Pictures Of Drapery Styles


Pictures Of Drapery Styles

pictures of drapery styles


  • Represent (someone or something) in a photograph or picture
  • (pictural) pictorial: pertaining to or consisting of pictures; “pictorial perspective”; “pictorial records”
  • (picture) a visual representation (of an object or scene or person or abstraction) produced on a surface; “they showed us the pictures of their wedding”; “a movie is a series of images projected so rapidly that the eye integrates them”
  • Describe (someone or something) in a certain way
  • Form a mental image of
  • (picture) visualize: imagine; conceive of; see in one’s mind; “I can’t see him on horseback!”; “I can see what will happen”; “I can see a risk in this strategy”


  • Long curtains of heavy fabric
  • Drapery is a general word referring to cloths or textiles (Old French drap, from Late Latin drappus ). It may refer to cloth used for decorative purposes – such as around windows – or to the trade of retailing cloth, originally mostly for clothing, formerly conducted by drapers.
  • The artistic arrangement of clothing in sculpture or painting
  • cloth gracefully draped and arranged in loose folds
  • Cloth coverings hanging in loose folds
  • curtain: hanging cloth used as a blind (especially for a window)


  • A way of painting, writing, composing, building, etc., characteristic of a particular period, place, person, or movement
  • (style) make consistent with a certain fashion or style; “Style my hair”; “style the dress”
  • (style) manner: how something is done or how it happens; “her dignified manner”; “his rapid manner of talking”; “their nomadic mode of existence”; “in the characteristic New York style”; “a lonely way of life”; “in an abrasive fashion”
  • A manner of doing something
  • A way of using language
  • (style) designate by an identifying term; “They styled their nation `The Confederate States'”

pictures of drapery styles – Curtain Inspiration:

Curtain Inspiration: A Unique Collection of Pictures and Ideas
Curtain Inspiration: A Unique Collection of Pictures and Ideas
This is a lavishly illustrated photographic book providing inspiration for a wide range of curtains and window treatments. From drawing rooms and dining rooms to bedrooms and bathrooms, from pelmets and valances to poles and shutters, this is a comprehensive look at a variety of styles and approaches that can be used in your home. The settings are hugely varied too, from the classic English country house, to chic town houses and flats. The photographs provide a context for the window treatments, showing how a particular style will work. It is arranged in four sections: room settings, window types, curtain styles and blinds and shutters. There are also detailed pictures, revealing the intricacies that go into achieving the look. Invaluable descriptions and tip boxes, explaining how to tackle the technical problems involved are included as are two comprehensive glossaries – one for the US and one for the UK. Contents include: Children’s rooms Dining rooms and kitchens Pelmets Swags and tails Doors an

Statue, 2 BCE, Gandhara Empire

Statue, 2 BCE, Gandhara Empire
Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.

A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.

Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.

In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms

Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.

Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the in addition to atop European armorial bearings.

In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have rep

1857 Anthony Avenue house

1857 Anthony Avenue house
Mount Hope, Bronx

Anthony Avenue, Mount Hope, Bronx


Located at the corner of Anthony Avenue and Mount Hope Place, this handsome chateauesque style house is one the few surviving large suburban residences which once characterized the Bronx. Constructed in 1896 for a prosperous stone dealer, Edwin Shuttleworth, the house was designed by Neville & Bagge, a New York firm specializing in residential architecture. Their design is highlighted by exceptionally interesting sculptural detail.


By the late 1890s, the North Side, as the Bronx was then commonly called, was a prosperous suburb of Manhattan. A promotional publication of the period boasted "It would be difficult to find within many miles radius of New York more delightfully picturesque scenery than is to be found on the North Side." 1 Citing "the magnificent system of parks and parkways recently opened to the public," one ebullient contributor, W. W. Niles, Jr., asked his readers to picture a Saturday afternoon in any North Side park:

The band plays….The scene is as animated and attractive as any furnished by Hyde Park or the Bois de Boulogne….Everyone is in holiday attire…from the laborer enjoying his half-holiday with his wife and children to the millionaire in his stately Victoria.

Another contributor to this same publication, architect Albert E. Davis, proclaimed the Bronx "the banner home ward" of New York City, and backed up this assertion with statistics {Ninety percent of the dwellings in the Bronx’s 24th Ward were occupied by single families) and with photographs.

Davis illustrates no apartment or tenement buildings, only a few row houses, but rather, a host of freestanding wooden houses, large by today’s standards, the majority in versions of the popular Shingle and Queen Anne styles. One house, built of stone, sporting elaborate carved detailing, stands apart from the mainstream. The residence of Mr. and Mrs. Edwin Shuttleworth, it is located on Anthony Avenue in the section known in the 1890s as Mount Hope.

Constructed in 1896, the Shuttleworth house represents a phase in the transformation of the Bronx from a sparsely populated area of farmland and small villages to a huge urban community. By the 1860s a number of wealthy New Yorkers had built summer retreats in the Bronx, and in 1874 the Township of West Farms (incorporated 1846) was annexed to the City of New York and was officially termed the Annexed District.

The vast park system was laid out in 1883 and in the course of the 1890s transportat ion improvements, intended to make the Bronx more readily accessible from Manhattan, were undertaken. The Department of Street Improvements was established in 1890 and plans for the impressive, ten-lane Grand Concourse and Boulevard proposed in 1892. The Third Avenue elevated railway was extended as far as the Tremont section by 1891.

It was in this area that Edwin and Elizabeth Shuttleworth chose to live. By the 1890s there was a thriving Tremont community, with churches, schools, a business and shopping district and two nearby parks, Crotona Park, notable for its athletic facilities, and Claremont Park, with its hilly scenery and fine views.

The name Tremont seems to have derived from three "mounts" in the area—Mount Hope, Mount Eden and Fairmount—at the suggestion of one Hiram Tarbox, a chronometer and watch manufacturer, who also acted as the area’s first postmaster. An alternate tradition claims that a manufacturer of fire hose, John Metcalf, originally of Boston appropriated "Tremont" from the famous avenue of his native city.

The Shuttleworth property is located on the hill named Mount Hope (Mount Hope Place bounds the property on the north) and originally overlooked the Mill brook Valley. (Anthony Avenue, the namesake of a local landowner, Charles L. Anthony, had formerly been known as Prospect Avenue, no doubt because of the view.)

The land had originally been part of the Buckhout farm and the Buckhout farmhouse still stood to the north in a glen famous for its echoes (now recalled by the street name, Echo Place.) The hillside site must have been considered a healthy one in the nineteenth century, since the House of Rest for Consumptives was located just to the south of the Shuttleworth property,which this institution at one time owned.

Presumably rising real estate values made the sale of the land advisable. By the 1890s "covenants against nuisances" had been introduced which were intended to keep the neighborhood strictly residential.

The Clients

When the Shuttleworths purchased their property in early 1896, they were living in Manhattan at 94th Street and Madison Avenue in a five-story tenement. Clearly, their move to the Bronx was a step up in life. The migration of the middle class to the Bronx at the turn of the century seems to prefigure the exodus of the working class from the slums of the Lower East Side in the d

pictures of drapery styles

pictures of drapery styles

Make It with Style: Draperies and Swags
Make window treatments so distinctive and spectacular, your friends will want to know the name of your decorator.

No single decorating choice has greater impact on the overall ambience of a room than how the windows are dressed. Whether your taste runs to the traditional look of formal swags and jabots, or to a simple yet sophisticated pairing of panels and valances, Make It with Style: Draperies & Swags offers the perfect solution for every window in your home–complete with step-by-step instructions to ensure a professional look. You’ll find . . .

directions and patterns for making more than 20 custom designs that can be adapted to any decor
dozens of full-color illustrations
decorator tips on mounting and installing treatments
helpful information on choosing and caring for fabrics
guidelines for working with trims and notions
glossaries of technical terms and techniques

. . . as well as more than 50 full-color photographs of stunning window treatments that are sure to inspire your own creativity.


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