LaurieAnnie's photos with the keyword: room

Title: Parlor from the William C. Williams House Maker: Theophilus Nash (died 1854) Date: 1810–11 Geography: Made in Richmond, Virginia, United States Culture: American Medium: Mahogany and marble Dimensions: 237 x 239 in. (602 x 607.1 cm) Credit Line: Gift of Joe Kindig Jr., 1968 Accession Number: 68.137 Acquired from a house built for the Richmond lawyer William Clayton Williams (1768–1817), the room’s most notable features are its rich mahogany woodwork and blue-and-gray King of Prussia–marble baseboards. The room’s wallpaper featuring scenes of Paris is a reproduction of the type sold in the United States in the 1810s. The elegant furniture by Charles-Honoré Lannuier and Duncan Phyfe is not original to the room, but further enhances the sophisticated Anglo-French aesthetic of the room. Text from: www.metmuseum.org/art/collection/search/3411

Title: Parlor from the William C. Williams House Maker: Theophilus Nash (died 1854) Date: 1810–11 Geography: Made in Richmond, Virginia, United States Culture: American Medium: Mahogany and marble Dimensions: 237 x 239 in. (602 x 607.1 cm) Credit Line: Gift of Joe Kindig Jr., 1968 Accession Number: 68.137 Acquired from a house built for the Richmond lawyer William Clayton Williams (1768–1817), the room’s most notable features are its rich mahogany woodwork and blue-and-gray King of Prussia–marble baseboards. The room’s wallpaper featuring scenes of Paris is a reproduction of the type sold in the United States in the 1810s. The elegant furniture by Charles-Honoré Lannuier and Duncan Phyfe is not original to the room, but further enhances the sophisticated Anglo-French aesthetic of the room. Text from: www.metmuseum.org/art/collection/search/3411

Via Roma 72 90133 Palermo, Italy In the capital of the island, among baroque churches and markets of islamic memory, there is the Hotel del Centro. The Hotel del Centro has opened recently and it is situated in the old town centre of Palermo very close to the most important monuments, such as The Cathedral, The Massimo Theatre, The Vucciria Market and so on; moreover it is only 150 metres away from the Central Station of Palermo, in the neighbourhood of which there are the arrivals and departures of the buses for the airport and the whole Sicily. Staying at the Hotel del Centro, you will be able to walk through Palermo and you will enjoy the atmosphere and the folklore of the popular markets of the city. The Hotel del Centro, which is in a suggestive period building, is very confortable. There are rooms with bath, shower, tv, air conditioning, soundproof windows , hairdryer, Wireless Internet Access and skilled employees at your complete disposal. Text (slightly adapted) from: www.hoteldelcentro.it/main.asp?section=hotel&lang=en

Each of the rooms in the Hotel Palladio, overlooking the beach in the resort town of Giardini-Naxos, on Sicily, is entirely unique. My room was this magenta shade, with a huge antique armoire (not pictured), and a terrace, which would have been nice to look out onto the beach in warmer weather. Check out the bathroom. I think that was my favorite part of this room. These photos aren't the best quality because they were taken with a throw-away digital from CVS since I was shooting slides in my regular Canon Rebel 35mm. For more information (and pictures of other rooms in the hotel, please see the hotel's own website: www.hotelpalladiogiardini.com/

This is the hotel I stayed in while visiting Agrigento, Sicily, in March, 2005. I was looking for the hotel in the dark and had gotten lost while driving through the traffic circles near the Valley of the Temples. I wound up going the wrong way, toward the beach, because I knew it wasn't in the historic part of Agrigento, on the hill. I thought I was in the right neighborhood, by the beach, for the Hotel Kore, because I found another hotel that I had seen on the travel websites, and thought they could be close by. The presence of a beauty salon also called "Kore" (after the goddess Persephone, who had one of the major cults in ancient Greek Sicily) made me convinced I was on the right track. But, I wasn't. :) After going the wrong way on an un-marked one-way street (it was a small street, dark, and there was no "Senso Unico" sign. I guess they didn't have to mark it...the locals knew!) I tried to ask for directions, saying that I was looking for the Hotel Kore. The man replied, "McDonald's!" First, I thought he said "McDonald's" because I'm an American, and maybe my accent was coming out strongly when I was speaking Italian? But, it turns out, when I finally went the right way on the traffic circle near the Valley of the Temples (he did give me more directions, but never explained what "McDonald's" meant), I came into a part of town that looked like it was just being built up in the 70s and 80s....and sure enough, there was a McDonald's! I went into the McDonald's to ask for more directions. This caused a lot of laughter from both the staff working at the fast-food restaurant, and the Sicilian families with their children... it turns out that the Hotel Kore was RIGHT NEXT DOOR to the McDonald's, but they did not have a sign that was lit up, so I had driven right past it to get to the McDonald's parking lot. Needless to say, this photo was taken the morning after. It was a lovely hotel, one of the nicest in Europe that I've stayed in. And after that adventure, it was almost sad that I was moving on to Piazza Armerina the next night. :)

The Room of the Segnatura The Room of the Segnatura contains Raphael's most famous frescoes. Besides being the first work executed by the great artist in the Vatican they mark the beginning of the high Renaissance. The room takes its name from the highest court of the Holy See, the "Segnatura Gratiae et Iustitiae", which was presided over by the pontiff and used to meet in this room around the middle of the 16th century. Originally the room was used by Julius II (pontiff from 1503 to 1513) as a library and private office. The iconographic programme of the frescoes, which were painted between 1508 and 1511, is related to this function. It was certainly established by a theologian and meant to represent the three greatest categories of the human spirit: Truth, Good and Beauty. Supernatural Truth is illustrated in the Disputation of the Most Holy Sacrament (theology), while rational Truth is illustrated in the School of Athens (philosophy). Good is expressed in the Cardinal and Theological Virtues and the Law. Beauty is represented in the Parnassus with Apollo and the Muses. The frescoes of the ceiling are connected with the scenes below them. The allegorical figures of Theology, Philosophy, Justice and Poetry allude in fact to the faculties of the spirit painted on the corresponding walls. Under Leo X (pontiff from 1513 to 1521) the room was used as a small study and music room, in which the pontiff also kept his collection of musical instruments. The original furnishings of the time of Julius II were removed and replaced with a new wooden wainscot, the work of Fra Giovanni da Verona. The wood covered all the walls with the exception of that of the Parnassus, where, for reasons of space, the same decoration, still visible today, was painted in fresco. The wooden wainscot was probably destroyed following the Sack of Rome in 1527 and in its place, during the pontificate of Paul III (pontiff from 1534 to 1549) a wainscot in chiaroscuro was painted by Perin del Vaga. Text from: mv.vatican.va/3_EN/pages/SDR/SDR_03_SalaSegn.html Cardinal and Theological Virtues and the Law On the wall opposite the Parnassus, corresponding to Justice, is an illustration of the Cardinal Virtues (Fortitude, Prudence and Temperance) and the Theological Virtues (Faith, Hope and Charity) in the lunette above, and below, at the sides of the window, the Delivery of the Pandects to the Emperor Justinian (on the left) and the Delivery of the Decretals to Pope Gregory IX. The pontiff is a portrait of the Pope who had commissioned the work, Julius II (pontiff from 1503 to 1513), while the cardinals beside him are Giovanni de' Medici and Alessandro Farnese, the future Popes Leo X (pontiff from 1513 to 1521) and Paul III (pontiff from 1534 to 1549). The painting of the Delivery of the Pandects to the Emperor Justinian is by Lorenzo Lotto. Text from: mv.vatican.va/3_EN/pages/x-Schede/SDRs/SDRs_03_03_021.html

The Room of the Fire in the Borgo The room was used in the time of Julius II (pontiff from 1503 to 1513) for the meetings of the highest court of the Holy See: the Segnatura Gratiae et Iustitiae, presided over by the Pope. The paintings on the ceiling, by Pietro Vannucci, called the Perugino, commissioned by the Pope in 1508, are related to this function. At the time of Leo X (pontiff from 1513 to1521) the room was used as a dining room and the task of frescoing the walls was assigned to Raphael who entrusted a large part of the work to his school. The work was completed between 1514 and 1517. The frescoes illustrate the political aspirations of Leo X through stories taken from the lives (narrated in the Liber Pontificalis) of two previous Popes with the same name: Leo III (Crowning of Charlemagne and Justification of Leo III) and Leo IV (Fire in the Borgo and the Battle of Ostia ). In all the episodes the Pope is a portrait of the reigning pontiff Leo X. Six seated figures of emperors and sovereigns who are protectors of the church are shown in the monochromes below the paintings. Text from: mv.vatican.va/3_EN/pages/SDR/SDR_04_SalaInce.html Battle of Ostia The Battle of Ostia, which in 849 saw the troops of Leo IV (pontiff from 847 to 855) opposed to the hordes of the Saracens, celebrates the miraculous victory of the papal armies and also refers to the crusade against the infidels encouraged by Pope Leo X (pontiff from 1513 to 1521). Text from: mv.vatican.va/3_EN/pages/x-Schede/SDRs/SDRs_04_04_031.html

The Room of the Segnatura The Room of the Segnatura contains Raphael's most famous frescoes. Besides being the first work executed by the great artist in the Vatican they mark the beginning of the high Renaissance. The room takes its name from the highest court of the Holy See, the "Segnatura Gratiae et Iustitiae", which was presided over by the pontiff and used to meet in this room around the middle of the 16th century. Originally the room was used by Julius II (pontiff from 1503 to 1513) as a library and private office. The iconographic programme of the frescoes, which were painted between 1508 and 1511, is related to this function. It was certainly established by a theologian and meant to represent the three greatest categories of the human spirit: Truth, Good and Beauty. Supernatural Truth is illustrated in the Disputation of the Most Holy Sacrament (theology), while rational Truth is illustrated in the School of Athens (philosophy). Good is expressed in the Cardinal and Theological Virtues and the Law. Beauty is represented in the Parnassus with Apollo and the Muses. The frescoes of the ceiling are connected with the scenes below them. The allegorical figures of Theology, Philosophy, Justice and Poetry allude in fact to the faculties of the spirit painted on the corresponding walls. Under Leo X (pontiff from 1513 to 1521) the room was used as a small study and music room, in which the pontiff also kept his collection of musical instruments. The original furnishings of the time of Julius II were removed and replaced with a new wooden wainscot, the work of Fra Giovanni da Verona. The wood covered all the walls with the exception of that of the Parnassus, where, for reasons of space, the same decoration, still visible today, was painted in fresco. The wooden wainscot was probably destroyed following the Sack of Rome in 1527 and in its place, during the pontificate of Paul III (pontiff from 1534 to 1549) a wainscot in chiaroscuro was painted by Perin del Vaga. Text from: mv.vatican.va/3_EN/pages/SDR/SDR_03_SalaSegn.html School of Athens The most famous philosophers of ancient times move within an imposing Renaissance architecture which is inspired by Bramante's project for the renewal of the early Christian basilica of St Peter. Some of these are easily recognizable. In the centre Plato points upwards with a finger and holds his book Timeus in his hand, flanked by Aristotle with Ethics; Pythagoras is shown in the foreground intent on explaining the diatesseron. Diogenes is lying on the stairs with a dish, while the pessimist philosopher, Heracleitus, a portrait of Michelangelo, is leaning against a block of marble, writing on a sheet of paper. Michelangelo was in those years executing the paintings in the nearby Sistine Chapel. On the right we see Euclid, who is teaching geometry to his pupils, Zoroaster holding the heavenly sphere and Ptolemy holding the earthly sphere. The personage on the extreme right with the black beret is a self-portrait of Raphael. Text from: mv.vatican.va/3_EN/pages/x-Schede/SDRs/SDRs_03_02_020.html

The Room of the Segnatura The Room of the Segnatura contains Raphael's most famous frescoes. Besides being the first work executed by the great artist in the Vatican they mark the beginning of the high Renaissance. The room takes its name from the highest court of the Holy See, the "Segnatura Gratiae et Iustitiae", which was presided over by the pontiff and used to meet in this room around the middle of the 16th century. Originally the room was used by Julius II (pontiff from 1503 to 1513) as a library and private office. The iconographic programme of the frescoes, which were painted between 1508 and 1511, is related to this function. It was certainly established by a theologian and meant to represent the three greatest categories of the human spirit: Truth, Good and Beauty. Supernatural Truth is illustrated in the Disputation of the Most Holy Sacrament (theology), while rational Truth is illustrated in the School of Athens (philosophy). Good is expressed in the Cardinal and Theological Virtues and the Law. Beauty is represented in the Parnassus with Apollo and the Muses. The frescoes of the ceiling are connected with the scenes below them. The allegorical figures of Theology, Philosophy, Justice and Poetry allude in fact to the faculties of the spirit painted on the corresponding walls. Under Leo X (pontiff from 1513 to 1521) the room was used as a small study and music room, in which the pontiff also kept his collection of musical instruments. The original furnishings of the time of Julius II were removed and replaced with a new wooden wainscot, the work of Fra Giovanni da Verona. The wood covered all the walls with the exception of that of the Parnassus, where, for reasons of space, the same decoration, still visible today, was painted in fresco. The wooden wainscot was probably destroyed following the Sack of Rome in 1527 and in its place, during the pontificate of Paul III (pontiff from 1534 to 1549) a wainscot in chiaroscuro was painted by Perin del Vaga. Text from: mv.vatican.va/3_EN/pages/SDR/SDR_03_SalaSegn.html School of Athens The most famous philosophers of ancient times move within an imposing Renaissance architecture which is inspired by Bramante's project for the renewal of the early Christian basilica of St Peter. Some of these are easily recognizable. In the centre Plato points upwards with a finger and holds his book Timeus in his hand, flanked by Aristotle with Ethics; Pythagoras is shown in the foreground intent on explaining the diatesseron. Diogenes is lying on the stairs with a dish, while the pessimist philosopher, Heracleitus, a portrait of Michelangelo, is leaning against a block of marble, writing on a sheet of paper. Michelangelo was in those years executing the paintings in the nearby Sistine Chapel. On the right we see Euclid, who is teaching geometry to his pupils, Zoroaster holding the heavenly sphere and Ptolemy holding the earthly sphere. The personage on the extreme right with the black beret is a self-portrait of Raphael. Text from: mv.vatican.va/3_EN/pages/x-Schede/SDRs/SDRs_03_02_020.html

The Room of the Segnatura The Room of the Segnatura contains Raphael's most famous frescoes. Besides being the first work executed by the great artist in the Vatican they mark the beginning of the high Renaissance. The room takes its name from the highest court of the Holy See, the "Segnatura Gratiae et Iustitiae", which was presided over by the pontiff and used to meet in this room around the middle of the 16th century. Originally the room was used by Julius II (pontiff from 1503 to 1513) as a library and private office. The iconographic programme of the frescoes, which were painted between 1508 and 1511, is related to this function. It was certainly established by a theologian and meant to represent the three greatest categories of the human spirit: Truth, Good and Beauty. Supernatural Truth is illustrated in the Disputation of the Most Holy Sacrament (theology), while rational Truth is illustrated in the School of Athens (philosophy). Good is expressed in the Cardinal and Theological Virtues and the Law. Beauty is represented in the Parnassus with Apollo and the Muses. The frescoes of the ceiling are connected with the scenes below them. The allegorical figures of Theology, Philosophy, Justice and Poetry allude in fact to the faculties of the spirit painted on the corresponding walls. Under Leo X (pontiff from 1513 to 1521) the room was used as a small study and music room, in which the pontiff also kept his collection of musical instruments. The original furnishings of the time of Julius II were removed and replaced with a new wooden wainscot, the work of Fra Giovanni da Verona. The wood covered all the walls with the exception of that of the Parnassus, where, for reasons of space, the same decoration, still visible today, was painted in fresco. The wooden wainscot was probably destroyed following the Sack of Rome in 1527 and in its place, during the pontificate of Paul III (pontiff from 1534 to 1549) a wainscot in chiaroscuro was painted by Perin del Vaga. Text from: mv.vatican.va/3_EN/pages/SDR/SDR_03_SalaSegn.html School of Athens The most famous philosophers of ancient times move within an imposing Renaissance architecture which is inspired by Bramante's project for the renewal of the early Christian basilica of St Peter. Some of these are easily recognizable. In the centre Plato points upwards with a finger and holds his book Timeus in his hand, flanked by Aristotle with Ethics; Pythagoras is shown in the foreground intent on explaining the diatesseron. Diogenes is lying on the stairs with a dish, while the pessimist philosopher, Heracleitus, a portrait of Michelangelo, is leaning against a block of marble, writing on a sheet of paper. Michelangelo was in those years executing the paintings in the nearby Sistine Chapel. On the right we see Euclid, who is teaching geometry to his pupils, Zoroaster holding the heavenly sphere and Ptolemy holding the earthly sphere. The personage on the extreme right with the black beret is a self-portrait of Raphael. Text from: mv.vatican.va/3_EN/pages/x-Schede/SDRs/SDRs_03_02_020.html

Round Swamp Road Old Bethpage, NY 11804 Old Bethpage Village Restoration provides visitors with a unique and wonderful opportunity to step back in time and experience life in a recreated mid-19th-century American village. The 209-acre village includes an assortment of homes, farms and businesses. Each October, the village hosts the Long Island Fair, a traditional county agricultural fair that draws tens of thousands of visitors, and through most of the year has a steady series of family-friendly events and exhibits, including old-time baseball tournaments. Old Bethpage Village Restoration came into existence in 1963, when Nassau County acquired the Powell property, a 165-acre farm located on the Nassau-Suffolk border. The acquisition of the land and the plan to develop a historic restoration were timely, as development on Long Island had taken its toll on the area's landmarks. In 1963, Plainview's historic Manetto Hill Methodist Church was the first structure to be saved and moved to the Powell property. Today, there are 51 historic buildings and seven reconstructions and the site encompasses 209 acres. Buildings are selected based on their architectural detail and historic significance. The goal is to establish a representative sampling of 19th-century structures. After buildings have been moved to the village, they are carefully restored to a specific point in their history, and the lives of the former occupants are thoroughly researched. Each structure is scrutinized for clues to its role in community life, and authentic hardware, shingles and glass sought - with the help of wills, deeds, and inventory lists - so the structures can beauthentically furnished ( in some cases with pieces original to the building). But the roots of Old Bethpage Village date back even further than the 19th century to the Dutch and English settlement of Long Island. During the 1640s, the colonial settlers in this area founded town "spots" that functioned as commercial and social centers where taverns, general stores and meeting houses were built. In addition to a centrally located town lot, each townsman received outlying fields to use for grazing livestock, growing crops, or harvesting firewood. By 1700, when the English had gained control of Long Island, townships controlled whatever land had not already been distributed, and the economy had expanded to include trades dependent on the sea as well as the land. Life remained quiet, unhurried and closely tied to nature. These patterns, evident well well into the 19th century, can be seen at Old Bethpage Restoration. Text from: www.nassaucountyny.gov/agencies/parks/WhereToGo/museums/c...

Round Swamp Road Old Bethpage, NY 11804 Old Bethpage Village Restoration provides visitors with a unique and wonderful opportunity to step back in time and experience life in a recreated mid-19th-century American village. The 209-acre village includes an assortment of homes, farms and businesses. Each October, the village hosts the Long Island Fair, a traditional county agricultural fair that draws tens of thousands of visitors, and through most of the year has a steady series of family-friendly events and exhibits, including old-time baseball tournaments. Old Bethpage Village Restoration came into existence in 1963, when Nassau County acquired the Powell property, a 165-acre farm located on the Nassau-Suffolk border. The acquisition of the land and the plan to develop a historic restoration were timely, as development on Long Island had taken its toll on the area's landmarks. In 1963, Plainview's historic Manetto Hill Methodist Church was the first structure to be saved and moved to the Powell property. Today, there are 51 historic buildings and seven reconstructions and the site encompasses 209 acres. Buildings are selected based on their architectural detail and historic significance. The goal is to establish a representative sampling of 19th-century structures. After buildings have been moved to the village, they are carefully restored to a specific point in their history, and the lives of the former occupants are thoroughly researched. Each structure is scrutinized for clues to its role in community life, and authentic hardware, shingles and glass sought - with the help of wills, deeds, and inventory lists - so the structures can beauthentically furnished ( in some cases with pieces original to the building). But the roots of Old Bethpage Village date back even further than the 19th century to the Dutch and English settlement of Long Island. During the 1640s, the colonial settlers in this area founded town "spots" that functioned as commercial and social centers where taverns, general stores and meeting houses were built. In addition to a centrally located town lot, each townsman received outlying fields to use for grazing livestock, growing crops, or harvesting firewood. By 1700, when the English had gained control of Long Island, townships controlled whatever land had not already been distributed, and the economy had expanded to include trades dependent on the sea as well as the land. Life remained quiet, unhurried and closely tied to nature. These patterns, evident well well into the 19th century, can be seen at Old Bethpage Restoration. Text from: www.nassaucountyny.gov/agencies/parks/WhereToGo/museums/c...