perfect as possible, without areas too dense or too clear, matted and labeled, and without too much soot. Stieglitz's pronouncements signaled a new era, but Ladd and White's adventures on the river had already begun. White had supervised the boat's construction, and the Raysark was built to accommodate her personal needs. They might move closer to or farther away from Castle Rock (now Beacon Rock) or stand on a sandy beach. In a change from her typical landscapes, White also captured the work of fish seining on the Columbia with her photographs of horses and men grappling with the nets spread by boats.57 The exhilaration of the two women's work and the pleasures of life on the river, away from the pace of city life, contributed to a series of photographs that many believe is unmatched by other photographers.
There were also many decisions to make concerning plate development, paper selection, and mounting techniques.
Their first project involved working with the city council to purchase trash cans for the streets.70 Unlike White, Ladd continued to exhibit her photographs despite the changes in her life. Living near the ocean in a creative, invigorating community of writers and artists would have supported and nurtured their interests, but their life together was not to last long. Their work as artists influenced the Oregon Camera Club, which depended on photographers whose photographs reflected their lifestyle, the artistic genre of their era, and the landscapes they cherished. Photoloid consists of a colloid emulsion placed upon a cellulose base, from which combination the name evolved. The same author then discussed the formation of a Western Division of the Salon Club, a group organized by photographer Curtis Bell.
In 1904, Charles Ladd bought it from Jay Cooke, a railroad financier, and then sold it to Henry J. Holman, a lawyer and amateur rose grower, suggested that every Portland home should plant roses the following spring so the plants would have three years' growth by the time the Lewis and Clark Centennial opened.
A bronze medallion of Charles Ladd, Chinese vases, and Greek glass bowls were left to the Portland Art Museum. Thank goodness she had the experience and foresight to suggest adding crown molding to the top of our kitchen cabinets.
Their edges, obtained from the lower parts of ancient cored columns,[46] support the string grooves back the buckets.
The horseshoe arch of the mihrab, stilted and broken at the top, rest on two columns of red marble with yellow veins, which surmounted with Byzantine style capitals that carry two crossbeams carved with floral patterns, each one is decorated with a Kufic inscription in relief. Although more than eleven centuries of existence, all panels, with the exception of nine, are originals and are in a good state of conservation, the fineness of the execution of the minbar makes it a great masterpiece of Islamic wood carving referring to Paul Sebag.[83] This old chair of the ninth century is still in its original location, next to the mihrab. This collection is a unique source for studying the history and evolution of calligraphy of medieval manuscripts in the Maghreb, covering the period from the ninth to the eleventh century. Camera clubs across the country were giving amateur photographers the opportunity to socialize, obtain darkroom assistance, share ideas and information, and go on organized outings on bicycles, trains, or river steamers.
Despite the death of Nancy's father on the Snake River, the family arrived in Oregon in 1852. Several moonlight scenes bring forth the latent beauties of pale lights and dark backgrounds.
On another day, they might hike inland for a view of Upper Cape Horn, near Celilo Falls, catch the rays of sun reaching through the clouds after a storm, or capture the early morning mists. The Panamaa€“Pacific International Exposition opened in San Francisco in 1915, and Ladd exhibited fourteen photographs in the Art Room of the Oregon Building. White's Camera Club demonstrations encouraged countless photographers to progress in style and technique.
The emulsion is a fairly rapid one to be developed in approximately the usual way like developing paper.
During the following days, the Oregonian and Oregon Daily Journal reported he had fled the city, been shanghaied, met foul play, and been murdered. Twenty-three practitioners are listed in the city 1909 directory, fifteen of whom worked in the Beck Building.
She hid a very bad problem that we had never been able to solve with the ugly aluminum vent tube for the stove hood.Also the faux wood grained cabinets turned out beautiful.
In Portland, White and Ladd dedicated themselves to the Oregon Camera Club and the nascent photographic movement in the city. They were easily transported and could be exposed and developed whenever it was convenient rather than on location, as wet-plate negatives required. Prints could result in tints of yellow, green, red, or violet by varying the toning or amount of light and carbon tissue paper used.18 Experimentation with photographic printing techniques and materials was indicative of the true craftsmanship of amateur photographers who thought of themselves as artists. That year, 28 slides by 12 members of the Oregon Camera Club were accepted by the board of managers. For scale, they sometimes added a human figure or their houseboat as a reminder of their location and how they lived. The two friends' boundless physical and creative energy shaped an image of the Pacific Northwest seen by thousands of people. His body was found December 25, 1905, in the Willamette River downriver from the Ladd boathouse. Both women understood the power of photography to record their own ways of seeing a landscape.
Portraits were never better and afford new studies that would appeal to the eye of an artist. While Ladd's photographs received more attention than those of Lily White, both locally through the Pacific Monthly and on the East Coast, it was White's sense of adventure and the opportunities she created on the Raysark that set the tone for their posterity. Maud Ainsworth was awarded first prize of ten dollars in the Architecture and Interiors Division for Melrose Abbey. White and sister of Milton White), Lily White may have thought of Maud Ainsworth as her cousin. In an interesting twist, White is listed on the April 1910 United States census twice a€” once boarding with the Ladds in Portland and working as a Christian Science physician and again living in her family residence on Fourth Street working as an artist with a studio. She repainted them with a soft yellow background and wood grained them with artist brushes.The color was so spot on to all of the wood furniture in our home. During those years, they also cultivated opportunities for personal promotion that intersected with Portland's rise in regional and national status. Sarah established a formal garden there with imported plants, a bowling green, a tennis court, a barn, stables, and a caretaker's home.
The Expo, which was open for four weeks, featured music, art, trapeze artists, bands, cakewalks, a photography show, and military, mining, and agricultural, displays. She filled her home with mahogany furniture, china and silver serving pieces, and imported statues and vases of bronze and porcelain.
Cruikshank examined the minutes of the membership meetings in 1902a€“1922 and the early membership list.
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Comments

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