text:
Peter, Duke of Coimbra
Title: Peter, Duke of Coimbra
Subject: Henry the Navigator, Afonso V of Portugal, Edward, King of Portugal, John, Constable of Portugal, Battle of Alfarrobeira
Collection: 1392 Births, 1449 Deaths, 14Th-Century Portuguese People, 15Th-Century Portuguese People, Dukes of Coimbra, House of Aviz, Knights of the Garter, Portuguese Infantes, Portuguese Renaissance Humanists, Regents of Portugal
Infante Peter
Duke of Coimbra
Detail from the St. Vincent Panels by Nuno Gonçalves, often believed to be a portrait of Peter, Duke of Coimbra.
Regent of Portugal and the Algarves
Lisbon, Kingdom of Portugal
Alverca, Kingdom of Portugal
Batalha Monastery
Isabella of Urgell
Peter, Constable of Portugal
John, Prince of Antioch
Isabella of Coimbra, Queen of Portugal
James, Archbishop of Lisbon
Beatrice of Coimbra, Lady of Ravenstein
Infanta Philippa of Coimbra
House of Aviz
John I of Portugal
Philippa of Lancaster
Infante Pedro, Duke of Coimbra KG (Portuguese pronunciation: ; English: Peter), (1392 – May 20, 1449) was a Portuguese infante (prince) of the House of Aviz, son of King John I of Portugal and his wife Philippa of Lancaster, daughter of John of Gaunt. In Portugal, he is better known as Infante D. Pedro das Sete Partidas [do Mundo], "of the Seven Parts [of the World]" because of his travels. Possibly the most well-travelled prince of his time, he was regent between 1439 and 1448. He was also 1st Lord of Montemor-o-Velho, Aveiro, Tentúgal, Cernache, Pereira, Condeixa and Lousã.
European travels 2
Regent 3
Rebellion 4
Marriage and issue 5
Ancestry 6
From the time he was born, Peter was one of John I's favourite sons. Along with his siblings, he received an exceptional education rarely seen in those times. Close to his brother Edward and John, Lord of Reguengos de Monsaraz, Peter grew up in a calm environment free of intrigues.
On August 14, 1415 he accompanied his father and brothers Edward and Henry in the Henry was made duke of Viseu. These were the first dukedoms created in Portugal.
On finishing the translation of Seneca's De Beneficiis in 1418, he initiated his extensive travels throughout Europe, which would keep him away from Portugal for the next ten years. After meeting with John II of Castile in Valladolid, he continued to Hungary, where he met with Sigismund, Holy Roman Emperor, and entered his service. He fought in the Imperial armies against the Turks and in the Hussite Wars in Bohemia, and was awarded the dukedom of Treviso in Northern Italy in 1422. In 1424 he left the Holy Roman Empire, meeting first with Murad II, Sultan of the Ottoman Empire, on the island of Patmos, and then continuing to Constantinople, capital of the Byzantine Empire; the hopeless position of the city against the Ottoman onslaught didn't fail to impress him. From Constantinople he travelled to the Holy Land via Alexandria and Cairo.
European travels
In 1425 he travelled west to France and England, visiting the universities of Paris and Oxford, before arriving in Flanders in 1426, where he spent the next two years at the Burgundian court. In September 1424/25 Coimbra landed in England. He attended upon the Court, whose intended gift had been given to the Duke of Exeter, in lieu of a debt payment. He remained in time to be made a Knight of the Garter, for which privilege he was obliged to pay the Exchequer £10.[1]
Infante Peter, Regent of the Kingdom.
The second wife of Philip the Good of Burgundy having died in 1425, Peter recommended him his sister Isabella for a wife. Philip later sent a delegation to Portugal in 1428–29, which included Jan van Eyck, who painted two portraits of the Infanta. Philip and Isabella eventually married on January 7, 1430, one of their sons being the future duke Charles the Bold. In 1427 Peter wrote a famous letter to his older brother, later King Edward, on "the proper administration of the kingdoms", from Bruges; later that year Henry VI of England (his first cousin once removed) made him a Knight of the Garter (as were already his father and older brother). In 1428 Peter visited his dukedom of Treviso and nearby Venice, where he was presented with a copy of the book of Marco Polo by the doge; he later offered that book, and maps of the Venetian trade routes in the Orient he purchased, to his younger brother Henry. (António Galvão would later claim that one of the maps included the Cape of Good Hope, as well as the "Strait of Magellan" marked as the "Dragon's Tail";[2][3] this probably referred to the medieval Arabian belief in a great phantom peninsula east of the Golden Chersonese, with a strait connecting the World Ocean to the Indian.) From Venice he then travelled to Rome, where he was received by Pope Martin V, and from there he continued to Barcelona, where he negotiated the marriage of his brother Edward with Eleanor of Aragon as well as his own future marriage with Isabella of Urgell, before finally returning to Portugal.
In 1433 he completed his famous six-volume work, the Tratado da Virtuosa Benfeitoria.
When his brother King Edward I of Portugal died in 1438, his son Afonso V (Pedro's nephew) was an infant and the choice for the regency was the Queen-Mother Eleanor of Aragon. This choice for the regency was not popular because Eleanor was Aragonese. So in a reunion of the Cortes, summoned by Peter's brother John, Lord of Reguengos de Monsaraz, Peter was appointed as Regent of the Kingdom during the minority of his nephew Afonso V, a choice that pleased both the people and the fast-growing bourgeoisie.
However, inside the Portuguese aristocracy, especially the ones around Afonso, Count of Barcelos (Peter's half-brother), Eleanor of Aragon was preferred and there were doubts about Peter's political ability. A war of influences started and a few years later Afonso of Barcelos managed to become young King Afonso V's favourite uncle.
Infante Peter was the Duke of Coimbra.
In 1443, in a gesture of reconciliation, Peter created his own half-brother Afonso Henry the Navigator (Pedro's brother).
On June 9, 1448 Afonso V came of age and Peter returned control of the country to the king. Influenced by Afonso, Count of Barcelos, and more recently the Duke of Braganza, Afonso V nullified all Peter's edicts, starting, against himself, by the ones that concentrated power in the figure of the King.
The following year, under accusations that years later would prove false, Afonso V declared Peter a rebel. The situation became unsustainable and a civil war began. It was short because on May 20, 1449, during the Battle of Alfarrobeira, near Alverca, Peter died. The exact conditions of his death are debatable: some say it was in combat, while others say he was assassinated by one of his own men.
With the death of Peter, Portugal fell in the hands of Afonso, Duke of Braganza, with a growing influence over the destiny of the country. However, his regency would never be forgotten, and Peter was cited many times by his grandson King John II of Portugal as his main influence. The cruel persecution of the Braganzas by John II was perhaps the answer to the conspiracies that caused the fall of one of the major princes of the Ínclita Geração.
Marriage and issue
In 1429 Peter married Isabella of Urgell, daughter of James II, Count of Urgell, and candidate to the throne of the Crown of Aragon at the Compromise of Caspe. The couple had the following children:
Peter V of Aragon (1429–1466)
John, Prince of Antioch (1431–1457), married Charlotte of Lusignan, heiress of Cyprus, in 1456. He was created titular Prince of Antioch, and was possibly poisoned by his mother in law.
Isabella of Coimbra (1432–1455), Queen of Portugal by marriage to Afonso V of Portugal.
Infante James of Coimbra (1434–1459), Cardinal and Archbishop of Lisbon, lived in Italy; his beautiful tomb [2] is in the convent church of San Miniato al Monte in Florence.
Infanta Beatrice of Coimbra (1435–1462), married Adolph of Cleves-Ravenstein.
Infanta Philippa of Coimbra (1437–1493), a nun.
Ancestors of Peter, Duke of Coimbra
16. Denis of Portugal
8. Afonso IV of Portugal
17. Elizabeth of Aragon
4. Peter I of Portugal
18. Sancho IV of Castile
9. Beatrice of Castile
19. María de Molina
2. John I of Portugal
10. Lourenço Martins
5. Teresa Lourenço
11. Sancha Martins
1. Infante Peter, Duke of Coimbra
24. Edward II of England
12. Edward III of England
25. Isabella of France
6. John of Gaunt, 1st Duke of Lancaster
26. William I, Count of Hainaut
13. Philippa of Hainault
27. Joan of Valois
3. Philippa of Lancaster
28. Henry, 3rd Earl of Lancaster
14. Henry of Grosmont, 1st Duke of Lancaster
29. Maud Chaworth
7. Blanche of Lancaster
30. Henry de Beaumont, 4th Earl of Buchan
15. Isabel de Beaumont
31. Alice Comyn
^ Proceedings and Ordinances of the Privy Council, (G.Eyre & Spottiswoode, 1st ed. 1834), 178.
^ Galvão (1563), p. 18.
^ Hakluyt (1862), p. 66.
The Dukes of Coimbra General Books LLC, 2010.
(Portuguese).
(Portuguese) & (English).
Sir G.F.Hill, History of Cyprus (1940), (2nd ed. CUP, 2010), vol.1 of 4. ISBN 1-108-02064-X
João I (1385 - 1433)
Duarte I
Isabella, Duchess of Burgundy
John, Constable of Portugal
Ferdinand the Saint Prince
Duarte I (1433 - 1438)
Eleanor of Aragon
Afonso V
Ferdinand, Duke of Viseu
Eleanor, Holy Roman Empress
Joan, Queen of Castile
Afonso V (1438 - 1481)
Isabella of Coimbra
Joanna la Beltraneja
João, Prince of Portugal
Joan, Princess of Portugal
João II
João II (1481 - 1495)
Eleanor of Viseu
Prince Afonso
Manuel I (1495 - 1521)
João III (1521 - 1557)
Sebastião I (1557 - 1578)
Henrique I (1578 - 1580)
António I (1580)
The House of Aviz is a cadet branch of the House of Burgundy and was succeeded by the House of Habsburg
Infantes of Portugal
The generations indicate descent form Afonso I, and continues through the House of Aviz, the House of Habsburg through Infanta Isabel, Holy Roman Empress and Queen of Spain, and the House of Braganza through Infanta Catarina, Duchess of Braganza.
Infante Henrique
Sancho I
Infante João
Infante Raimundo
Afonso II
Infante Pedro, Count of Urgell
Infante Fernando, Count of Flanders
Sancho II
Afonso III
Infante Fernando, Lord of Serpa
Infante Vicente
Infante Roberto
Infante Fernando
Dinis I
Infante Afonso, Lord of Portalegre
Afonso IV
Infante Afonso, Lord of Leiria
Infante Afonso
Infante Dinis
Pedro I
Infante Luís
Fernando I
Infante João, Duke of Valencia de Campos
Infante Dinis, Lord of Cifuentes
Infante Pedro
Infante Afonso (1382)
Infante Afonso (1390–1400)
Infante Pedro, Duke of Coimbra
Infante Henrique, Duke of Viseu
Infante João, Constable of Portugal
Infante Fernando, Duke of Viseu
Infante Duarte
Infante Pedro, Constable of Portugal
Infante João, Prince of Antioch
Cardinal-Infante Jaime of Coimbra
Infante Diogo, Constable of Portugal
Infante João, Duke of Viseu
Infante Diogo, Duke of Viseu
Infante Duarte of Viseu
Infante Dinis of Viseu
Infante Simão of Viseu
Infante Afonso of Viseu
Manuel I
Afonso, Prince of Portugal
Miguel da Paz, Prince of Portugal and Asturias*
João III
Infante Luís, Duke of Beja
Infante Fernando, Duke of Guarda
Cardinal-Infante Afonso
Henrique I (The Cardinal-King)
Infante Duarte, Duke of Guimarães
Infante António
Infante Carlos
Manuel, Prince of Portugal
Filipe, Prince of Portugal
João Manuel, Prince of Portugal
Sebastião I
Carlos, Prince of Portugal and Asturias**
Diogo, Prince of Portugal and Asturias**
Filipe II**
Manuel, Hereditary Prince of Portugal******
Filipe III**
Infante Carlos**
Cardinal-Infante Fernando**
Infante Alfonso Mauricio**
Baltasar Carlos, Prince of Portugal and Asturias**
Infante Francisco Fernando**
Teodósio, Prince of Brazil
Afonso VI
João, Prince of Brazil
João V
Infante Francisco, Duke of Beja
Infante Manuel, Count of Ourém
Pedro, Prince of Brazil
José I
Pedro III
Infante Alexandre
José, Prince of Brazil
Infante João (1762)
Infante João Francisco
João VI
Francisco António, Prince of Beira
Pedro I of Brazil & IV of Portugal
Miguel I
Infante Pedro Carlos***
21st generation
Miguel, Prince of Beira
João Carlos, Prince of Beira
Pedro II of Brazil****
Infante Miguel, Duke of Braganza
Infante Sebastião***
22nd generation
Pedro V*****
Luís I*****
Infante João, Duke of Beja*****
Infante Fernando*****
Infante Augusto, Duke of Coimbra*****
Infante Leopoldo*****
Infante Eugénio*****
Infante Miguel, Duke of Viseu
Infante Francisco José
Infante Duarte Nuno, Duke of Braganza
23rd generation
Carlos I*****
Infante Afonso, Duke of Porto*****
Infante Duarte Pio, Duke of Braganza
Infante Henrique, Duke of Coimbra
Luís Filipe, Prince Royal*****
Manuel II*****
Infante Afonso, Prince of Beira
Infante Dinis, Duke of Porto
* also an infante of Castile and León, Aragon, Sicily and Naples, ** also an infante of Spain and an archduke of Austria, *** also an infante of Spain, **** also an imperial prince of Brazil, ***** also a prince of Saxe-Coburg and Gotha, Duke in Saxony ****** claimant infante
Articles with Portuguese-language external links
Portuguese infantes
Dukes of Coimbra
Regents of Portugal
Portuguese Renaissance humanists
14th-century Portuguese people
House of Savoy, House of Habsburg, House of Vasa, House of Bonaparte, House of Oldenburg
Kingdom of Portugal
Portuguese Empire, %s%s, Mombasa, Maldives, House of Aviz
Spain, Portuguese language, Lisbon, Porto, Madeira
Renaissance, Middle Ages, Lazio, Roman Forum, Colosseum
House of Aviz, Africa, Porto, John I of Portugal, Portugal
Afonso V of Portugal
House of Aviz, John II of Portugal, House of Braganza, Joanna la Beltraneja, List of Portuguese monarchs
Edward, King of Portugal
House of Aviz, Afonso V of Portugal, John I of Portugal, House of Braganza, Eleanor of Aragon, Queen of Portugal
House of Aviz, Alcácer do Sal, John I of Portugal, Philippa of Lancaster, Henry the Navigator
Battle of Alfarrobeira
Portugal, House of Aviz, Kingdom of Portugal, Canada, India


Technology has transformed our city with impacts that cut across most aspects of city governance – and our community has a strong and growing expectation of high tech services as their experience of the city changes. We have built a strong track record at the City in online communications and consultation, and we have been a long-time advocate for Sydney's fertile startup community. Our focus is to address the bottlenecks and constraints that might inhibit a vibrant start-up community instead of picking winners.
By 2033, Australia's startup sector is projected to generate more than 500,000 jobs - Sydney is home to Australia's highest concentration of tech startups, with the CBD, Ultimo, Surry Hills and Darlinghurst developing a global reputation, especially in financial services and media production.
We have opened up City properties for affordable work space for creative and tech startups, tailored programs and events for the startup community such as Startup Week, Piivot, the Springboard Enterprises Accelerator, CeBIT and Remix, and supported startups with environmental innovation grants and Tech Startup 101 business seminars.
With the right support, Sydney can become a global leader. Sustainable Sydney 2030 is a smart integrated city strategy that deals with issues that can attract/retain talent (e.g. transport, housing, cultural activity) and our tech startups action plan includes a range of programs to foster growth.
We need to create opportunities for entrepreneurs, in particular women, to increase their business skills, access mentors and enhance their networks – increasingly we're competing in an international market to attract, inspire and support talent.
We also need to face some serious equity issues. Our community needs to be a creator of technology, not just a consumer. And we need to ensure the community and local businesses have the skills and access to infrastructure to fully participate in and access the benefits of smart city.
By providing more efficient and responsive services for residents, visitors and workers, we will strengthen Sydney's reputation as a world-leading progressive city.


Unrelenting: Sister Aloysius (Fiona Ramsay) and Sister James (Janna Ramos-Violante) hold moral authority in a place of worship. Photograph by Germaine de Larche, courtesy Auto & General Theatre on the Square.
What would you do if you suspected something appalling was happening in your midst, where an innocent child's well-being was at stake, and the issue was a disaster you think you might have the power to avert? This is the kind of dilemma embraced in James Cuningham's stage version of John Patrick Shanley's Pulitzer prize-winning play Doubt: A Parable.
It is not so much the 2008 film version featuring Philip Seymour Hoffman and Meryl Streep that this play evokes, but Jean-Jacque Annaud's 1986 interpretation of Umberto Eco's Name of the Rose, in its engagement with the blind and stubborn faith of the establishment, played with unforgettable vehemence by Feodor Chaliapin Jr as Jorge and Volker Prechtel as Malachia, the priests who guard the sanctity of the library.
It is this fierce and dark tone created by the stylised set in juxtaposition with severe costumes and utterly honed performances by Fiona Ramsay and Janna Ramos-Violante that embraces the moral contradiction of the play that will haunt you. Ramsay, in particular, embodies the sense of a die-hard old nun without a glimmer of light in her outlook; terrifying to contemplate, but magnetic to behold. Her slight frame embodies something so massive and catastrophic clutching so tightly to the one-upmanship of religious sway, it is unforgettable.
Ramos-Violante is the younger nun, the foil to the tale. Opposite Ramsay's Sister Aloysius, her Sister James is small fry, a woman easily threatened by the authority of church hierarchy in a misogynist world.
The prescience of this work, set as it is on the cusp of a kind of collapse of innocence of Western culture – just after the assassination of President JF Kennedy – cannot be overlooked, in our world of increasing religious fundamentalism, but also one of increasing social transparency, which sees the unravelling of so much horror that traditionally happened behind closed doors – and where the presentation of young boys and priests in the same sentence leads one to believe the worst.
And yet, unlike Aisling Walsh's Song for a Raggy Boy (2003) which confronts the same issue, the subtlety in Cuningham's direction and the collaborative energies of the cast, is almost more devastating, offset as it is by an utterly sterling cameo performance by Mwenya Kabwe as the child's mother, which is pivotal to the whole work.
Doubt is a cleanly composed, terrifying piece of muscular, unpretentious theatre, unforgivably tight in its use of language, but also completely developed and three-dimensional in how it describes the dilemma. You don't leave the environment armed with a healthy dollop of homophobia and self-righteous hatred of the establishment of the church education system. But you do leave in an emotional state of turbulence that might keep you awake.


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This page was printed on 4/18/2019 1:20:43 PM.


text:
Home College Third time's the charm: Stanford gets redemption with Pac-12 Tournament title
Third time's the charm: Stanford gets redemption with Pac-12 Tournament title
Joe Veyera
Stanford players exult as the final buzzer sounds. Photo by Eric Evans.
The first five minutes of Sunday's Pac-12 Tournament title game could not have gone better for Oregon State.
The Beavers made each of their first six shots from the field, and jumped out to a 16-3 lead. Ten of those points came off four Stanford turnovers.
After one quarter, the advantage was nine. But after scoring 22 points in the first, the Beavers could only muster 21 the rest of the night.
That wouldn't be enough for OSU to win its second straight tournament title.
Stanford's lockdown defense, and frigid shooting by the Beavers propelled the Cardinal to its 12th Pac-12 Tournament trophy, with a 48-43 victory at KeyArena.
"It was a heavyweight battle," said Stanford head coach Tara VanDerveer. "We kind of got the bloody nose first, but that motivated people to keep laying hard, and make some plays."
Alanna Smith led all scorers with 18 points for Stanford (28-5), while Karlie Samuelson had 14. Erica McCall had eight points and eight rebounds.
Sydney Wiese calls out the play for Oregon State. Photo by Michael Houston/T.G.Sportstv1.
Oregon State (29-4) was paced by Sydney Wiese's 13 points and a double-double from Marie Gulich (10 points and 10 rebounds).
After OSU's torrid start, the Beavers were hamstrung by a shorter rotation, with guard Mikayla Pivec's second foul with less than two minutes to play in the first. The team was already without guard Katie McWilliams, who missed all three Tournament games with an undisclosed ailment.
While the OSU defense held up as Pivec sat the entirety of the second quarter, the Beavers went cold from the field.
"We had total control of this game when she picked up that second one, and we were flowing so well offensively with that group," said Oregon State head coach Scott Rueck.
Oregon State didn't find that rhythm again. Meanwhile, McCall said the Cardinal weren't derailed mentally by their own slow start.
"That's what we're used to," she said. "We come back, we come back strong."
Stanford pulled within three before the break, but a three-pointer by Wiese at the buzzer gave the Beavers a six-point edge at halftime.
Oregon State held onto the lead throughout the third quarter, with a 36-34 advantage heading into the fourth.
But over the final 10 minutes, the Beavers made just one field goal, going 1-for-12.
Stanford took its first lead since 3-2 with a layup from Smith with 7:28 to play, and extended its lead to six with just over four minutes to go.
A three-pointer from Wiese brought the Beavers within three. Oregon State would get the ball twice with a chance to tie the game, but turned the ball over each time, the latter with 90 seconds left. A jumper by Brittany McPhee put Stanford back up five, and OSU would not get the ball back within one possession.
The Beavers were held to just 14 second-half points, by far their lowest scoring output in the final 20 minutes this season. They scored seven in the second, third, and fourth.
"To hold them to seven points in three quarters is phenomenal," VanDerveer said.
Coach Tara VanDerveer hoists the Pac-12 Tournament trophy. Photo by Eric Evans.
And after losing the first two match ups of the season, and finishing just one game behind the Beavers in the conference standings, the tournament title served as a worthy prize.
"We really wanted this tournament," Samuelson said. "We knew that we could do it."
For McCall, who said those earlier losses to the Beavers "hurt bad," the redemption of Sunday night was, in a word, sweet.
"It's super satisfying," she said. "It's like tasting your favorite candy."
Dribbles:
Stanford's previous Pac-12 Tournament victories: 2003, 04, 05, 07, 08, 09, 10, 11, 12, 13, 15) … Stanford remains the only program to win back-to-back tournament titles, OSU would have been the second … Oregon State won the first two matchups against the Cardinal by three points: A 72-69 result in double overtime in Palo Alto on Jan. 8, and a 50-47 victory in Corvallis on Feb. 24 … Stanford blocked 26 shots in the Tournament, a new record … Stanford's 48 points was the lowest for a winner in a title game … All-Tournament Team: Kristine Anigwe (Cal), Jordin Canada (UCLA), Sabrina Ionescu (Oregon), Alanna Smith (Stanford), Sydney Wiese (OSU) … Most Outstanding Player: Erika McCall (Stanford) … Attendance: 6,829, a championship game record. The overall attendance of 36,777 is also a record (previously 27,613, set last season).
brittany mcphee
erica mccall
marie gulich
mikayla pivec
oregon state women's basketball
stanford women's basketball
sydney wiese
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Only a few should challenge Stanford for Pac-12 title this year
Year two of overseas play: New year, same team, different blessings
No. 10 Oregon State outruns UCLA late, 83-73

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Shaker cabinets, great moldings and charming details — what's not to love about a traditional kitchen? Whether you have the space to recreate a Nora Ephron or Nancy Meyers set (hello, beautiful beach house in Something's Gotta Give!), or you're working with a more limited square footage — and budget, for that matter — here are 19 great spaces with classic good looks to inspire your decorating daydreams.
When space is limited, trad details can feel overwhelming. But in this West End Toronto home, classic details — recessed panel and glass-fronted cabinets, crown molding and wood floors — feel airy thanks to a mostly-white palette and a marble backsplash that stretches to the ceiling.
A coffered ceiling visually expands this entertaining-ready kitchen, the showpiece of an elegant country manor in Knowlton, Que. Raised diamond patterns lend a furniture-like feel to the cabinetry, while the french doors' full-height drapes feel polished. A massive island does double-duty as a workspace, complete with farmhouse sink, dishwasher and tons of storage, and a spot to relax with a morning cuppa.
A historical hue — Farrow & Ball's Green Smoke (47) — and classic country style give the cabinets in this Halifax kitchen a distinctly furniture-like feel, a look that's bolstered by decorative brackets and ample crown moldings. Homeowners Kenneth McRobbie and Colin Blanchard, designers and co-owners of home shop 31 Westgate, tucked the fridge into a cabinet (on the far wall), which was designed to look like an antique armoire.
A large-scale island and cozy banquette are the standout feature in this bistro-style kitchen. Taking inspiration from the homeowners' favorite restaurants, designer Philippe Beauparlant enlarged the room's south-facing window and added panelling for a more traditional feel. Its grey-green hue picks up on the warm olive tones of the banquette, which was upholstered in a practical waxed linen, and provides contrast for the rest of the space, which features subway tile and white cabinets. Chic Thonet-style chairs are the perfect finishing touch.
Though this kitchen is in a new-build cottage, designer Cameron MacNeil made sure to add elements that help it feel like it's been in the family for generations. Oversized pendant lights accentuate the super-high ceilings, while a sash window has old-fashioned charm. Face-framed cabinetry and the island's crisscross detailing are classic decorating moves.
There's no rule that says traditional decorating has to be restrained — and this kitchen, in designer James Davie's historic Toronto home, proves it. The cabinets and ceiling beams were painted Benjamin Moore's James River Gray (AC-23), a pale blue hue with a historical vibe, while bold cement floor tiles, which James imported from Mexico, make a striking statement.
See the rest of designer James Davie's home.
In designer Ingrid Oomen's downtown Toronto kitchen, an imposing island with furniture-like detailing sets the tone for the space. Its marble top picks up on the white bistro tile walls and cabinetry, while the dark base has a grounding effect. Herringbone oak floors are another classic touch, while matching pendant lights extend the look overhead.
Traditional details shine in smaller spaces, too. Take this galley kitchen in Toronto designer Silvana D'addazio's own 1880s semi; the coffered, panelled ceiling is a classic move scaled down for the space, while the contrast between glass-paned uppers and walnut-panelled lower cabinets lends an elegant and tailored feel to the room. Palissandro marble counters and a Moroccan-tile backsplash are luxe additions, while a pretty pendant light feels like jewelry overhead.
File this one under traditional with a modern exotic hit. Oversized schoolhouse lanterns draw the eye up to highlight the striking coffered ceiling. A zinc-topped island feels furniture like, and adds a French bistro feel to the space. Bold tilework is a global hit, while open shelving provides a place for the homeowner to display a collection of pretty ceramic pieces.
While the white kitchen is classic, traditional style doesn't have to mean shying away from color. The beautiful grey-blue palette in designer Karen Cole's own kitchen has a distinctly historical vibe that mixes well with polished nickel hardware and a mix of marble and granite countertops. A Persian rug is an unexpected exotic accent.
If storage is a concern, this kitchen, in designer Colette van den Thillart's Toronto home, is a dream come true. The abundant cabinetry was in good shape when Colette and her family moved in, so all she had to do was give it a coat of Old White Farrow & Ball and swap out the laminate countertop for luxe marble — and install a corner cabinet with bed for the family's Pekingese pups, of course.
This one-time galley kitchen in a downtown Toronto Edwardian has been completely reimagined as a spacious hub for designer Betty Theodoropoulos' young family. Coffered ceilings, abundant paneling and herringbone floors strike an elegant, traditional note, as do the leaded-glass windows and arched doorways. The Statuario-topped island is a beautiful but hard-working addition to the space, providing storage, dedicated space for cookbooks and a spot to grab a quick breakfast or an after-school snack.
In this condo kitchen, designer Tommy Smythe pairs copper faucets, hardware and lighting with crisp white cabinetry for a trad look that veers slightly into modern country territory. Dark countertops feel classic, while a Persian runner offers a rich infusion of color.
In this cozy cottage kitchen, a mix of painted and wood cabinetry has traditional style but doesn't feel too formal, which is fitting for a relaxed, family-oriented space. The oversized island is a workhorse, providing a place for meal prep and housing a sink, wine fridge and cooktop. It was designed to look like it was made from barn board, and is topped with a brushed stainless steel countertop, which adds a hit of industrial edge.
Traditional millwork, handsome black cabinetry and diamond-patterned black and white tiled floors lend a tailored, tuxedo-like feel to this classic kitchen. Open shelving and slatted built-ins do double duty as storage and space to display china, while closed lower cabinets wrangle less-pretty kitchen clutter. Unlacquered brass hardware feels glam now, and will develop a lovely patina over time, while a stainless steel backsplash adds an industrial note.
Crisp white cabinetry, classic subway tile and luxe marble countertops create a simply chic look in this bistro-style kitchen. A tall, slender fridge and upper cabinets that extend to the ceiling offer ample storage space.
I like #1 for the efficient use of a small space. I like #2 for the harmony it achieves among the various earth tones. I like #3 for the painted cabinets. I like the countertop in #4. Sorry, #5 is too white for me. I again like the painted cabinets used in #6. No, #7 is again too white for my taste. #8 makes excellent use of a limited space and I like the wood stain color of the lower cabinets. I like the color of the floor in #9 as well as the painted lower cabinets, and the wall tile. What can I say about #10? I do enjoy painted cabinets. Which is also the theme of #11. #12 & #13 are too white for me. I like #14 for the contrast of the wood stained cabinets against the painted cabinets. I like the drama of the range & hood in kitchen #15 as well as the countertops. #16 ends the tour as #1 started it with very efficient use of a small space.
I LOVE #7.. That one is my favorite. There are a few features I would like to take from each one to make my OWN though as nothing really jumped out to me.
I prefer the cottage kitchen,,hmm I think I have a theme going on here.
love them all too hard to choose just one. Amazing what they can do In small spaces.
I love the mix of white and blue of #15.
Can anyone tell me what the wood and stain are in #2? Loving it, as it is different than all the others! Thank you!


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Q: MapServer - Show Polygon Layer with non-transparent border and transparent background In MapServer, I want to show a polygon WMS layer (watersheds). I want to show the boundaries (outlines) of the polygons as a non-transparent thick line. And I want to show the inside (fill) of the polygons with 50% transparency. Is this possible?
I tried to set OPACITY 50, but this changes the transparency of both the outline and the fill.
The second option I tried was to set TYPE line, but this shows the fill as complete transparent and the GetFeatureInfo no longer works by clicking inside the polygon.
What I would like to get, is:
The outlines of my polygons have 0% transparency.
The fill of my polygons has 50% transparency.

A: You should use two different STYLE blocks, one for the fill and one for the stroke:
CLASS
 STYLE
  OUTLINECOLOR r g b #stroke
  WIDTH 3
 END
 STYLE
  COLOR r g b #fill
  OPACITY 50
 END
END

Ordering is important, you'll get different visual results if you swap the order of the STYLE blocks.

redpajama_set_name: RedPajamaStackExchange


Bilaal Mohamed is a UK-based financial journalist who writes for The Motley Fool as well as offering his own independent analysis and recommendations. His articles are regularly published on prominent financial websites in the UK and overseas. Please be aware that all views expressed are Bilaal's own opinions and do not constitute investment advice.