French Country Decorative Plates : Country Decor Magazines : Niche Decor.
French Country Decorative Plates
- Large, solid, simple furniture and a primary color scheme of reds, blues, and bright yellows. Sometimes called French Provincial.
- cosmetic: serving an esthetic rather than a useful purpose; "cosmetic fenders on cars"; "the buildings were utilitarian rather than decorative"
- Serving to make something look more attractive; ornamental
- Relating to decoration
- (decorativeness) an appearance that serves to decorate and make something more attractive
- Serve or arrange (food) on a plate or plates before a meal
- (plate) coat with a layer of metal; "plate spoons with silver"
- home plate: (baseball) base consisting of a rubber slab where the batter stands; it must be touched by a base runner in order to score; "he ruled that the runner failed to touch home"
- Cover (a metal object) with a thin coating or film of a different metal
- Cover (an object) with plates of metal for decoration, protection, or strength
- (plate) a sheet of metal or wood or glass or plastic
Handpainted porcelain decorative plates
- set of 4 - vegetables
Elegantly hand painted in classic still life style, these four decorator plates evoke an old world feel. Popular since the 14th century, still life composition was a major component of both the Baroque and Renaissance movements in painting. Our set of 4 porcelain plates is crafted in the same tradition. Painted with
sumptuous colors on a matte black background, the set makes an excellent room accent in a kitchen or dinning room. Mounted on a wall or arranged with
stands on a buffet, the plates have a bold and dramatic look that adds decadence to your room. Consider mounting them with our iron plate racks in either a single set of four, or in separate sets of two for symmetry with windows, mirrors or other wall decor.
Decorative Bronze Coverplate: Twickenham Bridge
In the background is Richmond Railway Bridge. Grade II listed. Arched road bridge, by Alfred Dryland and Maxwell Ayrton, built by Aubrey Watson Ltd, completed in 1933.
DESCRIPTION: Twickenham Bridge is 145.5m long and 21.3m wide and has five arches, three of which are over the river. The central span is 31.4m and the flanking river arches each span 29.9m. The two land arches at either end measure 17.1m. The bridge superstructure is a light, attenuated and rhythmic composition of reinforced concrete arches, carried on very narrow piers. Expansion joints are situated in the cut-waters and the arch crowns are articulated by metal edging. The striated appearance of the concrete resulted from the use of specially designed shuttering which was then textured with a bush hammer. One of the most distinguishing visual features of the bridge are the decorative bronze coverplates, executed in Art Deco style, that emphasise the three structural hinges at the crowns and springings of each arch. By drawing attention to these hinges, the architect, Maxwell Ayrton gave prominence to the bridge's technical virtuosity as the first large three-hinged concrete arch bridge to be built in the United Kingdom. As such, it is a neat exposition of the intersection of architecture and structural engineering. The Art Deco theme is continued in the use of ornamental tiles embedded in horizontal seams and in the bronze cover plates over the expansion joints at the abutments. The bridge has a coved cornice and paired staircase 'turrets' with bastions which provide pedestrian access from the embankments. The bridge has bronze balustrades and lamps, very similar in design to Chiswick Bridge. Unlike Chiswick Bridge, which was also designed in reinforced concrete by Alfred Dryland, the three river arches of Twickenham Bridge have permanent hinges for self-adjustment.
HISTORY: Twickenham Bridge was designed by Alfred Dryland (1865-1946) and Maxwell Ayrton (1874-1960) and built by Aubrey Watson Ltd who was given the contract for the bridge in 1931. The bridge cast ?217,300. As early as 1909 a crossing had been recommended for the site. The delay was caused in part by local objection to the construction and the bridge was known locally as 'The Bridge that Nobody Wants', partly because on the Surrey side the approach cut through the Old Deer Park.
The bridge was the second of three bridges opened by the Prince of Wales (later to become Edward VIII) on the 3 July 1933, the others being Chiswick Bridge and Hampton Court Bridge. These bridges formed part of the Great Chertsey arterial road scheme, a major undertaking designed to relieve Hammersmith Bridge and alleviate congestion in Richmond. The bridge is named for its position on the road to Twickenham; it connects the Old Deer Park in Richmond with the district of St Margaret's on the north bank.
The distinctive architectural ornamentation of the bridge was the work of Maxwell Omrod Ayrton (1874-1960). Ayrton worked closely with some of the era's leading structural engineers, notably Sir Owen Williams (1890-1969), giving distinctive architectural input to works such as the British Empire Exhibition, Wembley (1921-4) and Findhorn and Spey Bridges, Scotland (1924-26). As an architect in his own right he, or his practice, were responsible for such works as Derby Stadium (1948), Medical Research Council Library, Mill Hill (1950) and the 'Oliver', 'Darwin' & 'Heringham' blocks of Bedford College for Women, at Regents Park (1953). Early on he was both a keen advocate and apologist for reinforced concrete, stating in 1926 that 'concrete suffers from having always been regarded as a cheap material with the result that any suggestion of treating it in a seemly manner as a material worthy of architectural recognition has been regarded not only as an extravagance, but as an actual misuse' .
Alfred Dryland, CBE (1865-1946) was also a figure of note: his Oxford Dictionary of National Biography entry records 'In the field of road engineering Dryland was considered the greatest expert in Britain of his day and he was a pioneer in the planning and construction of motorways in this country'. In 1920 he became County Engineer of Middlesex and oversaw the construction of the Great West, Great Cambridge, and North Circular roads and many other roads and bridges in the county were his responsibility. In June 1925 the Great West Road from Chiswick to East Bedfont was formally opened by George V and is described as 'a triumph of modern engineering skill in the face of formidable problems'.
Twickenham Bridge was the first large three-hinged concrete arch bridge to be built in the UK. Hinged at the crown and at the springing points of the arch, three-hinged or three-pinned arches overcome many of the defects inherant in fixed (hingeless) arch bridges, notably the difficulty in calculating abutment reactions. By dividing the arch into free halves, the forces acting on the hinges can be
614 Courtlandt Avenue Building
Melrose, Bronx, New York City, New York, United States
No. 614 Courtlandt Avenue , an early multi-use building in the Bronx, was built in 1871-72 for Julius Ruppert and contained a saloon, public rooms, meeting rooms, and a residential flat. Most likely the work of a builder-contractor, the imposing building displays a variety of early to late Second Empire style motifs successfully combined to reconcile the several uses contained within the building with their exterior expression. Hewlett S. Baker's renovation in 1882 only further enriched the facade.
The building is a monument to the first stage of urbanization within what had been the previously rural south Bronx, helping by its presence to establish a sense of place in the new village of Melrose South. No. 614 also has many of the stylistic features which characterized the buildings along the Bowery between Canal and Houston Streets in the area known as "Kleine Deutschland," where Julius Ruppert first established his business before following his fellow Germans to the Bronx. With its varied uses, the building sheltered a variety of German ethnic activities.
Melrose South and its Early Settlers
The majority of the mid-19th century settlers in New York City's future 23rd Ward (1874), the southwest Bronx, arrived from Manhattan's Lower East Side, eager to leave their noisy and dark, cramped and airless tenements. One of their earliest objectives was the sparsely populated freehold manor, seat of the Morris family who had been prominent in colonial government and the affairs of the early republic, which only recently had been opened for development. Though not a model for subsequent expansion, "New Village," the first subdivision, carries with it some of the method and some of the ingredients of those that followed. In 1848 an association 222 members strong, for the most part German and some Irishmen, mechanics and laboring men, met at the Military Hall at 193 Bowery. Represented by their agents, Jordan Mott, Nicholas McGraw and Charles W. Houghton, they had purchased 200 acres from Gouvemeur Morris, _ Jr.
Lots were drawn and assigned with but one proviso: each owner was to erect a house of no less than $300.00 value within three years, and Morris executed a deed to each new owner. In 1850 New Village became Morrisania, when Mott's early development along the Harlem River, (which had been Morrisania) became Mott Haven.
New Village's success inspired Morris to develop his property further. With Robert Elton and Hampton Denman he had Andrew Findlay, a surveyor, lay out several more communities, Woodstock, Melrose and Melrose East and South, in 1850. Melrose South was incorporated as a village a year later, and in 1864 Morrisania was incorportated as a township, embracing these and ten other villages.
At the time of its incorporation as a village, the boundaries of Melrose South were East 160th Street and the Village of Melrose to the north and East 148th Street and Mott Haven to the south. Its eastern boundary was the Old Boston Post Road (Third Avenue) and its western boundary the railroad. But before the Civil War the area was principally farmland. In 1856 the number of dwellings totalled 173; twelve years later there were 488. Like the citizens of New Village, the preponderance of Melrose South's first residents were German, seeking a healthier alternative to life on the Lower East Side.
Courtlandt Avenue, running north and south along a ridge, was the main shopping street, lined by beer halls and the scene of parades by German bands. Intersecting it, from south to north, were Mott, Benson, Denman,Gouverneur, Wilton, Schuyler, Springfield, Mary and Melrose streets.
The Protection Hall, whose members sponsored marching bands and drill teams, had its headquarters — incorporating a beer garden, bowling alley and dance hall — on the west side of Courtlandt between Springfield (154th) and Mary (155th) Streets. Melrose South had its own brewery, J. & M. Haffen's on Elton (152nd) between Courtlandt and Melrose. The Arion Liedertafel Hall was on the west side of Courtlandt between Benson and Gouverneur and so was the Melrose Turn v ere in. There were many beer gardens too. Indeed, Melrose South was compared with the area around Manhattan's Tompkins Square — "Kleine Deutschland," and Courtlandt was called "Dutch Broadway."
For example, in 1871 at the intersection of Courtlandt and Gouverneur (151st Street) — Ruppert's building would occupy the northeast corner — Jacob Sauter, a butcher, lived on the east side of Courtlandt north of Gouverneur; William Langrebe, a tailor, occupied the northwest corner of Courtlandt and Gouverneur; August Schulte had a grocery store on the southeast corner of the intersection. Andrew Schrenk, also listed on the southeast corner, may have lived upstairs. A rooming house occupied the southwest corner, among whose tenants there was an actor and an Irish laundress. August Frenke,
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