ROD IRON WALL DECORATIONS. WALL DECORATIONS

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Rod Iron Wall Decorations


rod iron wall decorations
    decorations
  • The process or art of decorating or adorning something
  • (decorate) make more attractive by adding ornament, colour, etc.; "Decorate the room for the party"; "beautify yourself for the special day"
  • (decorate) award a mark of honor, such as a medal, to; "He was decorated for his services in the military"
  • A thing that serves as an ornament
  • Ornamentation
  • (decorate) deck: be beautiful to look at; "Flowers adorned the tables everywhere"
    iron wall
  • The Iron Wall is a 2006 documentary film about the establishment of Israeli settlements in the West Bank, which, the film argues, is a strategy for permanent occupation of the territory.
  • The Iron Wall (We and the Arabs) is an essay written by Ze'ev Jabotinsky in 1923. It was originally published in Russian, the language in which Jabotinsky wrote for the Russian press.
    rod
  • any rod-shaped bacterium
  • A thin straight bar, esp. of wood or metal
  • A wand or staff as a symbol of office, authority, or power
  • A slender straight stick or shoot growing on or cut from a tree or bush
  • a long thin implement made of metal or wood
  • perch: a linear measure of 16.5 feet
rod iron wall decorations - Large Wrought
Large Wrought Iron Mother Pearl Tree of Life Wall Art
Large Wrought Iron Mother Pearl Tree of Life Wall Art
This wrought iron depiction of the tree of life with its mother of pearl blossoms is absolutely stunning. Since ancient times the tree of life has represented bountiful life and has been the center of the earthly heaven. Use this stunning wall art to bring positive energy to your home and make this piece the center of your home. Beautiful bronzed metal with rustic patina. Each of the blossoms is made from high-polished real mother-of-pearl. Beautiful! Approximate Dimensions: Height: 35", Width: 29".

86% (19)
Staten Island Savings Bank Building
Staten Island Savings Bank Building
Stapleton, Staten Island, New York City, New York, United States The neo-Classical style Staten Island Savings Bank was constructed on the prominent corner of Water and Beach Streets in downtown Stapleton in 1924-25. Designed by the nationally-significant firm of Delano & Aldrich (and one of only a few buildings attributed to Aldrich), it is an important example of twentieth-century Italian Renaissance-inspired neo-Classicism in Staten Island. The architects took advantage of the acute angle of the site to create a dramatic entrance of a colonnaded portico with a fish-scaled cast-lead dome. The facades reflect the interior plan, with rusticated limestone and tall arched windows defined by Tuscan pilasters for the public banking area and ashlar limestone for the administrative offices. Delano & Aldrich was known for its spare but well-detailed and carefully placed ornament, which this building exemplifies. This building replaced the bank’s previous offices on the same site. Founded as a mutual savings bank in 1864, the Staten Island Savings Bank opened for business three years later in 1867 and became Staten Island’s first successful bank. On its prominent site in the middle of Stapleton’s commercial district, the Staten Island Savings Bank Building continues to be a visual anchor for the community in which it was founded and has served. DESCRIPTION AND ANALYSIS History of Stapleton Stapleton was incorporated in 1866 along with Clifton and part of Tompkinsville into the Village of Edgewater and became the seat of the village government and courts. By the 1890s, the village possessed all the amenities: macadamized roads, electric street lights, sewers and water supplied by the Crystal Water Company from the area’s artesian springs. Stapleton’s 1889 Edgewater Village Hall designed by Paul Kuhne (a New York City Landmark) joined Staten Island’s two banks (Staten Island Savings Bank and Bank of Staten Island), two illumination-gas companies and four newspapers. In 1886 the consolidated rail and ferry service of the Staten Island Rapid Transit replaced the direct Stapleton to New York ferry. During the Civil War, Staten Island was home to abolitionists and pro-Union residents as well as those who bemoaned the loss of trade with the South. When the draft was passed in 1863, Stapleton had to confront rioters who, protesting the unfairness of the law, broke into a building on Van Duzer Street and other places used as drill halls. While trade with the south might have been lost, the shipyards in Stapleton, Port Richmond and Tompkinsville and the McCullough Shot & Lead Works (1860) in Stapleton were busy providing ships and materiel to the Union. It was in the midst of the crisis that Francis Gould Shaw, the abolitionist, Louis H. Meyer, a financier, John Bechtel, the brewer and eighteen other Staten Island business men petitioned the state legislature for incorporation of an institution to be know as the Staten Island Savings Bank. In the twentieth century, Stapleton’s fortunes underwent many changes. The Stapleton port facility built by New York Mayor John F. Hylan in the 1920s saw little success and after World War II it fell into disuse as shipping moved to Howland Hook and New Jersey. Prohibition and regionalization of the beer industry closed Stapleton’s breweries and other industries moved away. Public housing units were built, social service offices and clinics affiliated with Bayley Seaton Hospital opened and the commercial district was competing for customers with the malls. The U.S. Navy built a homeport 1990 but it was closed four years later. The Stapleton Local Development Corporation and preservation organizations such as the Society for the Preservation of Mud Lane were founded in the 1970s. In recent years, an influx of young professionals has restored homes and businesses in the area. History of the Staten Island Savings Bank The Staten Island Savings Bank was not the first bank opened on the island, but was the first to be successful. Richmond County Bank founded by Richard D. Littell a judge in the court of special sessions had been chartered by the State of New York in 1838 but failed by 1842 leaving Staten Island without its own bank until after the Civil War. The Staten Island Savings Bank was originally incorporated by the State of New York on April 6, 1864 but for unknown reasons did not begin operations until 1867. Founded by twenty-one prominent Staten Island men including Francis Gould Shaw, a philanthropist and reformer, John Bechtel, founder of Bechtel Brewery and Louis H. Meyer, its first president, a business man specializing in securities and railroad reorganizations, the intention was to provide the working men and women of the surrounding communities with a secure place to deposit their savings. The first deposit, $100, was made by Mary Josephine Thiery on June 8, 1867, shortly after the bank received its amended charter from the state. At
La Martiniere during british rule
La Martiniere during british rule
La Martiniere was built at the end of the 18th century by the Frenchman Major General Martin who gave it his name. Martin was an extraordinary man who arrived at Pondicherry in 1751 as a penniless common soldier, and by a mixture of skill, luck and hard work, became a richest European in Lucknow, so rich that he was able to lend $250,000 to the Nawab Asaf-ud-Daula. La Martiniere was originally known as Constantia. Historians say that this was from Martin’s motto Labore et Constantia (Toil and Fidelity), which is engraved over a first floor balcony. But romantic people believe it was named after Constance, who was Martin’s first love, the young girl that he left behind in France when he came to India to seek his fortune.If the story is true, and certainly his family in present day Lyon seem to think so, then a more remarkable monument to a woman in India does exist, apart from the Taj Mahal in Agra. La Martiniere was a tomb that became a palace. It is both the finest and largest example of a European funerary monument in the subcontinent. It has been described as a wedding-cake in brick, a Gothic castle and a baroque folly. When Martin decided, in the mid 1790s, that the building should house the living, as well as the dead, he began to furnish it in the most elaborate style. Huge crystal chandeliers from England lit the main rooms, and their flickering candles were reflected in mirrors, ten feet tall, that hung round the walls. There were paintings by Johann Zoffani , the German artist who was a friend of Martin’s, and imported inlaid marble tables stood on fine French carpets, together with many busts and statues. Outside were twelve ‘large street lamps’. Martin obviously loved marble. He had planned to line some of his rooms with it, and on his death, thousands of slabs from Jaipur, and even China were found. Plaster plaques with Grecian figures decorated the walls and ceilings, so similar to English Wedgwood, that for years people thought they were authentic. Only when orders for tons of imported Plaster of Paris were discovered recently in Martin’s letters, was it proved that all the decorations were, in fact, carried out by skilled Indian craftsmen, working from one or two original models. On the parapets and pavilions outside stood dozens of statues. Martin had taught local people how to build up cement figures over an iron frame. There were French shepherdesses, lions (a visual pun on Martin’s birthplace of Lyon), pairs of lovers, Roman goddesses, Egyptians, sphinx and Chinese mandarins, whose heads nodded in the breeze. Four great octagonal towers, from basement to roof, from the frame-work of La Martiniere. Many of the rooms are built between these towers, giving them a curious, lopsided appearance from inside. But they remain pleasant even during the hottest months, because the hollow towers draw up cool air from the ground which disperses through vents into the rooms. It was a kind of early air-conditioning, where hot air is expelled, in this case, from the roof. During the turbulent 18th century, no-one was really safe from surprise, attacks, and no-one was more aware of this than Claude Martin. He designed his buildings like miniature forts, with cannons on the parapets and thick iron doors that sealed off spiral staircases and archways. The hinges on which these great doors hung can still be seen today, and there are ‘secret’ chambers on the first floor where cannon balls could be stored. The whole building was described as ‘bomb proof’ and surrounded by a deep ditch, fortified on the outer side by stockades-- sufficiently protected to resist the attacks of the ‘Asiatic power’. The lion statues on the parapet were designed to hold flaming torches inside their open mouths. The sight of these illuminated beasts, belching out fire and smoke on a dark night must have been a terrifying one for would be intruders. The two cannons which stand on the terrace today are also a reminder of less peaceful days. One was actually cast by Martin in his Lucknow Arsenal, and named Cornwalls after the Governor-General. The other was captured at Seringapatam, when Martin accompanied Cornwallis as his aide-de-camp (The huge bronze bell came from the arsenal too.) Hanging over the mantelpiece in the Blue Room of La Martiniere is a small, gilt framed painting of a young Indian woman and a European boy. Both are dressed in 18th century Indian costume, and the woman is holding a fishing rod. Her name was Boulone and she was Claude Martin’s mistress, although 30 years younger than him. Like James Zulphikar, the little boy in the picture, she had been adopted as a child by Martin. According to him they lived happily enough together, but there must have been bitter arguments when he introduced other, and younger, mistresses into the household. Nevertheless, he made sure that Boulone would be well provided for after his death, and he thoughtfully built a little Muslim tomb for her in the grounds of La Martinie

rod iron wall decorations
rod iron wall decorations
The Iron Wall: Israel and the Arab World
"Fascinating. . . . Shlaim presents compelling evidence for a revaluation of traditional Israeli history."—New York Times Book Review
As it celebrated its fiftieth anniversary, the State of Israel could count many important successes, but its conflict with the Palestinians and the Arab world at large casts a long shadow over its history. What was promulgated as an "iron-wall" strategy—dealing with the Arabs from a position of unassailable strength—was meant to yield to a further stage where Israel would be strong enough to negotiate a satisfactory peace with its neighbors. The goal remains elusive. In this penetrating study, Avi Shlaim examines how variations of the iron-wall philosophy have guided Israel’s leaders; he finds that, while the strategy has been successful, opportunities have been lost to progress from military security to broader peace. The Iron Wall brilliantly illuminates past progress and future prospects for peace in the Middle East. Illustrations, maps and photographs

In 1897, under order of First Zionist Congress president Theodor Herzl, two Austrian rabbis traveled to Palestine to explore the possibility of locating a Jewish state there. "The bride is beautiful," the rabbis cabled Herzl, "but she is married to another man." That "other man" was the Palestinian Arab nation, long established in the region as a political entity. Undeterred, Herzl pressed on with his program of emigration, ignoring Palestine's existing occupants and creating in the process what came to be known as the "Arab question."
In this far-ranging history, Avi Shlaim analyzes that question in remarkable detail, tracing the shifting policies of Israel toward the Palestinians and the Arab world at large. Herzl, he writes, followed a policy that consciously sought to enlist the great powers--principally Britain and later the United States--while dismissing indigenous claims to sovereignty; after all, Herzl argued, "the Arab problem paled in significance compared with the Jewish problem because the Arabs had vast spaces outside Palestine, whereas for the Jews, who were being persecuted in Europe, Palestine constituted the only possible haven." This policy later changed to a stance of confrontation against the admittedly hostile surrounding Arab powers, especially Syria, Jordan, and Egypt; this militant stance was a source of controversy in the international community, and it also divided Israelis into hawk and dove factions. The intransigence of those hawks, Shlaim shows, served to alienate Israel and made it possible for the Palestine Liberation Organization and other Arab nationalist groups to enlist the support of the great powers that Herzl had long before courted. Both sides, in turn, had eventually to face the "historic compromise" that led to the present peace in the Middle East--a peace that, the author suggests, may not endure. --Gregory McNamee

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