Saturday, October 22, 2011

Oreintal Rugs Buying Guide: How to Decorate Your Room with a Persian Rug

Traditionally, oriental rugs were thought of as expensive luxury items affordable only to a select few, but now area rugs have become affordable additions as common to homes as sofas and dining tables. No longer considered expensive accessory pieces, Persian design oriental rugs are now sold as part of the overall decor. Consumers who buy a new dining room or living room set will more than likely purchase oriental rug to complement their selections.

It is important to understand what factors most affect when purchasing an oriental area rug. However, hand-made Persian design oriental rugs have the unique ability to pull an entire room together by offering nothing more than a way to accentuate the furniture itself.

What every rug buyer should know

Oriental rugs can be an intimidating subject to discuss. There are literally thousands of books, brochures, and pamphlets on hand-woven oriental rugs design and construction, so building solid oriental rug knowledge is a life long undertaking. Fortunately every area rug falls into a general design category, a specific type of construction, and contains only a limited number of fibers. If you can develop a good understanding of these basic aspects you can confidently make a decision in purchasing a hand-made Persian design oriental rugs.

Color

Color can set the entire mood for a space and is usually the first criteria on any one's list when purchasing an oriental rug. Each shade sets a different tone and adds intensity to a space. For example, an area rug can open up and brighten a space by using lighter shades, or in contrast, darker shades close in a space and help create a more intimate atmosphere.
Additionally, people who may be looking for an area rug to compliment fabrics or wall treatments. For this customer; the color pallet is specific and may offer limitations; however, oriental rugs are offered in a diverse array of hues. The need for a broad coloration ranges is universally recognized, and hand-made oriental rugs offers a limitless color varieties. This unmatched capability ensures the right color match for any decor.

Designs

Over the past several years the floor covering industry has seen an impressive increase in the installations of hard surface flooring. The durability of these hard surface floors combined with the inexpensive costs of most hand-made oriental area rugs allow homeowners to change the decor of space much more often than in times past. Now, more than ever, design and style play a pivotal role in flooring decisions. Traditional, contemporary and everything in between.

With some of the most fashion forward rugs in the market, today there are designs to fit any lifestyle.

1) Traditional.

Traditional area rugs are typically modern day representations of time
honored European and Asian designs reminiscent of either oriental or
Persian motifs. It is also important to understand when it is referred to
traditional area oriental rugs with Persian designs that we are speaking
about that; the design. True Oriental and Persian rugs are all individually hand knotted of natural fibers made only in the Middle East and far East regions of the world and are priced accordingly.

Traditional designs are sometimes geometric using an allover pattern with lineal components. Traditional geometric patterns are very simplistic and unlike most traditional designs usually have no discernable flow. On the other hand, traditional; designs can be pictorial illustrating elements from nature or from life in general. Floral patterns are also very common traditional designs, utilizing a center medallion of an all over technique. Most floral designs will be framed with a border of some kind and are usually recognized as more Persian Rug than Orientals. Traditional floral designs are also typically considered more formal than most.

Modern day traditional designs rugs utilize color pallets that reflect modern day fashions; however, many still simulate authentic oriental Persian design motifs and utilize natural fibers that provide an antique reproduction appearance.

2) Contemporary.

At the other end of the design spectrum you will find the contemporary
classifications. When describing contemporary area rugs terms such as asymmetrical, architectural, and free form are common. Basically, contemporary designs are characterized by stark contrasts, bold use of color, and often geometric design elements.

One classification with the Contemporary genre is Modern. Modern designs tend to be more architectural in feeling. Many Art-Deco designs fall into this category. They utilize pure geometric design elements along with dazzling variation of primary colors such as blues, greens, and reds. Modern designs tend to be assertive and bold offering a strong statement to a decor. While on the other hand, Retro designs hearken back to styles that were first popular in the 60's and early 70's. They take advantage of the free form concept rarely having any rhyme or reason to the flow of the design.

3) Transitional.

In a nutshell, transitional designs are a blend of contemporary with traditional. Also, sometimes referred to as casual, they tend to be more popular with people looking for the elegance of a traditional design without the formality they often project. Transitional are the broadest classification of area rug design and often the most difficult to recognize simply because they can contain so many elements found in both traditional and contemporary area rugs.

However, most transitional designs are characterized through the use of open spaces containing a sparse assortment of design components; sometimes traditional and sometimes contemporary. You will often, but not always, find a border in transitional rugs allowing for a more traditional element to what would otherwise be a contemporary design. Floral and leaf patterns often fall into this classification.

4) Tribal.

Unlike transitional, tribal designs area rugs are probably the easiest classification of oriental rugs. They are characterized by those design elements common to a specific culture or ethnic group. They utilize earth tone colors such as yellow, gold, red, and brown. Tribal designs oriental rugs combine these elements in very exacting and structured designs offering their own interpretation. They lend themselves well to decor that take on specific themes, offering a way to tie the common elements of a particular space together.

Construction

The construction of oriental area rugs, though technical, is a key element in making decision when purchasing a rug. Many people who are looking to purchase an oriental rug are interested in the quality of the rug they are about to purchase. It is important not to become overwhelmed with these facts; however, explaining how a rug came to be and its role in the quality and design adds to the story of the rug and creates confidence in the product.

There is no need to know everything about each construction process but having a general understanding is imperative.

A) Hand-Knotting (or Hand-Weaving).

Hand-knotting is achieved when the craftsman ties of knots pile yarns around woven backing fibers (warp and weft). The resulting face of the rugs is then sheered to a pre-determined height to give the pile uniformity. In general the value of a hand-knotted rug depends on the number of knots per square inch. The more knots per square inch the more valuable the rug.

B) Hand-Tufted.

Hand-tufted rugs utilize a hand held tufting tool called, simply, a tufting gun. The craftsman will use the gun to fire pile yarns through a primary backing material known as a scrim. This process forms a looped pile. If these loops are left intact the rug is referred to as hand-hooked rug whereas if the loops are sheered off to create a cut pile look, you then have a hand-tufted rug. A secondary backing is then applied to the area rug securing the pile yarn in place and adding extra stability.

Of course, hand made oriental rugs take quite a bit more effort to produce and are made from natural fibers; therefor, they tend to be more valuable. However, the natural beauty and subtle imperfections that make each rug unique outweigh any increased expense.

Fiber

There are dozens of materials used in the construction of area rugs. All of which have unique characteristics that offer its own advantages.

1) Wool

Wool is noted for luxury and softness, wool has a high build and is available in many colors.

- Wool can absorb up to 1/3 of its weight in moisture through cuticle pores and has an ouster membrane that repels water. It can be stretched to 30% without breaking.

- Wool rugs have excellent resistance to compression due to the physical nature of wool fiber. It has a natural crimp with millions of coiled molecules, rather than the artificially induced waves found in man-made fibers.

2) Silk

Silk is used either on its own or in combination with wool. Silk is reasonably hard wearing but it lacks the springiness and suppleness of wool; consequently, silk tend to retain any creases or scuffing in the pile, and far greater care is needed to protect them damage.

Its physical beauty is unsurpassed and silk rugs are normally used as

decorative, rather than functional examples of textiles art, either as wall hangings, or floor covering in rooms that rarely see practical use. Silk is also used as a foundation material; it is extremely strong, keep its shape, and can be spun into very fine strands; however, it is only used when exceptionally fine knotting is required.
Understanding basic design concepts is very helpful in selecting an oriental rug. A few basic principles in design coordination include:

Rugs create mood.

Rugs more specifically their shades, add intensity and relevance to a space. For example, an area rug can open up and brighten a space by using lighter shades or in contrast, darker shades close it in and make it more intimate.

Never try to match the main fabric color. Find a rug that uses its main color the same family of colors found in the swatch you are coordinating. For example, it would be impossible to match the exact red found in a pillow. Rather look to see what second or third colors are used in the pillow and match families of colors not specific colors.

Another factor you certainly want to consider is size. From small scatter rugs to palatial carpets, both the actual room size and specific decorating scheme are critical in determining the size of the rug best suited to your needs. Dining room rugs need to be sized for placement of the chairs and the table as well as for the absolute measurements of the room. Take into account how much of the pattern will be hidden or obscured under the table. Obviously a center medallion design would not be the ideal choice for this purpose.

Living rooms can have a wide array of layouts and elements. Sofas, chairs, occasional tables, and lighting fixtures can be arranged in a single unified configuration or in separate seating or "conversation" areas. In either case your rugs should play a key role in focusing and enhancing the placement of your other furnishings. In effect, they should function as the "foundation" of your design plan for any area in which they are used. The possibilities of decorating with rugs are endless, and with the Persian design oriental rug collection from the rug weaving capitals of the world, you can be assured of the very best in colors, design from Bijan, and quality for every room in your home.

Traffic makes a difference. One critical element in selecting and area rug that is commonly overlooked is traffic. Understanding how much traffic an area rug will be subjected to is not only important in selecting an appropriate design that can hide dirt but also in selecting a rug that can hold up its appearance.

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Thursday, October 20, 2011

How To Dress Up Your Old Chandelier

If you have an older chandelier that you need to dress up there are many ways to do it without having to spend a fortune.

If your chandelier is old and worn looking, trying adding some paint to finish it up in a brand new color. If your looking for that "shabby chic style" look - try a soft pink, white, ivory or blue. You may have to sand it first for the paint to be able to hold, and you may have to use more than a couple of coats. After the paint has dried, you may want to sand the edges a bit to give it a sort of "vintage" look. If you want to restore it's original appearance, there are many finishes you can match with your existing chandelier metals at your local hardware store. Try adding some beads and drop crystals for an elegant appearance. You can find many crystals in unique colors such as pink, green, blue, lavender, amethyst and many other shades.

Chandelier shades are becoming a new trend. There are many different varieties of chandelier shades out there to choose from: plain, beaded trim, embroidered, roses and many more. These shades usually come with an easily attachable bottom that can be clipped onto the candelabras of the chandelier.

Are you tired of looking at that boring chandelier chain? Try a slip on chain cover. These chain covers come in materials such as cotton or satin and are long enough to be slipped over your chain to give it an elegant touch.

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Wednesday, October 19, 2011

How to Incorporate a Coastal Interior Design Theme

Fabrics

Striped patterns are a distinctive attribute found in coastal decorating. Thin stripes or thick, multi-colored monochrome furnishings, upholstery, bedding, and pillows in the coastal theme are all probable contenders for materials using this pattern. While stripes are attractive, in order to keep them from overpowering a room, solid fabrics should be integrated into the furnishings as well.

Solid fabrics in colors ranging from dark and light blues to neutral beiges and ivories are great colors to begin with. Another fantastic decorative item to consider including is metal wall art in ocean-esque colors. Laser cut metal wall art or cold rolled steel wall art can bring an amazing spectrum of color to any room.

One simple method to get your furniture looking beachier, without actually having to purchase an entirely new couch, loveseat, recliner, etc. is to use slipcovers. Bigger items such as the couch and arm chair can be reasonably veiled under slipcovers, which have numerous advantages, such as their ability to be easily cleaned, the option to change them out to match particular occasions or seasons, the furniture will be kept safe from spills and wear and tear, and finally, if the covered furnishings have become aged or damaged, no one will be the wiser.

Windows are characteristically lightly covered, particularly if you happen to have a view of the sea. Rather than cover the windows up completely, consider drop down linen or bamboo blinds, Venetian blinds, or plantation shutters, all of which have the ability to be tucked up or away to wholly let the surroundings inside. Lastly, carpet, floor, or tile covering mats made of sea grass and palm thatch will naturally fit into the coastal or beach theme, and are particularly functional as they are simple to preserve and do a superior job of keeping sand isolated to the doorway and entrance areas.

Plants

Big, flourishing plants that are reminiscent of the seashore are a vital element to coastal-themed home decor and with numerous types to pick from; these plants will add life, color, and a certain appeal to a coastal themed room or home. The neighboring nursery as well as online plant vendors will be able to help you choose which plants to include and where they are typically grown in order to be geographically accurate. Keep the following suggestions in mind as you are perusing plants:

o Banana plants
o Mini palm trees
o Golden Pothos o Heart Leaf Philodendron
o Bougainvillea
o Striped Dracaena
o Orchids
o Plumeria
o Bromeliads

Accessories

Organic resources found from in and around the ocean is the best place to begin when decorating your home. Extra allusions to nautical life such as boating, fishing, and sunbathing will be an ideal starting point. There are countless different laser cut metal gifts and metal wall décor you can purchase that have beachy looks to them. The following will give you some ideas on what kind of items you could consider using to incorporate a coastal atmosphere in any room:

o Brass or copper lanterns or items reminiscent of sea life
o Weathered, battered looking nautical equipment, such as anchors, a ship wheel, compasses, brass bells, or a barometer
o An antique looking brass or copper telescope
o Replicas of boats and artwork of ships navigating through rough waters
o Decorative items depicting fisherman, sailboats, and images of lighthouses or piers, including lanterns, clocks, collectibles, dishware, and paintings
o Big, green potted plants or miniature trees
o Coral, seashells, rocks, pebbles, sand dollars, starfish, and driftwood exhibited in clear or blue tinted jars, in decorative bowls or baskets, or simply as standalone objects
o Driftwood furnishings, artistic items, frames, and lamps
o Ocean inspired laser cut gifts, metal wall art, or metal gifts
o Neutral and blue colored candles and oil lamps with seashell and/or sea life depictions
o Fish tanks or fish bowls with unique or exotic looking fish
o Straw baskets to hold beach towels, books or magazines, seashells and starfish, or potted plants and flowers
o Seagull, crane, and pelican statues or figurines

Lighting

The diverse nature of coastal decorating truly enables the decorator to climb an imaginative ladder and follow any decorative path they like. Interesting options include wrought-iron lanterns or chandeliers, ocean-scented, blue and white pillar candles with holders, hurricane lamps, and wicker or rattan lamp shades. Keep a special eye out for lighting that portrays themes such as palm trees, sand dollars, seashells, star fish, exotic fish, lighthouses, ocean piers, sailboats, fishing equipment, and general nautical accessories. Lighting can be rustic, with driftwood and wrought iron, or go with a more modern route with large, neutral colored chandeliers.

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Tuesday, October 18, 2011

How to Make You Own Chandelier

Budget DIY has become more popular in recent times and homeowners across the UK have started to make their own features to include in their homes. Some people would say that making your own features is tacky, however if done correctly and with some style it can be an affordable way to create a unique feature for your home. This article is going to focus on making your own original light feature for your house, in particular making your own chandelier.

The first step to making your own chandelier is to decide what design you want to go for. Do you want a modern chrome chandelier for your dining room or a pink chandelier for your daughter's room? There are so many different materials and styles that can be used when making chandeliers and you should think thoroughly about what will best suit the room in which it will be hanging.

The next step in creating you own chandelier to go out and buy the appropriate materials. The best places to look are your local DIY stores such as B&Q and your local craft shops. You will need to find appropriate materials for the main components of the light feature. For the arms of the chandelier PVC piping is a great option, it is lightweight, can be formed and once coated is easy to apply paint to. You will need adhesive to join all of the arms to each other or the shaft of the fixture. A great adhesive to use is plumber's putty which can be found in most DIY shops. The final parts needed to make the chandelier are the parts that are needed for it to be functional and to make it truly unique, the bulbs, the sockets, wires and all of the accessories you wish to add.

Now comes the difficult part, the assembly of the fixture. Only you can know how exactly you want the chandelier to look and therefore it is hard to give exact advice about how to construct it. To help you along here are a few tips which will make the process easier. The first tip and thing that people often forget about is to ensure you do not join the arms together before threading the wire through each arm and connect it all up, it's much harder or sometimes even impossible to do once the main body of the chandelier is assembled. The next tip is not to over complicate the design; you may find that your original design was way too complicated, in this case just try to minimize unnecessary features. The final tip is not to have too many lights on the chandelier and not to make the feature too large. Too many lights can make the electrical work complicated and on an overly large feature any small mistakes you make will be more noticeable and you run the risk of the feature looking tacky or cheap.

So there you have it the simple guide to making your own chandelier. Remember keep it simple, make it appropriate to its environment and most of all have fun.

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Monday, October 17, 2011

Make Your Home Shine With A Crystal Chandelier

Crystal chandeliers are usually large and ornately-designed lighting fixtures, and these are most often the centerpiece of a large room.

Since these fixtures can be very expensive, no matter what their styles, it's important to choose one that properly accents your home. Crystal Chandeliers make for an elegant and appealing lighting piece at home. These chandeliers truly light up a dining or living room with their glow.

As in the past, crystal chandeliers were exclusively used for the decoration of the very wealthy; however today, it has become more common for crystal chandeliers to be seen and utilized in the decoration of ordinary homes, as well as in upscale hotels and restaurants.

Crystal chandeliers are valued for the warm light they give off and the sparkle they add to every room. Crystal chandeliers today come in varied sizes and styles, and regardless of the kind of space you are looking to light up, you are sure to find a crystal chandelier that suits your needs.

A Chandelier Is More Than Just A Lighting Fixture

It's worthwhile to note that a chandelier is more of a room decor than a functional lighting fixture. An ordinary lighting fixture doesn't need a thousand light bulbs just because the room is wide or very cavernous; let other lighting in the room complement or add to a more restrained chandelier.

Carefully Choose One That Complements Your Living Or Dining Room

In getting the appropriate chandelier for your home, choose a fixture that can hang at the correct height when a table will be centered beneath it. Remember to consider both the chandelier and the room you're lighting.

If the crystal lighting fixture has bare bulbs, it will probably need to be hung high enough to avoid glare. If ever you have an 8-foot ceiling, you would want to avoid hanging a chandelier too high, or else it will look sawed off and stunted. Choose a chandelier that blends well or complements with the mood and style of the other furnishings in the room.

Take note of the type of wall sconces, furniture, wallpaper, window treatments and other accessories in the room. If an elaborate, large chandelier would stick out in the room, consider something more muted so that the chandelier can be seen for its beauty rather than its girth.

A Chandelier Is A Proven Dust Magnet

Chandelier owners should take note that these types of lighting fixtures are potential dust magnets, and would sometimes need to be carefully cleaned. Verify potential purchases for ease of cleaning and always bear in mind that simpler designs are generally easier to clean.

Tips To Avoid Glare

Avoid dealing with glare issues by buying a chandelier that is outfitted with tiny shades, or mini-shades, or try adding tiny shades to bare candle-type lighting.

Stick With Classic Designs

Always try, whenever applicable, to stick with the classic looks. Take note that a colored chandelier will become dated in another 5-10 years. Match the chandelier to the room and the mood you want rather than with the times. In addition, check on whether a potential purchase uses specialty bulbs or standard bulbs. Specialty bulbs may be a bit hard to find and could be quite expensive.

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Sunday, October 16, 2011

Chandelier Shades - The Basics

Chandelier shades are a simple way to update a lighting fixture or to create a new look for a room in your home. Choosing a new shade design is an easy way to make a dramatic impact in any room you want. They add beauty to your light fixtures while at the same time casting a softer glow in the room.

Options range from fancy beaded chandelier shades to a more neutral look of natural linen. You can dress a room up, or down, depending on the occasion, with just a change of a shade. Shades come in various styles such as beaded, silk embroidered shades, woven, metal, faux leather, pleated, Victorian, paper, cotton, ruffled light shades, and floral patterned shades. They usually come with an easily attachable bottom that can be clipped onto the appropriate parts of the chandelier.

One advantage of chandelier shades are the dazzling array of moods and designs that can be created just by changing the shades. It's a relief to know that there is no need to dismantle the entire chandelier frame to do this. The lampshade can also be in different colors, so instead of just a clear light you can have a diffuse tinted glow.

Harmony is a key to a beautiful lamp; the lamp base and shade should compliment each other. The shape of the shade should follow the contour of the fixture. For example, a more square-shaped lighting fixture should have shades with straight lines.

Style is really a matter of personal taste. Of course you would want to match an elegant light fixture with an elegant shade. If one has a very decorative lamp that looks just fine with a more plain shade, then certainly you may use it.

Light shades might have traditionally been white or off-white just to let plenty of light through. If you feel a shade is a bit plain, consider keeping the style but getting a different color. Colored chandelier shades can play a role in making the décor of a room. You can even match colored shades with the walls in a room. Whatever your taste might be, don't be afraid to put a little color on your fixtures - after all you might love it.

One very important thing to always keep in mind when shopping for these shades - pay attention to the maximum wattage allowed and the way that the shade attaches to a fixture because certain ones are manufactured to only accommodate certain shade styles.

No matter what your style is, different sizes, shapes, and colors offers something for every design theme; from very modern to rustic. Have fun with your decorating.

To read more about interior design ideas and lighting fixture ideas, visit the author's website at Hanging Lamps

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Saturday, October 15, 2011

Vintage Chandeliers

A chandelier is undoubtedly an indulgence that can be seen used through history. Museums all over the world showcase exquisite pieces of intricately made chandeliers used by royalty. So, when in today's times one opts to give his home decor a vintage touch, it is the thought of a chandelier that first enters the mind. But then just any chandelier will not add a vintage touch to your home. The chandelier itself has to bear a distinctly vintage visage.

The best place to look would be antique shops. Spread the word that you are on the lookout for a vintage chandelier and if you are lucky, someone you know may have an unused one in their attic. As to why it is in the attic and not hanging in the living room, there is just one answer- tastes differ.

Vintage chandeliers are generally ornate pieces with intricate carvings. Candle chandeliers are a good bet as they have an antique feel to them. But they might not be a practical acquisition unless they have been modified to accommodate electrical fittings. Other materials that vintage chandeliers are made of are crystal, wrought iron, brass or antlers. Do remember that vintage chandeliers are rarely, if ever, shiny in appearance.

If you do not find a suitable piece of vintage chandelier on the market you have another way of procuring it. Buy a wrought-iron or a brass type of chandelier and work upon it to age it. This is possible by the application of an antiquing glaze on the chandelier. This process will impart a suitable authentic antique feel to your brand new chandelier. When the glaze is still wet, rubbing the metal with a soft cloth gives the metal a worn out look, and, your vintage chandelier is ready.

Take care to alter the decor of the surroundings also in a suitable manner. The vintage look must be enhanced by a vintage ambiance.

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Thursday, October 13, 2011

Crystal Chandeliers

Chandeliers, however opulent a look they might sport, are basically fragile objects that require a favorable environment to flourish. The environment in this context is the overall décor of the room in which the chandelier is going to be housed.

The importance of décor is all the more critical in the case of crystal chandeliers, which may be five armed or three armed, candle lit or with little glow bulbs. A crystal chandelier can come in different sizes. It may be ornamental or a no-frills affair. Whatever its look is, understated or overboard, a crystal chandelier doesn't blend in with all kinds of rooms.

For instance, a crystal chandelier looks out of place in a ranch house, complete with rustic furniture. Similarly, a candle chandelier made of crystal, with a soft, romantic and archaic look to it, strikes a discordant note amidst futuristic furniture in bold, striking colors.

Large, ornate crystal chandeliers look best in a classically furnished room. The furniture should be elegant and plush. In fact, Louis XVI décor, with its emphasis on intricate carving, tapestries and massive pieces would be just fine. Chandeliers that are smaller in size but intricately carved also work well with Louis XV furniture, which is all about small, dainty pieces. For modern rooms with clean-cut, sleek furniture, a simple no-fuss less ornamental crystal chandelier would be ideal.

A crystal chandelier requires elaborate maintenance. To retain its gloss and glitter, it needs to be taken down every once in awhile and cleaned thoroughly. As it is, chandeliers do tend to gather dust fairly quickly, and the more intricate the carving, the more the dust that seeps into the nooks and crevices. However, the cleaning doesn't require any chemicals; ordinary soapy water suffices.

The maintenance schedule may sound daunting, but owners vouch that a crystal chandelier lighted in all its glory is a mesmerizing sight indeed.

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Wednesday, October 12, 2011

When Your Crystal Chandelier Starts To Fade - Care Tips

Crystal chandeliers were used to be only seen in luxurious houses, hotels and other well known establishments. They were a symbol of power, status and wealth. But nowadays, crystal chandeliers can be commonly seen in ordinary houses. They have become more of a functional piece of decoration rather than a representation of something.

Just like any other item in a house, they also dust and fade. To be able to keep their functionality as well as their sparkle, you need to clean and take care of them every once in a while. The sparkle of a crystal chandelier will last for years if it is taken care of properly.

Taking Care of Your Chandelier: Preparation

You do not go to a battle without a plan nor do you go without ammunition. The same goes when taking care of your crystal chandelier. You need to be prepared with what you are going to do and what tools and items you are going to need.

The first step in preparing is to set the schedule for cleaning. It would also be best to have the process done during the day time so that you will have good lighting. But if this is not possible then you have to prepare another light source during the cleaning process since you won't be able to use them for a while.

Once you have the schedule, you need to prepare all the items that you need. One very important item is an alternative lighting source especially if you won't be able to work during the day time. Other items would include cleaning cloths, spray bottle, chandelier cleaning solution, plastic bags and a ladder.

With your arsenal complete, you are now ready to take care of your crystal chandelier.

Taking Care of Your Chandelier: The Cleaning Process

When doing this kind of work, never forget that safety is always first. So before anything else, you need to place a sign on the chandelier switch that it should not be switched on -- you just want to clean the chandelier and not fry yourself.

Now you have to assess the condition of your crystal chandelier. If you think that merely spraying the crystals will do the work then go ahead and do it. But if not then you may need to take another approach. If you are going with the spraying method, you need to cover all the light bulbs with plastic. After that, you can spray cleaning solution on the crystals and just let them drip. You should also be careful not to spray on any wires.

If spraying will not do the job you would have to take all the crystals and wash them by hands using the cleaning solution. Do not commit the same mistake as other people did when they put the crystals in the dishwasher. Once the crystals are dry you may remove the plastic from the light bulbs and using the cleaning cloths, wipe the non-crystal parts of the chandelier.

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Tuesday, October 11, 2011

How to Choose the Dimensions of a Chandelier

One of the key components in laying out a room is the choice of dimensions of the chandelier (or any other kind of light that hangs from the ceiling) when you are constructing or renovating the room. Luckily, there is a set of techniques on finding the right dimension for a chandelier that you may find attractive. Let us proceed with the selection.

In most cases, the width of the chandelier is the most important part of the dimension in choosing the perfect chandelier. When one speaks of the chandelier's width, it means its diameter - from one end to the other end that cuts across the space in the middle. In addition, the choice of the width would depend on the use of the fixtures in the room.

For example, when you are in a kitchen and require lighting on the kitchen island or table. First, you will have to measure the width of the table (or diameter if the table is round shaped). Second, deduct a foot from the diameter or width which should be the ideal width or diameter of the chandelier. When you are planning to light up any place in the house (a foyer for example). The first thing you should do is measure the room from one end to the other end. Then convert the figures to inches. This is ideal for the fixture.

Aside from the width, you should also consider the placing of the chandelier in terms of height from the ground. The ideal will depend on the effects that one requires and some common sense. For instance, if you are planning to set up a chandelier on your informal dining area with a low ceiling, installing a tall, multi-tier chandelier is definitely not proper.

Remember that a set up that is appears to be busy or complicated may seem larger. So, it is recommended that the width of the chandelier be reduced further. Though chandeliers appear with so many bulbs that shines, they are not adequate to provide the necessary light for the entire room. It is highly recommended to consider three layers of light (ambient, accent, and task) in order to keep the place illuminated.

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Monday, October 10, 2011

Properly Installing A Modern Chandelier For Your Home

Modern, elegantly-designed home chandeliers today have varied designs and formats, with each differing in their weights, styles and patterns.

These modern lighting fixtures also vary in the type of light that they produce and radiate. Most buyers of home décor pieces today have a tendency to view these lighting fixtures as only those opulent and very ornate fixtures that have been seen in the ballrooms of palaces or castles.

However technically, any ceiling-mounted lighting fixture that hangs from a chain or wire is referred to as a chandelier. As such, installing a new chandelier greatly differs from installing a standard ceiling-mounted lighting piece, since these fixtures are generally more heavier than the average lighting piece.

Chandeliers Greatly Enhance The Appearance of A Home's Rooms

A modern or contemporary chandelier installed in either the dining or living room or entrance, will surely make a huge improvement in your room's appearance, and for some it makes all that difference in the world. Some even meticulously plan the installation of one as an integral part of their overall home remodeling project.

Consider The Lighting Fixture's weight

Your new modern or contemporary chandelier's weight is a vital factor to consider, because you need to match this with your ceiling junction box. The junction box contains all the wiring connections in the ceiling, and it should be tough and dependable enough to fully bear the weight of your new fixture.

If your new chandelier has the same weight as the previous one, that is if you're replacing an old one, the previous junction box will most likely work just fine. However, if the new lighting fixture is truly much heavier, you need to replace the junction box with one that should appropriately support the new fixture's weight.

Properly Installing Your Home Chandelier

To begin the process of installing your elegant lighting fixture, first you need to turn off the power to the circuit on which you intend to work, to prevent electrocution. The next step is to replace the junction box Remember that you will need to replace the junction box only if you deem it to not be strong enough to carry the weight of your new fixture.

Once you have exactly determined its proper weight, you may now continue with the installation process, by threading your new junction box's hardware onto the mounting strap. You will have to install a mounting strap if you don't have one. You may either utilize the one that came with your new fixture's kit ,or you could buy a new one from a home improvement or lighting shop. You may also use the existing screw holes to secure the mounting strap into the junction box.

Correctly Wiring Your Lighting Fixture

You need to take note that you should wire in the new lighting fixture in the same manner as the old one came out. Correctly wiring the new modern lighting fixture may be as simple as connecting white wires with white ones, or black wires with black ones, however there may be times that it can prove to be quite tedious, as there could be several wires to connect.

Begin the wiring process by stringing wires through the last link on the chain, and then lay it properly through the support nut, collar nut and up through the lamp nipple, and lastly into the junction box itself.

Lastly, connect your wires by "tying in" to the home wiring using wire nuts, or plastic connectors. You will also need to "tie in," by properly splicing the black hot wire from the junction box with your wire nuts. After this, you should splice the white neutral wires, and carefully connect the ground wires to the green grounding screw in the junction box.

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Sunday, October 9, 2011

Crystal Chandelier's Shine is Crystal Clear

When pointing out facts that can be an ultimate to your home improvement the crystal chandelier doesn't come even close to the discussion. People have been quite have an option or at least have a thought that will get necessary significant upgrade to a home. People don't realize that it can have a lot of factors that most people are looking for. Crystal; chandelier being a valuable décor to a home can be an understatement. I think that this particular lighting fixture can be something that people have their eyes on, furthermore the common ground that modern home deserves an uplift is something most homeowners have been getting to their minds. I think that when it comes to modern home, the basis to it being a home of different and rich potential is something of a big factor.

Crystal chandelier can be related to a lot of types, there are a lot of kinds that these crystal chandeliers can give you. But it just means that it can be a big value and sometimes its presence alone can be a big factor in which people can use as leverage over the most part. Crystal chandeliers have different designs and style that we can all look forward to. It is not just one design that sometimes demands a lot to a home. Most of the best homes own at least one crystal chandelier that can be a big addition to a home, the importance of it has been carefully sought after that people can always fully understand the value of its presence.

Its mere impact alone demands a lot and that is one thing that I believe is it is a big addition to a home. It can be something that homeowners can always look into. Crystal chandeliers can demand big time in maintaining it but if I am in that position hiring someone who has some expertise on it can be a good idea too. It is because crystal chandelier can be a big responsibility but still a good thing to have in mind. It can be one of the best to have in a home but still maintains a certain impact and presence to a home. You must be informed that the facts that can be studied in crystal chandeliers can also be read in the internet wherein you search for a topic about and there you have it.

A great thing to note is that with its basic use to a home, crystal chandelier can be big as well. The elegance that this lighting fixture brings to a home is something incomparable in which sometimes an ultimate acquisition for a home. Be advised that modern home can be demanding at times but that is mainly because it serves as an important piece for your home décor. Kind of like your best bet to have. Crystal chandelier can draw a lot of attention but still maintain a certain amount of confidence especially when having it shine and glimmer in your loving room.

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Saturday, October 8, 2011

Crystal Chandelier Eye-Candy In Your Home

When you walk in to a home whether it's big or small you will always try to look for its surroundings what type of home is it or how does the owner use its décor or something in those lines. For me personally a home seems to be naked whenever they are missing a home centerpiece such as a chandelier. If one home boasts a high ceiling well for me it is fortunate because they can put a full size crystal chandelier in there to go with other decors. It is an eye catcher when you have an elegant piece of décor in your home. It is such a great thing to have a luxurious home mixed with elegance.

I do not agree having your wide ceiling being vacant and just leaving it unattended, if you have the financial flexibility and freedom, you can try to purchase a crystal chandelier that will fit in well in your ceiling. It is not a pre-requisite for a good home but rather a plus, a plus in many factors. Interior designing is significant to your home, like many others you want to have the best home possible and for that to be accomplished you may need to be more keen on getting the right chandelier for your home preferably crystal. It may not have to be expensive there are a lot of types of chandeliers out there in the market that are cheap yet elegant.

More or less you may find different designs and stature in which will help juice up the creativity in you. There are tons of crystal chandelier designs out there, there are modern designs, medieval designs, renaissance designs, classics, futuristic and even psychedelics, the options are unlimited, you will choose what fits your style of course, and not only your style but your home as well. It is important that you know your craft when it comes to you home, it is significant to have a theme for your home, so that everything will blend and will have an added bonus in style. Can't argue about how you can make your own style be seen. It is great to be stylish and creative just be sure it is in place.

Crystal chandeliers are always a sort of an eye candy that brings out the beauty of your home in just one-look, it is also important to maintain these precious home decors, it always have to be clean and presentable, always have time to manage them so that it won't be looking awful or dirty, remember it reflects you as a home owner, how beautiful your home is can be a basis of how well you maintain it.

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Thursday, October 6, 2011

Famous Chandeliers From Around The World

Elvis was so moved to bring a chandelier into his Graceland estate that he insisted on an impromptu late-night shopping spree at Memphis' Belvedere Lighting in 1974. While Elvis may have left the building, the breathtaking Italian cut glass chandelier now resides in the dining room.

The impressive wrought iron chandelier that hangs above the Grand Staircase in the Vanderbilt family's great Biltmore Estate requires 72 light bulbs.

The Winchester Mystery House in California, built by gun heiress Sarah Winchester to appease unhappy ghosts, contains an elegant, imported chandelier that originally contained 12 candles, but was refitted to hold the spirit-friendly number of 13.

The Blue Room, the White House's reception room, boasts a chandelier 79 feet by 36 feet, with 19-foot 10-inch ceilings. It takes one person two entire days to clean the monstrous chandelier, but as big as it is, the lighting fixture must also be removed every year to accommodate an even bigger Christmas tree.

Outside of private residences, however, one must either go to church or gamble at the card tables to find the largest chandelier. While the title for biggest chandelier isn't a clear winner, four of the world's top casinos and a Spanish mosque currently vie for the bragging rights. However, reports say a British shopping center under reconstruction will feature the largest chandelier after remodeling is completed by the beginning of 2007.

Pat Fillman, the owner of Horns a Plenty, made the world's largest antler chandelier. He displayed the chandelier in early 2005 wowing all that saw it. The chandelier is 10 feet in diameter, 12 feet tall, and is fixed with sixty-seven light sources. With a final weight of over 850 pounds, he estimates that it took the antlers of nearly 600 dear and elk to make the chandelier.

Perhaps the most famous chandelier of all belongs, not in a house, a casino or a church, but in the theatre. Andrew Lloyd Webber's well-known chandelier crash scene from Phantom of the Opera strikes desperation in the hearts of lighting buffs everywhere.

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Wednesday, October 5, 2011

Different Types of Chandelier Finishes

Obviously, there's no lighting source more brilliant in appeal than chandelier lighting. Due to their wonderful qualities and aesthetics, chandeliers have evolved as necessary fixtures added in many luxurious hotels, fine dining restaurants, up scale corporate offices as well as homes. They are available in abundant types and finishes, and combines sophisticated forms and functions to befit a wide array of settings. In many cases, modern chandeliers provide illumination with the use of standard electric light bulbs and even electric powered candles, but there are also old chandeliers that make use of gaslights and wax candles that are still used to date.

Among the myriads of chandelier lighting fixtures to choose from, crystal chandeliers remains as the most popular preference. These chandeliers are constructed from cut glass crystal pieces that gracefully hang on the arms of the fixture. Crystals reflects light easily and the lights they reflect often produce shimmering effects, which makes them all the more visibly entertaining. Crystal chandeliers were popularized by elite Europeans and wealthy Americans during 1920's and 1930's.

Bead-shell chandeliers are popular contemporary chandelier fixtures designed from beads and shells. The most common type of shell used for such chandelier pieces is the Capiz shell which is commonly referred to as mother-of-pearl shell. Bead-shell chandeliers often emit soft lights, which makes them more preferable to be used in fine dining restaurants. They are also commonly fixated near pictures and paintings to highlight these interior elements.

Murano glass chandeliers are contemporary chandelier fixtures that originated from Murano, Italy, which is regarded as the glass blowing capital of the world. These light fixtures denote a specific chandelier design that is often curvy and tubular in form, exclusively made from blown Murano glass. Because glass can be molded into several shapes, Murano chandeliers are often utilized with floral motifs and other complex figures, and usually comes in pastel hues. The use of different colors in these chandeliers allows them to emit unique and creative light effects.

On the other hand, antler chandeliers, as their name implies, are derived from the shed antlers of deer, elk or moose. These chandelier lighting fixtures are commonly used in western-style homes such as log cabins and ranch residences. You can establish a rustic appeal inside your living space just by hanging an antler chandelier on your ceiling. If you can't afford an authentic antler chandelier piece, you can opt for a faux antler chandelier that is made from plastic fibers, designed to look like original antlers.

Candle chandeliers made from metals such as brass, brushed nickel and wrought iron are elegant pieces that resonates the rich history of the past. Antique chandeliers made from metals used to hold candles instead of electric bulbs and have been in existence since the 1400's, though they were reinvented in differing finishes throughout the centuries. Antique metal candle chandeliers are among the most expensive lighting fixtures today, and may cost up to $60,000 because of their rarity and origin, making them collectible items. If you want to save energy and you have the right budget, you can always opt for an antique metal candle chandelier.

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Tuesday, October 4, 2011

How to Buy Your Crystal Chandelier Online

A crystal chandelier is a fine addition to your home. Aside from being a lighting fixture, it can also be used as a home décor that speaks of luxury and elegance that will improve the ambience of your family home.

You will see a lot of luxurious, rich homes nowadays having their own crystal chandeliers in the ballroom, hallway, or even their dining areas. If you think that this fixture is only for the rich and famous, then you are very wrong on this thought. You can have one for your own that will fit perfectly with your budget.

Online Purchase

Rather than going around on foot to visit furniture and lighting shops in your area, you can make use of the Internet to simplify your search for the right chandelier for your own home. In fact, the Internet offers a variety of products to choose from, as well as a means of comparing prices that will fit perfectly with your budget.

Window Shopping On The Internet

Avoid purchasing a crystal chandelier that you find on the first site that you visit. In fact, there are practically dozens of sites that sports assorted designs and styles of chandeliers, and each offers its own set of prices for it. You might want to window shop for a crystal chandelier design before you purchase one. It is very important that you exhaust all the possibilities of your search, while listing down the designs that suits your taste. Include the prices as well so that you can compare them out later on once you've completed your list.

Measurement Is Crucial

Also, you need to avoid purchasing a crystal chandelier without even planning in advance. First, you need to measure carefully the room where you plan to install your chandelier and purchasing one that will fit perfectly with its measurements.

If you purchase one too big, then you can be sure that you room's beauty will be very much affected. Such is the case; a crystal chandelier with the perfect size for your room will accentuate its comfort, lighting, and style to the benefit of everyone in the household.

When purchasing a crystal chandelier on the Internet, it is a sound advice that you avoid rushing with this home improvement project. Give it a little bit of time and look for as many ideas as you can on the various designs and styles of crystal chandeliers sold on the World Wide Web. Compare them out one-by-one and settle for one that stands way above the rest -- in terms of beauty and price.

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Monday, October 3, 2011

Look Rich and Famous Use Crystal Chandelier

Some may think those crystal chandeliers are only for rich houses, famous personalities, to some big mansions, and in a grand hall. Though you can see a lot of chandeliers on those places mentioned a while back, it is notion to almost everyone that this kind of light apparatus are only for rich and famous people who have a mansion.

But low and behold, a lot of household today had installed crystal chandeliers into their houses. For some reasons, it will truly gives elegance and beautiful light effect in a room. Convincingly even in a middle bracket of the society have an accent of this kind of life in their houses.

Usually you can see the standard of living of an individual into what kind and how they houses look like. But today you can hardly determine if a house was own by a rich or a famous person knowing that a crystal chandelier brightens the whole house.

No one has ever challenge the beauty of the lights that chandelier can bring in a house. The superiority of elegance and greatness will still be a trade mark of chandelier and no one has contested these. Knowing that crystal chandelier can beautify your home, you can actually try to have one in your house. You need to consider a lot of things; of course the first thing you need to consider is your pocket. As mention above that chandeliers are usually can be seen in some rich and famous house so obviously this will cost you a lot.

But don't loose hope there are chandeliers that you can try that will fit your budget. Consider the place where you want to place you chandelier; look for a place in your house where you have a high ceiling. Chandeliers are usually place on high ceiling approximately about thirty feet, but if you chandelier is small you can try it in a lower ceiling as long as you prevent it to head bumps and to some unnecessary accident inside your house.

Consider the light effect that it may give to you place; you can try to put a dimmer so that you can control the brightness of your chandelier. There are a lot of styles that you can choose from, you may want to have your own unique style, but the problem with this is that it may not look that way you want it to be. So better to choose the traditional way, its been tested for so many years, so even if years have past the beauty of a traditional style will last and will give you an ending brightness in your house.

But if you really want to go along with trends, you can choose different colors that are replaceable so that you can replace them in time that you want to make some changes. Decorate you crystal chandelier the way you want it and experiment on it on how it will give beauty in you house.

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Sunday, October 2, 2011

A Waterford Crystal Chandelier Adds Elegance to Your Home

Waterford crystal is famous for its quality and elegance and when combined with the beauty of a chandelier, the Waterford Crystal Chandelier is stunning indeed. Years and years of quality and craftsmanship go into any crystal that is named Waterford so you can be sure that any chandelier with the Waterford name attached to it is not only made of quality materials but will look stunning as well.

A Waterford crystal chandelier can cost thousands of dollars but that is because it is made from the finest crystal and is impeccably cut. Not surprisingly, these chandeliers are designed for formal or richly decorated areas, such as formal dining rooms, although chandeliers can be used in any room of the home.

Chandeliers produced by Waterford hang in famous buildings all over the world, such as Windsor Castle and the Kennedy Center. Waterford also produces the crystals in the New Year's Eve ball that is dropped in Times Square each year. Owning a Waterford chandelier is a symbol of status in addition to the luxury of the fixture itself.

A Waterford crystal chandelier is perfect for rooms with high ceilings as many of the designs are quite large. The crystals in these chandeliers are individually blown and etched by master craftsmen who have spent years in the business. In fact, it is a Waterford chandelier that graces the Noble Theater at the Oklahoma City Museum of Art. The chandelier weighs more than 2,000 pounds and is more than nine feet high and in excess of five feet in diameter. The museum purchased it as part of a collection and it adorns a ceiling that is twenty feet high.

There are several styles from which to choose when you adorn your home with a chandelier from Waterford. Imagine a crystal column with multiple crystal arms that hold shimmering crystal prisms and when it is designed by some of the world's finest craftsmen, the result is nothing less than breathtaking. While many crystal chandeliers are simply accented by crystal, the Waterford chandeliers feature crystal throughout.

When you want to make a bold statement or decorate your home with elegance you can't go wrong with a chandelier from Waterford. Even though it may be a status symbol to own one of the shimmering beauties, the important thing to remember is that you will be getting one of the finest quality chandeliers in the world. When you choose a Waterford crystal chandelier, you have a piece that is not only beautiful but that is made by only the finest craftsmen in the world.

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Saturday, October 1, 2011

Crystal Chandelier and Its Everlasting Light

Elegance, class and style this what we usually describe a home that is fully furnish with decorations and expensive accessories. But most of these homes that really look elegant are those houses that have a crystal chandelier displayed at the center of their home.

Usually rich and famous personalities do have crystal chandelier in their home and this adds up on their reputation as an artist. Of course if you are a well known person you should have a place that is presentable so your critics will have a good impression on them.

There are lots of ways to look fashionable and stylish, you can be a person who always wants to have new clothes to be in a trend, we all know that fashion usually start with clothing but when we are speaking of homes, there are lots of things to consider. But these decorations are for everlasting look of your home. Unlike with clothes you will be only using them once in a while. Home decoration is usually a long term trend it may take years for a new one to come up. But with crystal chandelier, from the day that it was used the style and fashion that it gives on a home has been an ending trend.

Though crystal chandelier is expensive, the price will really worth it because the prestigious look that it can bring to your home is everlasting. Crystal chandelier are usually located on high ceiling, as seen on TV of those mansions most of this chandelier are located on a living room. Living room is the best place to have a chandelier, because it is huge it can be easily noticed by your guest and the effect of light that it brings is really amazing.

If you want to have a crystal chandelier in your home, you should prepare things first before deciding to get one. Make sure that you have a high ceiling and wide living room. Also, you need to know that it is not easy to install chandelier. You must clear everything under the ceiling where you will put it to avoid some accidents. Make sure you have a tough ceiling, it is better to have a concrete ceiling to hold the chandelier tight. You can ask expert to install it for you, because if you will do it on your own, I doubt it you will be having hard time installing the chandelier.

After installing your crystal chandelier, you need to remove those extra lights in your living room, because most of these chandeliers are too bright to give light in an average area of a room. Or if you will use your chandelier occasionally, you may need to install some extra lights on the corners of your living room for those times that you wouldn't use your crystal chandelier.

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Thursday, September 22, 2011

Black Chandelier - A Modern and Exquisite Light Fixture

A black chandelier is the perfect addition to any room in the house. It adds a touch of class that goes beyond most simple homes and can be a real conversation piece. It is rare to see a black chandelier which sparks a great interest when it comes down to it.

What is a Chandelier?

A chandelier is a lighting fixture that hangs from the ceiling. They have multiple arms that have lights in them. The first time they were ever used was in churches. They were a lot more basic and were formed like a wooden cross. This chandelier had spikes that secured it. After they caught on, they began being used for not only lighting but for aesthetic purposes. Chandeliers became a status sign for the wealthy. These became most popular during 17th century England. The artisans that made the chandeliers soon started adding lead and it provided a certain kind of clarity and sparkle to the glass.

Thanks to the clarity and sparkle, light reflects through the glass and there is beautifully dramatic rainbow showing in the room it is placed in. This is part of its allure and popularity. At one point down the line instead of just using crystals someone invented crystalline glass which made it easier for even the not so rich to buy chandeliers.

When it comes to finding the perfect black chandelier there are so many choices! There are simple ones and super intricate and extended pieces that tend to cost a bit more. Either way, it does add some magic to a dining room or a living room. If you have a smaller space to put it in, putting a large chandelier would be gaudy and look overbearing. Finding the right size chandelier is key to adding a touch of class without overdoing it. Chandeliers are no longer just for the rich and famous, we can all put one in and it will provide the perfect amount of light to any room. To reiterate, size is very much so important. Do not put a giant sized chandelier in say your bathroom or your bedroom. It is perfectly acceptable today to use a chandelier in those rooms but over doing it will just look tacky.

There is actually an equation when it comes to finding the perfect sized chandelier. You are to add the height and width of the room it is to be in and then the chandelier should be that size converted in inches. Also, it is important that the chandelier is thirty to thirty two inches above the table top.

A black chandelier can be the perfect lighting option for many rooms as long as it is done right.

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Wednesday, September 21, 2011

Discontinued Tile: Remodeling with Discontinued Ceramic Tile

Using discontinued ceramic tile is a wonderful way to remodel your home while saving a great deal of money. Most businesses will sell discontinued ceramic tile at a great discount and this offers many benefits to the consumer. You can use the tile to remodel your floors, or tile a wall, just make sure that the discontinued ceramic tile is strong enough to handle the use you've purposed for it. You should also make sure that you purchase enough of the tile at first, to protect yourself from running out of tile before completing your project.

Cleaning and Discontinued Ceramic Tile

Most ceramic tile requires little more than soapy water to clean it. However, if your discontinued ceramic tile is specially glazed, be sure to find out what cleaning products were recommended to use with your tile. You may also want to write down the name of the manufacturer and contact them as soon as you purchase the tile with any questions that you have. If you contact them in the future, they may no longer have readily available answers for you.

Looking for Discontinued Ceramic Tile

You may be lucky enough to just "happen upon" discontinued ceramic tile that is perfect for your project while visiting your local homebuilder supply store. If not, and you are set on purchasing this tile for the reason of savings, then you can turn your search to the Internet and look for discontinued ceramic tile from various dealers online. This is a great way to view samples of tiles before you view and will allow you to have many options to choose from. By browsing the Internet you can save time, money, and gas. Plus you have the ability to shop from many more stores than you could tackle in person. By choosing discontinued ceramic tile, you can create the project of your dreams and maintain your budget as well. This is a wonderful benefit for both you and the supplier. Remember, for the best assistance, you should ask any questions that you may have regarding the ceramic tile at the time of the sale.

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Tuesday, September 20, 2011

Wrought Iron Kitchen

Are you looking for a new kitchen style, but you're not sure where to turn? Consider looking at wrought iron kitchen décor items and functional items to give you some great ideas.

Wrought iron kitchen items are available for many different decorating tastes. This makes looking at various wrought iron kitchen products a good starting place for designing your new kitchen. The various styles portrayed by wrought iron include rustic, contemporary, and traditional.

A rustic wrought iron kitchen comes to life with a bulky, oversized pot rack as the centerpiece accented by cast iron cookware. Add a nice rustic touch to your kitchen cabinets with the help of wrought iron hardware shaped into symbols of nature - tree knobs and pulls, leaf and branch drawer handles.

For a contemporary kitchen style, add a sleek wrought iron chandelier to light your breakfast nook area. Use simple round or square knobs on cabinet doors and drawers to accent them with a clean and simple new look.

Kitchens with traditional style can also be created with the help of wrought iron. Adding an elegant Victorian style wrought iron and crystal chandelier makes a nice focal point for a traditional kitchen. Many simple accents also enhance the look including a wrought iron napkin holder, paper towel holder, spice rack, and utensil holder.

A wrought iron kitchen can enhance the look of your entire home, regardless of the style you want to achieve. With the various wrought iron kitchen items available, decorating with rustic, contemporary, or traditional style just got easier.

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Sunday, September 18, 2011

A Transatlantic Crossing With the Queen Mary 2 - Part 1

Day One:

Driving up to the Port of Southampton's Mayflower Terminal and catching first glimpse of the white-and-black hulled Queen Mary 2, the largest, longest, tallest, heaviest, and most expensive ship ever built, evoked considerable excitement and awe. Docked to port at a 50-degree, 54.25' north latitude and 001-degree, 25.70' west longitude and facing a 116.4-degree compass heading, the 17-decked leviathan, with a 1,132-foot length and 148-foot width, featured a gross weight of 151,400 tons and towered above the buildings with its balcony-lined façade, eclipsing it with its 236.2-foot height. Its draft extended 33.10 feet beneath the water line. The floating metropolis, complete with its staterooms, restaurants, shopping arcades, libraries, theaters, and planetariums, would bridge, in six days, the European and North American continents, the equivalent in hours to the duration of the aerial crossing by 747-400, itself then the world's largest commercial airliner. But the oceanic crossing would yield civility, refinement, rejuvenation, emotional repair, and return to the slower, but more elegant era of steam ship travel-a journey, I would soon find out, would lead to a search for the maritime history of the past which had created the technology of the present.

Unlike the proliferation of modern cruise ships with their comparatively lower speeds and greater-volume, square-geometry hulls, the Queen Mary 2 had been designed as a next-generation successor to the 35-year-old Queen Elizabeth 2 and, as such, would have to offer the same year-round, passenger-carrying capabilities, predominately in the rough North Atlantic, with a design which sacrificed revenue-producing volume and lower construction costs of the traditional cruise ship for the required safety, speed, and stability of the ocean liner. Resultantly, it featured the same v-shaped hull configuration characteristic of the long line of its Cunard predecessors, constructed of thicker steel which carried a 40-percent greater cost than those of conventional cruise ships. Designed by Stephen Payne, whose inspirations for the bow had come from the Queen Elizabeth 2 and the brake wall from the Normandie, it was the first quadruple-screw North Atlantic ocean liner since the France of 1962. Payne himself, a naval architect born and raised in London, had been involved with the Carnival Holiday, Carnival Fantasy, and Rotterdam VI projects. The latter, incorporating a modified Statendam hull, had featured a less "boxy" hull shape than the traditional cruise ship, but had still been considerably removed a full liner design.

Intended for the primary Southampton-New York route, it incorporated dimensional restrictions dictated by the United States port, including a funnel height which cleared the Verrazano-Narrows Bridge by only ten feet and an overall length which exceeded the 1,100-foot pier of the Port of New York by 34 feet.

Constructed by Alstom Chantiers de l'Atlantique in St. Nazaire, France, which had also built the Normandie, and designated hull G32 by the shipyard, it had been the first Cunard liner ever constructed outside of the United Kingdom and, like Concorde, the world's fastest and hitherto only supersonic airliner, became the second British-French collaborative transportation project intended for trans-Atlantic service, although via vastly different, if not opposite, modes.

Its interior offered unparalleled space and comfort. Of the 17 decks, the first four were for machinery, storage, and the 1,254-strong crew; 13 were for the 2,620 passengers; and eight contained balcony staterooms. Notable features included a Grand Lobby, the Royal Court Theatre, the Illuminations Theatre and Planetarium, the ConneXions Internet Center, the Queen's Ballroom, a Winter Garden, nine major restaurants, 11 bars and lounges, an 8,000-volume library and bookstore, an Oxford University lecture program, performances by the Royal Academy of Dramatic Art, five swimming pools, sports venues, a Canyon Ranch Spa, a pavilion of shops, and a discotheque. These appointments would constitute my "home" for the next six days.

Symbolically reflected by its smaller QE2 predecessor berthed a considerable distance from its bow at the Queen Elizabeth 2 Terminal, the Queen Mary 2 represented a two-fold gross weight increase over its earlier-generation counterpart and, indeed, traced its lineage back to a long path of Cunard vessels which had spanned a 165-year period. I somehow sensed that the imminent crossing would not only be a journey of distance, but a return in time.

Gently vibrating at its spine, the behemoth laterally separated itself beneath from its berth below the metallic overcast at 1810, local time.

Unlike the conventional engine-propeller shaft technology of older-generation ships, the Queen Mary 2 was powered instead by four aft, hull underside-mounted Rolls Royce Mermaid electric-motor pods, each weighing 260 tons and containing four fixed-pitch, 9,900-pound, stainless steel blades, and collectively producing 115,328 horsepower. The forward, outboard pair was fixed and provided forward and astern propulsion, while the aft, inboard pair featured 360-degree azimuth capability and provided both propulsion and steering, obviating the need for the rudder. The advanced-technology system reduced both complexity and weight and increased internal hull volume by eliminating the traditional engine configuration's associated equipment.

Three Rolls Royce variable-pitch, transverse-propeller bow thrusters, collectively producing 15,000 horsepower, provided port and starboard bow maneuvering capability at speeds of up to five knots. At eight knots, when their effectiveness had been exceeded, they were covered by 90-degree rotating, fluid-dynamic doors.

Led by dual water-sprout shooting tugboats, the behemoth oceanliner commenced its lumbering movement down the basin. Maintaining an 11.5-knot forward speed in the Solent, it commenced its starboard turn from 140 degrees at Calshots Reach at 1907, poised for the similar maneuver at Brambles.

Compressed into dark gray, the sun projected its glowing orange streaks outward through the thin, unobstructed strip on the western horizon. Assuming a 220-degree heading through the Thorn Channel, the Queen Mary 2 initiated its starboard turn to round the Isle of Wight.

The first dinner on board the elegant, maritime engineering triumph had been served in the 1,351-seat, three-story-high, dual-level Britannia Restaurant which had featured a grand, sweeping staircase, column supports, and a vaulted, back-lit, stained glass ceiling and was reminiscent of and inspired by the grand dining room salons of the 20th century French liners such as the Ile-de-France, the L'Atlantique, and the Normandie. The meal itself, served on Wedgwood bone china and in Waterford crystal, had included white zinfandel wine; cream of mixed mushroom soup with parmesan croutons; crusty rolls and butter; oak leaf and Boston salad with shaved carrots and sherry vinaigrette dressing; rack of pork with wild mushroom ragout, truffle mashed potatoes, morel sauce, and sauerkraut; warm apple strudel with brandy sauce; and coffee.

The thin line of orange lights outlining the coast traced itself behind the stern. Maintaining a 27-knot speed and a 250-degree heading, the rock-steady, 151,000-ton engineering mass plied the black channel and commenced its great circle course, from Bishop's Rock in the Scilly Isles. Ahead lay the infinite Atlantic-and the path forged by every one of Cunard's previous transatlantic liners. Tomorrow, I would begin tracing the historical one.

Day Two:

Dawn greeted the lengthy liner as a tunnel of indistinguishable, moist gray. Encased between the morose cloud dome above and the navy sea slate below, which spat periodic white caps, the black-and-red funneled vessel penetrated the moisture-saturated morning, the rain-emitting sky and the swirling, eddying sea merging into seamless, wind-blustery, ship-bombarded drench.

Any undesired movement, however, was quickly, and invisibly, dampened by the two pairs of 15.63-square-meter Brown Bros/Rolls Royce fin stabilizers which were controlled by gyroscopic vertical reference instruments and extended as far as 15 feet from the hull to counteract ship roll.

Plunging into 348-meter-deep waters 98 nautical miles off of Ireland at noon, the Queen Mary 2 had traversed 418 miles since its departure from Southampton yesterday.

Current weather entailed intermittent, light rain with a clockwise movement to the west, predicted to drop to force 4. The present force-5, fresh breeze out of the south, coupled with an 11.2-degree Celsius air temperature, carried a 994-millibar pressure. The sea, with a moderate 4 state, maintained a 10-degree Celsius temperature.

Afternoon tea, held in the Queen's Room, had been a British tradition and a delightful intermittence between lunch and dinner served on every Cunard crossing, the last personal one of which had been the 2002 eastbound journey on the Queen Elizabeth 2. The Queen's Room itself, the largest ballroom at sea, featured an arched ceiling, twin crystal chandeliers, a velvet blue and gold curtain over the orchestra stage, a 1,225-square-foot dance floor, a live harpist, and small, round tables seating up to 562. Today's presentation included egg, ham and cheese, cucumber, tomato, beef, and seafood finger-sandwiches, scones with clotted cream and jam, and strawberry cream tarts.

Afternoon tea at sea could trace its lineage back some 165 years. Einstein's theory of relativity somehow seemed to apply. Suspended between continent, landmass, and population, the ship seemed caught within a void, an arrested warp in which history seemed captured and in which the vessel reconnected with its past, as it once again replayed it, a separation from the present on land and an approach to its past on the sea. It was to this suspension of time, distance, and place that the threads of Cunard's past indeed led. One man, who had lived some 200 years ago, had made the journey of today possible.

The name of that man, of course, had been the same as that which had graced a long line of ever-advancing Atlantic ocean liners, Samuel Cunard. Born on November 21, 1787 in Halifax, Nova Scotia, as the son of Abraham Cunard, himself a carpenter at Halifax's Royal Naval Dockyard, he had forged a maritime link upon physical entry into the world. His initial venture had entailed a Royal Mail contract award to transport mail over the Boston-Halifax-St. John's route after cessation of the War of 1812 between Great Britain and the United States, while he later became involved with the first steam-powered vessel project intended for Atlantic crossings. Named the Royal William, the 160-foot-long, 1,370-ton ship had been inaugurated into service in August of 1931 between Quebec and Halifax, requiring 6.5 days for the journey.

The venture which had sparked his ultimate fame, however, occurred at the end of the decade when the British government had announced its intention to subsidize steam-powered mail service between England and the United States. In a formal proposal to fulfill the requirement, submitted on February 11, 1839, Cunard outlined a bimonthly, steam-powered service between England and Halifax operated by 300-hp ships making 48 annual crossings. Awarded a contract by the Admiralty in June for four 206-foot-long, 400-hp, 1,120-ton vessels ultimately to be designated the Acadia, the Caledonia, the Columbia, and the Britannia, he finalized plans to serve the Liverpool-Halifax-Boston route.

The latter ship, the Britannia, had actually been the first to be completed. The 207-foot-long, 34-foot-wide hybrid power ship, constructed of African oak and yellow pine at Robert Duncan's Shipyard on the River Clyde in Scotland, had featured a clipper bow, three masts with square yards, and two mid-ship-located, black-and-gold paddle boxes which extended almost 12 feet from either side and contained 9-foot-wide, 28-foot-diameter paddles turning at 16 revolutions per minute and operating off of a 403-hp, two-cylinder, side-lever steam engine which burned 40 tons of coal per day exhausted through a single, aft smoke stack. The engine, requiring 70 feet of hull for installation, drew coal from a 640-ton bunker.

Of the four decks, the upper, or main deck, featured the captain and chief officer cabins, the pantry, the galley, the officers' mess, the crew cabins, the raised, exposed bridge, and the dining saloon, which, at 36 feet long and 14 feet wide, had been the largest enclosed room on the ship. Two aft, circular staircases linked the dining hall with the second deck, which housed the gentlemen's and ladies' cabins, each with two bunk beds, a wash basin, a mirror, a day sofa, and a port hole or an oil lamp, with shared toilet facilities, equaling a 124-person capacity, of which 24 had been female. The cargo holds, located on either side of the engine yet another deck lower and capable of accommodating 225 tons, accompanied the sail locker, the mail room, the stores, the steward quarters, and the wine cellar in the stern. Coal had been stored on the fourth, or lowest, deck.

The 1,154-ton Britannia, inaugurated into scheduled service on July 4, 1840 from Liverpool to Boston with an intermediate stop in Halifax, operated the world's first transatlantic steam ship service, carrying 63 passengers and taking 12 days, ten hours for the 2,534-nautical-mile crossing at an 8.5-knot speed, one third of the journey undertaken by pure-sail. After an eight-hour port suspension in Halifax, it continued to Boston in another 46 hours.

By January 5, 1841, all four Cunard ships had entered the fleet.

The Britannia itself made 40 round-trips before being sold to the Prussian Navy, which had converted it to a pure-sailing ship used for target purposes and renamed it Barbarossa. It was ultimately sunk in 1880. Nevertheless, it paved the way for a long line of Cunard liners to come.

Biting into the angry, dark-blue, white cap-spitting North Atlantic on a 272-degree heading at 1545 with its protruding, bulbous bow, the mighty Queen Mary 2 engineering triumph pitched on its axis at a 23.4-knot speed, the sun's rays having been powerful enough to tear the singular cloud fabric into a puffy, white mosaic of aerial islands. The ship had reached a 50-degree, 12.036' north latitude and 14-degree, 26.312' west longitude coordinate.

That night's dinner, served in the Britannia Restaurant, had included Merlot wine; smoked halibut mousse and jumbo shrimp on Russian salad; Lollo Rosso and apple salad with caramelized walnuts and cider vinaigrette; filet mignon and lobster tail with young roasted potatoes, polenta cake, and asparagus in hollandaise sauce; chocolate banana tart with mango sauce; coffee; and petit fours.

The Britannia, as a ship design, had been only the beginning, and would pale in comparison to the leviathan Cunard vessels produced in the 20th century.

Day Three:

Continually bowled significant sea swells, the Queen Mary 2 had pitched through the dark blue, star-glittering night at its center of gravity like a seesaw, its bow pounding the mountainous wave troughs and projecting avalanche-white reactions at 45 degrees from its centerline.

Breakfast, eaten in the King's Court with its multiple stations, had included a ham and pepper omelet, bacon, hashbrowned potatoes, a grilled tomato, white toast, and cranberry juice.

Negotiating 25- to 30-foot seas over the mid-Atlantic ridge, which covers the Continental Divide, the ship had sailed 590 nautical miles in the 24-hour period since 1200 noon yesterday, now pursuing a 263-degree heading, with 2,075 miles remaining to the New York Pilot's Station.

Light rain showers were forecast to dissipate, with gradual clearing. The force-5 wind, out of the northwest, had produced 9-degree Celsius temperatures, with a 996.5-millibar pressure. The sea, whose moderate state had been registered a "4," maintained a 12-degree temperature.

Gazing out toward the Atlantic's infinity, I could not help but think that somewhere out there, if not in physical space, then in historical time, had been the first of the "huge" Cunard Atlantic liners which assuredly had passed this way during the beginning of the 20th century.

The design, the Lusitania, had had its origins as early as 1902 when J.P. Morgan had attempted to create a steamship conglomerate called the International Mercantile Marine by buying several existing companies, including the White Star Line. In order to ensure Cunard's continued autonomy and dissuade its absorption into the ever-expanding corporation, the British Parliament had granted it a 20-year contract and subsidy to build two of the world's then largest and fastest liners and, in the process, regain the speed record the Germans had captured with three of their twin-screw vessels.

Cunard, seeking tenders for the two ships from four shipyards, specified a 750-foot length, a 76-foot width, and a 59,000-hp capability attained by reciprocating engines driving triple screws. The contract, awarded to John Brown and Company of Clydebank, Scotland, resulted in a 790-foott length and an 88-foot width, eclipsing the 30,000-ton gross weight by 2,500 tons for the first time, and employing turbine engine technology, also for the first time, with a 68,000-hp combined capability, exhausted, in an effort to emulate the Germans, through four funnels.

Construction, commencing in the fall of 1904, produced two of the largest, fastest, and most powerful Atlantic liners ever built with long, sleek designs; straight sterns; rounded bridges; and four raked funnels sporting 787-foot lengths, 87-foot widths, and 31,550-ton gross weights propelled by steam turbines geared to quadruple screws.

Accommodating 563 first class passengers amidships, 464 aft second class passengers, and 1,138 third, or steerage, class passengers in the forward portion of the hull, the first of the two new liners featured opulent appointments. A Georgian-style lounge sported light green colors, a marble fireplace, stained glass panes, and a 20-foot-high dome. The Veranda Café had latticed wall patterns and rattan furniture. The dining room, of dual-deck configuration, had been the first of its kind on a Cunard ship. The main lounge had been decorated with mahogany paneling, while the smoking room featured dark Italian walnut. The second class dining saloon also sported Georgian appointments and the drawing room had been decorated in the Louis XVI style. Featuring electricity for the first time, the Lusitania provided modern conveniences to its passengers, including two elevators.

On its second westbound crossing, the liner beat all speed records, averaging 23.993 knots and covering a 617-mile, single-day distance, although it ultimately broke the 26-knot mark, reaching New York in four days, 20 hours.

Its fate, however, was not to remain so successful. Departing England on its 202nd voyage on May 1, 1915 with 1,257 passengers, 702 crew members, and three stowaways, the ship had approached Great Britain, sailing ten miles off of Old Head of Kinsale when it had been broadsided by a German torpedo, listing forward and to starboard. Slipping oceanward at a 45-degree, bow-first angle, it hit bottom 18 minutes later, exploding and killing 1,201 on board, the result of a deliberate act of war.

Because not an outcrop of land is sighted during the six-day Atlantic crossing, the Queen Mary 2 seemed suspended in a void between two continents, the journey about course, speed, weather, sea state, distance, and interior life, the temporary, although ever-moving civilization atop the sea.

Soldiering on, the ship burned 3.1 tons of heavy fuel oil per hour at a 100-percent load to operate its diesel engines, or 261 tons per day at a 29-knot steam speed, while it used 6 tons of marine gas oil per hour to run its gas turbines, or 237 tons per day, drawing off of a 1,412,977-US gallon tank for the former and a 966,553-gallon tank for the latter.

Its fresh water supply, produced from seawater by 3 Alfa Laval Multi Effect Plate Evaporators, replenished itself at the rate of 630 tons per day, satisfying its 1,100-ton daily consumption. The potable water tank capacity equaled 1,011,779 US gallons.

A German-themed lunch, served in the King's Court, had included bratwurst, bacon sauerkraut, cheese spaetzel, roasted potatoes, schnitzel, and black forest cake.

Maintaining a 261-degree heading and a 23.1-knot steam speed, the city at sea had reached a 49-degree, 43.705' north latitude and 28-degree, 25.458' west longitude position by 1500.

The Queen Mary 2's Winter Garden, designed after the skylighted verandah cafes of the Mauretania, had featured a 60-by-25-foot trompe l'oeil ceiling depicting a lush, verdant gardens, paneled walls which looked through cast iron gates to rolling hills, and wicker furniture, and had been created to counteract the cold, gray, turbulent winter of the North Atlantic.

The Mauretania itself, the ship which had provided the Winter Garden's inspiration, had been the second of the two early-20th century Cunard designs after the Lusitania. The nine-decked liner, accommodating 563 first class passengers in 253 cabins, 464 second class passengers in 133 cabins, and 1,138 third class passengers in 278 cabins, had featured its own opulent appointments. The first class smoking room, for example, located in the stern, had featured polished wood wall panels and plaster friezes. The lounge, located on the Boat Deck and measuring 80 by 53 feet, had been adorned with mahogany wall panels, gold moldings, long ceiling beams, gilt bronze, and crystal chandeliers. The library, featuring bay windows, had been decorated with sycamore paneling. The first class dining room, seating 330, had been configured with long, white clothed tables and revolving chairs, and was decorated with polished ash, teak-molded paneling, and arched windows, while the second class dining room, with parquet floors, featured Georgian oak paneling and carved cornices. A grand staircase, installed between the second and third funnels, connected five decks with the public rooms.

Entering service on November 16, 1907 between Liverpool and New York, the Mauretania had been retrofitted with four-bladed propellers two years later, in 1909, at which time it could attain maximum speeds of 26.6 knots. It had been only the first of several modifications. With the outbreak of World War I in 1914, for instance, it had been repainted gray and briefly served as a troop ship, reliveried and returned to commercial service five years later in 1919, at which time it operated in company with the Aquitania and Berengaria, offering weekly east- and westbound service on the Southampton-New York route. It remained the fastest of the three.

Yet another modification, necessitated by fire, resulted in conversion to oil-burning engine technology and cabin reconfiguration, reducing both the second and third class passenger capacities.

In its 27 years of operation, during 22 of which it had held the North Atlantic speed record until it had been recaptured by the Bremen in 1929, the Mauretania had sailed some 2.1 million miles in transatlantic, Mediterranean, and Caribbean service before being usurped by two larger, more advanced Cunard liners. Making its last crossing on September 26, 1934, it was scraped the following year in Scotland.

That evening's dinner, served in the Queen Mary 2's Britannia Restaurant, had featured white zinfandel wine; baby shrimp thermidor on walnut brioche; cob salad with smoked chicken and bleu cheese dressing; roasted seabass with Mediterranean vegetables and olive tapenade; banana foster flambee with rum raisin ice cream and whipped cream; and coffee.

The Lusitania and Mauretania replacements, although larger, would prove a motley pair: although one had been the third in the series, it had been slower, while the other had been transferred from the fleet of the enemy, the Germans.

Day Four:

Suspended in the middle of the Atlantic, the black-hulled leviathan pursed its Great Circle course on a 249-degree heading, eating the gray and foamy-white ocean with its bow with a 21.7-knot appetite. Four hundred seventy miles off the coast of Newfoundland, the ship negotiated 3,549-meter-deep waters, having covered 607 nautical miles in the 24-hour period since yesterday, now 1,615 miles from Southampton. At a current 47-degree, 34.066' north latitude and 042-degree, 00.754' west longitude position, it was 1,468 miles from its destination.

External conditions were mild: the air temperature, at 14 degrees Celsius, had been coupled with a force-4 moderate breeze out of the southwest and low level cloud, with a 989-millibar air pressure. The sea, whose state had been slight, had a 12.7-degree Celsius temperature.

If the triplet of early 20th-century Cunard liners could have sailed past the Queen Mary 2 in chronological order, the Aquitania would have trailed both the Lusitania and the Mauretania, the third of the long, sleek, quad-funneled vessels constructed by John, Brown and Company of Clydebank.

The 45,647-ton ship, with a 901-foot length and a 97-foot width, had been both larger and heavier than its two predecessors, resulting in a 3,200-passenger capacity. Launched on April 21, 1913, it had commenced trial runs 13 months later, achieving a 24-knot maximum speed, and entered commercial service on May 30, 1914 on the Liverpool-New York route.

Opulently appointed, it featured a long gallery which connected the main lounge with the smoking room decorated with a series of garden lounges; a carpeted, Louis XVI-style first class restaurant; a columned Palladian lounge, which spanned two decks; and the first pool ever installed on a Cunard ship.

Late to the North Atlantic, the Aquitania had sailed on the fringes of World War I and had been requisitioned by the government for military service as an armed merchant cruiser in August of 1914; but, because of its excessive size, had been recommissioned as a troop ship the following year. Reconfigured for ocean liner service after the war, the ship resumed its civil role in August of 1920, amending its capacity six years later, in 1916, when a major reconfiguration decreased the first class passenger complement from 618 to 610, increased the second class capacity from 614 to 950, and dramatically decreased the third class complement by some three-forths, from 1,998 to 640, in order to more accurately match passenger class demand.

Once again reconfigured to a 7,724-person troop ship during World War II, the Aquitania provided eight years of military service during which it had sailed 500,000 miles and carried more than 300,000 troops.

Arriving in Southampton on December 1, 1949, the multiple-role vessel ended 35 years of service, having sailed some 3 million miles on 443 voyages. It had been Cunard's last quad-funneled design.

Lunch, back in the present on the Queen Mary 2, had been served in The Carvery, itself one of the King's Court stations, and had included beef tikka masala, white rice, cauliflower in cheese sauce, and double chocolate fudge cake.

Although the Aquitania's very long, mulitple-role, and fruitful career had ended in 1949, it had, for the most part, continued to operate in tandem, as originally conceived, with two other Cunard transatlantic liners, despite the fact that the Lusitania had been destroyed almost immediately after entering service. The third ship, however, emanated not from a Cunard blueprint given life by a ship builder on the Clyde, but instead by the very enemy which had necessitated its replacement.

Endeavoring to compete with the Cunard and White Star Line designs which now regularly plied the Atlantic, the Hamburg-America Line had laid the keel of a new breed of transatlantic liners on June 18, 1910, intended to be the largest-capacity, highest gross weight passenger ship ever built. The specifications were, for the time, staggering: measuring 919 feet long and 98 feet wide, the elongated, tri-funneled, 52,117-ton ship, designated the Imperator, had been powered by steam engines geared to four-bladed propellers feeding off of 8,500-tons of coal nourishing two 69- and 95-foot-long engine rooms, respectively. Accommodating 908 first class, 972 second class, 942 third class, and 1,772 steerage class passengers, the behemoth, steered by a 90-ton rudder, was christened on May 23, 1912 and entered commercial service 13 months later, on June 10, from Cuxhaven to New York with an intermediate stop in Southampton.

The Imperator featured a First Class winter garden with potted palm trees and a dual-deck indoor swimming pool.

Because initial service had demonstrated top-heavy conditions, its three funnels were shortened by nine feet during an autumn retrofit.

Ultimately banned from sailing because of World War I German atrocities, the ship had been moored in Hamburg for four years until a war reparation agreement resulted in its transfer to Cunard in 1919 as compensation for the German-sunk Lusitania. Rebased in Southampton two years later, in April of 1921, it had been subjected to an initial retrofit during which its coal-burning engine technology had been replaced with oil and it had been reconfigured with 972, 630, 606, and 515 first, second, third, and tourist passengers, respectively. Redesignated Berengaria, the ship joined the Mauretania and Aquitania, operating Cunard's weekly transatlantic service. Although it had been originally planned to continue operating it until 1940, its antiquated wiring system, which resulted in persistent on-board fires, had precluded its anticipated service longevity, temporarily leaving only the Mauretania and Aquitania until a new breed of Cunard liners, to offer double the tonnage of the existing designs, could enter service. That ship, of course, bore the name of the current one: Queen Mary.

Dinner, served in La Piazza Restaurant on board the (present-day) Queen Mary 2, had included a mixed green salad with ranch dressing; artichoke hearts; vegetable moussaka; pasta with onions, mushrooms, black olives, garlic, and red tomato sauce; tiramisu; and coffee.

Dusk could be more accurately gauged by looking beyond the wooden deck with its Queen Mary I-reminiscent line of deck chairs and down toward the sea, rather than up toward the sky. The former, a reflection of the latter, had appeared a deep blue, mirroring the temporary brightness of the sky during the early-evening when the mountainous white cumulous formations had parted, creating a blue rift. It then rapidly metamorphosed into a dark blue and, momentarily, a cold, morose, winter gray, the prevalent environmental conditions of so many earlier transatlantic crossings, as the dark, billowing clouds reassembled into a tight, cohesive quilt, hindering even a momentary glimpse of the sun. Merging dimensionally with the ocean, the amorphous, referenceless void cacooned the floating city until visibility extended no further than ten feet from either of its sides. Two souls, well dressed, braved the fierce, blustering wind as they attempted, buttressed by the force, to circle the deck. Thus was life on a transatlantic crossing.

As the day bordered the midnight demarcation line, the ship crossed from the Newfoundland Basin to the Grand Banks of Newfoundland and, effectively, reached the North American continent. Two days of steaming remained before it arrived at its terminus, the Port of New York.

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