LaurieAnnie's photos with the keyword: door

Title: Pair of mirrored double doors Designer: Lorenzo de Ferrari (1680–1744) Date: ca. 1743–44 Culture: Italian, Genoa Medium: Lindenwood, carved and gilded; mirrored glass panels, walnut, pine Dimensions: Overall (each): 8 ft. 11 1/16 × 25 × 2 1/2 in. (272 × 63.5 × 6.4 cm) Classification: Woodwork Credit Line: Rogers Fund, 1991 Accession Number: 1991.307a, b These are part of a set of four double doors made for the Golden Gallery in the Palazzo Carrega-Cataldi, now the Chamber of Commerce in Genoa. The doors were purchased and brought to New York in the late 1890s by the American architect Stanford White. Text from: www.metmuseum.org/art/collection/search/208030

Pair of Minbar Doors ca. 1325–30 Object Details Title: Pair of Minbar Doors Date: ca. 1325–30 Geography: Attributed to Egypt, Cairo Medium: Wood (rosewood and mulberry); carved, inlaid with carved ivory, ebony, and other woods Dimensions: H. 77 1/4 in. (196.2 cm) W. 35 in. (88.9 cm) D. 1 3/4 in. (4.4 cm) Object encased in weighted freestanding mount. Estimated Wt of piece: 80- 120 lbs. Classification: Wood Credit Line: Edward C. Moore Collection, Bequest of Edward C. Moore, 1891 Accession Number: 91.1.2064 A minbar, or pulpit, consists of a podium reached by stairs with doors such as these at its base. It is used in mosques by imams, prayer leaders, to deliver the sermon at the main service of the week, at noon on Friday. These doors, with the intricate geometric inlay typical of the Mamluk period, are thought to come from the fourteenth‑century mosque of Saif al‑Din Qawsun in Cairo. They were one of the earliest bequests to the Museum, donated by Edward C. Moore, a designer at Tiffany and Co. who was inspired by Islamic art. Text from: www.metmuseum.org/art/collection/search/444812

Pair of Minbar Doors ca. 1325–30 Object Details Title: Pair of Minbar Doors Date: ca. 1325–30 Geography: Attributed to Egypt, Cairo Medium: Wood (rosewood and mulberry); carved, inlaid with carved ivory, ebony, and other woods Dimensions: H. 77 1/4 in. (196.2 cm) W. 35 in. (88.9 cm) D. 1 3/4 in. (4.4 cm) Object encased in weighted freestanding mount. Estimated Wt of piece: 80- 120 lbs. Classification: Wood Credit Line: Edward C. Moore Collection, Bequest of Edward C. Moore, 1891 Accession Number: 91.1.2064 A minbar, or pulpit, consists of a podium reached by stairs with doors such as these at its base. It is used in mosques by imams, prayer leaders, to deliver the sermon at the main service of the week, at noon on Friday. These doors, with the intricate geometric inlay typical of the Mamluk period, are thought to come from the fourteenth‑century mosque of Saif al‑Din Qawsun in Cairo. They were one of the earliest bequests to the Museum, donated by Edward C. Moore, a designer at Tiffany and Co. who was inspired by Islamic art. Text from: www.metmuseum.org/art/collection/search/444812

The Grossmünster ("great minster") is one of the three major churches of Zürich, the others being the Fraumünster and St. Peter. The core of the present building goes back to a church commissioned by Charles the Fat around 1100, completed around 1220. It was a monastery church, vying for precedence with the Fraumünster across the Limmat throughout the Middle Ages. According to legend, the monastery was founded by Charlemagne, whose horse fell to its knees at the spot of the burial of Felix and Regula, Zürich's patron saints. The legend thus expresses a claim of seniority over the Fraumünster, which was founded by Louis the German, Charlemagne's grandson. The two towers were completed between 1487 and 1492. Originally, they had high wooden steeples, which were destroyed by fire in 1781, following which the present neo-Gothic tops were added. Richard Wagner is known to have mocked the church's appearance as that of two pepper dispensers. Huldrych Zwingli initiated the Reformation in Switzerland from his office at the Grossmünster, starting in 1520. text from Wikipedia: en.wikipedia.org/wiki/Grossmünster

San Giuseppe dei Teatini is a church in the Sicilian city of Palermo. It is annexed to the Westernmost of the Quattro Canti, and is one of the most outstanding example of the Sicilian Baroque in Palermo. The church was built at the beginning of the 17th century by Giacomo Besio, a Genoese member of the Teatini order. It has a majestic though simple façade. In the centre niche is housed a state of San Gaetano, founder of the Teatini order. Another striking feature is the large dome with a blue and yellow majolica covering. The tambour decorated with double columns, and was designed by Giuseppe Mariani. The belfry tower was designed by Paolo Amato. The interior has a Latin cross plant with a nave and two aisles, divided by marble columns of variable height. The inner decoration is a typical overwhelming Baroque art one, with stuccoes by Paolo Corso and Giuseppe Serpotta. Great frescoes can be seen in the nave, in the vault of the transept: these were painted by Filippo Tancredi, Guglielmo Borremans and Giuseppe Velasquez. The frescoes were severely damaged in the course of World War II, but have been accurately restored. The most important piece of art is however a wood crucifix by Fra' Umile of Petralia. The crypt houses ancient part belonging to a former church, dedicated to Madonna of Providence. Text from: en.wikipedia.org/wiki/San_Giuseppe_dei_Teatini

St. Thomas Episcopal Church on 5th Avenue and 53rd Street in Manhattan, NY.

St. Mary's church is located just across the street from the Museum of Welsh Life, and was an extra treat to get to see. St Mary’s, a grade B listed building of Norman foundation, is a beautiful parish church with an interesting co-mixture of architectural styles, and is greatly in demand by wedding couples, who love to be pictured in a pony and trap outside the lych gate, with the church tower in the background. Text of the second paragraph from: mysite.wanadoo-members.co.uk/stfagansparish

St. Catherine’s church The exact construction date of this church, consecrated to St. Catherine of Alexandria in Egypt and located in the centre of the city opposite Palazzo Corvaja, is not known. It is thought to date back to 1663, the year engraved on the tablet of the ossuary found outside the church and now located in the wall beside the staircase which leads to the crypt. The entrance door to the sacresty is on the justify of the portal; the sacresty is thought to have been built before the Church, i.e. during the 16th century. The facade of the sacresty is decorated with two small windows ornated with sea shells, the same decoration used on the architrave of its door. text from: www.gate2taormina.com/taormina_en.htm

Native Flora Garden With more than two acres divided into eight geographical zones, this wildflower garden exhibits native plants growing in the New York Metropolitan Area, a region known for its natural diversity. Dating back to 1911, the Native Flora Garden isn't just another wildflower display. In 1931, this wild retreat was ecologically designed to support nine distinct plant communities found within a 100-mile radius of New York City: serpentine rock, dry meadow, kettle pond, bog, pine barrens, wet meadow and stream, deciduous woodland, and limestone ledge, as well as a border mound with several representatives of the region's coniferous forests. All plants in this garden are appropriate for their particular ecological niches, determined by environmental factors such as topography, geology, soil acidity or alkalinity, moisture, drainage, and light. The Native Flora Garden complements Brooklyn Botanic Garden's long-standing efforts to research and document the region's plant life. While most of the botanical community focuses on tracking the devastation in the tropics, scientists at BBG are working on the most comprehensive study ever undertaken to identify and catalog the plant biodiversity of the New York Metropolitan Area. The region's rich diversity of natural habitats has been transformed by human settlement in the past 400 years. Understanding the resulting new urban landscape is critical in our rapidly urbanizing world. For more on this important research, including an encyclopedia of all woody plants growing in the area, see Metropolitan Plants. Text from: www.bbg.org/exp/stroll/nativeflora.html

Note: This was done with a regular lens on a film camera. Native Flora Garden With more than two acres divided into eight geographical zones, this wildflower garden exhibits native plants growing in the New York Metropolitan Area, a region known for its natural diversity. Dating back to 1911, the Native Flora Garden isn't just another wildflower display. In 1931, this wild retreat was ecologically designed to support nine distinct plant communities found within a 100-mile radius of New York City: serpentine rock, dry meadow, kettle pond, bog, pine barrens, wet meadow and stream, deciduous woodland, and limestone ledge, as well as a border mound with several representatives of the region's coniferous forests. All plants in this garden are appropriate for their particular ecological niches, determined by environmental factors such as topography, geology, soil acidity or alkalinity, moisture, drainage, and light. The Native Flora Garden complements Brooklyn Botanic Garden's long-standing efforts to research and document the region's plant life. While most of the botanical community focuses on tracking the devastation in the tropics, scientists at BBG are working on the most comprehensive study ever undertaken to identify and catalog the plant biodiversity of the New York Metropolitan Area. The region's rich diversity of natural habitats has been transformed by human settlement in the past 400 years. Understanding the resulting new urban landscape is critical in our rapidly urbanizing world. For more on this important research, including an encyclopedia of all woody plants growing in the area, see Metropolitan Plants. Text from: www.bbg.org/exp/stroll/nativeflora.html

Native Flora Garden With more than two acres divided into eight geographical zones, this wildflower garden exhibits native plants growing in the New York Metropolitan Area, a region known for its natural diversity. Dating back to 1911, the Native Flora Garden isn't just another wildflower display. In 1931, this wild retreat was ecologically designed to support nine distinct plant communities found within a 100-mile radius of New York City: serpentine rock, dry meadow, kettle pond, bog, pine barrens, wet meadow and stream, deciduous woodland, and limestone ledge, as well as a border mound with several representatives of the region's coniferous forests. All plants in this garden are appropriate for their particular ecological niches, determined by environmental factors such as topography, geology, soil acidity or alkalinity, moisture, drainage, and light. The Native Flora Garden complements Brooklyn Botanic Garden's long-standing efforts to research and document the region's plant life. While most of the botanical community focuses on tracking the devastation in the tropics, scientists at BBG are working on the most comprehensive study ever undertaken to identify and catalog the plant biodiversity of the New York Metropolitan Area. The region's rich diversity of natural habitats has been transformed by human settlement in the past 400 years. Understanding the resulting new urban landscape is critical in our rapidly urbanizing world. For more on this important research, including an encyclopedia of all woody plants growing in the area, see Metropolitan Plants. Serpentine Rock Area When you enter the Native Flora Garden, the serpentine rock area is just beyond the gate, to your left. In the New York region, serpentine, a streaked greenish rock, is found primarily on Staten Island, where outcroppings cover some 35 square miles. Other sites occur in Hoboken, New Jersey, along the Cross-Westchester Expressway between White Plains and Rye, and in some western parts of midtown Manhattan. A high magnesium content gives serpentine rock its greenish tint, but it may range in color from yellowish to dark green or even be reddish in hue when intruded by iron oxide. Although dense in weight, serpentine is soft and crumbly to the touch. Serpentine habitat is extremely arid, nutrient-poor, and prone to fire. Toxic levels of elements such as chromium in the soil inhibit the growth of many plants. The result is a somewhat stunted forest-and-savannah-like plant community. It's a globally rare habitat, containing several endangered endemic plant species. Certain species are better adapted than others to serpentine habitat. Of the trees commonly associated with this habitat, staghorn sumac and sassafras are represented in the Native Flora Garden. Pinxterbloom or pink azalea, a shrubby member of the heath family, also found in this section of the garden, is prominent in the serpentine outcroppings on Staten Island. The regal fronds of cinnamon fern and interrupted fern, both members of the royal fern family, as well as hay-scented fern, are all here as well. Cinnamon fern derives its name from the tall, orange-brown fertile fronds that appear in the spring. The interrupted fern is so named because the leaflets in the center part of each fertile frond ripen and wither in early summer, leaving a space. In spring, the serpentine rock area is filled with the tiny flowers of moss phlox or moss pink, blue-eyed grass (actually not a grass at all but a member of the iris family), and common wood sorrel. The tall, asterlike yellow clusters of roundleaf ragwort are in bloom from April to June, while the many species of goldenrod flower in late summer or early fall. Dry Meadow Just inside the entrance to the Native Flora Garden, to the right, is the dry meadow, an open area where herbaceous plants, rather than trees and shrubs, predominate. Meadows are one stage in the succession from cleared land, such as farmland, back to forest. The thin, somewhat sandy soil of most dry meadows tends to be infertile. However, grasses thrive here, and their

Cubiculum (bedroom) from the Villa of P. Fannius Synistor, ca. 40–30 B.C.; Republican; Second Style Roman Fresco; Room: 8 ft. 8 1/2 in. x 10 ft. 11 1/2 in. x 19 ft. 7 1/8 in. (265.4 x 334 x 583.9 cm) Rogers Fund, 1903 (03.14.13a-g) Room M of the Villa of P. Fannius Synistor at Boscoreale, buried by the eruption of Vesuvius in A.D. 79, functioned as a bedroom. The rear wall shows rocky terrain with balustrades and an arbor above, a small cave or grotto sheltering a fountain, and a small figure of Hekate below. In the center of the wall, between two columns, a parapet embellished with a yellow monochrome landscape supports a glass bowl filled with fruit. The side walls of the room are loosely symmetrical. Each wall is subdivided into four sections by a pilaster that defines the area of the couch and by two ornate columns. The paintings depict enclosed courtyards in which we glimpse the tops of statuary, rotundas, and pylons as well as vegetation. These precincts alternate with townscapes combining colonnaded buildings and projecting terraces. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=13&ite...