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719 Sentences With "balusters"

How to use balusters in a sentence? Find typical usage patterns (collocations)/phrases/context for "balusters" and check conjugation/comparative form for "balusters". Mastering all the usages of "balusters" from sentence examples published by news publications.

A Venetian-style balcony off the living room has marble floors, balusters and intricate mosaic work.
The deep stone steps are framed by a banister of oak and brass, with decorative iron balusters.
The staircase is quintessentially Georgian, Mr. Ashmore said, with a mahogany balustrade, square balusters and sash windows.
A wooden staircase with metal balusters leads from the entry hall to a skylit second-floor landing.
I slumped at the top of the staircase, leaned my head against the balusters and closed my eyes.
Kenneth is 6-foot-3 and bald, with arms like Grecian balusters — developed over decades in the gym.
From the entrance hall, the main staircase (there are also service stairs) commands attention for its curves and white-painted iron balusters.
The foyer's millwork, diamond-paned windows, a light fixture with dangling crystal pendants and staircase with bead-like balusters set the period tone.
The interior's four-paneled pine doors are original, too, as is its main staircase, which has squared balusters and an obelisk newel post.
The intricate carving on the staircase balusters and newel caps matches the wooden tracery on the large window illuminating the switchback staircase to the second floor, where the bedrooms are.
The great stairs, which have been reinstated, are not replicas of their former timber selves but a representation — in exactly the same measurements — in poured and polished concrete, with balusters in bronze.
Size: 2,825 square feet Price per square foot: $304 Indoors: A previous owner made a large investment in custom woodwork, adding coffered ceilings, open beams, carved mantels, paneled doors and a curving staircase with turned balusters.
The glass and riveted steel that they used for the construction, along with concrete, were innovative for the time period, and their completed building, in typical early 2850th-century decorative arts style, had a cream facade with stone balconies; its windows and balusters were adorned with angles, trellises and grapes.
Carpenters lined up two versions of wooden mock-ups recently to show Mr. Lamprou varying sizes of posts, balusters and railings that will recreate the edge of the piazza that once wrapped the 8,375-square-foot mansion while altering the recorded dimensions of the originals just enough to adhere to modern building codes.
There is an elaborate oak main staircase with turned balusters and a painted well staircase with turned balusters and chamfered square newel posts with ball finials.
In the Preah Vihear complex there is quite a range of window designs. Windows with three or five balusters are common. Those with seven balusters are found only in the palaces at Gopura III. The increased number of balusters at the stage establishes the hierarchy of buildings and those who dwelt therein.
I had slidden down the balusters when I was a boy, and thought nothing of it, but to slide down the balusters in a railway-train is a thing to make one's flesh creep.
The communion rail is detailed as being with heavily twisted balusters.
The communion rail, with twisted balusters, dates from between 1690 and 1700.
On the southern, King Street, facade a Porte Cochere is supported by sandstone Roman Doric style columns, the balustrade above the entablature has circular turned balusters. The balusters are slim and have been largely replaced by synthetic stone balusters. The upper two storeys of the major facades are treated as a single storey united by Ionic columns. The ground floor is treated as a rusticated plinth.
It has a corbeled arch ring, and cast concrete balusters lining the bridge.
Running external to the sidewalks were concrete guardrails with classical, cast-concrete balusters.
The triangular pediment, with its top lined with balusters, undulates down to its base. To the right of the church rises the five-tiered bell tower, with each of its storey defined by decorative balusters and ornamented with semicircular arched windows.
Guardrails with fluted balusters and paneled bulkheads run along each side of the bridge.
There was also an ornate 17th-century wooden staircase with square newels, turned balusters and moulded handrail.
The right projection is a porch, with turned posts and balusters. The left bay is enclosed. Both the left bay and the skirt below the porch are finished in square tooth-cut shingling. The second-floor porch also has turned posts and balusters, the posts topped by round newels.
Cast iron balustrades and cedar balusters were handcrafted after original designs, and the two hydraulic lifts were restored.
In the nave there are fourteen benches, upper parts of backs with a series of panels formed by attached half-balusters, with moulded top rail, open ends with turned terminals and curved armrests, supported by turned balusters, c. 1630–40, made up with some modern work. In north transept-six benches generally similar to those in nave but with open arcaded backs formed by segmental arches resting on turned balusters, also one front enclosure of similar design and two benches at east end of nave, c. 1630–40. In chancel- four stalls similar to the benches in the north transept, but with half- balusters attached to the lower panelling, made up with modern work.
The interior consists of a single cell. At its east end is a dais with settles and turned balusters.
Inside the building is a six-flight open-well staircase with three column-on-vase balusters on each step.
In subsequent years, the urn-shaped balusters of the original railing have been replaced by solid concrete panels. However, the other components of the railings, including the octagonal lamp posts, remain intact. The loss of the balusters is unfortunate, but the overall scale and significance of the bridge outweighs the minor loss.
Walls are finished in the original lath and plaster. A stair with metal newels and turned balusters connects all floors.
Across the top of the façade is a cornice and a balustraded parapet. Behind the façade the house is two- gabled, the north gable being higher than the south. Internally the entrance hall is panelled with fluted pilasters. There are two staircases, the main one having twisted balusters and the secondary one having flat balusters.
On the inside, the molding on the plaster ceilings has been added and the dining room molding restored. Outside, they replaced the front verandah balusters and rear verandah columns with parts meant to be as close to the original as possible. In the early 21st century the main stair's balusters and newel posts were replaced.
When rounded The balusters typically form a spiral around the circumference of the rounded portion and the handrail has a spiral called a "volute" that supports the top of the balusters. Besides the cosmetic appeal, starting steps allow the balusters to form a wider, more stable base for the end of the handrail. Handrails that simply end at a post at the foot of the stairs can be less sturdy, even with a thick post. A double ended feature tread can be used when both sides of the stairs are open.
The original parapets have at some point been replaced with painted cast-iron railings with dograils, dogbars and shaped end balusters.
Atop the stringers was a concrete deck with standard concrete guardrails on each side, having classical fluted balusters and paneled bulkheads.
The windows are Georgian in style, with sashes and small panes of glass. Inside the chapel are box pews, an octagonal pulpit and a carved reading desk. The chancel is panelled and divided from the nave by rails consisting of turned balusters. Hanging from a lintel at the entrance to the chancel are similar balusters forming an arch.
The lowest stage has a two-light window above which is a parapet with stone balusters and ball finials. The next stage is recessed and has a diagonal clock faces on three sides. The belfry stage above this has two-light louvred openings with stone surrounds. At the top is another parapet with stone balusters and ball finials.
Norman bases and capitals have been added, together with plain cylindrical Norman shafts. Balusters are normally separated by at least the same measurement as the size of the square bottom section. Placing balusters too far apart diminishes their aesthetic appeal, and the structural integrity of the balustrade they form. Balustrades normally terminate in heavy newel posts, columns, and building walls for structural support.
Inside, Goodnestone House has a prominent main staircase located in the large hallway, with open string, enriched brackets, and paired balusters. They are square newels and column-type balusters on half-landings, with a swept and ramped handrail and dado panelling. The 3 eastern rooms of the property are believed to have been designed by Robert Mylne around 1770 with a central oval entrance hall with niches.
Glanhafren Hall is a brick three-bay, three-storey front range of c. 1810. The block, one room deep, contains a two-flight stair with honeysuckle ironwork balusters in a segmental recess, and two rooms with classical plaster cornices.www.britishlistedbuildings.co.uk Glanhafran Hall Glandulais is a small Late Georgian house of two storeys and four bays—the windows mostly tripartite with cambered heads. Staircase with fluted balusters.
"A row of balusters surmounted by a rail or coping" 1644. OED; The term baluster shaft is used to describe forms such as a candlestick, upright furniture support, and the stem of a brass chandelier. The term banister (also bannister) refers to the system of balusters and handrail of a stairway. It may be used to include its supporting structures, such as a supporting newel post.
The Deoxidized Metal Co. of Bridgeport in 1885 secured a contract for the bronze balusters required for the Treasury building in Washington, D.C. These balusters were an elaborate design incorporating leaves, beads and moulding, all intended to have a bright finish, which required a great deal of hand work. Deoxidized could make, but not burnish, the balusters and sought to subcontract this work, but no one took them up on their offer. At that time there was no machinery for polishing metals, the usual procedure was to immerse in acid, and hand work was too costly. The contract from Washington definitely stated that acid was not to be used.
Central to this upper floor, a narrow winding stair, leading to the tower, has painted turned balusters and moulded rail. The tower overlooks, through arched openings, hipped roofs either side. Leading out to the masonry balustraded areas over the water tanks, are doors with semi-circular fan lights, boarded on the north, one panelled on the south. From the ground floor, a stair with turned cedar balusters descends to the cellar.
The columned entrance to the living room is a Classical Revival touch, and the turned spindle balusters on the stairway are a sign of lingering Queen Anne influence.
Hardwood floors and oak balusters lead to the second-floor courtrooms. Charles Skoglund built the building in 1894 for $7,200. It was designed by architects Buechner and Jacobson.
Lathe attachments allow cutting of spiral shapes, and are often used to create concrete forms for ornamental and structural items, such as planters and stairway balusters and newels.
A double-flight staircase leads to the middle entrance at the southside of the raised ground floor. The staircase is shaped like a horseshoe and has stone balusters.
A multi-flight stairway with handrails Neo-Baroque wooden stair in the House of scientists, in Lviv (Ukraine) Two flights of stairs joined by a landing Example of winder stairs with a simple handrail supported by three newel posts The balustrade is the system of railings and balusters that prevents people from falling over the edge. ; Banister, Railing or Handrail : The angled member for handholding, as distinguished from the vertical balusters which hold it up for stairs that are open on one side; there is often a railing on both sides, sometimes only on one side or not at all, on wide staircases there is sometimes also one in the middle, or even more. The term "banister" is sometimes used to mean just the handrail, or sometimes the handrail and the balusters or sometimes just the balusters. :; Volute : A handrail end element for the bullnose step that curves inward like a spiral.
The staircase features square balusters and a square newel. A dilapidated two- story kitchen and servants' house, possibly built in the 1930s or 1940s, is located behind the home.
This section shows details of construction that contain both First Period and early Georgian features. The staircase in the front lobby has turned balusters that are possibly original, and are similar in appearance to balusters found at the nearby Smith House on Argilla Road. Both the right-side parlor and second-floor chamber have exposed beams with chamfered corners. The doorway between the parlor and the lobby is topped by a distinctive open latticework transom.
From the room which was formerly the shop, is the straight varnished cedar staircase leading to the attic. It has turned balusters and newel, a panelled spandrel below, and a beaded board soffit over the doorway. The balustrade to the attic is simpler with squared posts and balusters. The attic is a single long room with tongue- and groove beaded boards to the side walls, flat and raked ceiling, and end walls of painted brick.
Illustration of various examples of balusters, in A Handbook of Ornament, by Franz S. Meyer A baluster is a vertical moulded shaft, square, or lathe-turned form found in stairways, parapets, and other architectural features. In furniture construction it is known as a spindle. Common materials used in its construction are wood, stone, and less frequently metal and ceramic. A group of balusters supporting handrail, coping, or ornamental detail are known as a balustrade.
Medallion of Charles I dated 1735. Large panelled room over entrance hall. Fine mid C18 open staircase with open string, closely spaced, turned balusters, column newels and swept, moulded handrail.
The house is a Greek Revival architecture structure. The front entrance was originally off-centered and surrounded by balusters, but these were removed with the addition of the west wing.
Local craftspeople and artisans repaired and refinish woodwork, and a California carpenter replaced staircase balusters and bead molding. The carriage house and grand parlor were modernized to house meetings and events.
Both have arch supports with ornately carved spandrels and balusters. The main entrance consists of double doors topped with a stained glass transom window. The front yard features two mulberry trees.
All floors are hardwood. The bimah and ark have paneled exteriors and beaded interiors. Stairs have square posts and turned balusters. Pews are simple, supported by gently curved solid end panels.
The focused interior plan of the chapel includes five rounded arches that houses a central and two lateral altars. The pulpit is a basic with a hexagonal screen of wooden balusters.
The Interior of Mount Moriah Lutheran Church Upon entering the church, a single aisle leads through the center of the nave to the chancel, which is centered on the northwest wall of the church. Simple, stained pews fill the nave of the church. The chancel is raised on a pentagonal platform which is surrounded on three sides by a low communion rail with square balusters. The ends of the communion rail are accented with turned balusters.
Its dominant features are an octagonal cupola and a two-story porch with delicate turned balusters and bargeboard decoration. The house was listed on the National Register of Historic Places in 1975.
The archaic term for the metal core is "core rail". ; Baluster : A term for the vertical posts that hold up the handrail. Sometimes simply called guards or spindles. Treads often require two balusters.
In the middle part of the roof there is a large dormer window. The windows, door frames, balconies, corbels, balusters, cornice, quatrefoils, and the relief of the camel are made of Istrian stone.
On a wall are the remains of painted texts. Also in the church are a 19th-century fretwork screen, and communion rails with balusters. The font is medieval with an 18th-century cover.
The landing nosing will often travel into the landing area to border the bottom of the balusters. The projection over the landing face will be the same as for the treads in the staircase.
The central bridge is partly built from Glinica limestone. Other parts are built from concrete. The balustrades with 642 balusters are made of concrete. The platform is covered with granite blocks laid in 2010.
The modern lectern (1903) incorporates some oak balusters and knobs from the staircase of Stow Longa Manor House and was given in memory of Rev. Thomas Ladd who was buried in the churchyard in 1899.
A foundation of granite supports the marble and granite columns, with a brick and stone exterior. F. Heierman and Bros. of Austin manufactured the interior iron stairway treads. Ornamental newels and balusters are of wood.
The rectory is a large single-storey brick residence with verandahs on three sides. It stands on brick piers with honeycomb infill. Entry is through a gabled frontispiece. The verandah has timber posts and balusters.
The Frank D. Bloss and Sons Farm House is a two-and-one-half- story irregularly massed frame structure, quite sophisticated for a rural farmhouse. It is topped by a multiple gable roof with a gable dormer. The house has a wide variety of windows, including rounded arch and diamond shaped openings and sash widows with small, colored panes enframing a larger pane. The house currently has an open, one bay entrance porch with turned balusters and bargeboards, replacing the original wrap-around porch with turned balusters.
Work on the bridge began in late 1931, with many workers provided by the County Relief Committee. The bridge opened for traffic in June 1932. The original balusters have at some points been replaced with replicas.
A large stone Jacobethan fireplace with pilasters stands in the dining room; the sitting room has a small stone Jacobean-style fireplace. The staircase is in oak with twisted balusters, panelled newels and a panelled spandrel.
The walls of the central hall were plastered and then hung with a set of scenic wallpaper imported from France. The center hall stairway is decorated with spiral balusters of three different profiles on each step.
Retains cast iron fence and verandahs, dentillated trim to the verandah, large stuccoed chimneys and exterior steps with marble hand-rails and sandstone balusters. Interior features marble fireplaces and etched and coloured glass, elaborately carved staircase.
The Henry Hammond House, built about 1888, is a blend of these two styles, with Italianate brackets and turned porch balusters. A late example of the Queen Anne is the William Labelle House, built in 1912.
Inside, there is little original hardware or woodwork. The staircase, which has simple brackets and a railing with narrow balusters and turned newels, dates to 1860. The framing here is hand-hewn, and the ceilings are low.
The interior is also largely in original condition including the main stairway that has turned balusters. Fir wainscot is present throughout most of the home, which the interior design is of an Arts and Crafts style design.
Its network of exterior porches is a locally distinctive feature brought by French Canadian immigrants, wrapping around two sides of the house and sheltering staircases that provide outside access to the upper level residential units. These types of porches are commonly found on surviving triple deckers of the first two decades of the 20th century. The porch railings were originally in the more delicately featured Queen Anne style, with turned posts bracketed at their tops and spindled balusters, but those have been replaced by square posts and balusters.
Supported on shallow twin brackets, the parapet consists of masonry balusters and pillars at the junction of each bay topped by urns. A projecting pediment in the Brunswick Street facade which breaks the line of the parapet is flanked by interlocking circles, instead of balusters. The ground floor contains a bottle shop entered from the street corner, a public bar with entry from Brunswick Street, an entry foyer also opening off Brunswick Street, a lounge bar and bistro and a loading bay. There are remnants of art deco plaster work throughout.
The single arch has a cornice decorated with modillions at the road level. The bridge is finished with a stone balustrade in which groups of balusters alternate with solid stone blocks. The bridge was repaired in the 21st century and some of the balusters were replaced. It remained the main road bridge crossing the Weaver within the town until the 21st century, when the A534 was diverted away from Welsh Row and the triple-arched Sir Thomas Fairfax Bridge was constructed to the north of the Welsh Row bridge.
The front entry is sheltered by a portico, supported by doubled Doric columns, projects, and is topped by a low balcony with urn-shaped balusters. The house was listed on the National Register of Historic Places in 1989.
Open-string steps, whose balusters are plain, lead to the pedimented front porch. A fanlight surmounts the paneled door. Shutters are paneled on the first floor and louvered on the second. Third-story windows lack any such adornment.
The second story has sawcut balusters. The third story windows have bracketed crowns. A central double wooden door on the first story serves as the main entrance, with a secondary one on the east facade. Both have wooden surrounds.
The eastern end is enclosed as a kitchen. The western end has the timber stair. It features turned balusters and newels and moulded string. Added to the rear is a small single-storey toilet block clad in fibro sheet.
There is also a small attic window in the gable field. Both sides are fully fenestrated. Behind the double entry doors is the full-width vestibule. On either side are paired double-run stairs with their original rails and balusters.
The curving porch extends around the house to the west, echoing the house's corner lot placement. The east side features an extensively decorated hooded window. The porch columns are linked by turned balusters. Corners are marked with two-story Ionic pilasters.
Under chancel-arch there is a low screen in two parts with opening in middle, plain lower panels and open upper panels, six on each side, with round arches springing from short turned balusters, moulded top rail and turned knobs over alternate balusters and flanking central opening; c. 1630–40. In south transept modern screen to vestry incorporating eleven bays of arcading probably from one of the stalls or seats, c. 1630–40. In the west tower across north west angle, curved screen or partition of moulded panelling, 16th-century, cornice and door modern now used as a store room.
The west elevation has just the windows. The south is where the slightly offset single-story rear wing is connected. The interior follows a side hall plan. The staircase from the entry hall has a turned newel and balusters with a detailed handrail.
The main road facing side has balconies with sculpted balusters. The clock on the top was a gift from Rao Sahib Ramdas Morarji, a local Parsi philanthropist who also donated 1,800 books to the library. The local Khoja community donated another 1,200.
A contrasting marble string course with triglyphs and five pointed stars projected around the stairwell at the landing. Winslow designed a custom railing with cast iron balusters that incorporated the five pointed federal star within a circle he used in the carved moulding.
The windows are in segmental-arched head openings. The front features a hipped roof front porch, with spindled balusters and decorative brackets, which is probably a later addition. A single-story addition on the rear of the house was probably built about 1881.
It has square newels and a simple molded handrail with simple square balusters. The original pine stair treads were protected by carpeting for many years. The second story has an identical floor plan. The northeast bedroom has original wainscoting and chair rail.
This is plain, with a raised chancel. There was formerly a wooden chancel screen. The doorway has twisted balusters and is dated 1698. In the church is a painted memorial plaque to the Whitehead family, which is probably by Randle Holme III.
The gable ends are decorated with scalloped bargeboards. The verandahs have chamfered posts with simple rectangular capitals and carved scalloped bases. The balustrades are constructed of square section balusters and handrail. The building has timber sash windows, and French doors opening out to the east.
Two skylit staircases, with turned balusters and newels and a curved molded handrail rise to the upper story in the front and rear. Off them, the hallways have simple wainscoting. Fireplaces in the front rooms have a mix of classical, Italianate and Eastlake decorative touches.
The porch pavilion, with its marble balusters and stone dome, is probably from the 17th century. It is possible, however, that a canopy of the sixteenth century which was then in the courtyard of the Parliament of Toulouse served as a model for this one.
The York Motor Museum is a motor vehicle museum on Avon Terrace in York, Western Australia. It is housed in a group of shops and commercial premises "unified by a classical parapet with classical cappings and balusters" constructed by the Windsor family in 1908.
Dogwood Cottage, built sometime between 1901 and 1904, is essentially Dutch Colonial Revival in design, with a shingled exterior and Shingle style details. It has an engaged porch (giving the second floor more square footage), with turned posts and balusters in the Queen Anne style.
The communion rail is on three sides of the altar, and contains turned balusters. The identified subjects of the wall paintings include Saint George on the south wall, and the Last Judgement above the chancel arch. The 17th-century texts are present but faded.
The balusters were ornamented with vine leaves made of iron along the railing of the stairs. The wooden ceiling of the room, decorated with geometric designs, is very elegant. The verandas and rooms are covered with marble. The doorways are placed within semicircular arches.
Inside the manor is a spacious hall which is dominated by twin Jacobean staircases and gallery with barley sugar twist balusters. The panelled walls and pilasters are in building styles associated with the Tudor Elizabethan period. Two priest-holes are also located in the house.
'Docken' refers to turned wooden balusters used for construction galleries and limbless wooden dolls. The estate was badly damaged during the World War II, but was rebuilt in the following years. Furthermore, the building is one of the stops of the “Historical Mile Nuremberg”.
Astrea is a pair of two-storeyed semi- detached timber houses. A double-storeyed verandah runs across the front of the building. This is ornately decorated with cast-iron valances, posts, frieze and balusters. The building has a single hipped roof in corrugated iron.
The stairwell retains the original timber stair (painted) with vinyl covered, tapered treads. Balusters and newel posts are turned, and the stringers are plain. All doors are four panel, with inlaid mouldings, pivoted transoms and ogee architraves. Two double hung windows have no glazing bars.
The building is located in the urban context of Braga, situated alongside the Hospital of São Marcos and the pavilion sheltering the Fountain of the Idol. It is a singular block, in the Baroque- style, constructed during the reign of King John V. The palace is a two-storey buildings, consisting of several three-doors on the main floor, flanked by ornate framed windows, and the second-floor consisting of several windows and balconies. The roof is topped by a veranda of balusters, with ornate vegetal pinnacles. Over the main portal, deeply indented, is a sumptuous balcony of balusters, flanked by two decorative sculptures.
The scenic Triple Bridge, decorated with stone balusters and stone lamps on all of the three bridges The Triple Bridge is decorated with stone balusters and stone lamps on all of the three bridges and leads to the terraces looking on the river and poplar trees. It occupies a central point on the east-west axis, connecting the Tivoli City Park with Rožnik Hill, on one side, and the Ljubljana Castle on the other, and the north-south axis through the city, represented by the river. It was enlarged in order to prevent the historically single bridge from being a bottleneck by adding two side pedestrian bridges to the middle one.
The narrow balcony has a concrete floor and a balustrade made from two tubular steel rails and widely separated balusters covered in asbestos cement sheeting rendered with pebble-dash on the exterior face. The steel balusters pierce the concrete floor slab and are fixed on the underside. At the far north-west end of the balcony is a steel ladder with safety grille, which provides access to the flat concrete roof of the observation room. A waist-height, tubular metal balustrade, with fibre cement panels attached, runs around the edge of this area, with the lantern that once housed the 1968 sealed beam array light located in the centre.
The brick, gable-roofed building is two stories with an attic and a wide dentillated cornice. The interior staircase includes heavy turned balusters and an oak handrail. The school served as an evening school from 1866 to 1871.B. L. Savage, African American Historic Places, 1995.
Cable railings typically use stainless steel cables strung horizontally. Stainless- steel cable and fasteners are strong and don’t obscure the view. Contemporary frame systems use plastic-coated steel cables. Glass balusters and glass panels are often used at contemporary architectural projects where unobstructed view is important.
Rose's metal has several common uses: #As a solder. It was used to secure cast iron railings and balusters in pockets in stone bases and steps. #As a heat transfer medium in heating baths. #As a malleable filling to prevent tubes and pipes from crimping when bent.
Two are coffin shaped. Three contain at their corners, either buttresses, pilasters, or half- balusters. One has an arch-shaped headstone attached. Another, large and shaped like a sarcophagus, has rebates--continuous notch cut into an edge--at corners, a deep cornice, and a gabled top.
The treads are bullnosed and obediently creak to each and every footfall a visitor may place upon them. Square carved oak newel posts support the ends of banisters with carved tapered balusters running between. The opposite side of the stairs are mirrored with a Trompe d'œil balustrade.
It has a flat roof with a limestone cornice and balustrade with shaped balusters. The Salem town offices were housed in the Salem Town Hall until consolidation in 1913. The building was renovated in 2000. It was listed on the National Register of Historic Places in 2001.
Brackets under the pediment cornice and entablature run entirely around the house. Six square pillars rise from the porch to support the pediment. These pillars also serve as the newels of the porch railing of square balusters. It has flush siding under the portico, a Wind feature.
Above them is a corbeled tier, with similar features serving as end brackets. Inside, the building mostly serves as the restaurant and offices. The ground floor has been extensively remodeled to that use. Its pressed-metal ceiling is original, as are the turned balusters on the stairway.
The plastered walls in the other rooms are lined with a molded chair rail. The open-string two flights staircase is on the left side of the main hallway. The staircase features curved brackets and square balusters. An enclosed staircase is located in the east end parlor.
The interior doors of the house has moulded gothic, or ogival, archways, decorated with fleur-de-lys detailing. The staircase is believed to either be original to the house or an early 17th- century replacement and features decorative balusters and newel posts with acorn-shaped caps.
It contains a mahogany four-flight staircase. The staircase has triple balusters, and was carved by Shillito. Afain the plasterwork is by Oliver. More family portraits hang on its walls and the hall's contents include a hobby horse, a man trap, and an 18th-century sedan chair.
The floors of the corridors and tread of stairway are made from Terrazzo and Kasota Marble, and the balusters and railing are made from Italian Travertine and Italian Tavernelle Clairemarble. In 1981, the building underwent a major renovation which updated existing systems to modern code specifications.
Skirting boards in the main rooms of the main structure vary from 230 – 260 mm and are most likely Australian Red Cedar. The main staircase has enclosed risers and nosed treads. The handrail is moulded timber, supported on turned balusters. A small cupboard is constructed under the staircase.
Evidence shows that the fascia and cupboard are constructed from Australian Red Cedar. It is likely that the balusters and risers are similar. Ceilings and cornices in the main structure are a mixture of fibrous cement, plaster, timber, pressed metal and gyprock. These suggest several different phases of renovation.
A rosette frieze is above the each level. The west side has a balcony on brackets to ground floor and a veranda. Inside the style is Greek stone and plaster with some later alteration. The staircase is of cast iron balusters and with a square central glazed lantern above.
On the Row level is a rail on wooden balusters. Behind the walkway is another modern shop front. The third storey has three sash windows on which the date 1736 has been scratched on the glass. These are the Georgian style windows which were inserted in the 18th century.
Main Building is an example of Greek Revival architecture and is accented with Italianate designs. The facade of the four-story building contains a central portico supported by four Doric columns. Balusters are located between these columns on the three upper levels. The balconies offer views of downtown Raleigh.
The two-storey Bath stone building is in the Palladian style with four square angle towers each of three storeys. The main entrance is via a loggia of five round-headed arches. The interior includes a large hall and a staircase with stone treads and wrought iron balusters.
It opens on a side entrance hall. The house's original floor plan remains, although the functions of the rooms have changed. Original finishes include the pine flooring, wall plaster, marbleized door knobs, a marble mantel, molded wooden window trim and the turned newel post and balusters on the staircase.
The architect was Joseph Turner. It is built in red sandstone ashlar and consists of a basket arch of short rusticated voussoirs. The parapet consists of stone balusters interspersed with panels. A drinking fountain, which is now dry, is fixed to the north abutment and is dated 1857.
Suggett R and Stevenson G. (2010), pg.115, illustrated The porch is off-centre because the hall is twice as wide as the parlour. The porch has depressed ogee inner and outer doorheads. There are turned balusters set into the sides of the porch and internal side seats.
The chapel is constructed in red brick with stone dressings and a slate roof. It consists of a nave with an apsidal chancel. Around the top of the chapel is a moulded stone cornice and a balustrade. The balusters are interspersed with square piers supporting swagged ball finials.
A steep straight stair is on the eastern wall, and has open tread timber steps, square balusters and a simple handrail. The stair leads to a timber boarded room, with recent timber boarded raked ceiling, which is naturally lit by small windows on the western and southern walls.
These are flanked on each side by three bays containing sash windows. Projecting from the left three bays is a single-storey kitchen wing with a first floor terrace and a balustrade. Inside the house are two Jacobean staircases with turned balusters and square newels surmounted by ball finials.
Balusters may be formed in several ways. Wood and stone can be shaped on the lathe, wood can be cut from square or rectangular section boards, while concrete, plaster, iron, and plastics are usually formed by molding and casting. Turned patterns or old examples are used for the molds.
It contains over 100 balusters, each of which is carved with a different design. Its windows contain heraldic stained glass. The upper floor contains a gallery and four bedrooms. In the gallery are items of furniture, and these include a table with a purse once belonging to Georgiana Cavendish.
Internally the fittings and details are described as being "typically Douglas", although they are in pine rather than in his usual oak. The principal feature is the stair hall and staircase. The latter has balusters and newels and it leads by a quarter-turn to an arcaded landing.
Among the most common marble products are categorized into the following: novelty items (gifts, ashtray, table bars), furniture (dining tables, baptismal fonts) and construction materials (tiles, balusters, marble chips). Aside from marble quarrying and processing, tourism, fishing and coconut farming are also basic livelihood sources in the island.
The house is a wooden two-story structure with a stone basement. The walls are plaster on shingles. The main facade contains a balcony on carved brackets, with wooden columns and carved balusters. The facade is also ornamented with profiled rods and a horizontal band along the walls.
On the second floor, at the top of the central stairway, there is an original stairway with one landing and one turn, leading to a trap door in the cupola. The central stairway, the circular stairway, and the cupola stairway all feature original, low handrails with three/quarter balusters.
A wood front porch has chamfered posts and carved balusters. Its interior has been modified for its present use as a day care center, but still retains original woodwork such as the banister on the stairway. The hearth of one of the fireplaces still has its original tiling.
They connect to each end of the breezeway. All roofs are clad in corrugated galvanised iron. On the upper level the verandah edges are made with cast iron balusters and baluster panels, and tapering stop- chamfered timber posts. Below, fitted between each post, are deep, arched valances made of lattice.
At the Row level is another modern shop front. Between this and the street is a walkway, a sloping stallboard and a rail with balusters overlooking the street. Above the Row opening is a carved fascia. In the storey above is a window running almost the whole width of the building.
The entrance hall has a large, stone dog-leg staircase with large square piers and vertically symmetrical turned balusters. The main hall has an elaborately plastered, coffered roof. Pilasters mark the bay divisions and support a bracketed entablature. There is a raking gallery at the rear, on fluted cast-iron columns.
Around the chapel is a burial ground containing headstones, some of which date from the 18th century and are elaborately carved. It contains the chest tomb of William Williams who died in 1830. This tomb is constructed in limestone and has corner balusters; it is a Grade II listed building.
The original music room has since been converted into a kitchen. There is a less ornate fireplace on the south side. The mahogany staircase has turned balusters, a chamfered newel post and a scroll motif on the risers. The second floor has a similar layout although it is less ornate.
This was formerly the residence of Lorenzo Cáceres, a colonel of engineers. Its three-story neoclassical facade presents traditional quartered windows; a high arched central gate with a stone frame, cornice, and balustrade; this gate between large flowerpots; and a pretty hidden balcony sporting turned balusters in the main window.
Wanda Walha is a large two-storeyed timber residence with a double-storeyed front verandah. The hipped corrugated iron roof features a projecting gable on the left side at the front. The verandah has cast iron posts and balusters. The wide decoratively notched valance on the lower level is in timber.
In the wing and on the sides of the building are more sash windows. The interior contains an open-well staircase with six flights and turned balusters; the balustrade has replaced a former Chinese Chippendale balustrade. On the first floor is a large room with an 18th-century decorated ceiling.
The projecting and cross-gable are further topped with a wooden decoration. The interior of the house retains much of its original woodwork. Much of it is golden oak and hand-grained mahogany. The main staircase has oak paneling, turned balusters on the railings and newel posts with carved wood insets.
Behind the stacks is a workspace with shelves and cupboards. There are eight sections of stacks on the lower level and nine sections on the upper mezzanine. The south wall contains a staircase leading to the second floor. The staircase has a railing made of dark wood, with alternating twisting and rectangular balusters.
Under the portico was a cantilevered balcony with balusters of wheat and sheaf design. Under the balcony were double doors with sidelights and a fixed transom. Windows were nine over nine lights with triangular pediments. The basic plan is four over four with an enclosed breezeway the full length of the house.
A second story porch with square columns was added then. A first-floor one-story porch with square Doric-capital posts was added in 1928. The interior includes a c.1840 stairway with a square newel post and square balusters, and fireplace mantles having simple Greek Revival design with Doric motif pilasters.
An italianate cornice spans the roof-line between the rusticated quoins. At the first level, a recessed loggia is created by an arcade of segmental arches supported by diminished Doric columns on pedestals. Balusters enclose the arcade. The central bay is separated from the rest by a one-storey pair of rusticated pilasters.
This entrance is between the first and second storeys and is approached by symmetrical pairs of stairs with iron balusters, which were made in 1734 by John Gardom of Baslow, Derbyshire. In the centre of the courtyard is an Italian Renaissance well-head, surrounded by chequered pink and white stone, simulating marble.
A one-story, shed roof porch extends across the front facade. The porch has six solid posts and a railing with turned balusters. The front elevation has five bays with the center door with sidelights and two six over six lights on each side. The second story has five six over six lights.
The entrance hall contains a fireplace with bolection moulding. Above this is a re-used 16th-century overmantel in Jacobean style with pilasters and arched panels. The main staircase is in the west wing, and has twisted balusters and flat-topped newels. Two of the smaller rooms contain panelling with bolection moulding.
The rear has two projecting gables from the left wing all in keeping with the rest of the design, except for a flat-roofed extension to the rear of the main building. The windows to the rear wings reflect the general style. The interior of the building is complete and is a fine example of Parker's work, which includes stairs to the rear centre, now cased in, with stick balusters, some wide and fretted, leading to a curved landing with similar balusters. The dining room to the left is open to the rafters, with a glazed balcony from the stairs, a large recess containing an open fire with a cast-iron grate and elaborate cupboards with ornamental copper hinges over the lintel.
Skirtings and architraves are timber of a simple profile. Verandah walls are single-skin, lined with VJ, T&G; boards with exposed external framing. Verandah floors are timber, and ceilings are raked and lined with VJ, T&G; boards. Joinery to the verandahs includes square timber posts and two- rail timber balustrades with battened balusters.
A foyer with stairs is just inside the main door. This tall space leads down to the basement on the left, and up to the main level on the right. Oak woodwork in the foyer remains intact, including wainscoting, paneling, and a purely decorative stair rail. The stair rail has paneled newels and turned balusters.
The M-88–Intermediate River Bridge is long and wide, with a roadway width of and sidewalks lining both edges. It has concrete balustrade railings with square balusters and posts, and an ornamental railing on one wing wall to protect pedestrians from the steep drop. A bridge plate gives the construction date of 1931.
A maquette made by Lorenzo Winslow showing entrance to the Grand Staircase from the Entrance Hall. In the final design the bottom stairs did not project into the Entrance Hall. A maquette made by Lorenzo Winslow exploring the structure of the Grand Staircase. Plaster model by Lorenzo Winslow for the balusters of the Grand Staircase.
Frank Lawrence House is a historic home located at Basham, Montgomery County, Virginia. It was built in 1918, and is a two-story frame dwelling with a foursquare floor plan. The roof is covered with its original pressed metal shingles. It features a five-bay, wraparound porch with Doric order columns and square balusters.
It is octagonal and built in alabaster and marbles of different colours, decorated with shallow reliefs. It was designed by Anthony Welsh. The communion table dates from 1896. The rails surrounding the platform on which it stands are in oak, they have barley-twist balusters, and were made by J. W. Mitchell of Halifax.
It has considerable unity in its scale, form and use of materials. The main structure of the building is of brick on a stone foundation. The columns, pilasters, balusters to the colonnade, the parapet and side entrances are of Murphy's Creek sandstone. There are cast iron balustrades on the recessed verandahs and external stairs.
A number of tombs in the graveyard are listed buildings in their own right. The Boghurst tomb is a chest tomb of 1750 close to the south door. The listing draws attention to its inscriptions, the urn balusters and notes that it is railed. The Moulding tomb is another chest tomb, this time of 1789.
The doorheads in the hall are carved with trophies of arms. The doorways in the later hall to the north of the large hall also have carved architraves and heads. There are stairs at both ends of the building with twisted balusters, etc. A double flight of stone steps leads up to both main entrances.
The altar table and the pews also date from the 17th century; two of the pews are box pews. The 18th-century communion rails have twisted balusters. The east window contains stained glass from the 19th century. Also in the church is a small brass dating from the 14th century depicting a female figure.
Note: This includes and Accompanying photographs Completed in 1905, the new federal building was originally U-shaped. The symmetrical facade features evenly spaced Ionic pilasters and terraces with stone balusters. A heavy classical cornice tops the building. A five-story addition, completed in 1938, enclosed the original U-shaped plan, creating an interior courtyard.
The wall surfaces have been rendered and scribed to imitate stone blocks and a new ceiling with downlights has been installed. A door opens to the shops on either side. The landing level has carved timber balusters which pre-date the existing stair and balustrade. The auditorium is entered under the gallery, or dress circle.
Throughout the town are various styles of corrugated iron roofs such as the smooth, round-edged bullnose, the curved ogee and the concave roof. Several Loxton buildings are also characterised by diamond windows on end walls, pedimented walls, classical pillars and balusters. Some of the old buildings also feature strong wooden shutters and sash windows.
The main room is lit by lantern and ventilator towards the rear. This is set with panels of etched and coloured glass in red, blue and green. Beyond this, there are doors leading into the courtyard of the new complex. The upper floor is accessed by a large cedar staircase with carved and turned balusters.
The present manor house bears a date stone inscribed with the year 1598. The upper flight of the staircase has early 17th century pierced balusters. Other details were added to the house in the 20th century. The Domesday Book records that by 1086 Water Stratford had a watermill, presumably on the River Great Ouse.
The porch once had more elaborate Queen Anne decorations, including turned posts and balusters, but these have been lost. The bays have flared skirting below the windows, which was once finished in decorative cut shingles. The house was built about 1894. During this period, Belmont Hill was in the early phase of intensive residential development.
It has a turned mahogany newel post, round railing, and turned balusters. In the front parlor the fireplace has its original wooden mantelpiece and chimney breast. The rear has been reconfigured, with some doors and walls removed. Upstairs is another original newel post, and some of the original lath and plaster on the walls.
Above this is a balustrade parapet with hour glass balusters. Original chimneys survive in the north eastern corner and at the rear of the building. Access to the building is via a central hall from Quay Street which has a pair of flanking offices on the eastern side. Original fireplaces exist in both these rooms.
At least one is a nicely detailed timber staircase with turned balusters etc. There are Honour Rolls on the ground floor for Isis District (World War I with additions for World War II), Doolbi and Horton (World War I with additions for World War II), and the CSR Childers Sugar Mill (World War I only).
The chimney stacks are rendered. The hall and several other rooms are panelled and the plasterwork and ceilings are ornate with decorated beams. There are classical scenes painted on some walls. The staircase is Jacobean in style and dates from about 1660; it has heavily carved newels, a thick moulded rail and turned balusters.
These quattrocento balustrades are likely to be following yet-unidentified Gothic precedents. They form balustrades of colonettesA colonette is a miniature column, used decoratively. as an alternative to miniature arcading. Stone balusters in the Basilica of San Zeno, Verona (constructed 967–1398 AD) Rudolf Wittkower withheld judgement as to the inventor of the balusterH.
The reconstructed Old Appomattox Court House is a two-story structure of running bond brick with a raised second floor main entry. There is a second story east and west entry porch. The building has newel posts and balusters. The four-panel entry doors on the main level are flanked by 12/12 double hanging sash windows.
Woodlea was likely modeled after Kimberley Hall in Norfolk Woodlea's exterior was designed in an Italian Renaissance Revival style. The house is said to have been modeled after Kimberley Hall in Kimberley, Norfolk. Its classical devices of 18th-century English architecture include urns, pediments, columns, and balusters. The house also is a full- blown expression of the American Renaissance.
1723–35; refaced c. 1766–75 by Kenton Couse and with early C.19 alterations. Along with Number 10, it underwent a major reconstruction by Raymond Erith, 1960–64.The Architect and Building News, 25 December 1963 Despite reconstruction, the interior retains a fine staircase with carved bracket tread ends and three slender turned balusters per tread.
The west gable end of the building show evidence an addition might have been attached there. This is supported by early tax records describing a "stone and brick" house. The interior retains much of the original design with an open two run stairway off a central hall. The stairway has a plain railing and delicate square balusters.
All windows retain their original metal frames, featuring a combination of fixed and casement windows with multiple lights. The second floor windows sit on a sill of Italianate balusters, running between the pilasters. Below the third floor windows are moulded tripartite panels featuring centred oval medallions. Inside the medallions are the entwined letters CB (standing for Capitol Building).
The architectural historian Nikolaus Pevsner comments that the black-and-white decoration of this bay is "very rich". It consists of studding in the ground floor, lozenges and shaped balusters in the upper floor, and lozenges and serpentine struts in the gable. In the adjacent bay is a wooden doorcase with a triangular pediment. All the windows are casements.
Some spout heads bear the initials of Sir Thomas Dalrymple Hesketh and the date 1811 and one is dated 1822. The entrance hall has a cantilevered or flying stone staircase and landing on three sides with wrought iron balusters and is lighted by a domed oval skylight. The main hall has columns and pilasters made from Scagliola marble.
Mountain laurel railings on a timber frame porch.The most common residential deck railing design is built on-site using pressure treated lumber, with the vertical balusters regularly spaced to meet building code. Wood railing could be in different styles such as Victorian, Chippendale railing and others. A popular alternative to wood railing is composite lumber and PVC railing.
Catesby House is a Jacobethan country house about west of Upper Catesby. It was built in 1863 and enlarged in 1894. It includes 16th- century linenfold panelling said to come from Catesby Priory, and 17th-century panelling, doorcases and a stair with barley-sugar balusters, all from the previous 17th-century Catesby House that was in Lower Catesby.
It features a two-story ornamental porch that spans the entire front of the building with chamfered posts and sawn balusters. Also on the property are a contributing two-story, single-pen log kitchen; a small stone shed-roofed greenhouse; and a corn crib. and Accompanying photo It was listed on the National Register of Historic Places in 1989.
The porches of the first two floors have plain square posts and simple modern. When surveyed for the National Register in the 1980s, the porch had square posts with simple capitals, and balustrades with turned balusters. Its main roof eave was modillioned, and it had a third-floor porch set recessed in an arch. The house was built c.
Architraves surround the paneled field around each window. The main stairway features a mahogany rail with a turned newel post and balusters. Both first and second floors have marble mantels, black and white respectively, unusual for Greek Revival houses in the area. The beehive oven in the kitchen wing still has its original cast iron door.
Behind it the main entrance leads into a narrow vestibule and then a wide side hallway with detailed ceiling moldings. Similar detail is evident in the carved balusters and newel on the main staircase. The two parlors to the south have modillioned ceilings and fireplaces with finely crafted architraves and surrounds. The north rooms are similarly treated.
Another small porch shelters an entrance on the west, and there is an inset entry on the southwest corner. The first floow layout is a modified side-hall plan. The main entrance opens into a vestibule with a staircase featuring finely carved balusters and polished paneling. An archway supported by columns leads into the main parlor opposite the stair.
Sections of the rear verandah remain as internal corridor, off which French doors with fanlights open. The rear of the site contains car parking. Internally, the building has been substantially altered. The entrance hall contains a carved cedar staircase with a twin return, two figurine lamps on the bottom balusters and leadlight sash windows at the landing.
The hallway has a central archway and a timber stair with turned balusters. The original kitchen would originally have been located in rooms at the rear. There is a large proportion of surviving original fabric in the main part of the house, including plaster ceilings, roses and cornices, marble fireplaces and timber skirtings, picture rails, doors and architraves.
The left side is a row of porches with turned balusters and posts, and the right consists of a bay that projects the full depth of the porch. The roof is a shallow hip roof, with an extended eave that has curved support brackets. The building was listed on the National Register of Historic Places in 1990.
By the formal arched entrance on Jackson Boulevard, a large staircase led to shops and a second-floor balcony. White- glazed terracotta sheaths the exterior façade and interior court and the lightwell is lined with white-glazed brick. Classical designs were used for the ornamental dentils, balusters, and column capitals. The building is completely steel-framed.
A timber staircase with turned timber newel posts and square balusters provides access to the upper floor of the residence. Walls of the staircase are clad with later unsympathetic timber boards which extends into the majority of the upper floor rooms. Original lath & plaster ceiling is visible where the plaster is damaged or removed. No original fittings remain.
There is a set of pre-Victorian box pews. These include a large squire's pew, above which is a monument to William Jones who died in 1829. The pulpit is five-sided, and the communion rail is supported by turned balusters. There are stone benches along the east wall and a small, damaged piscina in the south wall.
Exterior wall of the Parliament House. The Corinthian capitals of Parliament House are made of red Kalvola granite. Sirén designed Parliament House in a stripped classical architectural style combining Neoclassicism with early twentieth century modernism. Sirén's combination of simplified columns and balusters with simplified planar geometry bears comparison to similar explorations by Erik Gunnar Asplund and Jože Plečnik.
The entry is slightly off- center in a section with porches on all three floors. The porches have turned balusters and posts. The walls are clad in alternating sections of clapboards and shingles, and the roof has a cornice studded with pairs of brackets. The building was listed on the National Register of Historic Places in 1990.
The kitchen and bottle shop runs beside this with the hotel manager's accommodation section over. The first floor is accessed via a timber half turn stair that has turned newel posts and turned balusters. The stair rises to a landing which has corridors leading off in three directions. These lead to accommodation rooms through four panel timber doors.
The most prominent feature of the estate's landscaping is the four-level terrace that extends down the hill from the south wing. The top level has a fieldstone retaining wall topped by a balustrade with Jacobean balusters. The garden descends to the fourth level, where there is an octagonal pool at whose center is fountain imported from Italy.
A shed-roofed wooden porch with turned balusters and posts wraps around the northeast corner. On the rear is a one-story kitchen wing[ a two-story extension projects from the east. Windows are tall, narrow one-over-one double-hung sash with sandstone sills and wooden surrounds. Next to the entrance is an arched stained glass window.
The north front, facing towards Foregate Street, formerly the main front, contains three arched doorways, two of them blocked, more sash windows, and another broken pediment containing a round window. At the first floor level is a frieze containing vase-shaped balusters in three panels. The rear of the building, facing towards the east, is almost unpierced.
No fireplaces were evident to this floor. The main stair accessing the complex of levels that make up North Sydney Post Office comprises polished turned timber posts and balusters and sheet vinyl floor with black edge strips. The early skirting is polished and there are carved brackets to the upper flight. The first-floor comprises four main areas.
The mayor's parlour has an unusual feature, a window above the fireplace. This is concealed by a mirror which can be slid sideways. The chimney for the fireplace is built into the wall to the right of the window. The staircase is geometrical with cast iron balusters, over which is a large window glazed in a Venetian style.
Through the base of the main tower, access is gained through a pointed archway to a hallway. At the end of this space a timber stairway leads to the storey above. Its balusters and newel posts are simply turned. Off the hallway opens the Great Hall and a large meeting room as wide as the southern wing.
Each face of the octagonal base of the dome has a round window. A vented fleche surmounts the dome and three other similar fleches are mounted on the ridge of the roof. Panels of classical balusters form the parapet around the dome and the balustrade to the upper level verandah. The ground floor verandah has wrought iron balustrades.
The house was built circa 1860 for Sir Alfred Ernle Montacute-Chatfield. It was designed in a plain Italianate style, on a square plan, with two above-ground storeys and a basement. The interior had an entrance hall with a staircase including barley twist balusters. A servants hall was connected to a basement kitchen via a separate staircase.
The main hall is recessed from the street with a portico in front. The hall was by with a raised platform at the rear that was deep. The walls were decorated with dado and stencilling. The entrance to the library was on the side up the hall leading to a small passage to the jarrah stairway with turned balusters.
The five-bay facade has a center entry, which is sheltered by a square portico, supported by Tuscan columns and topped by a low railing with turned balusters. Above the entry is a shallow gable, below which is a large round-arch window. The house was listed on the National Register of Historic Places in 1989.
It is accessed by a circular staircase with rails on balusters. The pews are of oak, as is the pulpit which probably dates from the 17th century. The pulpit is carried on an octagonal stalk, and is decorated with scrolls and pendants. The altar table also dates from the 17th century, and is in Jacobean style.
The Fairy tower () was constructed at the end of the 15th century, and is supported by strong buttresses. The base is octagonal, and is finished by a rectangular room: the roof has two panels. The top is decorated by balusters and gargoyles. According to the legend, a lord of Argouges met a very beautiful young woman at a well.
The Bayne House, at 37 Main St. in Shelbyville, Kentucky, was built in 1915 in Classical Revival style. It was listed on the National Register of Historic Places in 1984. It is a central passage plan house with a curved two-story portico. Its hallway has dado panelling and an open, square stairwell with elaborate balusters.
It is typically used without the addition of animal glues. Marezzo scagliola is often called American scagliola because of its widespread use in the United States in the late nineteenth and early twentieth century. Slabs of Marezzo scagliola may be used as table tops. When set, scagliola is hard enough to be turned on a lathe to form vases, balusters and finials.
On the main floor there is a balcony run central three bays of arch supported by corbels decorated and has on each side a window of the same type. The top is supported by corbels cornice with simple railing balusters work with clay. The facade of the Sant Sebastà street typology is similar to the principal. The center still has interesting interior spaces.
The lunch room appears to retain the only evidence of a possible fireplace to the first floor. There is a second stairwell to the southwestern corner tower section of the building, accessing the second floor. It has white painted square timber posts with turned tops, square balusters and straight rail. Treads are timber with some vinyl flooring and edge strips.
Mills House is a historic home located at Fort Mill, York County, South Carolina. It was built in 1906, and is a two-story, frame dwelling in the Classical Revival style with a slate hipped roof. The front façade features a central lower porch topped by an upper tier and flanked by side porches. All porches have Doric order columns and turned balusters.
There is a niche with a round head on the east wall of the nave. The font dates from the 13th century, and has a plain octagonal bowl on a clunch pedestal. The communion rail, dating from the late 17th century, has barley-twist balusters. The benches date from the late 15th century, and the floor tiles from the 18th century.
The two levels below the top floor have paired window bays which are similar but double the height. At the base of these is an imitation balcony with balusters supported on brackets. In this way the building has both a distinctive top and base. A similar projecting balcony occurs in front of the central window bay on the level below.
There are two dwellings on the site. The mill house, where the miller's family would have lived, was built around 1910. Rubble-built, with two storeys, it features an elegant staircase with cast iron balusters, indicative of the relative wealth of the owner. There is also a cottage, the oldest remaining building on the site, dating from the early nineteenth century.
The building has influences from a few different architectural styles. The corner pavilions and the central tower have segmented blue-green copper domes, suggesting Second Empire architecture. The center pavilion has a porch with balusters, fluted columns, and an oculus-pierced pediment, which reflects Georgian architecture. The courthouse and jail were added to the National Register of Historic Places on June 13, 1986.
Between these openings are paired pilasters with one large Corinthian capital that extends across the top of both. Above the capitals is a plain frieze, a cornice and a parapet composed of Italianate balusters. The narrow northern facade has the date "1888" on the upper frieze. The most distinctive feature of the building is the octagonal tower with cupola at the river end.
The Obel House The Obel House is constructed in red brick with three floors over a raised cellar. It is seven bays wide of which the two, slightly projecting outer bays are wider than the five central iones. The two outer windows on the first floor have balusters and are topped by triangular pediments. The facade is finished by a dentilated cornice.
The attic contains two rooms which are lined with tongue and groove boarding and which have internal shutters on the windows. A ledged and braced door is between the two rooms. The attic is accessed by a steep central staircase with simple square balusters. The rear single-storey kitchen wing is of timber frame clad in fibro-cement and has a hip roof.
Most of the original Federal details have been retained. The entrance on the central portion of the side of the house exhibits Federal influence. It has a molded architrave as well as in the transom that is tall with tracery that is both neoclassical and fine. A two-story piazza with Tuscan columns, ceiling panels, and plain balusters is on the west facade.
The staircase has original square newels and balusters supporting a simple molded pine handrail. It leads to a second floor with a similar layout. On the east side of the central hall are two large doors, apparently original, with one perhaps taken from the first floor. Two newer bathrooms have been added in the rear, both using the original wide pine floorboards.
Phlegar Building is a historic office building located at Christiansburg, Montgomery County, Virginia. The original structure was built in the early 19th century, and extensively renovated after 1897. It is a three-story, rectangular brick building with Italianate style decorative details. It features a two-story porch of six bays with turned posts, a spindle frieze, brackets, and turned balusters.
The interior has a fine king post roof with brackets, moulded shafts and capitals. There are some pews dating from the 16th and 17th century on the north side, one with the date 1589. The communion rail and west gallery, which had turned balusters, are probably early C18th- century. The pulpit, which has a tester, is 16th- or 17th-century.
Significant among these are the rail, balusters, and steps of the main staircase, which are made of hand-planed cherry wood, and the mantel over the main fireplace. Other distinctive features include transoms over all interior doorways in the house's southern portion and a walnut log in the attic, which was a traditional element used to bring good luck to the house.
Inside the south wall of the nave are the arches of a two-bay arcade of an aisle that has been removed. The south wall of the chancel contains an ogee-headed piscina, and a small aumbry. The chancel roof dates from 1852, and the nave roof is medieval. The altar rail dates from the 17th century, and incorporates turned balusters.
Above each column, and below the eaves, are paired wooden brackets. Along the floor is a railing supported by turned balusters. At the roofline, paired brackets similar to those of the verandah support a molded cornice above a plain frieze. On each side the mansard roof is pierced by two dormer windows, both topped with gentle arches and supported by side brackets.
In the front hall, a lamp hangs from a round decoration on the plaster ceiling with curved decorations and radiating lines. The main stairs, flush with the north wall, have octagonal newel posts with beaded panels and a flattened finial. They are succeeded by turned balusters. Paneled double doors at the east end lead into the parlor, the largest room in the house.
A simple staircase with square balusters, turned newel post and molded rail rises from the central hall to the second story. The balustrade continues along the stairwell in the second floor hallway. Like the first floor, many original finishes remain. A door in the hallway conceals a short stair to the attic, which also mostly remains as it was originally constructed.
There are fragments of Norman zigzag carving incorporated in the wall above the north transept, and in the west wall of the north aisle. The reredos dates from 1926, and is by Caröe. The altar rail dates from the late 17th century, and is carried on balusters. The pulpit has been reduced from a three-decker and is dated 1721.
The council demolished it in around the year 2000 and replaced it with a wooden bridge. The bridge over the Craufurdland Water at Craufurdland was built by Mr. Craufurdland, using the balusters from the original part of the battlements of Cessnock Castle, which had originally been given to Captain Whyte of The Cottage.Landsborough, Rev. David (1879), Contributions to Local History. Pub.
The lantern gallery deck is constructed of concrete and lined with thirty two Italian marble balusters, originally imported from Italy around 1900. The interior has an iron ladder, originally wooden, that leads up to the watchroom level. The lighthouse design and masonry tower have Colonial Revival elements. It is the last lighthouse built in the state of Connecticut as an official navigational aid.
The north elevation features a centrally placed, projecting, multi-curved parapet and flanking entry portals. The loggias, hallmarks of the Spanish Colonial Revival Style, provide ventilation and shelter from the weather. The openings are segmentally arched with projecting keystones topping the openings. Classically inspired pilasters divide the openings and are skillfully combined with wrought-iron balusters that are located on the second level.
The Palace was built next to the smaller 16th century Gothic Stockalper House. It is a rectangular building with three towers on the north-west, south-west and south-east corners. The interior features a large, rectangular courtyard () with arcades in the style of the Italian Renaissance. The balusters that line the second story are not original, but were added later.
Inside the chapel is a wooden panelled reading desk on a moulded plinth with an ogee cornice. On each side of the reading desk is a flight of three steps with balusters and newels. The reredos is also panelled, the central panel being wider than the outer panels, and with a semicircular head. The reredos is decorated with motifs including garlands and roses.
It is floored in large terra cotta tiles. An original staircase, with rounded pine handrail and square newels and balusters leads upstairs. The second floor is laid out similarly to the first, on a center hall plan. Its hallway turns toward the rear to access the backstairs to the attic, with risers slightly steeper than those on the other stairs.
The original diamond-pane, leaded glass casement windows are intact. On the interior the home's ground floor consists of a stairway, reception room, living room, dining room, kitchen and pantry. The hall is paneled in oiled birch and has a railing with "highly attenuated balusters framing the stairs." The second floor features four bedrooms, one with a bathroom and fireplace.
The dogleg stair itself has simple square balusters, a molded top round rail and square newel. Upstairs, another west hallway with a small room in the southwest corner gives access to three rooms of nearly equal size. All have paneled doors leading to the hallway, and each other. The finishes on this level are all original; none have been renovated.
An entirely new roadway deck was installed in 1986-87. The new road deck was a bonded post-tensioned concrete deck in width. The roadway width remained the same, but the extra deck width allowed the sidewalks to be widened to . The 1955 railing was removed, and a precast concrete parapet high with recessed panels between the balusters was installed.
The front door of the mansion features an Ionic doorway very similar to the Ionic portico of the Touro Synagogue. The floor plan features a broad central hall with flanking rooms on either side. The hall has a high divided arch, the stairs are fitted with ramped rail and twisted balusters. The stair landing is lit by a Palladian window.
A railing with an oak handrail and turned-wood balusters enclosed the gallery, and a shallow concave stage was added to the west wall. Pilasters, paneled in warm-colored wood, were added to the walls. A wainscot and dado rail of wood covered the lower part of the walls. A highly intricate plaster architrave and broken pediment surmounted the entrances to the terrace.
At current rates of extraction, the supply may last for three more centuries. Tablas Island is also believed to have vast reserves of marble. Marble quarrying and processing are major activities in Romblon. Among the most common marble products are categorized into the following: novelty items (gifts, ashtray, table bars), furniture (dining tables, baptismal fonts) and construction materials (tiles, balusters, marble chips).
Decorative elements include scalloped barge boards, turned finials with twisted lightning conductors, distinctive arched dormer windows, turned cedar verandah balusters and two classically moulded chimney heads. Internally, much of the original cedar joinery survives. There are four rooms on the main floor and another four rooms in the attic. These are lit by windows in the dormers and in the gable ends.
John J. Kaminer House is a historic home located at Gadsden, Richland County, South Carolina. It was built about 1880, and is a 1 1/2-half-story, five bay, frame cottage with a one-story rear ell. It is sheathed in weatherboard and has a gable roof with dormers. It features a shed-roofed front porch with cast-iron porch balusters.
At the level of the Row are painted wood barley sugar balusters with rails. Behind these are stallboards, the paved walkway of the Row, and more modern shopfronts. The third and fourth storeys are jettied, both containing barley sugar pilasters and casement windows of varying sizes. The attic storey is set back, each bay containing a three-light mullioned and transomed window.
At the front of the first floor is a rail on balusters, behind which is a stallboard, the paved walkway of the Row, and a modern shop front. Above this is a row of five ornately shaped panels. The second floor contains a three-light mullioned and transomed casement window, with two panels on each side. The top storey is jettied and gabled.
The house is two stories tall and is built in the Eastlake style. It has a distinctive silhouette, with multiple roof shapes, dormers, a square tower, and tall brick chimneys. The large front porch has wooden posts and balusters, with a pediment over the entrance. The exterior is embellished with stone window trim, transoms, scalloped wooden shingles in the gables, and belt courses.
The sidelights and transom feature leadlight panels. This door leads onto the hall, in the vicinity of the timber dog-leg stair. The stair features turned newel and balusters and is clad with stained timber boarding on the underside. The hall of the ground floor, like most of the rooms on this floor is lined with timber panelling to a height of about .
The low floor is composed of semicircular arches that rest on columns. The architectural elements used- slate mirrors in the wainscots, balusters, etc., are the usual in Covarrubias in other works of the moment. Of these same dates is the door that gives access to the convent from the street of San Pedro Mártir, that formerly was the main entrance.
The first floor verandahs are supported by paired cast iron columns with corinthian capitals; these are in turn supported by masonry plinths. Between these are cast iron balustrades with timber hand rails. These columns support a dentiled soffit. Similarly paired cast iron columns support the first floor balcony and the ground level balustrade has moulded concrete balustrading with hourglass-shaped balusters.
Each of the corners of the building also project from the main building and have arched windows on the second story. The interior may be the more significant part of the building. The rotunda is separated from the hallways by column screens. The rotunda also features wide friezes with medallions, oval opening in the floor, wooden balusters, and brass railings.
The Walter Keene House is a historic house at 28 High Street in Stoneham, Massachusetts. The -story wood-frame building was built c. 1900, and is an excellent local example of a transitional Queen Anne-Colonial Revival house. Its hip roof and front porch are typically Colonial Revival, while the left- side turret and turned posts and balusters are Queen Anne.
The Neill–Cochran House Museum is a historic home in north-central Austin, Texas. Master builder Abner Cook designed and built the house in 1855 as a suburban estate many years before the surrounding area was settled by other homes and businesses. The two-story Greek Revival home features prominent Doric columns and Mr. Cook's signature "sheaf of wheat" balusters.
It has finely carved balusters and newels. The second floor has been converted into an apartment but retains many original finishes as well. At the northwest corner of the property is a small garage. It appears to have been a carriage house built at the same time as the house, and is thus considered a contributing resource to the property's historic character.
The Angelina River Bridge was a historic bridge on U.S. Route 59 (US 59) over the Angelina River in Lufkin, Texas. It was built in 1935 and added to the National Register of Historic Places in 1988. It was a poured concrete bridge supported by concrete piers, poured in sections about long. It had square balusters and rails with chamfered edges.
Phillips House is a historic home located at Poughkeepsie, Dutchess County, New York. It was built about 1891 and is a two-story, Queen Anne–style dwelling with an asymmetrical, slate-covered roof. It features a front porch with turned posts and balusters and scalloped shingle and spool decoration. It was added to the National Register of Historic Places in 1982.
The Wynne House is a historic house on 4th Street in Fordyce, Arkansas. The two story wood frame house was built in 1914, and is the city's best example of residential Classical Revival architecture. It is Foursquare in plan, with a hip roof with large gable dormers projecting. A porch wraps around two sides, featuring elaborate spindled balusters and Ionic columns.
Great Room interior The entrance hall contains two original arches. One of these includes a fireplace, the other leads to the staircase. The National Trust has inserted a panelled wall on the left. The staircase has been rebuilt by the National Trust in a stairwell measuring by , and its oak balusters have been copied from those at Cornbury Park in Oxfordshire.
The one-room interior of the Charles Sweeney Cabin has a loft accessible in the northwest corner by a dog-leg stairway. The stairway has many of its original balusters. It also has original trim on the stringers, the structural member of the stairway that supports the treads and risers. The square newel and rail are formed from one piece of an oak branch.
The masonry fence with turned timber balusters complements the house. The roof is tiled in terracotta shingle tiles and features a blind dormer which is louvered and glazed. The house had a long wing extending back from the square core. A verandah, and a double width verandah room or a piazza, extended into the yard between the wing and the core on both levels.
The Davis-Adams House is a historic house at 509 North Myrtle Street in Warren, Arkansas. It was built c. 1860 in a Plain Traditional style, but received a significant Victorian facelift in the 1890s, when its two-story porch was decorated with spindled balusters and jigsawed details. This work was probably done for its first documented owner, Dr. S.M. Davis, who bought the house in 1888.
The chapel is rectangular, again with a carved ceiling with two orders of beams in the Plateresque style. Immediately above the entry is the choir loft, whose carved ceiling has a single order of beams. The center of this ceiling is decorated with Plateresque motifs alternating with tracery and pineapples. Over this ceiling is the rostrum of the upper choir, composed of a sill of wooden balusters.
These end window bays project slightly from the rest of the building and have plain, flanking giant order pilasters. The three central bays of windows are more closely spaced. At their second floor level they extend to the floor and have a projecting balcony that is supported on brackets. This has a wrought iron railing of a diamond shape pattern between balusters of the same material.
The rail, however, curves into the transverse section, rather than continuing perpendicular to the runs of the stair. The delicate foliated stair brackets are thereby forced to constrict and form a frieze-like pattern on the curved section. The brackets are similar to ones illustrated in Owen Biddle "The Young Carpenter's Assistant" (1810). The molded handrail is supported by plain balusters that are square in section.
Each window on the upper floor is fronted by an individual sawnwork balcony. These originally incorporated latticework rather than the current simple balusters. Each gable is trimmed with bargeboards and crowned with a diamond-shaped pinnacle. The semi-detached, centrally placed rear ell, also one-and-a-half stories, has a four-bay facade on each long side and replicates features seen on the main facade.
At that time the Italianate style of the newel posts and balusters was current. They replaced a simpler, enclosed original stair. The dormers and cross-gable may have been added then as well. Another possibility is that they were added closer to the turn of the 20th century, possibly in imitation of the very similar treatment of the Big House in Palisades, elsewhere in Rockland County.
The porch has turned posts and balusters, with brackets at the roof. The main roof eaves are trimmed with simple Italianate bracketing. The upper entrance is flanked by sash windows with simple trim, and there is another window in the gable end above. The store was built about 1850, when the East Street area was populated with a number of mills and other industries.
The Orson Everitt House is an irregularly massed 1-1/2 story wooden house with a hipped roof and clapboard siding with a multi-colored paint scheme. The principal feature of the facade is the broad porch which spans the front; the porch features turned balusters and a circular turret at one end. Various dormers, including a turret with conical, roof break the roof line.
Sudler House is a historic home located in Bridgeville, Sussex County, Delaware. The original section was built about 1750, and is a two-story, six bay, frame dwelling sheathed in cypress shingles in a vernacular style. The original three-bay section was enlarged during the Federal period. The interior features a gracefully designed staircase with square balusters has an unusual double carved bracket trim and panelled base.
The upper floor of the Station Building contains currently disused offices, while the ground floor contains station operations rooms, offices and store areas. Timber stairs with cast-iron balusters are located on the western side. The first floor interiors retain some vertically-jointed timber-lined walls and a small timber service window. The ground floor interiors retain some masonry arches and timber columns with decorative timber capitals.
The staircase features a square newel post and balusters and paneled wainscoting along the wall. The upstairs bedrooms are organized around a central hall, and feature door surrounds with hoods, picture rails, and other trim. The upstairs includes the small nurses' operating room and adjacent assistant's room with built-in medicine and supply cabinet. Throughout the house the original fir floors have been replaced with oak.
Norburn Terrace is a historic home located at Raleigh, Wake County, North Carolina. It was built about 1898, and is a two-story, three bay, "T"-shaped, Late Victorian style brick dwelling. It features an octagonal tower with a spire roof and decorative porch with a spindle frieze and turned balusters. It was the home of Herbert E. Norris, a prominent Wake County attorney and politician.
No fireplaces have been retained at this level, and gas appliances have been installed. The main stair is constructed of polished, turned timber posts and white painted, turned balusters. It is fully carpeted and has an early skirting. There is a cupboard at the top of the stair and beneath it and the top post of the upper flight appears to have been modified or replaced.
Killgore Hall, also known as Wroten's Hardware, was a historic commercial building located at Newport, New Castle County, Delaware. It was built in 1883, and was a three-story, three bay by six bay, brick building with a flat roof and overhanging cornice. It has a one-story, one bay extension. A three- story porch spanned the east facade, with Colonial Revival columns and square balusters.
At the top stage of the belfry is a Meneely bell, with "1858" stamped into it, supported in an iron cage. Doors in the corners open into side aisles that lead all the way to the elevated pulpit, past white pews with walnut railings. More walnut railings and white balusters extend across the front of the platform. A long recessed arch is behind it.
The front and rear doors are flanked by etched glass side lights. Door and window joinery retains much of its original hardware. The main and attic staircases have fine turned balusters and newel posts. The plan is organised around a central hall which travels through to the rear enclosed verandah and later extension which houses the kitchen/dining and utility spaces and parish office.
The hipped bullnose roof to the verandah is of corrugated iron, and framed with stop-chamfered purlins and shaped rafters. The gutter has a decorative metal acroterion remaining on one corner. Above is balustraded parapet of moulded plaster pedestals topped with ball motifs, concrete balusters and face brick surrounds. To each end are ornate metal rainwater heads announcing 1912 as the year of the building's construction.
A staircase with a turned and panelled newel post, octagonal at its base, and a balustrade featuring turned and fluted balusters leads up to the second floor. From there it extends along the hall to the door to the attic stairs. There are four bedrooms. The floor has a lower baseboard than the first floor and no molded detailing, but is otherwise similar to the downstairs.
The chancel and nave roofs have crown posts. The west gallery is deep, with turned balusters and carved and gilded royal arms of William and Mary. The manorial pew on the south side of the church contains a table dated to 1758, as well as small 18th-century schoolchildren's chairs. The chancel was restored in the 19th century, which is most visible at the east end.
The high steeple in the west is a landmark, reaching . It has a quadrangle floor, with an octagonal upper part and a helmet topped by a weathercock. Four sides of the upper part, those parallel with the lower part, carry high abat-sons, while the diagonal walls are decorated with lesenes. The pointed helmet with copper shingles is framed by balusters at the bottom.
The Jackson House is a historic house in Bentonville, Arkansas. It is a 2-1/2 story wood frame house, roughly cubical in shape, with a pyramidal roof and an asymmetric facade typical of the Queen Anne style. It has a wraparound single- story porch, supported by Corinthian columns, with flat sawn balusters. There is a small Palladian window in a front-facing projecting gable section.
A primarily timber structure, the stair has ornamental balusters, carved stringers and marble treads and risers on the flights between ground and first floor. Painted cast iron panels are incorporated into the stair balustrade. Beyond the first floor the stair treads and risers are timber. A narrower stair connects the second floor to a room at the top of the tower under the belvedere.
Classical balusters form the balustrade between the arches of the arcade. The base of the building is rendered in a banded pattern with arches opening to the undercroft. The bay in the centre of the symmetrical facade is ornamented with pilasters and narrow stained glass arched windows with decorative pediments. A large pediment with a cross mounted on its apex surmounts the central bay.
Along the sides of the church are Corinthian unfluted pilasters, between which are two tiers of windows; the windows in the upper storeys have round heads, and those below have square heads. The only remaining internal feature from the original design is the double staircase with iron balusters under the dome. The interior of the dome is coffered. Outside the building are ornamental iron railings.
Situated on the northeast border of campus, The Burnett Center is a cornerstone building. The exterior is constructed of granite and limestone, and a grassy plaza and fountain decorate the grounds outside. The interior features a large atrium, large vertical ribbon window assemblies, and cast iron fleur-de-lis balusters from a former residence hall. The architecture and masonry work won several national awards.
The entrance plaza includes a fountain and a grassed bowl area in the lower plaza. The interior of the Burnett Center consists of cherry wood trim and doors, veneer plaster, wool carpet, and cove lighting. The railings include cast iron fleur-de-lis balusters from Hays Hall, the first dormitory on campus that was demolished in 1994. The first floor has atrium spaces and a main staircase.
On the south side the pews have been modified to form a double pew for the use of the Corporation. The mahogany communion rails have turned balusters. The iron pulpit dates from 1875 and the plain stone font from 1858. The stained glass in the north aisle and the chapel dates from the late 19th or early 20th century and is by Shrigley and Hunt.
Double walnut doors lead to the interior, with much of its original Eastlake style woodwork. Most prominent among this is the main staircase, also of walnut, with turned balusters. A large two-tone newel has a niche for a gas light and intricate carvings in a floral pattern. The gas fireplace has a walnut frontispiece with more floral carvings, geometric forms and an intricate cast iron grill.
The font is massive and plain with a Gothic oak cover. The altar rails are Jacobean and consist of alternate twisted and turned balusters. The sanctuary chair dates from the reign of Charles II. The stained glass in the east window of the chancel is by Kempe. One of the Massey memorials is in marble and dated 1579, the other is in alabaster and dated 1794.
In the south wall of the chancel is a double piscina and a sedilia. The benches in the chancel date from the 17th century and are carved with poppyheads. The communion rail dates from the same period and is carried on turned balusters and posts. At the southeast corner of the nave are the remains of a former stairway that led to a rood loft.
The open edge is also decorated with cast iron baluster panels and balusters beneath a timber handrail. The panels display a cornucopia design motif featuring two horns, one filled with fruit and the other with vegetables. Below the symmetrically curved horns are bunches of wheat and another plant. Located centrally at the bottom of the panel, where the ends of each bunch cross, is a horseshoe.
The wartime reconstruction used blue brick, a darker type often used for heavy-duty construction. The 26 narrower arches are round-headed, whereas the wider span across Preston Road is elliptical. Each pier has a long, rectangular opening on each inner side, with rounded arches at the top and bottom. Running along the top of the viaduct on both sides is a balustrade with stone balusters.
The timber verandahs face the two streets with the eastern verandah edge sitting on the fence-line and the other setback approximately . Their roof is continuous with the main roof at a slightly reduced pitch. The upper storey's balustrading is cast iron obtained from elsewhere by the Whybirds. A number of balusters are missing, and some aluminium frieze pieces have been fitted around the lower storey.
The west and north walls have original brass six-panel doors with classically detailed surrounds. The lobby's original brass light fixtures with glass globes are typical of 1930s post offices. Faced with marble, the original curved staircase is at the lobby's southwest corner. Following the stairs' curve, the staircase railing has iron balusters with a wood cap and decorative bronze newels at each level.
Wide moulded architraves surround the openings. The concrete balcony to the first floor spans the space within the portico and is detailed with a moulded concrete balustrade containing urn-shaped balusters. The south elevation is more simply detailed and is rendered and finished with an ashlar pattern. There are seven square metal-framed windows to the upper level and four rectangular metal-framed windows lower level.
The screen looks out of place in its present position and it has been suggested that it originally came from Chirbury Priory at the time of the Dissolution. The altar rails have turned balusters and date from c. 1700. The Barrel Organ was made by S. Parsons of London in 1827 and has a Gothic revival case. Old box pews are reused as wainscot.
The front entrance is a classical portico, like a shallow Greek temple with simple columns decorated with acanthus leaves supporting a pediment that says UNITED STATES POST OFFICE. At the top of the exterior wall is a parapet and above that limestone balusters. The roof behind is hipped, broken by dormers. Inside are the original the terrazzo floor, marble wainscot, wood trim and doors.
It has a front-facing gable and intersecting side gables, with a wooden entry porch in the ell between the front and east-facing wings. The porch has three chamfered posts and four square posts with a balustrade of turned balusters. A Sanborn fire insurance map recorded that the house, as of 1893, had a wood-shingled roof. By 1982, the roof was asphalt-shingled.
The first floor contains the sun porch, the lobby flanked by the stairs and the bathing facilities. The men's bath hall, dressing rooms and pack room are on the longer north end of the building. The women's facilities are smaller and located on the south side of the building. The two stairways leading upstairs have marble treads and balusters with tile wainscoting on the walls.
A dentilled cornice line occurs above ground level above which is a plinth with balusters in front of the window openings. Another horizontal cornice line runs at the seventh floor level which has a plinth above it. The entablature has a large dentilled cornice supporting a parapet with a raised section corresponding to the three central bays. The Edward Street facade is longer but also symmetrical.
With the exception of this ceiling, the carpeting, the cushions on the benches and the paint on the walls, the Meeting Room itself is unchanged from the day it was built in 1790. The doors on the extreme corners of the porch lead upstairs. The rare, slender stair rails, supported by square balusters, are distinctive from the late 1700s. The rail ends in a pronounced upturn.
Original timber architraves and skirting survive in the principal offices. Access to the first floor is via a timber return stair with turned balusters. The stairwell windows and entry door have leadlight glazing with a central diamond pattern with bird designs. A green marble fireplace with cast iron grate and ceramic tiled reveal is in the office adjacent to the side hallway and main stair.
The gable ends are clad in decorative cut shingles, and the gables are decorated with Stick-style vergeboard elements. Below the eaves hangs a decorative wave- patterned valance. The porch has turned posts and balusters. It is further enhanced by its position in the center of a group of stylish period houses, including the Sidney A. Hill House and the Franklin B. Jenkins House.
Gwynn's original design included an extravagant decoration for the balustrade with sculptures and sphinxes that were commissioned to Henry Webber in 1778 but eventually abandoned in 1782.Jaine, T.W.M. (1971). The building of Magdalen Bridge, 1772–1790, Oxoniensia xxxvi, p.69. According to Pevsner, the bridge has "good sturdy balusters", although these have been replaced over the years because of degradation due to pollution.
Ground floor walls are generally of painted plaster, the joinery is of very simple design such as square section balusters under the cedar handrail to the stair. Ceilings are of fibro with timber cornice and doors are of the four-panel type. The original wing's upper floor has a narrow transverse hallway entered from the stairway top landing. This level has five small bedrooms and a toilet.
On the south (front) facade, the first story has a wooden porch covering all three openings. The porch echoes the house, with a modillioned center gable and hipped roof supported by fluted Ionic columns with turned balusters between them. Behind them the windows have been fitted with French doors. Windows on the second story have segmental brick arches, wooden hoods and cut stone sills.
It is decorated with a turned newel post and balusters. The round arched window on the east profile lights the landing with 19th-century stained glass. The western half of the second floor is an open meeting room supported by steel I-beams visible from the attic, with carpeted floor and daises on the wall. The original master bedroom is in the northeast corner.
Entrance porches are on either side, with turned posts and balusters. The left porch is two stories high, with a spindled valance on the second floor. The house was built about 1897 by Ai J. White, a French Canadian immigrant. White owned a shop at the back of the property where he manufactured window sashes and blinds, and apparently built this duplex as an income-producing property.
The cast iron verandah friezes feature a design of grape vine and leaf with pendant fruit painted and highlighted. The villa has two wings to the rear which form a U-shaped courtyard. Internally, there are two staircases in addition to the servants' stairs, attic stairs and cellar stairs. The main staircase rises from the entrance hall and has finely turned cedar balusters and decorative newel posts.
The M-28–Tahquamenon River Bridge is plate girder bridge built of nine steel girders encased in concrete. The girders are braced by concrete diaphragms and sit on large concrete abutments. The bridge spans , and is wide with a roadway. A concrete deck covered with asphalt sits atop the bridge, and the roadway is lined with concrete guardrails made from fluted balusters and paneled bulkheads.
Internally, the nave measures by , the chancel (including apse) measures by and the tower measures by . The ceiling of the church has shallow ribbed vaulting. There are galleries to the north, west and south, accessed by a Georgian staircase in the north-west that has turned balusters. The north and south galleries are supported by plain Tuscan columns and both contain box pews that date from 1752.
The windows are single-or double-hung sash units topped by ogee pediments and enclosed in square frames. The front entry doors are in round-head openings, woth the other doors in square-head openings. A front fporch runs across the full width of the house, and has chamfered posts and ornamented balusters. Three additional small entry porches are located on different sides of the house.
The front porch has bracketed turned columns and delicate balusters, and a spindled valance. The house was built in the 1890s, as part of a building boom in which Reading was transformed into a railroad suburb of Boston. The area was previously farmland, on which paper streets had been platted sometime before 1893. It was developed to appeal to middle-class workers commuting to Boston.
The porch has a flat roof, and is supported by turned posts with decorative brackets, and has turned balusters. The main entrance is in the rightmost bay, and is framed by sidelight and transom windows. The other bays have simple sash windows, and are topped by relatively plain projecting cornices. The side elevation has a projecting polygonal bay, with small recessed panels above and below its windows.
The L shaped two-storey hamstone building has clay tiled roofs. The front of the building has a porch with an archway flanked by Doric columns. To the south side of the building is an orangery the roof of which was replaced after bomb damage in World War II. There is a two-storey stable block. The courtyard is surrounded by a hamstone wall with stone balusters.
The stairway has two turned balusters on each step under a walnut handrail. Double parlors are separated by pocket doors. Original kitchen and dining room spaces are to the rear. Perhaps unique to this house are the exterior and interior load bearing walls whose construction is of narrow (1”x7”) oak planks laid horizontally, nailed from above as the work proceeded, forming a virtually solid 7” wall thickness.
Stanchions (balusters or bollards) are also the upright posts inserted into the ground or floor to protect the corner of a wall. In event management a stanchion is an upright bar or post that includes retractable belts, velvet ropes, or plastic chains, sometimes in conjunction with wall- mounted barrier devices, barricades, and printed signage and often used for crowd control and engineering people flow and construction site safety.
Woodlea is constructed of buff-colored pressed Italian brick with pale limestone trim. It is three stories tall, seven bays wide, and more than fourteen bays deep. The south and west facades are both symmetrical, although the house has an asymmetrical overall plan. The house has pedimented pavilions and entrance porticos on the west, south, and east; window trim consisting of stone surrounds, pediments, lintels, and sills; classical balusters and quoins.
The F. japonica species is favored as a material for making baseball bats by Japanese sporting-goods manufacturers. Its robust structure, good looks, and flexibility combine to make ash ideal for staircases. Ash stairs are extremely hard-wearing, which is particularly important for treads. Due to its elasticity, ash can also be steamed and bent to produce curved stair parts such as volutes (curled sections of handrail) and intricately shaped balusters.
The Hermitage Motor Inn — previously the Taylor Cunningham Hotel — is an historic lodge in Petersburg, Grant County, West Virginia, US. It was built about 1840, and was originally a two-story brick building in a vernacular Greek Revival style. A third story was added in the early 20th century. It features a two-story porch with turned post and balusters. It has been in continuous operation as an inn since 1881.
The first floor of the Georgian Revival-style building's exterior was clad in Indiana limestone, with the upper floors consisting of exposed brick with limestone trim at the corners and around the doorways. The windows were trimmed with stone. The building frame was steel, with walls, floors, and the roof of reinforced concrete. The cornice was topped by a balustrade consisting of terra cotta balusters and a stone railing.
The building form is a long wing of classrooms with a centre stairwell. A long corridor across the front (north) of this wing provides access to the rooms. The corridor has simple rendered balustrades with square balusters; it has square openings on the first floor and arched openings on the second floor. However, these openings have been enclosed with later glazing that is not of cultural heritage significance.
To the east is a bar, with a comparatively modern u-shaped bar fitting. To the rear of the main building are a number of single storey mono-pitched rooms, comprising bar and kitchen accommodation, and toilets. The timber staircase is of a simple design with a single run to a middle landing and a return run to the first floor landing. It has simple timber slat balusters.
The Lo Beele House is a historic house at 312 New York Avenue in Brinkley, Arkansas. It is a 2-1/2 story American Foursquare house, with a hip roof, pierced at the front by a pair of round-topped dormers. A single-story porch extends across most of the front, with a low balustrade with turned balusters and square posts. A smaller porch stands on the side, with similar styling.
N.S. Tuthill in 1897. The church building went under the care of the Methodist congregation in nearby Katonah, which maintained it for a while in the early 20th century and held anniversary services there once a year. Those ceased after 1930, and the building began to decay. In 1970 it was severely vandalized, with its original mahogany pump organ destroyed as well as the original balusters around the pulpit.
The internal staircase consists of closed risers and treads with elaborate turned balusters and newel posts. The handrail follows the turn of the stairs and the skirting board is also carefully shaped to follow the incline. The underside of the stair is enclosed with timber paneling. The basement level has an asphalt floor and the perimeter rock, brick and sandstone foundations are visible to the north, east and west walls.
House at 326 North Peterboro Street is a historic home located at Canastota in Madison County, New York. It was built about 1890 and is a large, -story frame residence in the Queen Anne style. It features a sweeping verandah with paired Doric order columns and square cut balusters with a large conical roof at the corner. It was added to the National Register of Historic Places in 1986.
The George R. Lutz House is a 2-1/2 story Queen Anne structure covered with clapboard. It has a hipped roof with front and side gable projections. The facade features a fine example of a wraparound Eastlake with a lattice work base, spool-and-spindle frieze and balusters, and decorative brackets. The house has a variety of window shapes, including small rectangular windows in the gable ends.
The main entrance, a replica Dutch door set in a molded casing, opens into a full-depth center passage. The stair to the upper floor, with turned Italianate newel posts and balusters, is on the south side. Two rooms original to the house are on the north. They are of roughly equal size, with an entryway between them larger than is typical for two late 18th- century parlors.
Beside the central arch is a small illuminated sign of the hotel's name. To the south is the entry to a retail tenancy with a recent aluminium shopfront. The entrance vestibule has a pressed metal ceiling, and leads to the former telephone lobby which features tessellated floor tiles and a leadlight window. Through a further triplet of moulded plaster archways with keystones, capitals and balusters, is the main stair hall.
The eastern section has one large room while the western part is divided in a kitchen and two smaller rooms. From the central living room stairs adorned with classical balusters lead to the upper floor which has a bathroom and a number of smaller rooms. The house contains an iron stove from Bærum Ironworks in Norway from 1820. The main building is painted white with red winged brick.
The Lizzie Garrard House is a historic house on North Cypress Street in Beebe, Arkansas. It is a 1-1/2 story wood frame structure, with a gable-on-hip roof that has a forward-projecting gable section. The gable end is finished in decorative cut shingles, with bargeboard along the rake edges. A porch wraps across the front, with turned posts and balusters, and a delicate spindlework valance.
It lies to the east of the church, adjacent to the old (not current) eastern boundary. The inscriptions and urn balusters are noted in the official description. The Miller monument is a good example of a later (early 19 century) sarcophagus monument notable for the "running dog" frieze. The antiquarian and co-founder of the British Archaeological Association, Charles Roach Smith (1807 – 1890) is buried in the churchyard.
Its notable 17th-century floor (beneath modern boards) is of small smooth stones set in earth in geometrical patterns, a technique then widespread in the Trefeglwys and Llanidloes areas There is a similar ceiling in the parlour, divided into six bays, and later wainscott and overmantle. In the extension, at the rear is an oak staircase of box type, with moulded handrail and balusters, and built-in 17th-century cupboards.
The front facade features a folk Victorian-style front porch with square columns, sawn brackets and pendants, and plain handrail and balusters. Also on the property are the contributing mid-19th-century brick granary, and log meat house, as well as a late-19th century corn crib, and the stone foundation of a barn. and Accompanying four photos It was listed on the National Register of Historic Places in 2006.
This comprised alterations to the roof, ornate portico (door frame), addition of the pediment, new window frames, glazing and interiors. The sides of the building have later than 17th century balustraded flat areas (parapets) above the standard decorative ledge (cornice) which also dates to after the 17th century. The building has original staircases with twisted balusters. Main rooms have original panelling, corner cupboards and decoratively carved marble fireplaces.
The north profile has no projections or additions. Inside, the house has a double-pile central hall plan. The first story retains much of its original finishing, such as carved newels and balusters on the stairs, molded door and window surrounds and decorated plaster cornices and ceilings. The second story also has its original plan and finishings; the attic has been renovated, opening up the space once used as servants' quarters.
The roof-line is defined by a moulded cornice and parapet supported by triglyphs and modillions, and with friezes in panels above the pilasters. The right-side garden elevation is of similar style, and has a full-height canted bay window. The left-side elevation is more plain yellow-brick construction. The interior features a geometrical stone staircase with slender cast-iron balusters and decorated with moulded cornices and wall-niches.
The porch features balusters and classic detailing which is also present around the windows. The 80 room hotel includes a large auditorium, lobby, restaurant space, kitchen, bar and laundry facilities. In 1982 the building had been vacant for some years and the interior had suffered significant damage, yet the exterior and structure remained intact and in good condition. It has been converted to a 40 unit apartment building.
It is topped with a railed balcony. The doorway is heavily ornamented with classical molded surround, pilasters, sidelights, entablature and leaded transom. The south elevation also has solid and latticework supports with decorated balusters and brackets. At the other edge of the main house's pond is a small Gothic Revival building known as the Mill, although it was never used as such and remains purely decorative, used mainly for storage.
The interior of the building features many original noteworthy elements, yet displays the same lack of embellishment evident on the exterior. Ceramic tiled wainscoting and quarry tiled floors line the stairwells, entry vestibules, corridors and the original postal lobbies. The stairwells also retain original steel newel posts, wrought iron balusters, and stained wood handrails. The ceramic drinking fountains evident in the corridors throughout the building add to its historic integrity.
Inside the house is a 17th-century staircase with twisted balusters, flat-topped newels, and added Gothic features. The library has three recesses on each side that are lined with books. The dining room contains a screen of Ionic columns. The present organ has two manuals, It was built in about 1902 by J. J. Binns and rebuilt in Clay Cross Methodist Church in 1922 by Blackett and Howden.
Two generations later, the walls were removed (in 1768), "so the air circulates better"., ville et pays d'air et d'histoire A house of the 17th century called "Maison de Mandrin" with false balusters beneath the windows. Once all these troubles passed, the city redeveloped its economy around wool and sheep farming. The city extended a little bit under the development of the appearance of the mills, and its first factory.
The house is a two-story, three-bay clapboard-sided structure with a hipped roof resting on a large plinth block of undressed ashlar masonry. This foundation also supports a wooden veranda that completely surrounds it. It is bounded with a balustrade featured paneled corner columns and balusters with extremely narrow necks compared to their bellies. Trellised entrances supported by paired Corinthian columns break it on the east and west sides.
The 2.5 story asymmetrical wood frame Queen Anne style house was built in 1889 for Elliot Smith, a local businessman who operated a wholesale grocery. Its porch featured elaborately turned posts and balusters, and the house was clad in wood shingles, including bands of decoratively cut shingles. There was an oriel stained glass window on the south wall. Smith lived in the house until his death in 1913.
At the time of the listing by English Heritage, when the building was in use as offices, the interior had elaborate fittings. The main staircase is in a hall with a vaulted ceiling, in which mahogany doors with Greek Revival-style panelling lead to various rooms. Some have original fireplaces in styles including Neoclassical and Jacobean. The staircase itself has mahogany rails and Gothic Revival-style balusters of cast iron.
The cedar, three-quarter-turn open well stair features fine turned balusters, carved newel and turning posts, and a swan-necked handrail. The first floor comprises many timber framed accommodation rooms clad with tongue and groove boarding and accessed from a central corridor featuring plaster arches and skylights at various intervals. This floor remains substantially intact, in planform and fabric, with early joinery, glazing, timber floors and internal fittings.
There is also a further entry at the splayed corner which leads to the Public Bar. Although substantially remodelled, the Public Bar retains its pressed metal ceiling with beam surrounds, cornices and roses. From both private entrances, generous corridors lead to a central arched vestibule which features moulded pilasters and archways with keystones. Adjoining is the main stair in polished cedar, with square moulded balusters and carved newels.
Adorning the front of the house is a centrally-located one-bay entrance porch supported by two fluted pilasters, all made of wood. Turned balusters flank the porch and the several wooden steps that lead to a brick walkway surrounding the dwelling. An entrance to the basement is located underneath the porch. The chief front entrance to the Trumbull House is a single door with side lights and semi- elliptical fanlight.
The stair, flanked by an oak railing with square balusters, leads to the basement and the second floor. Upstairs, the layout is identical to the first floor except for offices in the vestibule spaces. Many sinks remain in the examining room along with cabinets and shelving. The original light fixtures, molded milk glass globes hanging from brass chains, also remain although some were damaged by plaster falling from the ceiling.
On the Churchill Street side is a second major entrance leading into a wide hall. This has a billiard room to the left and a central arch leading onto a staircase with turned balusters to the rear. There are sash windows to the ground floor rooms and timber ceilings. Although alterations have been carried out in the bar and dining areas, the hotel is generally intact in detail.
The Franklin B. Jenkins House is a historic house at 37 Chestnut Street in Stoneham, Massachusetts. Built c. 1895, it is one of Stoneham's finest Queen Anne Victorian houses. The 2.5 story wood frame house has an L shape, with a distinctive octagonal turret section at the crook of the L. A porch with turned posts and balusters wraps around the front and side to the turret section.
The House at 114 Marble Street in Stoneham, Massachusetts is a well-preserved Gothic Victorian cottage, built c. 1850. It is a 1.5 story wood frame house with a rear ell, sheathed in wooden clapboards. It has a front gable centered over the main entry, which features turned posts and balusters, and a Stick- style valance. Windows in the gable ends have pointed arches characteristic of the style.
The street facades are designed in an imposing classical style. Giant Tuscan order colonnades are terminated in solid corners with banded rustication. The columns sit on a raised base, about a metre above the Flinders Street level, and carry a simple entablature surmounted by a more ornamental parapet with a central cartouche and panels of classical balusters. The name of the bank, flanked by circular motifs, is written in the frieze.
The front of the leftmost wing has the building's most distinctive feature, a low polygonal turret above a single-story porch with turned posts and balusters. A modern shed-roof ell extends to the rear. The interior retains many original features, including Corinthian columns in the room under the turret and cabinets in the kitchen. with The area where the LeFerriere House stands was rural for many years.
The post office at Scone still uses this method of disposal of rainwater from box gutters. The verandah roof is shed- framed and clad in corrugated colorbond, supported on a set of octagonal, tapered posts. There is a verandah frieze in a floral pattern which resembles cast iron lace but is actually in fretted timber. The verandah also has an Italianate railing with waisted balusters in cast iron.
The staircase is timber, with square newel posts and turned balusters. The upper floor (former residence/quarters) comprises the stair landing, and four rooms, two of which open to the now enclosed verandah to Liverpool Street. All timber joinery has been painted over. A subsequent single storey addition to Liverpool Street adjoins the main entrance and is setback from the main building line, thus further emphasising the entrance bay.
The central staircase is of stained and polished timber, with a curved rail, spiral bottom post and squared balusters. There is vinyl sheet to the treads and there are carved brackets and timber panelling below the stair. Skirting to the stair appears original. The first-floor former residence currently disused, comprises three bedrooms, a sitting room, a kitchen in the south- western corner, and a bathroom on the western side.
Beyond to the south is a carved oak staircase with fluted and foliated balusters, a York motif, standing on steps with scrolled panelled ends. The staircase is supported by a Corinthian column and may have been moved at some point. The floor is paved with black and white marble squares. There is a panelled drawing room leading to an enormous ballroom occupying the western of the two wings added .
The Joseph K. Manning House is a historic house in Medford, Massachusetts. Built in 1875, this three story wood frame house is the most elaborate Second Empire house in the city. The most prominent feature of this architecturally complex building is a hexagonal pavilion attached to its porch at the western corner. It has an elaborate jigsaw-cut frieze and Stick style decorative woodwork, with a balustrade with heavy turned balusters.
At the center of the main facade there is a gable at the roof line, which is echoed in the roof of the single-story porch, which wraps around the side of the house. The porch features turned balusters and posts. The first-floor windows are elongated, with deep moldings. The house was built in 1849 by Alden Batchelder, and represents an early form of the Italianate style.
The three-storeyed verandah ensemble has bays supported on single and paired posts, the lower two storeys with open balusters and the top level with flared shingled aprons topped by baluster-work. The fenestration comprises bracketed oriels, facetted bays and ranges of multi-paned casements. The wall-hung shingling imparts to the design an American Shingle-style flavour. The terraced garden includes a couple of very tall, shaft-like Washingtonia palms.
Walter E. Moore House is a historic home located at Webster, Jackson County, North Carolina. The house was built in 1886, and is a 1 1/2-story, three bay by one bay, "T"-plan, Vernacular Victorian-style frame dwelling, with a one- story original rear ell. It has a hipped roof porch with turned posts and balusters and sawnwork brackets. Also on the property are the contributing well house and shed.
A metal stair is located centrally at the rear accessing back landings. The building contains two flats per floor, each accessed from a central internal staircase at the front, and an external staircase and back landing at the rear. Each flat contains two bedrooms, a living room, kitchen, bathroom, an enclosed front sleep-out, and an enclosed rear verandah. The entrance staircase is constructed of varnished timber with slim balusters and square newel posts.
The back and side verandahs have been enclosed with weatherboards and only the front verandah retains its original decorative cast-iron balusters, posts and valance. The subfloor has been similarly enclosed, and a highset kitchen house projecting over the driveway at the rear is walled in the same material. A long modern double storey wing at the rear is joined to the house by a shorter wing at the northern end, creating a paved courtyard.
Harris Terrace is a row of six, brick, two storeyed attached former houses, located on the corner of George and Margaret streets within the government precinct. The street facade features a double-storeyed verandah with cast iron balusters and posts. The verandah is separated into six sections reflecting the original six houses. Each section has three French doors on the first floor, and two sash windows and the front door on the ground floor.
The stairs to the upper foyer were solid, with rectangular wall mounted timber handrails cut at an angle at each end. The central handrail had minimal balusters, again emphasising the horizontality of the timber detailing throughout the interior. Entrances to the cinemas were located opposite each other in the upper foyer. Each entrance had a pair of heavy timber double doors recessed into vestibule spaces for the stairs leading up into the auditoria.
The interior of the Valley View house has a two-room-deep, central-hallway floor plan. Its wide central hallway contains a staircase from the first floor to the attic, with a wooden handrail supported with square balusters and a modest wooden turned newel post. The ceilings are high. Although the house's foundation is low, the height of the interior walls and the full-sized attic make the house appear tall from the outside.
The Chapel block is two storeys tall and has two attics. It has a 5-bay front end that is masked by extensions housing the Lady Chapel and a staircase. The ground floor has two windows containing 4 round-headed Gothic lights while the first floor has three windows with central pivoted lights. The Chapel's interior houses a stone staircase with square iron balusters that leads up to the Chapel on the first floor.
The centrally located main entrance has fine stained glass surrounds with a hibiscus motif. The entrance hall opens onto an impressive cedar staircase with richly turned and carved balusters and newels, and fine timber panels. The corridors to the ground floor have fluted cedar panels to dado level, and panelled cedar doors. The former dining room to the south has a fireplace with a richly carved timber mantelpiece, and fine hand-painted tiled hearth.
The house has a stone foundation, which extends to a full story due to the sloping land and has a doorway in the rear. The porch is supported by brick piers. The interior of the house is designed around a central hall with a narrow stairway with turned balusters and newel that goes to the third floor. On both sides of the hall are two large front reception rooms, each and having tall ceilings.
Lebedeva N.I. "The Monuments of Cult Architecture in the dynamics of historical and cultural realities of the 20th century" (based on materials about Omsk Region) - Omsk, 2000, Dissertation The walls are smooth and have pilasters. The cornice is complex. Semicircular windows are decorated with architraves, window-sill space is decorated with balusters. The western facade has the form of a portico with four Dorian half-columns, the entrance is flanked by niches.
Panels between the pilaster capitals are decorated with festoons. The frieze features paired rosettes at each end framing the name "REGENT BVILDING" lettered across its centre. An exaggerated cornice supported on closely spaced brackets projects over the frieze and is roofed with terracotta-style tiles presenting small, semi-circular profiles to the street. Topping the building is a parapet, which combines solid sections corresponding to the pilasters below and intervening open sections of Italianate balusters.
In the short corridor between the two sections of the house, the ashlar is topped with weatherboard cladding. The exterior walls to the east and north-facing verandah areas are clad in wide chamferboards and have exposed timber framing. The northern gable end of this section of the house, and its first-storey lookout are clad in weatherboards. The lookout is open to the east and north, and its rails and balusters are timber.
Above the door, a balustrade is suggested by half-round, vase-shaped balusters applied to the spandrel under the tall, double round-arched window. First- and second-floor windows in the flanking bays of the pavilion are blind. Windows in the wings are double casements, four panes high at the first floor, three at the second; two are blind at each floor. The pavilion pilasters support a plain architrave and pulvinated frieze.
The parish church dedicated to Saint Andrew was constructed in 1482 by the lord of the manor, although the chancel and tower are thought to be older. The church has a 15th- century screen with tracery above panels which are decorated with flowers and foliage. The beams of the north aisle roof have a boss with a grinning lion carving. The altar rail is carved with pillars and balusters and date from the 17th century.
Phantassie is an agricultural hamlet near East Linton, East Lothian, Scotland. It is close to the River Tyne, Preston Mill, and Prestonkirk Parish Church. The Phantassie Farm and Workshop, presently owned by Hamilton Farmers, is the birthplace and childhood home of the civil engineer John Rennie the Elder (1761-1821), and his brother George Rennie (1749-1828). John Rennie is commemorated at Phantassie by balusters taken from Waterloo Bridge in London, which he designed.
The east wing dated after the 18th century architect James Gibbs with fine plaster work and a Wyatt staircase with twisted balusters. St Richards Prep School added a north-west brick classroom in 1924. The lodges belonged to Wyatt in picturesque gabled Gothic; but the stables were Dawber's work in 1902. William Harington Barneby laid out the grounds with formal gardens and shrubberies to a design by Edward Milner of Sydenham, Kent.
From the mouths of the figures water spouts lead to a vase-like pool beneath. Three steps lead from the clover-shaped pool to a balustrade on either side of the arch. The balusters are decorated with glyphs, four lion heads, and two gargoyles at the huge end posts; all of which spout water into the clover-shaped pool. Two scrolls dip from each post to the wall which surrounds the lower circular pool.
The House at 4 Birch Avenue in Methuen, Massachusetts is a Bungalow-style house built c. 1910. Its style, uncommon in the area, is reminiscent of period architecture in California. It is a two-story wood frame structure with a porch that is faced in fieldstone, and has oversized turned balusters between square fieldstone pillars. On the right side, the porch has a rounded corner that is topped by a conical roof section.
A small balcony on the east side of the house, entered from the second floor, has elaborate Gothic balusters. In the current use as a private home, some of the original furnishings, including two small marble busts of Athena, remain in the parlor. Later, about 1880, Wood built a separate studio building just northwest of the house. It too is built in the Carpenter Gothic style but includes influences of Italianate architecture.
Another architectural feature of the house is the Roman Doric doorcase which has the same slightly chequered brickwork as the gables, but has been cemented over. On the rear elevation there is a round brick projecting bay and a flint bay with small blocked windows. Inside the house the half-turn staircase with landings dates from 1726. The stair has Turned attenuated vase at the balusters and shaped tread-ends and a wide swept handrail.
It features an original wraparound front porch with turned posts and balusters. and Accompanying three photos The house has three staircases. The railing of the main staircase which leads from the entry hall to the second level is decorated with wood squares that were originally made by the Smoot Lumber Company of Alexandria. When the staircase was restored in the 1990s, Smoot was able to locate the original saw blade to make the replacement squares.
The dining room fireplace has a closed cupboard, and another corner has a cupboard with carved pediment, reeded pilasters and its original glass. An open straight-run staircase rises from south to north on the east side of the central hall. It has square balusters and scroll-shaped consoles on the side of each step. Upstairs there are four bedrooms, with 8½-foot (2.6 m) ceilings and walls of the standard depth.
English Heritage note that in the original building (the unexpanded pub), the lower bars, named the "Snug" and "Committee Room" respectively contain 1930s fireplaces and matchboard panelling, and that between these two areas lies a central bar, which is enclosed by sliding sashes with glazing bars, and are "perhaps a mixture of late C18 and 1930s work". Behind this lies a circa 1700 dog-leg stairway "with turned balusters on a closed string".
The main staircase features a figured oak base, turned balusters, and sunburst carvings on the newel posts. The entry hall and living room both have pressed tin coffered ceilings. The living room has a fireplace decorated with brick and multicolored terra-cotta moulding and tile. The library, which was completely redone in the Craftsman style, with a coffered beam ceiling, a builtin secretary with leaded glass door, and wall sconces of iron and mica.
The German Builder's House is a historic house at 315 East Central Street in Siloam Springs, Arkansas. It is a two-story brick I-house, with a side gable roof and a rear wood frame addition, giving it an overall T shape. A porch with open veranda above spans most of the width of the main facade, with Queen Anne style turned posts and balusters, and a spindled frieze. The house was built c.
It is named after Howard J. Burnett, who served as president from 1970 to 1998. The entrance plaza includes a fountain and a grassed bowl area in the lower plaza. The tower element on the left side of the building is intended to match the most prominent building on campus, Old Main. The interior railings include cast iron fleur-de-lis balusters from Hays Hall, the first dormitory on campus, that was demolished in 1994.
The ornament and detailing of the facades is based on the design of the arcade, which forms the east facade of the Chapel. On the lower level of the north and south facades is a blind arcade of round arches supported on pilasters. The upper level contains a row of tall narrow round arched windows separated by pilasters with Corinthian capitals. The parapet above repeats the classical balusters used on the arcade.
The Thomas E. Hess House is a historic house on Arkansas Highway 14 in Marcella, Arkansas. It is a two-story I-house, five bays wide, with a side gable roof, weatherboard siding, and stone foundation. A two-story porch extends across the middle three bays of the north-facing front facade, with some jigsaw decorative work and turned balusters. An ell extends to the rear, and the rear porch has been enclosed.
The rest of the ground level of the church is taken up by rows of slip pews facing south in what is essentially a nave area. The present aisles were most likely demarcated in 1824 but may have been established as late as 1873. Originally there were galleries in both the north and west wings, but only the north remains. The balusters there are probably original, and the gallery itself is largely colonial.
It has a square head and original iron stanchions and saddle bars. The Derby Chapel is enclosed to the north and west by a 17th- century wooden screen with high balusters and wrought iron fleur-de-lis cresting. The chapel also contains three alabaster Derby effigies (probably to Thomas Stanley, 1st Earl of Derby and his two wives) and two tomb chests. The Scarisbrick Chapel contains a hatchment and a wall monument.
In the central room along the south side (garden side) of the house, there are two fireplaces, with carved surrounds. The green room to the left, also along the south side of the manor, has a marble fireplace as well. The main stairs are of the 18th century; the cantilevered stone staircase has iron balusters. An older staircase has stone for the first four treads, but wood for the steps above that level.
Each bay consists of a series of four Corinthian columns upon pedestals, arranged around a 3/4-circle plan. Decorative wrought-iron railings in curvilinear Art Nouveau designs span between each of the pedestals. Each series of columns supports a cornice with a festooned frieze and a parapet above, decorated with circular-wreath balusters. The cornice wraps around the two porches, connecting the two in a curved pediment motif above the central entrance.
The two main stairwells feature marble staircases with wrought-iron balusters and floral designs inset into wood handrails. Adjacent elevators retain their original bronze doors, displaying decorative medallions and Greek fretwork. Above the elevator doors are bronze acanthus-leaf moldings and lunettes with murals depicting postal delivery themes, also painted by Long. The second floor includes two original federal courtrooms designed with coffered wood ceilings, marble wainscoting, decorative pilasters, and arched windows.
The stair is the one accompanying the light on the north side, and it has finely crafted balusters and paneling. The central hall is lit by the bay window to the north and a Queen Anne window on the rear. From there an archway leads to the south parlor, with parquet flooring and a period fireplace and mantel. The second floor also retains its original plan and finish, including most of the woodwork.
Note: This includes and Accompanying photographs. The main feature of the house is the full width front porch on the west side. There are significant feature in the molding as the ceiling mimics the eaves of the house and the rails and balusters wrap around the porch and are mimicked on the house side as well. The cupola is located over the center of the house and has two windows on each side.
A three-roomed cellar is constructed of rough rubble walling, and entered by steps on the south side of the verandah. The roof shingles have been replaced with corrugated iron. Internally, the narrow cedar staircase has shaped handrails and stick-balusters (replacements), the vestibule features an ornate plaster ceiling, and the dining room has an early 20th century pressed metal ceiling. The first floor, with narrow stick- balustraded verandahs on three sides, originally accommodated bedrooms.
Centrally located on the lower verandah, the main entry has a pair of timber panelled doors with brass handles and letter slots. Beyond the entry is a central corridor with offices to either side. The corridor contains the marble honour boards and the timber stair, which has turned balusters and newels. The honour boards, mounted on the southern wall of the ground floor corridor, list 1592 local servicemen from the First World War.
The 2.5 story Queen Anne Victorian house was built in 1880 for Edward H. Stark, owner of a boot and shoe factory. It is principally brick, with sandstone trim, and resting on a sandstone block foundation. Its features include a rounded bay that rises to a conical turret, and a porch with turned balusters and pillars. It was designed by John B. Woodworth, a local architect, and is the finest known example of his work.
The House at 20 Morrison Road in Wakefield, Massachusetts is a well-preserved Colonial Revival house. The -story wood-frame house originally had a semicircular portico, a relative rarity in Wakefield. The porch has turned balusters, and the three roof dormers have pedimented gable ends. The house was built about 1890 on land originally part of the large estate of Dr. Charles Jordan, that was developed in the 1880s as Wakefield Park.
View from Morry Street, 2015 Nassagaweya and front lawn, 2015 Nassagaweya is a two-storeyed timber house (c.1885) with a pyramid roof in corrugated iron, which was previously slate. Built on a corner block, the square-shaped core has a number of gabled projections on the street frontages. The front elevation is dominated by a double-storeyed gabled verandah on the left which has cast-iron balusters and frieze and a pierced timber valance.
Houses similar to this one were built throughout southeast Portland from about 1900 through 1926. The home's interior has four rooms on the main floor and three on the second floor. Interior features include an open staircase with turned balusters, pocket doors, dual fireplaces in the living and dining rooms, and an oriel window. Munsell, the home's original owner, lived in it for two years before selling it to Henry B. and Ellen Adams.
The former School of Arts is a substantial 2 storey rendered brick building in classical revival style and is located close the major intersection of the Bundaberg central business district. It is now bracketed by more modern buildings. The School of Arts is rectangular in plan and has a hipped roof clad in corrugated iron with cast iron cresting. It is concealed from the street by a parapet with Italianate balusters topped by cement urns.
Above the cornice, a parapet wall with alternating panels of blank wall and classical balusters forms the balustrade around the roof deck level. The uppermost level, a few rooms in a simplified classical style, is visible behind the parapet. Along Stanley Street the ground slopes down from the Flinders Street corner revealing the basement level. A timber panelled door, situated at the southeastern end of the Stanley Street elevation, opens directly into the basement.
The southern bank was abandoned and slabbed over on each floor. There is a flight of stairs behind each of these shafts with marble treads, closed cast iron risers, and ornamental balusters. The basic office suite is , consisting of one outer office and two or more inner offices. Heavy internal walls at the quarter and halfway points, the arches of which manifest Root's innovative wind bracing, mark the boundaries of the four original buildings.
Chestnut Hill is a historic home located at Orange, Orange County, Virginia. It was built about 1860, and is a two-story, frame dwelling in a combination of the Italianate and Greek Revival styles. A Second Empire style mansard roof was added in 1891. The front facade features a central, one-story, one-bay porch with a balustraded deck above and balustraded decks with the same scroll-sawn balusters across the front.
An adjoining wing extending to the rear contains staff quarters and a single storeyed kitchen. The ground floor colonnade comprises round rendered concrete columns with an entablature with rectangular motifs, and a rendered concrete balustrade with shaped balusters. The first floor has cast iron columns with floriated capitals, a wrought iron balustrade, and a timber frieze. The entrance portico has paired columns to the ground floor flanking an arch with a keystone.
The porch is supported by turned posts, and has a balustrade with square balusters. The interior of the house retains many original period finishes and features, including pocket doors, a china cabinet in the dining room, and original moulding and floors. The house was built in 1896 for Cicero Goddard Peck. The Peck family was locally prominent: Peck's uncle Asahel served as Governor of Vermont, and his father Nahum was a lawyer who also served in the state legislature.
The Buildings at 15-17 Lee Street are an historic double house in Cambridge, Massachusetts. The 2-1/2 story wood frame house was built in 1856, and is a rare local instance of an Italianate duplex. It has paired arched windows on the first floor, a richly decorated front porch, and an extended cornice. The corners of the first two floors have quoining, and the half story above alternates small windows and panels with balusters.
The main entrance is a six-panel wooden door with stained glass sidelight and transom. It opens onto a central hall, decorated with early Art Nouveau style wallpaper in an embossed floral pattern, running nearly the length of the house, giving access to parlors and other rooms paneled in cherry. A walnut staircase with turned balusters rises to the second floor. Doors at the west end of both hallways have stained glass in the pattern of the hall decoration.
Hunters camped in the house and used window frames, balusters and furniture as firewood. A wife of a neighbor who was supposed to take care of the house stripped it bare of its original furnishings. A rumor that $50,000 in gold was hidden in the house led treasure hunters to tear into the walls and floor boards. Unappreciative former owners stabled livestock in the drawing room, as evidenced by the shreds of hay found behind the moldings.
The interior follows a typical center-chimney plan, with an entrance vestibule with winding stair in front, parlors on either side of the chimney, and a kitchen with small corner rooms in the rear. The left parlor is the finest room in the house, with a fully paneled fireplace wall, and a corner cabinet framed by pilasters rising to an arch. The right parlor also retains original paneling and cabinetry. The stair in the vestibule features delicately carved balusters.
During the Spanish era, a lighted beacon was placed on top of the apex of the pediment to guide fishermen as they made their way from the river to the town. The structure is further complemented with a short row of balusters. The semi-circular niches hold painted stone statues of various Augustinian saints, designed to blend with the rose windows. There is a dramatic contrast between volumes and projecting fenestrations, rose windows and semi-circular statue niches.
At the roofline a limestone cornice is topped with a brick parapet with limestone balusters above the front bays. The east (front) facade has a centrally located main entrance flanked by two windows on either side set in shallow arched recesses. The entrance has a modern aluminum double door with original wooden transom inside a pair of fluted limestone Ionic pilasters topped by a plain entablature in which "U.S. POST OFFICE HOOSICK FALLS, N.Y. 12090" is carved.
The ceiling of the vestibule is decorated with glazed ceramic moldings that are arranged in the shape of stars. From the vestibule, on the left and right, grand marble staircases ascend from between crowned lamps on columns to bring visitors to the second floor. The balustrades of the staircases, also marble, are supported by unusual transparent yellow glass balusters. The underside of the staircases is covered with tiles that form gleaming canopies on either side of the vestibule.
The building has the appearance of two houses, each under a gable, with three storeys, and an attic in each gable. At the street level the east (left) house has a stone staircase with a wrought iron railing. At the row level is an oak handrail on balusters, behind which is a shop front. The brackets supporting the storey above are carved with bearded giants, beasts and an owl; there are also lighter brackets shaped as figures.
The loading area is accessed from the narrow rear service lane. The interior of the ground floor of the store retains fluted timber columns with corbels supporting the beams running the length of the space. The ceiling is lined with decorative pressed metal and the walls are finished in painted plaster. The main staircase to the upper floor is accommodated in the south- east corner and is fitted with square-moulded balusters with a moulded oak handrail.
This was obviously intended to give an artistic ambience to the area. Most of the houses in the area were built between the 1890s and the beginning of the First World War. They were constructed quickly and with little variation in layout. Their façades were differentiated by the application of mass-produced items; wooden fretwork, stained-glass panels, turned balusters and pressed tin (intended for interior ceilings – this "new" product occasionally appears on the gable ends of some villas).
The town hall is housed in the building that used to be the savings bank. It resembles a villa: balconies supported by large corbels and thick balusters, and a façade adorned with a pediment. Catellane's largest fountain, in the main square, features a pyramid on which is carved a compass crossed by a carpenter's square, two chisels and a mallet, emblems of the Freemasons. At the top of the pyramid is a pedestal with a ball.
The Turbot Street elevation follows the slope of the street and a service laneway is located at the rear of the building. The slightly recessed entrance to the offices (BAFS Chambers) leads to a small vestibule and concrete stairwell providing access to the upper floors. The open well stair with two quarter landings has cast iron newel posts, timber balusters and a curved timber hand rail. A doorway from the back of the pharmacy also opens into the stairwell.
There is cantilevered four- storey staircase with balusters made of cast iron and decorated with monograms (viz "NH") and openwork. The original "ascending omnibus" lift was part of the same structure; the gates survive. Near the staircase is a glazed dome with arabesque patterns. To the rear of the hotel, the land redeveloped in 1985 with an ornamental lake and new rooms replaced a garage which had been built on the site of some livery stables.
Abbé Angot, volume I, . It is very possible that its direction was that of Thouars, Domain of the Trémoille. For Jacques Salbert, it is much more likely that it is the jaspered marble balusters that adorn the grand staircase of the Château des Ducs de La Trémoille. For him, it must be considered that Corbineau participated in the major works of the Château de Thouars, and is perhaps the architect whose name is not determined by historians.
Two aisles lead from the entry doors to the chancel, which is surrounded by a simple altar rail with turned balusters. Original wooden bench-style pews with doors are still intact and are labeled with roman numerals. A gallery extends across the back of the nave, accessed by a unique split, flying staircase. Two flights of stairs ascend to a common landing from just inside the two entry doors, and then ascend a flying staircase into the gallery.
The front boundary has a brick wall with brick piers, painted and in-filled with vertical timber picket fencing. Internally, the ground floor has a full-length hall on the west side with a steep timber staircase running up the side wall. The single- flight staircase has four stairs turning onto the first floor landing, and has a turned newel post and simple stick balusters. The hall has a timber arch with decorative brackets separating vestibule from stairwell.
They are set within a wide wood surround with a peaked lintel containing a federal-style eagle motif in the center. The doors lead into a corridor that continues the length of the building, with offices located off of either side of it. Within the foyer are symmetrically placed matching staircases that lead to the second floor. Each is made of turned wood newels and balusters, makes two quarter turns, and has winders at beginning and end.
Fragments from the 12th to the 17th century have been identified, the most impressive being the fine early-17th-century Ten Commandments over the chancel arch, framed in twining leaves with cherubs' faces peering out. These remained hidden behind whitewash until the 1960s leading John Betjeman to describe it as "Rip Van Winkle's Church". The west gallery is dated 1711 but with Jacobean style balusters and attached Charles I coat of arms. The south gallery is dated 1819.
A gable-roofed Colonial Revival portico shelters the main entrance; it (and the dormers) were added in the late 19th century. A two-story ell extends to the rear of the main block. The interior has an elaborately-decorated entrance hall, with a keystone arch supported by fluted pilasters, and a staircase whose carved balusters and posts were reported to take two men 100 days to complete. The public rooms downstairs also feature decorative Georgian carved paneling.
The material used for the vertical column is also bulky, and the upper part is slightly thin. The columns of Ming dynasty are usually spindle-shaped, most of them are carved with patterns. Girder does not apply color paint commonly but China wood oil. Patio, balusters, and screen walls are made of bluestones, red sandy stones or granite, which are cut into stone bars, and usually use natural textures of stone materials to combine into carving patterns.
The Estelline Bandstand and Gazebo Park, at 105 N. Main in Estelline, South Dakota, was listed on the National Register of Historic Places in 1999. The Estelline Bandstand, now known as the Estelline Gazebo, is within Gazebo Park, and was built in 1927. It is build of white concrete and beadboard, and has eight octagonal pillars supporting its roof. There are eleven balusters between each of seven pairs of pillars; six steps descend between the last pairing.
The former chamber features highly decorative pressed metal ceilings, moulded architraves and dados, and two central decorative cast iron columns. It also has a concrete safe which retains its safe door and some timber shelving, and a curious window opening to the stair landing reputedly for managers to supervise their staff from above. From Wickham Street is a second entrance lobby, and vestibule with tessellated tiles. The timber stair features substantial newels, twisted balusters, and boarding to the underside.
Other remnants from the post office era include wall-mounted postal tables with black marble tops that extend from the eastern wall and are supported by scrolled brackets. Original directory boards are contained in classical frames topped by broken pediments and urn ornaments. Located at each end of the lobby, steel-frame marble staircases have ornamental iron balusters and aluminum handrails with large scrolled brackets. The most significant interior space is the ceremonial courtroom located on the second floor.
Narrow turned balusters support the handrail, and four Doric columns support the landing and upper run. The windows in the entrance hall have wide casings with backband trim, shouldered architraves and thick cap moldings. A large plaster ceiling medallion, with a floral rosette including two strings of striated petals inside a ring of alternating acanthus and small rosettes, holds an acorn-globe light fixture on a chain. At the rear of the entrance hall is a former bedroom.
The second floor (which had high ceilings) contained offices for the company's bond and trust departments, and the bank's accounting department. There was also an employee cloakroom on the second floor with a cast terrazzo counter. This floor was open to the rotunda space, with the balconies made of white marble and the balusters and railings made of bronze. The third floor contained additional office space, including that for top bank executives such as the president.
The interior rooms of the ground floor feature early chimney pieces, mantle pieces and cast iron fire grilles. The rooms are generally quite simple, with timber skirting boards, stained architraves and stained timber boarded ceilings. A timber stair leads from the rear of the central hallway and winds at the top to a first floor space, from which the principal rooms on this floor are accessed. This stair has square sectioned balusters and a chamfered newel post.
She descends slowly and with fumbling feet.”Beckett, S., Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984), p 166 O backs up and hurries down the steps to the right again where he sits down on a step and presses his face against the balusters. He glances up briefly to see where she is, then hides his head from view. As the woman reaches the bottom of the stairs, she looks straight into the lens.
The S.A. Kimbrough House is a historic house at 302 East Illinois Street in Beebe, Arkansas. It is a single story wood frame structure, with a T-shaped layout, cross-gable roof, weatherboard siding, and a brick pier foundation. It has two porches, each with delicate turned posts and balusters, and a bracketed hood over a pair of sash windows in the front-facing gable. Built about 1870, the house is one of White County's oldest surviving houses.
The fine wide stair, with gumwood balusters and rails gives ascent to the attic, used also for storage. A stone ell at the rear considerably predates the rest of the house, possibly having been built as early as 1715 as a tenant farmer's home. It has evidence of a jambless fireplace, probably removed when the old house was converted into the Wynkoops' summer kitchen. Porches and the picket fence out front were added in later years.
The Lattimer House is a historic house at Oak and Market Streets in Searcy, Arkansas. It is a two-story wood frame structure, with a hip roof, and a variety of projecting gables and porches typical of the Queen Anne style. The upper level is clad in diamond-cut wooden shingles. A wraparound porch on the ground floor has delicated turned posts and balusters, while a projecting second-story porch has a heavier Stick-style balustrade and cornice.
Above the arches is a continuous decorative label mould of floral motifs, with floral label stops. The cornice is made prominent by a row of dentils, and four sets of elaborate paired brackets. Above the cornice is an ornate parapet with a central triangular pediment containing three arched recesses echoing the window openings below. The rest of the parapet has a balustrade of small arched balusters, and at each end of the parapet is a pedestal supporting a vase.
A glittering copper marquee spans the entrance, overhanging the solid brass doors. Over the marquee are three large arched windows. Building materials include marble from Italy, Vermont and Texas, limestone from Indiana, and granite from Maine to face the Corinthian columns. The interior has a three-story lobby adorned with columns, a broad center staircase with trompe l'oeil alabaster handrails and balusters, lamps, velvet drapes, and stained glass windows of faux "Chartre Blue" in the foyer.
The NRHP nomination again notes that the doorways may have replaced an earlier vestibule on the original house. The eastern entrance leads to a library/office, that may have originally been a stairhall, and is connected to the eastern of the two front rooms. The western doorway, opposite, leads to a hallway with a three-run staircase with newels and balusters. The western room has a Renaissance Revival-style built-in bookcase and a slate fireplace mantel.
The interior follows a fairly typical Federal period central hall plan, with turned newel post and balusters, and applied sawn ornamentation. Federal style paneling, door and window molding, and chair rails decorate the public rooms. The house was probably built by Henry Young Brown Osgood, who was named for one Fryeburg's early proprietors, although the land was bought, and may have been settled by, his father before him. The house remained in the Osgood family until 1940.
Generally the interior has timber boarded floors, plastered walls and timber boarded ceilings. On the first floor level of the building the ceilings are of timber boards which rake downwards to meet original walls. The dog legged timber stair is cantilevered above the midway landing and has turned timber balusters and substantial turned and carved timber newels. Providing natural lighting to the stairwell is a large round arched opening on the south eastern wall of the building.
The tower, whose core is the central staircase, has a stairway in short straight flights and quarter landings, with the centre filled in with timber and plaster forming a series of cupboards. The black oak of the balusters is mostly original timber. At the top, the handrail newel and baluster are cut from sound oak beams found among the woodwork during the restoration of 1907–08: four centuries old but when sawn still fresh and sweet smelling.
The seven buildings at 127-139 Providence Street are nearly identical in their construction. These Colonial Revival structures have hipped roofs and full three-level porches topped by a gable with a diamond light window. The porches have square columns, and each level has a slightly different styling: the first level has an arched opening, the second a peaked one, and the third a bracketed square opening. Railings on the upper levels have narrow spindled balusters.
The Sidney A. Hill House is a historic house at 31 Chestnut Street in Stoneham, Massachusetts. The Queen Anne style Victorian wood frame house was built c. 1895 for Sidney A. Hill, a partner in a shoe manufacturing business. The gables of the house feature Stick-style aprons and bands of cut shingles, and a porch that wraps around parts of the front and side of the house that features turned balusters and posts, and more Stick style detailing.
The interior contains several fine Art Nouveau features such as leadlighting, tapered stair balusters and joinery details. Prior to its conversion into 2 strata units, the house was being used as 13 flatettes. A dramatic and innovative architectural statement in the shingle style by one of the leading architects of the Federation era, E. Jeaffreson Jackson. Hollowforth joins with a number of Horbury Hunt's commissions to represent the finest examples of this style within the State.
The house is built of red sandstone with Bath stone dressings and has a slate roof with Dutch gables. The two-storey north front has seven bays and a central porch with a balcony above it and Doric columns. An internal staircase rises from the east end of the inner hall to the first floor and has decorated covered urns as finials and pendants on the newel posts. The balusters form an arcade in Jacobean fashion.
69 Its most noteworthy features include: cross-beamed ceiling in the parlour which has not been disturbed since the late fifteenth century or early sixteenth century; striking original sixteenth century mullioned and transomed windows; back-to-back stuccoed fireplaces on both floors and chimney stacks of Tudor origin; fine Jacobean dog-leg staircase with turned balusters and newel posts with ball finials. The latter is the last major addition to the house, which remains largely unaltered from the original.
Lost Braceville metal arch bridge Nearly all bridges along old Route 66 in Illinois are constructed from concrete, with very few exceptions. These concrete bridges are simple, lack ornamentation, and all of their major components—abutments, piers, floor beams, decks, stringers, and railings—were constructed from concrete. The only ornamentation is found in the railings, which sometimes contained balusters. Between 1926 and 1940, most of the Route 66 bridges in Illinois were built as two-lane spans.
To the left of the projecting section is a porch elaborately decorated with turned posts and balusters, and a spindled valance overhead. The house was built in 1894 by Anton Gag, and served from then until 1913 as the childhood home of Wanda Gág (who adopted the accented "a" as an adult). Gág was a successful artist and illustrator, and is credited with producing one of the first picture books in 1926. The house was acquired by a non-profit organization in 1988.
Glenugie, New Farm, 1930 Glenugie is a large two- storeyed timber house with a substantial double storey kitchen wing at the rear, attached by a verandah. The house sits on low brick piers linked by honeycomb infill brick screens. There are double verandahs on all four sides and along the eastern side of the kitchen wing. While the front and side verandahs have cast-iron posts, balusters and valances, the back and kitchen wing verandahs have been enclosed with hopper windows.
The corner solution is made with a column that has the zapata bent towards both sides. On the upper floor, the columns rest on rectangular pedestals, without which the balusters that formed the parapet can be seen. Architecturally we find the same reasons, changing only the decoration; the zapatas have insignia and where before we saw the familiar shields now appear the classic Alonso de Covarrubias' heads. The final cornice is formed by strong corbels, which alternate with four-leaf flowers.
The Green House has a projecting gable and faceted bay with an octagonal domed roof on the southern elevation and a second projecting bay along the eastern elevation. Both bays have decorative timber bargeboards. To the rear of the building is a carpark area and later extensions by the United Service Club which connect the Green House to Montpelier. The Green House has first and second floor verandahs with narrow timber columns, stilted arches between the columns, decorative capitals, and timber balusters.
The brown-shingled hip roof was built with three small dormers "encasing one window each on both the eastern and western exposures," and a north-to-south-running widow's walk was built on the roof's apex. "The two parallel railings of turned wood balusters [were] painted white and [ran] between two solid buff brick cupolas." In addition, each of the building's exposures was adorned with a cut stone frieze, which "served as the sill for all second story windows."Bly, § 7, p. 1.
The galleries on the east, south and west sides are accessed by staircases with turned balusters. The galleries are supported by six turned Doric oak columns which continue through the gallery to support the plaster ceiling. A nail studded oak door separating the chapel from the vestry is thought to be from the original 1645 chapel. Other surviving artefacts brought from the 1645 building are the communion table and two Commonwealth silver communion cups gifted by Robert Mort in 1654.
Though Arts and Crafts is specifically regarded as a movement within architecture, as opposed to a full-blown style, there are elements that are considered typical to buildings designed in the style. Examples include, dark, heavy woodwork and very simple ornamentation. The Oregon Public Library contains functional elements associated with that movement. Dark woodwork is found throughout the building, first in the stairwell to the gallery and its balusters and newel posts and then in the four-panel wooden interior door.
It is single storey and high-set on substantial timber stumps which have been roughly finished by hand. The building has expansive verandahs () on the southern and eastern sides with those on the west and north remaining enclosed with timber chamferboards, timber casement windows and aluminium-framed windows respectively. The building has prominent gabled and vented hip roofs clad in corrugated, Colorbond steel and has two brick chimneys. There are four external timber stairways with dowel balusters and timber handrails.
It is single storey, high-set on timber stumps, and has wide verandahs with dowel balusters on the southern, eastern and western sides of the building, and a service wing to the north. The verandah to the west has been semi-enclosed with fixed vertical timber shutters. Some of the external walls are painted, horizontal pine chamferboards, whilst others are single- skin with exposed bracing and studs. The building has a multi-gabled, hipped roof, three brick chimneys and a decorative finial.
Glengariff which now has plan form that is roughly T shaped is entered via the entrance portico through heavy timber double doors which have leadlight glass head and side windows. Above the door is located Bishop O'Donnell's Coat of Arms. The entrance hall is divided by a colonnade which leads to a single width return timber stair up to the first floor. The flight of the stair, which has carved timber newels and turned balusters, appears to have been altered.
A single winged acroteria remains on the corner of the easternmost pediment. Deep reveals are created with moulded architraves and Scotch thistle motifs are etched below each window sill and framed by short low relief pilasters. The parapet features a deep ornamental cornice supported with scroll-shaped brackets and short balusters set between moulded rails. Surmounting the parapet are raised plinths supporting symbolic statues of a kangaroo (north-western end) and an emu (north-eastern end) with shields housing Australia's coat of arms.
A timber frieze (featuring a harp and a crossed horns motif) sits under the roof, running between each post. The timber board-lined ceiling, consisting of four triangular panels joined with cover strips, falls gently towards the centre of the pavilion. The bandstand plan is essentially square, with fixed timber corner benches and narrow, rectangular bays projecting out from all four sides. A timber balustrade encompasses the whole, in-filled with a combination of timber balusters and some metal replacement sections.
View of the Sigy Castle The Château de Sigy is a modernised castle in the commune of Sigy in the Seine-et-Marne département of France. The castle dates originally from the 14th century, though much altered in the 15th, 17th and 18th centuries. Of note are the walls and roofs of the castle and its outbuildings, including two towers, the gardens surrounded by moats and two bridges across the moats. Inside, the central staircase with wooden balusters is beneath a dome.
It comprises arcades of cusped arches, larger on the ground floor and smaller on the upper storey, pilasters on the curving walls, and balusters on the parapet. The statue of Jam Saheb is situated in the centre of the crescent. The 2001 Gujarat earthquake caused only slight damage to this shopping area. Pratap Vilas Palace Pratap Vilas Palace, built during the rule of His Royal Highness Ranjitsinhji, has European architecture with Indian carvings that give it a totally distinct appeal.
Inside, the house has a center-hall plan and many original finishings. From the former main entrance there are six-paneled doors, cased in molded architraves leading to the parlor on the north, the dining room to the south and the other half of the entrance hall on the west, which also provides access to a small bathroom and closet. A stair with newel and squared balusters is against the south wall. Walls and ceilings are plaster with a molded chair rail.
The interior features a two-room deep center passage plan with high-ceilinged rooms of generous proportions. The main floor has ceilings over 12 feet tall, the second floor has ceilings that are 9 feet tall and the ground level has 8 foot ceilings. The enter passage features a wide two-run stair with turned newel posts, balusters, and a thick continuous mahogany hand rail. Walls and ceilings have plaster finishes, except for three rooms on the ground floor which have brick walls.
The front facade is three bays wide, with the main entrance in the center bay, flanked by elongated sash windows. A single-story porch extends across the facade, with Italianate square paneled posts and a balustrade with heavy turned balusters. Most windows are rectangular sash, but there is one round-arch window, set on the east facade where it illuminates the stairwell. Most of the interior now has modern finishes, but some original period detailing remains in two of the downstairs rooms.
A grand stairway is located at the end of the mansion's central hall, extending from the first floor to the attic. The stairway's handrail is crafted of walnut, and it is connected to the stairway's shallow steps by a balustrade consisting of three small balusters per step. The basement rooms at Wappocomo are located almost entirely aboveground. The house's foundation is constructed of large stone blocks, into which was crafted a large open fireplace that once exhibited a swinging iron chimney crane.
The location of original doors is evidenced by pointed arch recesses at the rear of the side aisles. Internally, the building has a timber gallery above the entrance accessed by a corner timber stair with turned balusters. The side aisles are separated from the nave by concrete columns surmounted by pointed arches with expressed mouldings. The building has a concrete floor, and the nave has a scissor braced King-post roof with curved side braces and lined with diagonal boarding.
It has fluted pilasters set on high pedestals, and a moulded pediment and broken scrollwork pediment above. Also richly decorated but less ornate are two secondary entrances on the south side, one in the main block and another in the rear ell. The interior also features elaborate Georgian woodwork, with an elaborate central staircase with spiral balusters. The land that became East Windsor Hill was first settled by Samuel Grant, the son of Matthew Grant, one of Windsor's first settlers.
The vestibule is the main access to the Palace, the Library and Exhibition Gallery, which by is made through the vestibule, through a monumental staircase and rounded arches. The ample courtyard is paved in Portuguese calçada, and is surrounded by two four-storey tall wings (north and south): the main floor, with central arch and doorway is flanked by rectangular windows surmounted by smaller square windows; and the superior floors, are composed of veranda-windows with simple frames and cornices and balusters/guardrails.
On the south elevation is a two-and-a-half-story tower with metallic mansard roof dormers and bracketed cornice. The mill and office building retain much of their original finishing. The former, redecorated in a Queen Anne mode by Saratoga Springs architect R.N. Brezee, features oak and cherry wainscoting, a highly decorated cashier's desk and walk-in vault. Similarly, the bag factory has a wainscoted cashier's office with pay windows, staircase with two open flight and varnished newel posts with turned balusters.
This room has much Greek Revival- era decoration, such as its architraves, mantels and the newels and balusters on its staircase. The west parlor on the north side, currently used as the dining room, has similar finishes, and the northeast one has Colonial Revival elements. The upper floor and attic are also mostly original to their era of construction or renovation. In the rear of the lot are a swimming pool, work shed, and a former garage now used as an apartment.
Facing the entrance at the first landing are three original curved stained glass windows with heraldic monograms (the initial N). The two fireplaces, which face one another, are high, wide, and deep. The construction is wood, marbleized to match the color of the walls. The two marbleized staircases curve slightly and extend from the lobby to the first floor. Each is headed by a finial in the form of an obelisk tall, containing six marble steps, and six unusually shaped balusters.
On the keystone of the arch is a kind of mask, adorned with wreaths. The attic—flanked with balusters, large buttresses and pyramids, and topped with a pediment—houses the sculpture of the archangel Michael. In the second engraving, the decorations are much more severe, with some ornaments in recesses in the first section of the pilasters; however, the garland adorning the keystone is the same. It is not known exactly when the redecoration, which incorporated Neoclassical elements, took place.
One of the building's most appealing features is a two-story colonnade supported by monumental Tuscan columns. The colonnade faces the courtyard and supports the loggia on the first and second stories, while simple, square piers support the third-level loggia. Wrought-iron balusters are located on the first and second floors on portions of the colonnade. Decorative elements within the courtyard, including colorful mosaic tiles and urns, emphasize the Mediterranean Renaissance Revival style of the building, which blends classical and exotic motifs.
The stair's distinctive cast-iron railing consists of balusters displaying the same closed tobacco leaf motif seen on the exterior and newel posts replicating the massive granite columns on the primary exterior elevation. A semi-circular rotunda encases the stairwell and original wood panel doors follow the curvature of the surrounding walls. Still serving its original purpose with few changes over one hundred fifty years, the U.S. Custom House is a monument to Savannah's historic importance as a port city.
They were the first written by an American architect, bringing architectural history, style and geometry to ordinary builders in the field. He adapted many designs by James Gibbs and Colen Campbell of Great Britain to fit the scale and finances of New England communities. These handbooks provided superb drawings and practical advice for full house plans, including such details as circular staircases, doorways, fireplace mantels, dormer windows, pilasters, balusters and fences. He sketched proposals for dwellings and churches, even a courthouse.
This 2 1/2 story wood frame house was built in 1879, and is one of Newton's finest high-style Gothic Revival houses; the style is one not frequently seen in the city. It is extensively decorated with gingerbread trim, including the repetition of steeply pitched points in the gables and between the porch balusters. Charles Haskell, for whom it was built, was a Boston-based leather merchant. The house was listed on the National Register of Historic Places on September 4, 1986.
The combination of Romanesque columns on the first storey, the twisted columns on the second, and the blind balusters are clearly baroque. The presence of the plain pediment suggests a Renaissance style of architecture. The design of the church façade is unusual with the use of trefoil blind arches which clearly indicate an influence of the Moorish art. The large opening of the lower level is balanced by the blind trefoil openings of the second and the semi-circular niche of the third.
The Thomas Lumb Three-Decker is a historic triple decker house at 44 Winfield Street in Worcester, Massachusetts. It is an example of the style popular during Worcester's westward expansion, with well preserved Queen Anne styling. Although many details have been lost due to residing since its listing in 1990 on the National Register of Historic Places, it retains decorative turned porch supports and balusters. Thomas Lumb, its first owner, was a local saloon keeper, and its early tenants were ethnically diverse.
Centered on the façade is a single- story pedimented portico leading to the main entrance, and above it is a small pedimented balcony accessed from the upstairs bedroom. Both pediments are decorated with jigsawed designs. Both doors on the front feature rectangular transoms. A curved porch runs from the main portico around the southwest corner of the house; it originally featured Stick-Eastlake style frieze and balustrade, but was later replaced with a solid frieze and closely spaced rectangular balusters.
The porches have turned posts with brackets at the top, and square balusters. The main roof has an extended eave adorned with simple scroll-sawn brackets. The building houses three units, each of which retains original woodwork and other features. with The Elm Street area was already developed by 1875, but became progressively more densely built in the early 20th century, as single-family houses and their outbuildings were either converted into tenements or demolished to make way for them.
The main altar as well as the balusters are constructed of granite, obviously a quite arduous and painstaking undertaking. The heavy building materials had to be transported in pieces on the backs of mules from Valle San Giovanni as no roads capable of being navigated by a carriage existed at that time. Above the front of the church, in an open bell tower, are found two church bells of differing dimensions. The smaller of the two was recast in 1890.
The small foyer on the western entry porch leads to the main stairhall that features a gently curving staircase with turned balusters and a curving rail. The first floor rooms are arranged in an "L" pattern on the southern and eastern sides with the kitchen placed on the northern ell. The interior of one room, not specified in the NRHP nomination, has been altered with a pressed tin ceiling. The second floor of the home was not described in the NRHP nomination.
Cadw describes the set of mid- and later 18th-century furniture as being "exceptional". The oak altar is enclosed by communion rails on three sides; the rails are supported by slender balusters and on the corner posts are finials. In the southwest corner of the chancel is an oak pulpit and a reading desk over which is a sounding board. The seating in the nave, chancel and transept consists of box pews and benches, some of which are inscribed with initials and dates.
Sikh architecture is characterised by gilded fluted domes, cupolas, kiosks, stone lanterns, ornate balusters and square roofs. A pinnacle of Sikh style is Harmandir Sahib (also known as the Golden Temple) in Amritsar. Sikh culture is influenced by militaristic motifs (with the Khanda the most obvious), and most Sikh artifacts—except for the relics of the Gurus—have a military theme. This theme is evident in the Sikh festivals of Hola Mohalla and Vaisakhi, which feature marching and displays of valor.
Behind the great hall is a staircase with twisted balusters that was added late in the 17th century. In about 1700 John Hodges had the house rebuilt and enlarged by adding a north-east wing at right angles to the original Tudor building. It contains the Great Kitchen and the Oak Parlour, on the ground floor, beneath two sleeping chambers, now called the White Bedroom and the Chintz Bedroom. Hodges also had a separate brewhouse built at the same time.
When Nevelson was developing her style, many of her artistic colleagues – Alexander Calder, David Smith, Theodore Roszak – were welding metal to create their large-scale sculptures. Nevelson decided to go in the opposite direction, exploring the streets for inspiration and finding it in wood. Nevelson's most notable sculptures are her walls; wooden, wall-like collage driven reliefs consisting of multiple boxes and compartments that hold abstract shapes and found objects from chair legs to balusters. Nevelson described these immersive sculptures as "environments".
The north front Designed by Charles Barry in 1851 to replace a house previously destroyed by fire, the present house is a blend of the English Palladian style and the Roman Cinquecento.Crathorne 1995, p. 29 The Victorian three-storey mansion sits on a long, high brick terrace or viewing platform (visible only from the south side) which dates from the mid-17th century. The exterior of the house is rendered in Roman cement, with terracotta additions such as balusters, capitals, keystones and finials.
The ample interior space is marked by a forked staircase connecting to a gallery on the first floor with detailed wood balusters. Over this staircase is a large stained glass window, with the central motto Decus in Labore and monogram of the owners. The ceiling and interiors are treated exhaustively with painted plaster, designed to resemble sculpted wood surfaces and decorative elements. The building still retains the rails and wooden cart once used to move books around the store between the shelves.
The polished cedar stair has moulded square balusters, carved newels and a panelled spandrel beneath. The stair is dog-legged, with leadlight windows to the landing. From the Stair Hall, entry to the Lounge Bar is through a doorway in a glazed timber bar screen. The bar, similar in style to that of the Public Bar, has a curved corner to the eastern end and a timber bar screen to western end, which is similar to the screen of the doorway.
The main internal staircase, rising from the Blackwood Street foyer, has well- crafted turned timber balusters and above the landing is a feature window with early leadlight central panes. Upstairs, there has been little alteration to the fabric of the building. The ceilings and most of the bedroom partition walls are the original tongue and groove boarding (horizontally- jointed on the walls). Many of the original fretwork panels above the internal doors survive, while others have been replaced with glass or timber.
The porch, which was ornately decorated with turned posts and balusters, has been replaced by one with a simple hip roof with square posts for support. A porch with similar but less ornate styling and a shed roof used to shelter the back entrance to the building. The house was built about 1894, when Worcester's Belmont Hill area was rapidly growing with an influx of Scandinavian immigrants. Residents here were typically employed at the North Works of the Washburn and Moen Company.
Inside, there are fourteen foot ceilings in all rooms. An elaborately carved cedar staircase, very wide and generous was created by Richard Albon of Sydney with barley sugar balusters dominates the central hall. A large stained glass window on its first landing was presented to James Dalton when he was invested as a papal knight in 1877. The stair finishes at the top with a stained glass skylight in the form of a small tower with finial on the roof.
A balcony, or mirador, crowned the roof above the interior's stairs with turned balusters. The stairs leads up to the second and third floors and provides access to both wings of the house. The house was built with a chamfered corner, in compliance with the municipal building regulations before. The streets at the commercial concentrations at Binondo and San Nicolas districts in Manila were narrow; thus, corner buildings were mandated to be built with a chamfer or chaflan in 1869.
The D.L. McRae House is a historic house at 424 East Main Street in Prescott, Arkansas. This 1-1/2 story wood frame house was designed by Charles L. Thompson and built c. 1912. It is a well-preserved example of Thompson's work in a small-town setting, featuring Craftsman styling and a relatively unusual porch balustrade, with groups of three slender balusters clustered between porch columns. The house was listed on the National Register of Historic Places in 1982.
The face-brick fireplaces have corbelled-brick brackets, timber mantle and cast iron grates to the lounge room and southwestern bedroom. There is a painted cast-iron Victorian fireplace to the northwestern bedroom on the upper floor with timber surround. The kitchen retains its original hearth with a timber-bracketed mantle over and early combustion stove, a "Canberra by Metters". The central stair of the residence is original with turned timber posts, with a squared body and squared timber balusters.
The interior retains many period features, including paneled fireplace surrounds, beaded wainscoting, and a front stair with turned newel posts and balusters. The house was built about 1790 by Benjamin Riggs, a native of Gloucester, Massachusetts who supposedly settled here in 1776 at age seventeen. Successful in the shipping business, Riggs had this house built, along with storehouses at a nearby wharf. He served in the Massachusetts legislature, and also in the Maine legislature after it achieved statehood in 1820.
The attic story on the gable ends has four-light upward-swinging casement sashes. The basement sashes are four-light hoppers. The rear door on the south side has a centered four-paneled door providing to the first floor and another pair of cellar casements of three light. The front entrance on the north side has a porch with facing pediment covered in clapboards with two six-inch square posts and two six foot by three inch pilasters, simple one foot by three- quarter inch balusters.
Fretwork entrance at Cairnsville, 1911 Cairnsville is a gable roofed, single-storeyed timber house of the colonial era, with a kitchen wing extending off the rear. It sits on timber stumps which are lowset at the front, but highset at the rear. The corrugated iron roof features two dormer windows with semi-circular tank roofs, as well as a window in each gable. The verandah across the front and down the right side of the house has timber posts with cast-iron balusters, brackets and valances.
It is accessed by two sets of L-shaped stairs leading from the Waldheim Street to an entrance loggia, which has three brick archways and a concrete balustrade of large square piers and decorative balusters. Additional entrances of concrete stairs diagonally project from the northern elevation at the junction of the range and lateral wings. These stairs have metal balustrades and enclosed, one-storey, face brick landings. Rear of brick school building as seen from the school grounds, 2015 The building is elegantly composed with classical detailing.
Valley View's rear elevation has a double wooden porch. The rear façade of the house faces northeast, across the South Branch Potomac River valley toward Mill Creek Mountain. A two-story (double) wooden porch about deep extends across the rear of the house, topped by a shed roof extending from the main gabled roof at a shallower pitch. The first-story porch supports are brown wooden turned posts with no handrail or balusters, and the porch's second story has white painted square wood posts and vertical railings.
The Colby Mansion stands in Waterbury's Colbyville village, a short way south of the junction of VT 100 with Laurel Road and Crossroad Road. It is set on the southeast side of Route 100, roughly opposite a modern hotel. It is a two-story wood frame structure, with a shallow-pitch hip roof and clapboarded exterior. Its Italianate style includes quoined corners, bracketed eaves, molded window surrounds with small brackets and ears, and a front porch with paneled square posts, turned balusters, and bracketed roof line.
The three openings are symmetrically arranged and equally proportioned and articulated: a simple surround with a keystone frames a wide arch, opening out to a balcony through wooden jalousie doors. Decoratively etched clear glass lights occupy the tympanum over each opening. The first and third bay balconies contain waist-high decorative cast-iron railings and the wider central balcony consists of stone balusters and rails supported by the caryatid figures of the ground floor. A full-entablature cornice and solid parapet cap the facade composition.
These include two fine tiled stoves as well as stucco decorations, some of them possibly executed by master stucco craftsman Johann Michael Graff, who is famous for his extraordinary work at Rundāle Palace in Latvia. In the 19th century, further additions to the interior were made, such as the study with its richly carved and decorated wainscoting, neo- baroque stoves and stair balusters. Jüri Lossmann, a long distance runner and silver medalist in the marathon at the 1920 Summer Olympics (1891–1984) was born in Kabala manor.
The furniture of the court room includes the bench, jury benches, press box and dock all constructed from beaded tongue and groove boarding, and a silky oak witness stand. The upper level offices have ripple iron ceilings, moulded timber architraves and chimney pieces. The internal doors are four- panelled with toplights and glazed french doors with toplights open onto the verandahs. There is a timber staircase with turned balusters in the north-west block, and a similar new stair in the south-east block.
The five-story Rizzoli Building, designed by Albert S. Gottlieb, carried the address of 712 Fifth Avenue before the present skyscraper was built. Designed in the French classical style, the structure is about deep and is five stories tall with a limestone-and-brick facade. The facade is three bays wide, and at ground level, had a door in the rightmost bay. On the upper stories, the Rizzoli Building had a piano nobile with three full-height, arched windows, as well as balusters underneath each opening.
Toilets are located at the rear of the bar, and early windows with leadlight panes open to the adjacent service yard. The first floor is entered via a stair at the southern end which access a central lobby. This lobby is located at the western corner of the intersection of the main section of the building and the southern wing. A second dogleg stair, located on the eastern side of this lobby, accesses the second floor and has turned timber balusters and timber handrail.
The building overlooking the street comprised, on the ground floor, a series of shops and a side door which opened onto a covered passage which, in turn, gave access to the main courtyard, the latter having a ceremonial purpose rather than a practical one. Unusually, this hôtel retains both its outside wooden staircases and the passageways which led to the buildings around the courtyard. While wood was a common building material in the Renaissance, few decorated examples (moulded balusters, facing scrolls) have survived to the present day.
The world's largest English chandelier (by Hancock Rixon & Dunt and probably F. & C. Osler) is in the Dolmabahçe Palace in Istanbul. It has 750 lamps and weighs 4.5 tons. Dolmabahçe has the largest collection of British and Baccarat crystal chandeliers in the world, and one of the great staircases has balusters of Baccarat crystal. More complex and elaborate chandeliers continued to be developed throughout the 18th and 19th centuries, but the widespread introduction of gas and electricity had devalued the chandelier's appeal as a status symbol.
The detailing of the north-west front is more overtly Baronial, having a central tower-like pavilion with chamfered corners at the upper levels, a tall pyramidal roof, and a quadrant bartizan at the north-east angle. There are attractive interiors, particularly the stair with twisted balusters and timber arcading. Many fittings were moved here in the 1880s by Dorothea Veitch from Bassendean House. On the estate are a picturesque lodge, stables and groom’s cottage, and an artfully composed Z-plan complex including gamekeeper’s cottage and kennels.
To the southeast corner is a walk-in safe with a large steel safe door. To the eastern wall is a timber stair with turned balusters and newels. Visible from the interior, at the north western corner of the building is a sandstone column and part walls at the rear of the building, which are believed to be the remnants of a previous building on the site. The single-storey south wing has been divided by a timber tongue and groove partition wall, separating a retail tenancy.
The stair has squared balusters and newels, and a panelled spandrel below. Adjoining is the public bar whose layout has been altered, but it retains its pressed metal ceiling with roses, cornices borders and beam linings. The rear of the ground level has also been largely altered. The light area between the accommodation wings has been roofed over to form the lounge bar and the former billiard room and dining room have had walls removed, but the dining room retains its pressed metal ceiling.
The Seavey House is set on the southwest side of Temple Street, in a residential area northwest of Saco's central business district. It is a 2-1/2 story wood frame structure, with a roughly rectangular footprint, and an attached carriage barn. A three-story octagonal tower projects from the front left corner, rising to a pyramidal roof. A single-story porch extends across the rest of the front facade, featuring turned balusters and posts, with a delicate valance extending across most of its openings.
It is supported by a pair of Doric columns on the side walls, as well as by a number of pilasters. There is a dentiled entablature, set above the columns and topped by a railing with turned balusters. Entry to the gallery is achieved via an enclosed stairway on the east side; one wall is fitted with beaded diagonal paneling, and there is no stair rail. The pulpit for the church is attached to its north wall, enclosed in a communion rail with rectangular rungs.
The Wheeler Block is located in the village center of Colchester, facing north across Norwich Avenue to the town green, near the junction with Hayward Avenue. It is a 2-1/2 story wood frame structure in the Second Empire style, with a mansard roof, bracketed cornice, and gable-roof dormers with paired round-arch windows. A single-story porch extends across the front, with turned balusters and bracketed square posts supporting a low-pitch hip roof. An ell extends to the left of the main block.
The remaining ground floor areas are substantially altered from original form. The building has a dog leg stair, rising from a ground floor hall off the Logan Road entrance, in which a plaster archway supported on reeded piers separates the stairwell from the entrance. The stair features turned and moulded newels, surmounted by globular finials, and turned balusters. The upper floors retain their early layout, with rooms accessed from wide corridors, of timber floors and plaster ceilings, featuring elaborate cornices, ceiling roses and plaster archways.
The third zone is defined by the entablature, including a blank frieze surmounted by a heavy dentil molding, projecting cornice, and balustraded parapet, composed of alternating balusters with raised panels. A large festooned cartouche at the parapet is a crowning feature of the central bay's vertical axis. Refined Beaux-Arts embellishments accentuate the facade's key features. The main entrance is prominently centered and framed by a segmental arch bedecked by a keystone and festooned swags, and banded pilasters, which support an "audience balcony" above.
The Manners Arms The village public house is now named the Manners Arms, after the family of the Duke of Rutland. Earlier there had been a Marquis of Granby in the village street. The Manners Arms occupies a late 18th-century brick building known as the Red House, with three bays and two-and-a-half storeys. It retains its slate roof and 19th-century plate-glass sash windows and shutters, and internally features an original closed-string staircase with a ramped handrail and turned balusters.
There are various styles of porches, many of which depend on the architectural tradition of its location. Porches allow for sufficient space for a person to comfortably pause before entering or after exiting a building, or to relax on. Many porches are open on the outward side with balustrade supported by balusters that usually encircles the entire porch except where stairs are found. The word "porch" is almost exclusively used for a structure that is outside the main walls of a building or house.
He carved balusters, capitals, and ornamental figures for Deane's buildings. At the completion of his apprenticeship in March 1820, Deane encouraged him to consider taking up sculpture as a profession. For the next three years, Hogan attended lectures on anatomy, copied casts of classic statuary in the Gallery of the Cork Society of Arts, and made anatomical studies in wood of feet, hands, and legs. His first work to attract notice was a life-size figure of Minerva for an insurance building built by Deane.
The Edwin Johnson Three-Decker is a historic three-decker at 183 Austin Street in Worcester, Massachusetts. When the building was listed on the National Register of Historic Places in 1990, it was highlighted for its Queen Anne styling, including a three-tier porch with turned balusters, bracketed roofs, and spindled friezes. Since then, much of this detail has been removed or obscured (see photo). It was built about 1892, during a triple-decker construction boom in the Crown Hill area west of the city downtown.
29, avenue Rapp, the most famous collaboration between Bigot and Jules Lavirotte (1901). Beginning in 1900, the commissions multiplied for Bigot when he found an architect with whom he could showcase his talent: Jules Lavirotte. The latter was an Art Nouveau designer who espoused an eclecticisme with a pronounced taste for daring ornament and was, at the time, just as famous as Guimard. Bigot worked first on the building at 12, rue Sédillot for which his participation was still limited (a few ceramic balusters).
The entrance is a pair of paneled doors, each with frosted windows framed by a bracketed cornice. The exterior of the house was originally more elaborate: the main roof eave was bracketed, the porch balustrade had turned balusters, and the window bay had bands of decorative cut shingles between the floors. These features have been lost or obscured by the application of modern siding. The house was built about 1890, serving as worker housing for people employed either in the nearby railroad yards or factories.
These windows differ in detail on each storey, the lower having sandstone tracery dividing the opening into two lancet windows with round arched heads and a circular opening between. The upper storey openings are simply round headed arched openings. Window and door openings on the south western wall indicate the previous entrance level of the building. Internally the building has timber floors throughout, plaster and lath walls, timber boarded ceilings, an early quarter-turn timber stair with turned balusters and simple timber architraves and skirting boards.
There are no fireplaces retained to the ground floor. The main stair to the first-floor has been relocated during past renovations and comprises grey painted turned timber posts and balusters with a shaped rail. Treads are clad with vinyl sheet with black edge strips. The first-floor is largely unoccupied and the Post Office currently utilises the vinyl floored north eastern corner lunch room and verandah, as well as the southeastern corner and southern locker rooms and bathrooms and carpeted northern meeting room.
The George Brine House stands northeast of downtown Winchester, on the east side of Washington Street, a busy north-south through street, between Eaton and Webster Streets. It is a two-story wood frame house, with a third floor under its Second Empire mansard roof. It has a full-width porch with turned balusters and paired pillars, with a projecting central section with decorative brackets. Above the central doorway are a pair of narrow round-arch windows, and the cornice has dentil moulding and paired brackets.
The interior of the nave is considered to be one of the finest examples of Norman architecture in Cheshire. Although the arcades have been much restored, they still contain some Norman material. In the sanctuary is a piscina adapted from a 14th- century corbel and a sedilia. In the chancel are monuments, mainly to members of the Ashley family who lived in Park Place. The altar rails with twisted balusters date from the 17th century. The three-tier brass candelabra was made in Birmingham in 1805.
The north wing is dated to 1857, with identical east and west fronts, when the staircase was moved and the full-height entrance hall was created. The entrance hallway has black and white stone flooring and bolection-moulded panelling up to first floor level with cornice. The first-floor gallery above with turned balusters is raised to centre, and the central first-floor doorway is made up of fluted pilasters and an open triangular pediment. It features a stone fireplace with cable-fluted Ionic columns.
The house has very simplified Queen > Anne-style detailing in its milled porch columns and railing which extends > around three facades of the projecting wing. The house has a gable roof of > original metal standing seam, interior brick chimneys, a concrete block and > poured concrete foundation, and exterior of weatherboard siding. On the main > (W), south, and east facades is a two-story wraparound porch. The porch has > a concrete floor, original chamfered wood columns, cut out eave brackets, > and an original milled railing with square balusters.
The original stairwell is located on the western side of the building at the centre. The stair comprises stained and varnished, turned timber posts and balusters, with a shaped rail, simply carved end brackets and sheet vinyl treads with metal strip edging. The original first floor residence of the Wollongong East Post Office comprises seven rooms off a central corridor, which runs east to west along the southern wall of the building. The northwestern corner room, centre room and southeastern corner room are carpeted.
The Bonneville House is a historic house at 318 North 7th Street in Fort Smith, Arkansas. It is a two-story brick structure, with a metal hip roof and a brick foundation. Built in 1880, its styling is predominately Second Empire, with elaborate window hoods, heavy paired brackets in the eaves, and a full- width porch with turned balusters and posts with finely-detailed capitals. In addition to its locally distinctive architecture, the house is historically significant as the home of explorer Benjamin Bonneville.
The church has one of few examples of a three-tier Georgian pulpit in the county and country, and is fitted with fine box pews. There is a staircase with balusters leading to the Squire's pew in the south transept of similar date. There is a small 'squint', with delicately carved hoodmoulding, in the junction between the chancel and the south transept. The church plate, consisting of a Cup and Paten from 1635 and also two Flagons and a Breadholder of 1665, is held at Cottesbrooke Hall.
Each flat contains two bedrooms, a living room, kitchen, bathroom, separate toilet, an enclosed sleep-out, and an enclosed 'smoker's balcony'. The entrance has a timber open well staircase with winders, and square balusters and newel posts. Ground floor internal walls are rendered masonry, and first and second floor walls are timber framed with recessed fibrous cement panels. Each flat has decorative plaster ceilings to most rooms, multi-paned French doors open from the main bedroom to the enclosed sleep-out, and multi-paned single doors open to the enclosed 'smoker's balcony'.
The former Poland Spring Beach House stands on the south side of Maine Street (SR 26), on a narrow isthmus separating Middle Range Pond (to the south) and Lower Range Pond (to the north). It is a shingled two story wood frame structure, with a hip-roofed central section flanked by single-story wings, each also covered by a hip roof. The central section is topped by a cupola, and has wide porches extending across its width on both sides. The porch features scroll-sawn decorative elements, including balusters and brackets on the cornice.
Featured at the head of the board is a photograph of a soldier, surrounded by the words, "1915; HONOUR BOARD; OUR BOYS SERVING AT THE FRONT; JUNCTION PARK STATE SCHOOL," and leaf patterns painted in gold. Below this are the names of 86 former students who served in World War I, also painted in gold. Stairs are of polished and painted concrete, and their balustrades have timber handrails and metal balusters with timber posts. At the landing level between the undercroft and first floor, there are decorative metal screens in the openings to the stairwell.
The church facade is predominantly Baroque in style with the roughness and heaviness of its looks although some hints of Renaissance style can be found on the details of its twin belfries. The recessed main portal showcases a relief of the papal symbol and is flanked by two heavily-ornamented saints' niches. Stone balusters decorate the single window on the facade, the blind windows flanking it and the base of the pediment. Dominating the facade are columns capped with Ionic capitals and scroll-like volutes on the pediment.
The front entrance is covered by a small Greek Revival portico measuring about , topped with a pediment supported by wooden Doric columns and engaged columns at the wall. The front porch is flanked by modest wooden handrails and balusters on its left and right sides. The front entrance is post and lintel (trabeated) construction, with a six-pane transom and two three-pane sidelight windows around the doorway. Zimmerman suggests that "Big Jim" Parsons embellished his home's front entrance to assert his "wealth and status" and provide "an honored welcome to visitors".
Another change by the 7th Earl was the creation of a dramatic staircase hall out of three smaller rooms in the centre of the house, designed by the architect Randall Wells who had built St Edward's Church, Kempley for him in 1903. The hall rises two stories to a ceiling punctuated by three large, domed skylights. A gallery flanks two sides of the upper level, lined by a railing with balusters of rock crystal quartz. Dozens of portraits, many of them of members of the Lygon family through the centuries, cover the walls.
Today the structure carries a roadway surfaced in asphalt concrete, bearing four roadway lanes along with sidewalks on both sides. Inspired in part by the City Beautiful movement, the bridge was intended specifically to contribute to Austin's civic beauty, as well as improving its road network. The designer, Hans R. F. Helland of the city's Bond Construction Engineering Department, selected the cantilever design to achieve the aesthetic effect of an arch bridge while allowing for longer spans. The decorative railings are supported by square concrete balusters punctuated by larger square concrete posts.
The entrance doorway in the centre of the wall was added in the 18th century which serves as an entrance to the house behind the wall, it has a pointed arch containing fanlight inset with wrought-iron and Gothic tracery. The north front shows evidence of a former in-filled doorway with three stone steps to the threshold, which is now a little above street level. The interior of the house consists of early 19th century features including a stair case with stick balusters and a fireplace with reeded architrave surround.
1740 dwelling in Anne Arundel County Maryland, and in the original 1740s wing of Myrtle Grove in Talbot County on Maryland's Eastern Shore. The joiner built the stair as a closed string, with heavy, symmetrically-turned balusters set over a skirt board finished as an Ionic entablature complete with a pulvinated frieze. A large, molded newel post is reminiscent of late 17th-century work in England and its handrail, molded in the form of early Georgian work, is quite large in cross section. The rail and molded treads are made of oak.
An English cut crystal chandelier of the mid-19th century hangs over the first landing. In 1998 Hillary Clinton working with then Curator of the White House Betty Monkman refurbished the Grand Staircase. A new carpet for the Grand Staircase and the Cross Hall was designed incorporating a border of laurel leaves and five pointed stars within a circle, a motif found in Winslow's carved marble Truman era string course entablature and in the balusters of the Grand Staircase. A more vivid red was selected, and several shaded of yellow gold.
The central portal has double, panelled doors, fanlight, and large open segmental pediment supported on large consoles. The tympanum has a cartouche bearing the Salt family coat of arms, flanked by the carved figures of Art and Science by Thomas Milnes. At basement level, the windows are square-headed, while at ground and first floor level the windows are round- arched and archivolted, the first floor windows being framed by fluted Corinthian colonnettes, and with carved head keystones and blind balustrade with turned balusters. There is a dentilled cornice between the ground and first floors.
Architecturally, the home contains many classical elements characteristic of the federal period. Frontal Pilasters adorn the exterior, along with a broken pediment portico with well defined entablature. Interior embellishments, leading one to think McIntire, include triple-carved balusters, and an elliptical archway supported by fluted pilasters and topped with an “S” scroll keystone. However, further analysis by the SPNEA, coupled with Chelsea tile facings (1878-1907) and other Victorian elements on several of the upstairs chimney pieces, reveals a major renovation of the late 19th century presumably inspired by Junius Beebe and a knowledgeable architect.
Paris Singer, a son of Isaac Singer, supervised the alterations at Oldway Mansion between 1904 and 1907. The rebuilding work was modelled on the Palace of Versailles, and the eastern elevation of the building was inspired by the Place de la Concorde in Paris. The interior of the building is noted for its grand staircase made from marble, and balusters of bronze. The ceiling of the staircase is decorated with an ornate painting based on an original design for the Palace of Versailles for Louis XIV by the French painter and architect Charles Le Brun.
A dog-leg staircase is located outside the board room and has curvilinear, wrought iron balusters and a curved timber handrail. At the top of this staircase is an entrance doorway to a suite of rooms, articulated as a separate apartment. The entrance door has the stylised appearance of an external door with large hammered-finish, decorative copper hinges, leadlight window and wrought iron door knocker and peephole. A small vestibule is separated from the main rooms of the apartment by a pair of swinging leadlight doors with an Art Deco influence.
The Survey of London described the interior as having "...a predictable eclecticism of style, ranging from Jacobean in the long hallway containing an oak open-well staircase with twisted balusters and wide handrail to Adamesque in the double drawing-room at the front. The fittings include fine marble chimneypieces in a late-eighteenth-century manner. A room on the first floor may originally have been used as a chapel." The London: North edition of the Pevsner Architectural Guides describes Mortimer House as "a picturesque composition", highlighting its "Tudor chimneys with crenelated pots and stone mullions".
Grayson–Gravely House is a historic home located near Graysontown, Montgomery County, Virginia. The house was built in 1891, and is a two-story, three-bay, frame Victorian dwelling with a central passage plan. It has a standing seam metal gable roof. It has a three-bay porch supported by Doric order columns and a three-stage tower with rooms on the first and third floors and a porch on the second, The porches feature a number of decorative elements including elaborate sawn balusters, a frieze with brackets, dentils, and tablets.
The main aisle is T-shaped and paved with square bricks whose pattern is derived from the original floor. Under the pews are wooden, reproduction floors. At the west end of the church is a gallery that originally had oak balusters and was restored during the 1950s The interior of the tower shows a portion of original plaster under a piece of glass, and it is covered with "mortar wash on the walls and exposed beams". Portions of the wooden interior sills of the second-story tower windows may be original.
The Danville Town House stands in the rural town center of Danville, on the east side of Main Street between Gerry Drive and the Baptist church. It is a 2-1/2 story wood frame structure, with a gabled roof and exterior finished in a modern synthetic imitation of clapboards (with the original wooden clapboards underneath). It has modest nods toward late 19th-century Victorian architecture, including slightly parapeted gables with projecting ends. The front porch originally had turned posts and a spindled valance; it has been replaced by square posts and balusters.
The courthouse, which was designed by Francis Johnston in the Neoclassical style, was built between 1806 and 1809. The building was originally used as a facility for dispensing justice but, following the implementation of the Local Government (Ireland) Act 1898, which established county councils in every county, it also became the meeting place for Armagh County Council. The county council moved to Charlemont Place in 1945. It underwent complete reconstruction in the mid-1960s and by 1971 plasterwork, staircase, balusters and most of the woodwork had been replaced.
There are also survivals from the English Renaissance: an Italianate staircase of great delicacy and the vividly carved overmantel and fireplace in the Great Chamber. The 'Sackville leopards', holding heraldic shields in their paws and forming finials on the balusters of the principal stair (constructed 1605–1608) of the house, are derived from the Sackville coat of arms. The chapel-room with its crypt seems to pre-date this period and has contemporary pews. The organ, in the late medieval private chapel at Knole, is arguably the oldest playable organ in England.
The court cupboards, with their solid or open under parts and upper cornice supported by turned balusters of extravagant thickness, are to be seen wherever one goes. And chairs, real as well as spurious, with solid backs carved in the usual flat relief, are bought up with an avidity inseparable from fashion. Four-post bedsteads are harder to come by. The back is usually broken up into small panels and carved, the best effect being seen in those examples where the paneling or the framework only is decorated.
Designed to be entered from the east, Ta Som is surrounded by a moat and enclosed by three laterite walls which are broken by two sets of gopura (entrance ways). The gopuras are cross-shaped and contain a small room on each side along with windows containing balusters. The main structure of the gopura are carved with four faces in the Bayon style. The eastern outer gopura has been overgrown by a sacred fig (Ficus religiosa) which has grown down through the blocks that make up the gopura and into the ground.
The core has a gable roof which intersects at right angles with a gable roof over the western addition. A set of centrally located timber stairs provide access to the front verandah which has a balustrade with circular section balusters and is enclosed with metal framed insect screens. The front door is opposite the stairs and opens into the centrally located sitting room. It is flanked with double hung windows, the frames of which feature a chamfered detailing, and additional doors are located at right angles to the front face at either end.
The Albert Memorial Bridge's construction was part of a larger relief project during the Great Depression, which also included draining and dredging the adjacent Wascana Lake, and building two islands in the lake. The bridge was designed by the architectural firm of Puntin, O'Leary and Coxall, as well as noted consulting engineer Claude A.P. Turner. The bridge is highly ornamented with Egyptian motifs, lamp standards, multiple flag-staffs, glazed terra-cotta balusters and buffalo heads. Although the bridge's cost was estimated at less than $100,000 before construction, the final cost was $250,000.
It is symmetrically arranged, with a center entrance sheltered by a mid-19th century Italianate bracketed hood. The ell is four bays long and two stories tall, and connects the house to the barn, which is finished in board-and-batten siding. The barn's gable is at right angles to that of the ell and main house, and it is extended to the north by a shed-roof section. The interior of the main house retains original Federal period woodwork, including a center stairway with delicately carved balusters.
Unusually, all windows retain their original timber sashes, with different pane sizes and patterns to each floor. The masonry of the facade is richly textured and detailed; the ground storey and tower corners are faced with the "astrakhan"-type vermiculation used on parts of the Louvre, and smooth-faced ashlar walls to the upper storeys. An arched central doorway has a deeply recessed surround and carved keystone head. Internally, the accommodation was spacious, featuring a hall with a cantilevered stair at each end with cast-iron balusters of unusual design using geometric shapes.
The interior of the mansion, like the exterior, is a mixture of original 1800–05 construction and decoration, blended rooms, and Victorian construction and decor. The entry hall is almost entirely original construction. Nearly all the woodwork and decoration in this area dates to the 1800-05 period, with the exception of several balusters and newel posts on the spiral staircase, which were Victorian replacements. The major change to the entry hall was the construction of false walls, allowing the conversion of the original hinged doors into sliding doors.
The tower has four storeys, with fenestrations and battlements, the ground floor being occupied by a vaulted cistern. On the first floor, there is a south-facing rectangular door with arched windows on the east and north, and bartizans in the northeast and northwest corners. The southern part of the second floor is dominated by a covered veranda with a loggia (matacães), consisting of an arcade of seven arches, resting on large corbels with balusters. It is covered by laced stonework to form a porch, and its sloped roof ends in a sculpted twisted rope.
The main stair is modestly detailed with stone treads, wood handrail, and square iron balusters. The workmanship that created these stairs was described in 1837 by John L. Sibley in The American Magazine of Useful and Entertaining Knowledge, as "not surpassed by any which we have ever seen." In the 1960s the building was extensively restored. The exterior was cleaned, the 2/2 double-hung sash wood windows installed in the 1870s were replaced with 6/6 double-hung wood sashes replicating the original windows, and the mid-nineteenth-century cupola was removed.
This open-welled stair begins with a curtail step and handrail scroll, and features turned newels and balusters, and a boarded soffit lining. From the second landing is the entry to the Gallery through a similar doorway. At the top of the stair is a series of doorways to offices, formally the "Mayor's Room", the "Council Chambers" and the "Town Clerk", as announced by the painted signs on the doors' lock rails. Above this is a further stair of similar character but of lesser width which leads into the clocktower.
At the north-west end of the second hall is the main timber staircase, with simple timber balusters and a timber handrail. The rooms have plastered walls and chimney breasts and, excepting the front north-west room where the chimney has been bricked up, metal fireplaces with marble mantels and slate hearths. All have ornate cornices, picture rails, high skirting boards with moulded tops, wide architraves and four-panel doors. Although high ceilings with ornate ceiling roses are found in every room, the ceilings themselves are contemporary and plain, with inset downlights.
To the northern (rear) of this bay the verandahs are timber framed with simple turned balusters, stop chamfered columns and fretwork brackets and infill mouldings. To the south of the central bay the verandah is stone on the ground level and timber above. The verandah fascia, at first floor level, is lined with a decorative timber panel with trefoil arched cutouts. Internally, the building is arranged around a central corridor running east west through both levels of the building from which smaller rooms are accessed, with major rooms in the transverse wings.
The first floor consists of a large center hall, the foyer, which is encased on either side by two large reception rooms that are all decorated with paneled wainscoting. The reception rooms on the East and West side both have their own fireplace with mantels that said to be gifts to Lafayette in 1825. The stairway is an ornamental structure in the center hall section that has a "molded handrail and thin, square balusters, three to a step." On the second floor, there are bedrooms with ornamental federal style woodwork, along with a fancy bath.
The house has simple details; a traditional verandah balustrade with dowel balusters and square planned columns. Photographs of the house often feature a verandah screening device, either striped fabric awnings or timber blinds. By the early 1930s it seems that Isabella was living at El Arish permanently, preferring the climate of Stanthorpe and the social opportunities the town presented, to that in the Fassifern Valley, where Allan still maintained the family property. Prior to the deaths of Allan and Isabella within nine months of one another in 1939, El Arish was their permanent home.
There is a second projecting window bay about midway down the long right side of each one, and a porch at the back of that side. When the district was listed on the National Register of Historic Places in 1990, the two triple deckers, built c. 1896, were noted for the preservation of their Queen Anne styling, including porches with turned balusters and brackets, with similar decorative bracketing in the roof eaves. 4 Fay Street was also noted for having decorative pendants hanging from the roof line near the side projection.
Belém Palace is a "L" shape building, with the main space located in a rectangular three-volume space in the south façade. This front, which faces the formal gardens, presents a space of five bodies, flanked by wedges surmounted by pinnacles. A combination of Mannerist and Baroque styles, has a central body with floor level arcades, over a colonnade gallery surmounted by a triangular pediment decorated in stucco. The two outside blocks are farther in front then the main building, forming a terrace delimited by balusters and accessible by lateral staircases.
The ceiling was adorned with carved corbels, representing angels holding shields with two human heads. A doorway at the north-west corner of the hall led to a corridor which led to an oak staircase dated to around 1750, with three balusters to each step. The kitchen was located in the room to the north of the hallway, with a lath and plaster. The adjacent room featured a large, placid-looking fireplace, with the ceiling above supported by three old oak beams supported by a circular pier without capitals in the centre.
The gable peak is adorned with Stick style wooden truss elements, behind which flushboarding finishes the wall, which is otherwise clapboarded. The interior of the building is a single large open space, with a raised platform stage at the eastern end, with seating in the remainder of the space. The stage is accessed by stairs at either end, with railings that have turned balusters. A beam extends across the space aligned with the front of the stage, and the otherwise open attic area is partitioned, creating the effect of a proscenium arch.
The first-floor bays have rounded-arch openings, the central three housing entrances, and the outer six windows. A stone entablature is topped by a dentillated cornice and a parapet with stone balusters and brick piers. The central main section is flanked by matching single-story sections, with a modern service wing to the rear. The interior of the central block is houses the main lobby in the front half and a work area to the rear, with the postmaster's office to one side, and is richly decorated.
The entrance and windows are separated by moulded pilasters. Further along Wharf Street are many window openings of two generations, those closest to the corner of the Richmond Street have replacement arctic glass hoppers, whilst the remaining are multipane vertical sashes with deep reveals. The entrance hall, through the opening in Wharf Street, features a pressed metal ceiling and cornice, and remnants of an early wall paper strip above the dado rail. The unpainted timber stair has an open welled three-quarter turn stairway, with turned balusters and square newels surmounted by acorn finials.
Bacon 1922, p. 39. The interior comprised a nobly paneled hall, having a broad staircase with carved and twisted balusters, which divided the house in the middle and extended through on both stories from front to rear. On the landing, partway up the staircase, was the circular-headed window that looked out upon the garden and the city, with a broad and capacious window seat. On the entrance floor, at the right of the hall, was the great dining room, 17' × 25', also elaborately paneled from floor to ceiling.
The home was listed on the National Register of Historic Places on December 18, 1979, under the Meridian Multiple Property Submission. It is also part of Merrehope Historic District, which was listed on the National Register on September 19, 1988. The "pink house", as it is known locally, prominently features pedimented gables, a front veranda with a corner, conical-roofed turret, and a conical roofed tower. The front porch features turned balusters with center beads and the multi-panel entrance door is headed by a stained glass transom.
To the north-eastern corner of the verandah is an external timber stair with moulded square balusters, square newels with ball motifs, and boarded spandrel, all less decorative than the main stair. The west wing brickwork is laid in stretcher bond, which is different to that of the main block. Entrance at both levels is via a timber connection from the main block with the upper level being enclosed. From each entrance runs a central corridor with bedrooms to either side, with some rooms having been converted to bathrooms.
On his death, he left a widow, nine sons, and one daughter. The Metropolitan Museum of Art purchased the Wentworth house in 1926, and moved portions of the interior to the museum. The house was unusually grand in scale, and the spiral-turned balusters are the earliest known in New England. John Wentworth was raised to be a sea captain. In 1712 he was appointed by Queen Anne a councillor for New Hampshire; in 1713 he became a justice of the common pleas, and late in 1717 lieutenant governor.
A small servery hatch is located in the wall between the kitchen and the hall. A cast iron ladder leading to a hatch to the upper hall which serves as a fire escape is situated in the south-eastern corner of the kitchen. A set of timber stairs outside the toilet in the south-western corner leads to the undercroft space where another toilet is to be found. The staircase is located on the eastern side of the entry space and features a cedar balustrade with turned balusters and substantial newels.
The hall has a barrel-vaulted high ceiling with painted decoration and the dining room has panelled walls, tapestries and a decorated plaster ceiling. The library has a ceiling painting attributed to Guido Reni. The staircase is of white marble with turned balusters and a relief frieze, its ornamented ceiling being attributed to Giorgione. Sited centrally within the grounds, externally the new house was provided with of formal gardens and pleasure grounds; some of these were enclosed by walls, while a series of wide avenues radiated throughout the surrounding of parkland.
Beyond the screen and within the central hallway is a geometric timber stair, winding to the first floor with square sectioned balusters from each tread and a timber handrail following the complex curvature of the stair. The central hallway, which is repeated on each floor provides access to the many small rooms and is broken by a series of plaster archways. Internally the convent has rendered masonry walls, plaster ceilings and covered timber floors. Early fireplaces, ovens and other fittings remain extant in the unrendered basement level of the convent.
Swampscott Town Hall is set on an expansive lot overlooking the town's soldiers memorial and Linscott Park in the town center. It is a two-story brick Georgian Revival structure with a tiled hip roof that is crowned by a low balustrade with turned balusters and urn-topped posts. The main facade is asymmetrically fenestrated, but there are symmetrically placed gable dormers in the roof, and the entrance is in a slightly off-center gable- topped projection. The building corners, as well as those of the entry section, have Ionic stone pilasters at the corners.
The Randwick substation is a large and attractively decorated building that presents a street façade with elaborate brick decoration designed in the Interwar Mediterranean style. The façade is composed of two sections: A two- storey block comprising a high entrance door with lintel arch motifs, and three groupings of triple windows: one group with arches, another with balcony and balusters. The second part of the façade is a symmetrical arrangement with a large arched doorway flanked by pilasters and arch headed windows surmounted by an ornate identity panel. The parapets include curved roof tiles.
A double storey verandah featuring decorative cast-iron posts, brackets, balusters and frieze, runs across the front of the house. On the upper floor there are five French doors with leadlight fanlights and on the ground floor the front door has leadlight fan and sidelights with the name Woolahra incorporated. There are bay windows on either side. On the ends of the front wing there are heavily moulded Renaissance style windows which contrast with the simpler Georgian sash windows along the sides and rear of the back wing.
It is a complex polished timber stair with squared posts and balusters, having a yellow/beige sheet vinyl floor with black edge strips. The first floor of the Post Office and former residence currently contains the carpeted Postal Manager's office in the southeastern corner, sheet vinyl storage rooms to the northeastern corner and at the eastern end of the stair hall, and a large, carpeted lunchroom to the west. Later toilets with mosaic tiling are also retained to the north at centre. The first floor currently has an overall pastel green colour scheme.
The Lind Houses are located on the south side of the village of South Ryegate, on the south side of Pleasant Street, a side street connecting Church Street with United States Route 302. The seven houses are all nearly identical free- standing 2-1/2 story wood-frame structures, with front-facing gabled roofs and clapboarded exteriors. Each has a single-story hip-roof porch extending across the front, supported by bracketed Victorian turned posts, with square balusters. Their facades are three bays wide, with the main entrance in the left bay.
The ground floor has been converted into kitchen, dining, sitting, music and bathrooms and the first floor into bedrooms, around a wide open two-level gallery connected by a new central staircase. French doors opening to the front verandahs have been retained, but the plain stick balusters and frieze on the verandahs are recent, and the dormers have been removed. A double carport with twin gables is located in the centre front. Despite these changes the gabled, four level form remains intact, as well as the main openings and chimneystacks.
The gatehouse is immediately in front of the house at some little distance in advance; the gate has a red brick lodge on each side of it with ornamental gables and pinnacles. The gate between them is ornamented with the heraldic bearings of the family, the mullet or star of five points, and below them the garbs or wheat-sheaves. These bearings are also sculptured on the parapets, the wheatsheaves forming the pilasters and the mullets the balusters. The timber-work over the gate, with its high pointed roof and small pinnacle, is very picturesque.
Window openings surround the three sides of the room, furnished with 19th century furniture. The wood and capiz sliding windows protect the room from rain water, without blocking the sunlight while persiana panels serves as the second layer of the windows, providing ample protection from sunlight. Below the window sills, or the pasamano were ventanillas with balusters, drawing up the prevailing breeze inside the house. The transom, or the upper part of the window, protected by wood and capiz panels in a diagonal pattern, maintain a soft lighting in the house.
The new Catesby House is Jacobethan and incorporates items from previous buildings at Lower Catesby: 16th-century linenfold panelling said to come from the priory, and 17th-century panelling, doorcases and a stair with barley-sugar balusters, all from the old Catesby House. In 1894 Catesby House was enlarged and a vestry and west porch were added to the church. A long, rectangular formal pond survives from the gardens of the old Catesby House. There are earthworks, many of them rectilinear, indicating house or priory walls and further formal ponds.
The porch balustrade, composed of urn-like balusters, extends fully across the second floor, and is open between the center columns on the first floor. The main facade is five bays wide, with long sash windows on both main levels, and a centered entry which is flanked by sidelight windows and pilasters, and topped by a transom window and entablature. In the gable tympanum there are two sash windows with a single half-round window centered near the apex of the gable. The side elevations are six bays long, and roof has four equally spaced gable dormers on each side.
Stairwell in belvedere tower On the wall of the stairwell are low relief plaster sculptures of Night and Day after works by the Danish sculptor Bertel Thorvaldsen. They symbolically divide the night quarters upstairs from the day quarters downstairs. The oak balustrade has turned balusters and brass finials in the shape of lions, because Elizabeth's family coat of arms featured lions. The ceiling is heavily coffered, but there are windows round the top of the stairwell and a great glass chandelier, so it is very light - in fact the stairwell is built as a separate tower so as to permit so many windows.
The current church building is a large structure built in 1885 by the church's parishioners from ashlar cut stone that they had quarried at a nearby site. It has a stucco exterior and a square bell tower with a short octagonal steeple that is roofed with tin shingles. It has an unusually elaborate interior that is largely the work of John Sliemers, who served as the local parish priest from 1901 to 1903 and from 1914 to 1934. Both the main altar and side altars have elaborate carvings, while lathe- turned balusters support the chancel rail and the rear gallery.
However, the "symmetry" of the house was only implied, for in plan the central corridor was moved to one side to favour rooms with wider verandahs on the western side. The front verandah broke forward as a porch with a pedimented gable, giving protection to the stair. The pediment itself was cranked along the sides, reflecting a subtle change in pitch as the steep roof flattened out slightly over the verandahs. The verandah had turned balusters and 8" x 3" timber verandah posts with the wide face to the outside, subtle but unusual embellishments in Queensland.
The Stanton- Davis Homestead is located in southeastern Stonington, at the junction of Green Haven Road with the Osbrook Point Road. The principal feature of the homestead is the main house, a 2-1/2 story timber-framed structure with a gabled roof, central chimney, and shingled exterior. It is distinguished by its overhanging side gables, a sign of its great age, and its eaves, which are longer than typical for houses of the period. The interior follows a typical center chimney plan, with a narrow staircase in the vestibule that features fine carved woodwork posts and balusters thought to originate in England.
Walls to the ground floor are a combination of grey painted rendered brick and recent, s-90s fibre cement sheet partition walls enclosing the retail area. Fireplaces have been bricked in, and what appears to have been a former fireplace to the southern wall of the post boxes area has been infilled by post boxes. The ground-floor stair hall to the eastern side has sheet vinyl flooring and treads with black edge strips. There is grey painted early timber panelling below the stair and the stair itself comprises a polished curved timber rail surmounting turned balusters and a turned bottom post.
At the back of the room is a timber arcade and the staircase has barley-sugar balusters. Douglas' biographer, Hubbard, describes Abbeystead as the finest of Douglas' Elizabethan houses and one of the finest and largest he ever designed. Hubbard also suggested that Douglas' plan of a house with irregular gables and a tower grouped round a courtyard may have been inspired by nearby Lancashire medieval houses with pele towers, such as Borwick Hall. However, as Hartwell and Pevsner point out, Douglas also designed towers for his houses in Cheshire and Wales, so it may rather have been "rooted in his own style".
Bregno played a significant role in the standardization of an authentically classicizing style of epigraphy, in the inscriptions that accompany his tombs. In the Sistine Chapel he collaborated with Mino da Fiesole and Giovanni Dalmata to produce the little cantoria or choristers' gallery set into the wall, with its own coffered ceiling and carved marble balusters, and the marble screen. The attribution to Andrea Bregno and Baccio Pontelli of the Church of Santa Maria del Popolo, commissioned by Sixtus IV, is traditional, as is the tradition that the two were responsible for the Palazzo della Cancelleria.The Palazzo Torlonia's façade shows many similar features.
The interior follows a typical center hall plan, and has retained a number of original features, including particularly ornate turned balusters on the main staircase. The house was built by Joseph Adams in 1783, and was the farmstead house for a farm of . It is one of a handful of 18th-century houses in Somerville, and its main entry transom window is believed to be one of the oldest of its type in the Boston area. Adams was married to Sarah Tufts, whose extended family owned large tracts of land in the town, including the tracts which eventually became Tufts University.
The spaces above the entrance to the staircase tower and each of the six windows feature the sculpted bust of a man or woman dressed in classical attire (breastplate, toga) or the fashion of the sixteenth century. For the owner, choosing mythological or allegorical figures was a good way to express their virtue and social success. The capitals of the columns surrounding each window take up the superposition of classical architectural orders: Doric, Ionic, Corinthian. To the left of the tower, the balusters adorning the superimposed galleries (not originally walled) are also Corinthian, Ionic and Doric.
The square rubble walls were designed to be consistent with the Western European 17th century architecture of the Oxford University campus. Other features include the open-well staircase constructed from oak, featuring shaped balusters and carved eagle finials. Construction was completed in 1928 and the building and its library were handed over to Oxford University. Rhodes House was commissioned by the Rhodes Trust as a memorial to Cecil Rhodes, to act as a centre for research for the "British Empire and Commonwealth, of African and the United States of America", and to be the headquarters of the Rhodes Scholarship system and Rhodes Trust.
The upper level has a verandah which runs across the front elevation and halfway around the side elevations which is simply designed and comprises timber square posts with smaller square balusters. The end of the verandah on the eastern side is partially enclosed to form a kitchen, and a stair leads from the verandah on the opposite side. The verandah roof attaches to the building below the main roofline, allowing space for a series of pairs of timber brackets which support the fascia of the main roof. The main roof is pyramidal in form, with a decorative ventilator at its peak.
Despite the application of siding, it retains a number of well-preserved Colonial Revival features, including pillared supports and turned balusters on its two-level porch, flanking projecting bays on both sides of the porch, and an extended cornice; modillions once found on the cornice have been removed. The two entrances are identical, with doors that have oval windows framed by sidelight windows. The house was built in 1913 for Henry Milesky, a resident elsewhere on Charles Street, and has historically been a rental property. Most of its documented occupants have been in working-class professions.
The original front facade is divided into five bays with the walls and roof of the central and end bays projecting beyond the line of the adjoining structure. The most striking feature of the facade is the two-storey masonry arcade with round arches and pilasters. The arcade elaborates the Renaissance theme of the original design, connects the Main Building to the chapel and protects it from the western sun. The roof of the arcade forms a terrace to the upper level of the Main Building and the parapet, which acts as a balustrade to the roof terrace, incorporates classical balusters.
The eastern, northern and western walls are occupied by double-arched enclosures, with the northeast and northwest corners occupied by statues of Saint Vincent of Saragossa and the archangel Michael in niches. The third floor has twin windows in the northern, eastern and western façades, with balusters, interspersed by two armillary spheres and large relief with the Royal coat of arms. The final floor is encircled by a terrace with shields of the Order of Christ, and a northern arched door and eastern arched window. The terrace is enclosed by a low wall with colonnaded pyramidal merlons with bartizans in the four corners.
In the year 1600, the columns of the lower floor of the patio were constructed, according to the inscription that is conserved in one of them, and the entrance door was opened to the patio. The palace is structured around this courtyard, of slightly rectangular plan, with 12 columns of stone with a smooth texture, which replaced the previous ones of wood. On the capitals, wooden blocks with carved scrolls support the entablature of the open corridor of the main floor. The sill is formed by turned wooden balusters with a row of canecillos under the skirting board.
Paneling to the underside of the first flight houses an access door to a single flight of stairs leading to the basement. The stairs consist of closed risers and treads with turned balusters and newel posts, the basement stair is painted and the upper staircase is clear finished. The strongroom with heavy metal door is also located on the north- western wall adjacent to a fireplace to the rear office. Partial height timber framed partitions lined with plasterboard positioned parallel to the south-eastern wall, are later additions and separate the office and strongroom from a hall created to access the rear addition.
In the main chapel, there is a figure of the patron saint by the painter José Troni, with pictures of the Royal family in the foreground (including Maria I, John VI and Carlota Joaquina) completed by the English painter Thomas F. Hickey. On the ceiling of the chapel, in an ovular mould, there is a painting of the Virgin attributed to Pedro Alexandrino de Carvalho (1730–810). Along the lateral walls are pulpits delimited by balusters, while on the left side the organ. The lateral altars, with the exception of the second epistle, are marked by the acronym of Pedro Alexandrino.
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by Joseph Rose, Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end. The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace.
The courtyard is accessed through a porte-cochere on Federal Street, and features buff-colored brick walls with granite stringcourses and keystones for the walls. The building's formal entrance, located at the angled corner at Federal and Market Streets, is marked by a large, triangular pediment that surmounts a Doric frieze and engaged columns decorated with banded rustication. The entrance leads into the elliptical Rotunda, an elegant and open two-story foyer with refined classical detailing. The Rotunda features a curving marble staircase with a balustrade of thin cast-iron balusters, rising to the second floor along the perimeter of the room.
A grand cast-iron stairway extends from the center of the first floor to the fourth floor, featuring marble treads, double balusters with spiral and acanthus ornamentation, paneled stringers and soffits, and a molded oak handrail. Originally, windows at the landings opened into a light court, which was covered with solid panels in 1949, leaving the oak framing and trim intact. The existing vestibule and main stair lobbies are well-preserved spaces which remain as the most detailed and significant areas in the building. Typically, the office spaces include plaster finishes with oak baseboards, chair rails, and picture moldings.
Only the northernmost portion of the 1920 building remains—its southern half and central campanile (bell tower) were removed for the 1930s addition. thumb Both the 1920 and the 1930 sections were designed in the Spanish Colonial Revival style with a skillful interplay of stucco walls, arched openings, and terracotta tile roof. The exterior ornamental detailing is very simple, with bracketed balconies, an arcaded ground level, and Spanish Colonial Revival features such as circular windows and twisted balusters. The most prominent component of the building, the 1930 tower, is richly embellished and capped with a dome covered with patterned dual-toned tiles.
Plaster archways provide access to the major rooms on the ground floor and these rooms have plaster ceiling roses and deep plaster cornices. The central stairway is an open well with a half-turn timber flight with landings and has very fine cedar joinery including turned balusters, prominent newel posts and spandrel panelling. The upper floor of Tighnabruaich has a number of smaller rooms, again opening off the central stair hall and off halls radiating from this. Some of the upper floor rooms have partially raked ceilings of plasterboard, following the line of the roof trusses.
Both are of timber with fine newel posts and turned balusters. There is also evidence of the cupola roof structure over the centre of the large second floor room. The spaces immediately behind the original shop front rooms have been altered extensively except for the remains of the terrace already mentioned and the high top-lit vestibule which connects the front of the building with the former skating rink hall. This vestibule retains its clerestory windows and roof structure and evidence of stairs on the east and west walls to a now removed landing and doorways.
The Jubilee Bandstand also known as Queen's Park Rotunda or Jubilee Rotunda is a heritage listed building located between Stirling Terrace and Proudlove Parade overlooking Queens Park, the Memorial Gardens and Princess Royal Harbour in Albany in the Great Southern region of Western Australia. The rotunda is a decorative open sided pavilion on a half ellipse design. It is built in a Federation Carpenter Gothic style, displaying use of timber craftsmanship, with elaborate balusters, posts, capitals, brackets and bosses. A curved granite retaining wall forms the base of the rotunda and steps lead down to Proudlove Parade.
A double door framed by a similar treatment to the main entrance below gives access. French doors in the other two bays round out the fenestration on the first story, with eight-over-one double-hung sash windows above in projecting moldings. Quoins interrupt the clapboard at the corners, with the whole facade topped by a frieze with egg-and-dart and dentil molding running continuously around the house, as does the modillioned block cornice at the roofline. The roof, topped by a balustrade of stick balusters and topped finial posts, is pierced by three brick chimneys and three gabled dormer windows.
It includes a bronze likeness of Paddy, a drinking fountain, and drinking bowls below for dogs. Another piece of the stone is situated under the sundial in the Wellington Boat Harbour Park, next to Clyde Quay Marina, an area of historical significance in Wellington Harbour. Several stone balusters from the demolished bridge were sent in the late 1930s by the author Dornford Yates to be used in his French home 'Cockade', but the Fall of France in 1940 interrupted this project. They were shipped after the war to his new house in Umtali, Rhodesia (now Mutare, Zimbabwe).
The main entrance is in the right bay, sheltered by a hip-roofed porch. When listed on the National Register of Historic Places in 1990, the porch had turned balusters and supports, features that have since been removed. The Belmont Avenue area in which the house was built was primarily populated by Scandinavian immigrants at the time of its construction, c. 1894. This was one of the first parts of the Belmont Avenue area to be built out with triple deckers, which provided housing for workers at the major steel and wire plants north of downtown Worcester.
The ground- floor colour scheme incorporates tan coloured walls with white trim and two chimney breasts have been retained, though bricked in. The central stair comprises original turned timber posts and balusters painted white, with a shaped rail, carved and painted end brackets and sheet vinyl treads. There is a modern tubular steel rail attached to the wall and original or early timber panelling encloses the storeroom below the stair. The original first-floor residence of Redfern Post Office is currently vacant and has sheet-vinyl- flooring, excepting the tiled female bathroom and locker room in the southeastern corner, which are still utilised.
The Budge Cottage is a historic house located on Center Street in Paris, Idaho. The cottage was built in the late 1880s as a rental house for the locally prominent Budge family. The one-story cottage has a hall and parlor plan; while this design was quite common during the early settlement of Paris, it had been largely replaced by larger houses by the 1880s. The Budge Cottage is one of the more ornate hall and parlor cottages built in the city; its design features a gabled porch with turned posts and balusters and decorative moldings on the windows and under the eaves.
The exterior redwood siding was painted in three coats of white lead and linseed oil; two of those coats were covered in "clean white sand" to provide texture and durability. Mirrored glass as well as plated, gilded and cast metal ornamental features were shipped around the Horn from France and England. Cast plaster rosettes, bosses and medallions detail the ceiling which otherwise is composed of geometric traceries of wood on smooth plaster. The main interior staircase is composed of three flights in a square 'U' shape and is finished in oak handrails supported by gothic arch balusters.
The massive balusters and huge posts surmounted by lofty pinnacles, and the dim light from the small latticed window, gave a dark appearance to this part of the building. In a room north of the hall at the north-east corner, the remains of a small winding staircase of brick and stone, which led originally to the upper part of the mansion was found on taking down the wainscot. The wainscoting was taken to Southam House, Lord Ellenborough's seat, near Cheltenham. The general character of the original structure was distinguished by long windows divided into numerous lights by massive mullions and transomes.
A large moulded archway in the entrance corridors separates the dog legged timber stair from the hall. The stair, which has turned newels and square balusters, is naturally lit by a multi-paned arched window, at the first half landing. The upper floors retain the original planform, of centrally located corridors running parallel to the verandah, off which accommodation rooms are accessed both to the verandah side and to the rear of the building. The rooms feature four panel doors, with large transom windows above, some of which are not glazed but covered with punched metal sheeting.
Projects to recover the place started five years later. A renewal process with a French style square started in 1872, including the presidential decision to erect a statue of Bolívar by the month of November. Also, it was decided to build planters, plant trees, recreate the four seasons in the corners: spring, summer, autumn and winter with four fountains of ornamental iron, install about 100 iron posts with different decorations and to border the square with metal balusters. The small stairs in the southeast of the square gave name to that corner known as Gradillas, meaning small terrace corner.
The resulting house is a large square brick and stone house with two tall storeys, plus basement and attic. The symmetrical plan is ranged either side of an entrance hall entered from the west, with the identically-proportioned saloon beyond; the principal apartments and staircases are placed in equal-sized blocks on either side, projecting slightly on the west and east fronts. The stair hall in the southwest block opens from the entrance hall; it has twist-turned balusters typical of the late seventeenth century. The centres of the north and south fronts are slightly broken forward and capped with pediments.
Internally, a number of rooms feature period wall and ceiling decorations including the entrance hall, which dates from the original 1730s building and features moulded panelling and cornices, a marble fireplace and ornamental plaster ceiling and an arabesque frieze. The stairwell is lit from above with a roof light and features a cantilevered stair with iron balusters from the 1825 adaptation with a later brass handrail. To the north- east of the house is the estate's former stable building. This was built around the time of the fifth Earl's extension of the house and is aligned on a north-south axis.
First floor plan in the 1880s The standards and balusters of the stairs on the north side of the hall came from Eversley Manor House and probably date to the mid-17th century, although the treads are original to the house and possibly mid-16th century. The walls above the stairs and on the first-floor landing contain some very large paintings, including several portraits.Bramshill House 9331, Country Life, Retrieved 20 July 2013 Beyond the staircase are the state rooms and what was known as the "Wrought Room". The room has an ornamental ceiling with a Renaissance chimneypiece.
These naves are covered by wood ceilings and false vaults over granite cornices. The high choir, in wood, with balustrade overhangs the lower choir and interior baptistry, situated in the tower. In the third pillar opposite the epistle is a wooden pulpit, with rectangular basin over corbels (also in wood) that contort around the pillar with guardrail decorated in palms and crosses, surmounted by baldachin and reached by stone stairs, with guard of wooden balusters, skirting the pillar. At the front of the lateral naves are chapels under triumphal archways sheltering the retables in polychromatic and gilded woodwork, surmounted by oculi.
The Harry C. Tinker House is a two-story Queen Anne style frame structure built in an L-shaped plan, typical of many midwestern farmhouses builtin the nineteenth century. The house has a multi- gabled roof with a central cupola. A wrap-around gable-roofed porch in the front contains turned balusters, bracketed columns, and a frieze along the top with turned spindles. IN addition to being used as the telephone system office, the house was reportedly the first in the county to have a central heating system, and the first farm house to be electrified.
The main stair appears to be original, with polished and painted, turned timber posts and balusters. The stair is fully carpeted, with carved timber brackets and original skirting that has been painted white. The first floor comprises the residence bedrooms and lounge room, fully carpeted excepting the tiled bathroom and toilet in the north western corner. Ceilings of the first floor include square set plaster in the western bedroom with a moulded ceiling rose, pressed metal in the lounge room, stair hall and landing, board and batten in the eastern bedroom and boarded ceilings in the hall, bathroom and toilet.
By 1874, Roper House was in need of a renovation and Siegling had the wherewithal to pay for one. From at least 1851 until 1874, a masonry wall, with rusticated piers and balusters, separated the Roper House garden from East Battery. Sometime after his purchase, but before 1886, Siegling replaced the wall with an iron fence, and replaced the war-damaged neoclassical porch with an Italianate doorway. Siegling also modified two tripartite windows on the north facade, blocking up the flanking windows, and replacing the 6 part sash of the central windows with the then more fashionable 2 part style of sash.
The house mostly sits on timber stumps with concrete footings, but the perimeter stumps have been replaced by brick piers with arched timber battening between. A centrally positioned divided brick stair, with a gabled portico above, gives access to the front verandah and front entrance. The front elevation is dominated by a deep, open verandah with large rotundas or pavilions at the southwest and southeast corners, which take advantage of the views and river breezes. This verandah has simple timber valances, posts and balusters, and the rotundas have ogee-shaped cupolas above a frieze of pink and green glass panels.
The study and the breakfast room occupy the two smaller rooms at the rear, with the breakfast room featuring a particularly fine Edwardian frieze of alpine scenery. The stair is narrow and steep, starting in a spiral ninety-degree turn, with a straight flight to a landing and a short return flight to the upper landing. The squared balusters, handrail and turned newels are typical of a mid-Victorian stair. The fretwork on the side of the steps and the panelling underneath the stair are the only two instances of ornamentation in what is a relatively austere interior.
The upper storey has five symmetrically disposed windows (to the east/front) which are shown with shutters in early oil paintings at Carwoola. The front door which consists of two vertical panels and sidelights opens into a hall with an elegant staircase and fine straight balusters. To the right is the large sitting room with an exquisitely restrained white marble fireplace, said to be the signed work of the 19th century neoclassical sculptor, Canova. To the left of the hall is the dining room, lit, as is the sitting room, by a pair of tall four-paned sash windows.
The MSHD standardized the designs of steel stringer bridges in 1905–06 and plate girder bridges in 1907–08. However, it was not until 1926, the year this bridge was built, that the department began encasing the steel girder webs in concrete. Why they did so is not entirely clear, and indeed the department abandoned the practice of encasing interior girders soon after. However, they continued encasing the exterior beams in concrete, and continued using the concrete balusters pioneered with this bridge design, and this bridge can be considered a prototype for numerous, similar bridges built by the department in the next decade.
The Brande House stands just west of downtown Reading, at the southwest corner of Summer and Linden Street. It is a 2-1/2 story wood frame structure, with a gabled roof and exterior clad in wooden shingles and clapboards. Gabled sections project from either side, with a large porch in the corner created by the section on the right, where the main entrance is located, and a smaller porch on the corner on the left, facing Linden Street. The right-hand porch is covered by a hip roof, supported by round columns, and has a simple balustrade with square balusters.
The house was built in 1846, not long after Orchard Street was platted for development. It was one of the first houses with Italianate elements to be built in the city, coming just one year after the style was introduced. The house was built by Joshua Fernald, a local master carpenter, and was located for convenient access to the Fitchburg Railroad depot (now the Porter MBTA station). It originally did not have a large front porch; a two-story porch with Victorian turned posts and balusters was added about 1890 (as seen in 1972 cultural survey photos); the present porch is a subsequent replacement.
The sleep-outs have leaded, diamond paned casement windows, and are surmounted by a gable with stucco infill. The verandah has a tiled skillion roof supported by short, paired timber posts on brick piers, and a timber balustrade with crossed central balusters, and a curved timber valance. The verandah also has a concrete floor on a brick base, with a quarter turn stair at either end with a low brick balustrade with a curved parapet. Four central entrance doors, accessing each of the flats, open off the verandah, and are flanked by leaded, diamond paned casement windows with face brick to sill height and stucco above.
Fragment of wall painting showing the three lions of the Royal Arms of England The west gallery is dated 1711 but with Jacobean style balusters and attached Charles I coat of arms. The south gallery is dated 1819. There are two early-19th-century monuments to the Rees-Mogg family on the north wall of the nave, and a brass plaque commemorating the nine people from the village who died in World War I. The church is surrounded by trees. The tower, probably from the 15th century with 19th-century restoration, is built of red Mendip stone which contrasts with the local blue lias limestone of the rest of the church.
The brick two-story Tudor Revival style home was designed by Montgomery architect Frank Lockwood, Jr., the son of renown architect Frank Lockwood. The façade has a projecting, half-timbered front gable with a large multi-light window on the second floor, above the main entrance with a terra cotta surround and arch. On either side of the entrance are casement windows with decorative soldier course brick arches on the ground floor, and windows with dormer tops on the second floor. The interior also feature Tudor details, including a marble arched fireplace mantel in the living room and a cast iron staircase railing with spiral balusters.
The Dolan House is set at the northwest corner of Prospect and Curtis Streets in the Fair Oaks neighborhood of Methuen, located north of its central business district. The Fair Oaks area is characterized by high quality turn-of-the- century residences built for people working in nearby Lawrence, and wealthy local businessmen. The house is a two-story wood frame structure, five bays wide and three deep, with a hip roof, clapboard siding, and a stone foundation. Its most prominent feature is a two-story porch, which extends across three bays of the front facade, with full height Doric columns and turned balusters.
9 April 2008 The rear (west) roofing was in two hipped trailing wings, the northern wing having an addition on the ground level. A rear balcony on the upper floor, between the trailing wings has been infilled in timber and casement windows. The ground floor interior retains little original fabric, and there is a standard post shop retail fitout with modern shelving units, and a suspended ceiling form. The first floor quarters retains most of its original fabric including two timber fireplaces, doors, architraves and joinery including polished timber stair balusters as well as a large panelled timber cabinet at the top of the stairs.
The First National Bank of Houlton building is set in a row of otherwise brick buildings on the north side of Market Square, the heart of Houlton's central business district. Sharing party walls with the neighboring buildings, it has a granite facade, prominently distinguished by a pair of pilasters at the corners, and a pair of Doric columns in the center. These support a lintel with an overhanging bracketed cornice, which is topped by four equidistant blocks separated by balustrades with metal balusters. The facade behind the columns is organized into three bays, the left two having windows with decorative metal elements between the first and second levels.
Adjoining the pediment is a parapet with classical balusters that conceal the edge of the gable roof. The stair tower, which protrudes from the centre of the central bay, has an ornate zinc roof with small arched dormer windows and decorative round and arched stained glass windows. The symmetry of the facade is further emphasized by a set of wide masonry stairs positioned on axis with the stair tower that lead down to Ross Oval. The southern facade of the building is much plainer than the northern facade and overlooks the Former Quadrangle (Edmund Rice Mall), an extension of the courtyard space at the rear of the Main Building.
Southward view from a train, showing the decorative balusters The viaduct in 1996 View though the pierced piers, showing patchwork repairs The structure is long, and reaches a maximum height of above the floor of the valley. It consists of 26 semi-circular arches each of with piers of thick at the base and thick at the top, together with one elliptical arch of over a section of the A23 London Road called Preston Road. The piers of this arch are thick at the base and thick at the top. Each pier contains a jack arch with a semi-circular soffitt and invert to reduce the number of bricks required.
Internally, the former residence is accessed via a set of timber stairs in the south eastern corner of the building. The stairs have turned balusters and substantial newel posts with chamfered rectangular tops. On the first floor, the former residence partition walls have been removed, however the remaining large space retains its timber lined ceilings, a single fretwork ceiling ventilator panel, a former kitchen fireplace, and a fireplace in the south eastern corner with fine timber panelling and ceramic tiled surrounds. Some of the decorative ironmongery remains, including wall ventilator panels, escutcheon plates, and a teardrop- shaped door handle at the ground floor entrance.
A distinctive feature that evokes the interpretative style of the mid-16th-century Italian Mannerist architecture is the ornamentation of the fenestration. This is most prominent with the second- and third-story windows’ display of the "Gibbs surround," which is characterized by keystones and spaced blocks surrounding large windows. Here, this motif is composed of terra-cotta displaying bead and reel decoration, elaborately carved quoins, keystones, and Doric order moldings. Framing the second- and third-story bays of the north and south pavilions are two-story engaged Corinthian columns, supporting a continuous architrave, which is capped with a dentiled cornice and a parapet of alternating brick panels and open balusters.
Veronica "Ronee" Lawrence Crane (Wendie Malick) is Niles and Frasier's old babysitter, and the first woman to break Frasier's heart (he used to watch her kiss her boyfriend through the balusters). She is also responsible for Niles' compulsive furniture-wiping, as she told him stories when he was a child about earwigs laying eggs on all the furniture, which would hatch, crawl into his ears, and eat his brain. In 2003 she meets Frasier by chance and soon starts dating Martin (whom she had a crush on as a teenager). They get married the following year, on May 15 (Eddie's birthday), in the show's final episode, "Goodnight, Seattle".
The main entrance to the building is via the ground floor loggia which is heavily decorated with painted cement rendered arches, columns and balusters and secured with cast iron grilles. Tessellated tiles line the floor. Additional arched entrances to bar areas are located either side of the loggia with a further entrance located off Waghorn street which currently opens into a more recently constructed beer garden that is fenced off from street access. The ground floor verandah to Brisbane and Waghorn Street elevations has timber posts, a cast iron valance and a recently replaced steel roof structure with curved Colorbond roof sheeting and slotted ogee guttering.
The E. Sybbill Banks House stands in a densely built residential area just east of downtown Waltham, on the west side of Appleton Street just north of its junction with Central Street. It is a 2-1/2 story wood frame structure, with a gabled roof and exterior finished in a combination of wooden clapboards and shingles. Prominent Queen Anne features include the front porch, which has turned posts and balusters, and a spindled valance; these details are repeated on the rear porch, and similar valances are found projecting over angled windows. Palladian windows adorn the front- facing main gable, and a crossing secondary gable.
With four elevators and a great hall measuring and high decorated by a stained-glass skylight and ornate stone balusters, it was the first commercial building in Chicago to have electric lighting. It was also the first building in the city to exceed in height and at the time was the tallest building in Chicago. The building's formal dedication ceremonies, which were described by a contemporary as "brilliant and imposing", took place on April 29, 1885 and were attended by over four thousand persons including dignitaries from around the world. Postcard circa 1907 depicting the Board of Trade, after the clock tower had been removed.
On the ground floor level, the two southernmost bays contain two-over-two, double- hung windows with entablature hood molds. The third bay has been modified from the original configuration and now contains two separate entry doors, to provide private access to each of the apartments. A large wooden porch dating from the 1880s protects the ground floor level of this facade; this porch features square columns with molded capitals supporting a flat roof with a wide frieze decorated with dentils and a cyma recta cornice. The porch roof also serves as a deck for the second floor, and features a balustrade with simple square balusters and corner posts.
For instance, according to Bonney, This text is accompanied by a photograph of "the delightful view afforded from the porches of cottages for consumptives in Estes Park, Colorado." The hotel also provided the ample porches, ventilation, southern exposure, and appetizing food recommended in Bonney's book. The style of the Stanley Hotel campus is colonial revival. The strong symmetrical arrangement of the primary facade, and the classically derived ornamental articulations such as the two-stage octagonal cupola, Palladian window, fanlights, dormers, swan's neck pediments, scroll brackets, paired Tuscan columns, oval ox-eye windows, and elaborately turned balusters are all stylistic hallmarks of the so-called American Georgian and Federal Styles.
One-story brick side wings were added to the north and south of the building by T.S. Williams in 1845, with Greek-style end porticoes. The south elevation has a three column Doric portico spanning its width, while the north wing though larger of the two has only a two column portico. The columns at the end of both wings are fluted while the pilasters are smooth, and the Doric entablature and eave treatment match the main block. Each wing is topped by a balustrade with balusters similar in shape to those on the gallery, while the main block's side elevations feature a wooden fan design in the gable peaks.
A spindle, in furniture, is a cylindrically symmetric shaft, usually made of wood. A spindle is usually made of a single piece of wood and typically has decoration (also axially symmetric) fashioned by hand or with a lathe. The spindle was common at least as early as the 17th century in Western Europe as an element of chair and table legs, stretchers, candlesticks, balusters, and other pieces of cabinetry. By definition, the axis of a spindle is straight; hence, for example, a spindle-legged chair is a straight-legged design, even though cylindrical symmetry allows decoration of elaborate notches or bulbs, so long as the cylindrical symmetry is preserved.
The James O'Connor Three-Decker is a historic triple-decker at 23 Endicott Street in Worcester, Massachusetts. At time of its listing on the National Register of Historic Places in 1990, it was recognized as a well-preserved example of a wood-frame Queen Anne building, featuring a three-story porch with decorative turned wood balusters and porch supports, and wood siding with decorative bands of cut shingles. It was built about 1906, in what was then an ethnically mixed neighborhood; its early occupants were Irish and Swedish, with Poles and Lithuanians arriving later. Since its listing, the house has been resided and the porches removed.
The chancel arch dates to about 1340 and is similar in design to the tower arch but is more finely moulded, while the chancel's wagon roof is 19th century.Doubleday, A.H., The Victoria History of the County of Hertford, (1923)Nikolaus Pevsner and Bridget Cherry, The Buildings of England: Hertfordshire, (1977) The chancel arch shows traces of where at one time a rood screen was fixed across the archway, but this was presumably destroyed centuries ago. The large and undecorated baptismal font is 14th or 15th century in date and has shields carved in the recesses on its shaft. The communion rails are 17th century with square tapering balusters.
A recent restoration project, which removed the overcoating layers, revealed all the beauty of the marbled decoration typical of the 18th century, with the Basilica being reopened on July 6, 2001, after three years of work. Other alterations in the main altar included the enthronement of the present image of Our Lady, another one of Christ and the installation of a reliquary to guard the sacramental breads. The restoration of the chapel also contemplated the rosewood chair, with the restoration of lost parts of the wood and the recovery of the six panels with images of saints and the six tribunes with balusters that are above the stall.
The Chauncey B. Leonard House stands at the northwest corner of Shed Road and Crosstown Road, about west of Paine Turnpike, a historically major north-south route through the area, and just east of Pond Brook, impounded in historic times for the construction of mills. The house is a modest 1-1/2 story wood frame Cape style structure, with a gabled roof and clapboarded exterior. It is five bays wide and three deep, and faces Shed Road, now the access road to the town's municipal complex. The main entrance is sheltered by a porch with Victorian turned posts and balusters, and a spindled valance above.
Among the most significant elements of its architecture are details such as a bracketed cornice, some courses with corbelling, and a belt of sandstone, plus larger elements such as significant rectangular panels on the facade and massive bay windows. Inside, many original details have survived to the present day, such as elaborate balusters in the halls, the wainscoting on the corners of the rooms, and the plain fireplace mantels. From their construction in 1885 until 1947, the apartments were owned by the family of Ulrick Bauer, a local greengrocer. Both historically and in the present, they have been used both for residential purposes and as the location of a specialty store.
The Maria Bassett House stands on a hillside overlooking the Lower Mystic Lake, at the southeast corner of College Avenue and Stowecroft Road and a short way above United States Route 3, from which it is separated by an intervening house. It is a 2-1/2 story wood frame structure, with its front facade oriented to face roughly east, toward the lake. Its Italianate features include a hip roof with extended eaves, paired brackets and dentil moulding in the eaves, and corner boards scored to resemble quoins. The porch, which wraps around two sides, is also elaborately decorated, with brackets, dentil moulding, paired columns, and turned balusters.
In 1861 the 17th-century church was demolished and replaced by the present Church of England parish church of SS Edmund and Mary, which was designed by Gillet of Leicester and completed in 1862. The present church includes a Decorated Gothic sedilia and piscina dating from about 1300, almost certainly carved for the priory church when it was rebuilt in about 1301. The present church also includes Jacobean woodwork from its 17th-century predecessor: a communion rail with barley-twist balusters, and a pulpit and tester. In 1863 the Catesby House was demolished and a new one was built above lower Catesby, about half-way up the hill to Upper Catesby.
Several structures along this section are included in a National Register listing. Contributing structures to the listing include one bridge, one overpass and four concrete box culverts. The three-span, continuous steel multibeam bridge, in the northbound lanes, dates to 1950 and features concrete balusters and top rails. The box culverts were built as part of the 1926 road's foundation and range in width from . There are also four non-historic bridges constructed during the 1970s and 1980s along this stretch of US 66. Historic Route 66 & IL 53 in Joliet south of Theodore Street Currently, IL 53 coincides with Route 66 through Joliet.
Tweed Courthouse staircase Directly adjacent to the western and eastern sides of the rotunda, there are two cast iron staircases in open wells, connecting the first, second, and third floors. The staircases, designed as mirror images of each other, were each laid out so one wide stairway leads upward to a mezzanine which then splits into two smaller stairways to the rotunda of the floor above it. The railings of these stairs have ornately designed four-sided iron newels with lampposts atop them, as well as simpler four-sided balusters. Rectangular panels with circles at their centers are located on the underside of each flight of stairs and are a Renaissance-style design used by Kellum.
In plan, the generous central nave with its tebah (bimah/raised platform containing a table for reading the Torah) is separated from the side aisles by a colonnade. Positioned above the side aisles is a gallery where, in the Orthodox Jewish tradition of separating the genders, the women sat. Tall windows with transoms filled with a geometric pattern of stained glass, a gray marble tiled floor, the raised tebah with wooden newel posts/handrail and brass balusters, plaster medallions and trim work, and the wooden guardrail at the gallery are prominent design features in the sanctuary. The wooden ceiling of the sanctuary is flat, and hanging from it are period lighting fixtures.
The columns are paired, and have floriated capitals, hexagonal bases, and fluted shafts. The verandah to the west is supported on cast iron columns with cast iron valances and spandrel panels. The 1889 building has two large bars on the ground floor either side of an entrance hall and offices and meeting rooms upstairs, and contains some rich internal decoration. The entrance hall has a decorated arch with a female figure on the keystone, a terrazzo floor with the letters "BCH" (abbreviation of Breakfast Creek Hotel) inlaid at the door, cedar stairs with richly turned balusters and newels at the northern end, and four timber framed doors with etched glass with floral motifs leading to the bars.
The retable rises to a great height above the altar; it includes an important statuary and a magnificent, delicate filigree of balusters, spires, small dossals, and chambranles, all done by Joan Peti. It consists of five continuous panels, the center panel being the widest; it is five storeys tall, and the lines of separation are stair-stepped. The themes of the central panel from bottom to top are: the figure of a seated Virgin and Child plated in silver on the predella, above this the tabernacle and a Gothic monstrance carved in wood, then a depiction of the Nativity, and above that, the Ascension. The whole culminates in a monumental scene of Christ's crucifixion at Calvary.
In 1876, the parish was combined with that of St Michael Queenhithe – a nearby Wren church, and St James received much of the furnishings. From St Michael's are the pulpit, with a tester and twisted balusters, as well as a wig peg for the preacher. A royal coat of arms of the House of Stuart on the south wall and a sword rest also come from St Michael's, as do two grand doorways, now used as screens. In addition, the church's own royal arms (which is of the House of Hanover) is on display on the north wall, almost opposite the other royal arms – making St James Garlickhythe the only City church with two reliefs of the royal arms.
The interior of Saint-Gildas d'Auray church One evening of the 1645 Fête-Dieu, at the end of the suburb of Saint-Martin de Laval, a fight took place between Jean-Michel Langlois and Olivier Martinet on one side and the architects François and Pierre Vignier on the other, but the complaint was withdrawn, and they reconciled. Another time, in 1666, François Langlois was accused of wounding Jacques Chevreul, master locksmith, in a quarrel. He lived in Vitré in 1647 when he had his first known market signed in LavalHe ordered 20 columns, 8 balusters and flat marble from the marble makers Rochereau and Cuvelier. to build the main altar of the in Hennebont.
Jacques Salbert indicates that it had an original place in the Laval altarpiece by its double convexity of the wings framing the large recessed central painting. In 1672, he had the following transported from Nantes to and at the hâvre of Pontrieux marble and tufa.three cents of tufa, 6 columns of 7 feet marble, 4 columns of 6 feet, 2 of 5, 18 half balusters Jacques Salbert thinks that an altarpiece was built in the chapel of the Château du Taureau, and that the rest of the material was used to build the altarpiece of Guingamp.Attributed to Olivier Martinet by Hervé du Halgouët, Les retables de chevet au XVIIe et au XVIIIe, .
In a report dated July 8, 1806, the city's Master Carpenter Martin Hernandez documented 15 doors, 16 windows, wood for floors, ceilings and partitions, a stairway with pantry underneath, handrail and balusters, a roof with four windows and wood for moldings and trimmings. Hernandez also counted three doors, three windows and a shingle roof for the kitchen building and noted additional wood structures such as a privy, wash shed and wooden fences. Jose Lorente, Master Mason, calculated the overall measurements of the main house and warehouses that housed merchandise for the Ximenez store. In general, the main house that has survived into the 21st century matches up well with this 1806 assessment.
The church displayed marble confessionals, three monumental marble statues by Elia Vincenzo Buzzi (an artist of the Duomo of Milan), a triumphal arch and frescos representing the Trinity, St. Stephen and the four evangelists. It also had three portals, two pulpits, two sacristies, many marble balusters and several reliquary busts. In the 19th century it was enriched by its pipe organ (1828) provided by Serassi from Bergamo and by the mural pictures of David Beghè. On 21 April, the pope enlarged the titles granted to the parish, giving its vicars the titles of provost and monsignore and encouraging the Archbishop of Milan, Andrea Carlo Ferrari, to revive Corte di Casale's rule in matters of ecclesiastical administration.
The skills to use the tools by hand, without a fixed point of contact with the wood, distinguish woodturning and the wood lathe from the machinists lathe, or metal-working lathe. Items made on the lathe include tool handles, candlesticks, egg cups, knobs, lamps, rolling pins, cylindrical boxes, Christmas ornaments, bodkins, knitting needles, needle cases, thimbles, pens, chessmen, spinning tops; legs, spindles and pegs for furniture; balusters and newel posts for architecture; baseball bats, hollow forms such as woodwind musical instruments, urns, sculptures; bowls, platters, and chair seats. Industrial production has replaced many of these products from the traditional turning shop. However, the wood lathe is still used for decentralized production of limited or custom turnings.
A second foral was conceded in 1514 by his successor, Manuel I of Portugal. Alandroal's historic importance include the medieval structures during the early period of Christian conquest, including the Castle of Alandroal (whose main gate was flanked by two towers); the Castle of Terena, consisting of wall-enclosed courtyard, keep and towers; the fortress of Juromenha, whose balusters were constructed later during the Portuguese Restoration War, but whose proximity to the Guadiana frontier provided a natural buttress to Castilian influence in the region. The lands at the time, flowered with Nerium oleander shrubs and trees, whose wood was used by local artisans. Its Portuguese toponomy oleandro gave rise to the name aloendros or alandros, eventually alandroal.
This two-story, asymmetrical frame dwelling is the area's most distinctive Queen Anne residence. The house was originally constructed in 1893 as a Methodist school, then enlarged and remodeled in its present style in 1908 by John Jacob Rawl, using modified George F. Barber plans to include the one room school house as the new dining room. The house has a one-story wraparound porch, supported by turned posts, with an elaborate arched spindle frieze and turned balusters. A three-story shingle clad turret, with a conical roof rises at the left side of the facade; it is a balanced by a gabled pavilion on the right, with an intricately sawn bargeboard.
A substantial brick building was constructed in 1889 and this is the date indicated on the entrance corner parapet. The early post supported verandah which lined the two principal facades of the building, was replaced with a cantilevered version, in line with a general movement in Maryborough to modernise the central business area in the 1930s by replacing all post supported awnings with cantilevered alternatives. The early verandah extended on the ground floor to the street line and was supported on cast iron columns, and featured cast iron brackets and frieze. The upper floor, which has also suffered modernisation, retains the bull nosed awning, but originally had slender turned timber balusters and timber venetian blinds on the outside edge.
He sold it to the government of Trinidad and Tobago in June 1979. It served several purposes over the years and then was under the jurisdiction of the Ministry of Culture until June 2000, when it was assigned to the Ministry of Environment. The National Trust states, "Although Mille Fleurs is less ostentatious as some of its neighbours, the quality of finish and detailing is perhaps of a far higher quality; the intricately carved balusters and the marble treads and risers to both the main and secondary staircases, the elaborate cast iron columns and brackets." However, after a period of time when it was not occupied or maintained, it has deteriorated significantly.
A moulded round headed archway separates the vestibule from the central hallway, which runs parallel to the entrance facade of the building terminating at the chapel entrance to the north-east and in the stairhall to the south-west. Internally the building has rendered masonry walls throughout, timber boarded ceilings, timber floors, high quality timber architraves, skirting boards and stairways. The principal internal stair is housed in the stairhall which is expressed externally on the south-west facade with a projecting bay which features four pairs of rectangular stained glass window openings, signifying the level of each floor and the basement. The open well timber stair has turned timber balusters and carved newels and drops.
The fountain, fishpond, and the orchard serve as the focal point of the courtyard upon reaching the house. The zaguan serves as the receiving area for the visitors of the museum, featuring information materials, copy of a portrait of Segunda, copy of the portrait of her parents, photographs of the families of the Luz–Katigbak heirs, and cultural artifacts. Its flooring retained the black-and-white machuca tiles despite the partial damage caused by the bombing of Lipa during the World War II. The Luz–Katigbak House was originally built on a square plan, with the terrace, or azotea, extending it into an L-shaped plan. Balusters were restored to protect the open portion of the azotea.
The Burckhardt House is unique in Lincoln architecture because of its Prairie Box/American Foursquare style. The house follows a simple, rectangular plan, and features a cross gabled roof with return box eaves on the south facing front gable, a shed roofed dormer on the west side, and a hip roof porch on the front facade. Though not originally present, the exterior asphalt faux-brick siding was added to the home by the Burckhardts in 1939 and thus contributes to the building's historicity. A full-width porch--featuring neoclassical wooden columns on concrete block supports and a wooden balustrade with simple square-section balusters--dominates the south facade of the home where the main entrance is found.
With the help of his mother and his father-in- law as clients, he began designing apartment blocks, especially in the Elwood area, eventually completing perhaps about 18 in that suburb alone. His early output was prolific, including houses, flats and maisonettes in Brighton, Caulfield, Armadale, Malvern, Kew and Middle Park, and his own house (demolished) in Sandringham. His early designs were occasionally Tudor Revival, but he also developed his own distinctive style, that combined Arts & Crafts and Prairie Style influences, employing panels of horizontal banded tapestry bricks and his own unique angular balusters. Starting with Windermere in 1936, many of his designs were strikingly Moderne; they featured dynamic compositions of contrasting horizontals and verticals, often with thrusting semi-circular ended balconies or window bays.
Cromie gave the interior up-to- date features such as inlaid lighting and underfloor heating, and themes such as two-tone colour schemes and wooden fixtures are found throughout. The ground floor has extensive areas of tiling in contrasting colours; most light fittings are partly of wood, and some have multiple branches; the doors are panelled with two-tone wood; some walls have hardwood panels; and pargeting, fluting and decorative mouldings are also visible. The staircase has an ornate chandelier, but its main point of interest is the unusual design of the balusters: a series of right-angled stepped blocks linked by four concentric quarter-circles of bronze. There are other bronze fixtures as well, and some marblework on the ground floor.
The interiors were removed from Whitby Hall in the 1920s and installed at the DIA (where, "ironically, the façade is of white clapboard, a far cry from Whitby's actual stately gray stone"). Emory Ford House Woodland Pl., Grosse Pointe (1949) Client: Emory M. Ford Style: Regency Another renovation and addition by Keyes, the Emory Ford House was originally built in 1928 by Robert O. Derrick. When Emory M. Ford (the great grandson of John Baptiste Ford and part of the "Chemical Ford" family) acquired the estate in 1940, Ford hired Keyes to make significant changes. Keyes added "artistic glass and mirror installations, including a stair banister with glass balusters," as well as an attached conservatory overlooking Lake St. Clair and a mansard roof with parapet.
It has polished, painted, and turned timber posts and balusters, carved brackets and original or early skirting. The original flight of stairs accessing the basement level of the Post Office matches the main stair, with sheet vinyl treads. Signage on the Post Office is limited to the verdigris brass lettering "Pyrmont Post Office" above the first floor string course, a standard "Australia Post" sign attached to the right side of the Harris Street facade and smaller location and information signs located within the ground-floor porch area. The surrounding streetscape of Pyrmont Post Office is predominantly two to three-storey nineteenth to early- twentieth century mixed-use buildings, with Star City Casino dominating the roofscape to the rear of the site.
This façade is two floors high, the inferior level marked by three arches, surmounted by (and separated by) Tuscan-Ionian columns supporting the secondary floor/veranda. On the second floor of the main body, the space is protected by balusters protecting the three Roman arch-windows, surmounted by a frieze of garlands, and divided by six Tuscan-Ionic columns. Between the central body and towers are eight panels consisting of two-floors and a mezzanine, each panel divided by two orders of columns: on the first floor Tuscan and on the second floor Tuscan-Ionic columns. The first floor windows are moulded and trimmed sills with cornices, while a similar number of windows on the upper floor have veranda-like railings, surmounted by smaller square windows.
The middle bar has one large opening with a roller door, and the southern bar has been incorporated into the adjoining Royal George Hotel. The southern bar has a raised timber deck constructed over the footpath, and the front wall consists of two sets of folding timber framed glass doors either side of a timber framed window servery. The first floor elevation is original and comprises a central cantilevered verandah with turned timber posts and balusters, and an ogee shaped corrugated iron awning with oversized dentils to the eaves. A pediment with oversized dentils to the entablature surmounts the awning fronting the parapet, and is flanked by the letters WR on the southern side, and the date 1901 on the northern side.
The front façade includes two staircases that ribbon towards the main floor and veranda with balusters. The main arched doorway are flanked by two sets of tall windows, while a secondary floor veranda with main window is also flanked by two other sets (the central window, which is much taller than the others, is surmounted by sculpted coat-of-arms of the royal family. This façade is completed by a triangular wall adorned by the relief of two seraphs adoring the Virgin Mary (by the sculptor Joaquim de Barros Laborão, surmounted by a cross above a plinth. In the chapel's atrium there are two niches with statutes of Elizabeth of Portugal and John the Baptist (begun by José de Almeida and completed by Barros Laborão).
Nearby, a broken mortar, brought from a local farmyard, has been set on a stem and base as if to represent a font. The enclosure around the font has turned balusters and moulded handrail of the 18th century and may have been the former communion rails. In the east window of the south chapel are set fifteen medallions of German or Flemish glass of the 16th and 17th centuries; five are circular, the others oval; they mostly depict scenes from the Old and New Testaments and include a Nativity, and the placing of our Lord in the sepulchre. There are also four similar oval cartouches in the west window of the tower-porch, all collected and placed here by Canon Borrer in 1845.
The seat at Blythburgh was presumably the manor house of Westwood, or Blythburgh Lodge, the former seat of the Hoptons between Blythburgh and Walberswick. During the second decade of the century Sir Robert rebuilt Cockfield Hall at Yoxford anew. He preserved a part of the old Tudor brick mansion built by the elder Sir Arthur Hopton, Sir Owen's father, a century before, keeping three gabled bays as the north wing of the new hall. The new construction was a grand building, also of red brick with Jacobean architectural detailing of finials externally: some surviving early 17th century details include an oak staircase with turned balusters and pierced finials, painted panelling, carved stone fireplaces, and a drawing room with a very fine ornamental plaster ceiling.
The high quality of workmanship and building materials of the original building contribute to its aesthetic and technical significance. These materials include the dressed sandstone detailing, brick chimney details, French doors and timber shutters on the exterior. Interior elements include the timber panel joinery and plaster details of the original entrance hall, original timber doors, architraves and pediments, circular feature windows, and the details of the staircase including carved timber balusters newel posts and handrails, the four stained glassed windows within the stairwell. The strong form of the grass embankments and terraces is an important component within this setting, as these were designed and constructed at the same time as the main building and complement the scale and simplicity of the architecture.
In 1824 the terrace was destroyed in a flood, and had to be restored, with stone balusters replaced with a cast-iron openwork grille. Expansion across the meadow's Neva frontage continued in the 1780s with the construction of the service wing of the Marble Palace, and the and the Saltykov Mansions. The Betskoy Mansion, now the home of the Saint-Petersburg State University of Culture and Arts, was built between 1784 and 1787 by Jean-Baptiste Vallin de la Mothe, stands on the west bank of the canal, close to the Upper Swan Bridge. The canal's banks were reinforced in 1934, though a similar strengthening project planned for 1941 had to be cancelled after the Axis invasion of the Soviet Union.
Today, the lieutenant governor's office has been moved to the Legislative Building and the room it once occupied made into a sitting room for the viceroy's aides-de-camp. The former library, breakfast room, and drawing room have all been turned into a series of connected salons for official entertaining. Reached by a staircase of oak treads, newels, balusters, and handrail with pine risers, the second floor consisted in 1880 of six bedrooms, two dressing rooms, a bath room, a toilet, and a storage closet. Two of the bedrooms were connected by large sliding doors, as with the library and breakfast room beneath; during large parties, these doors would be pulled back and the combined bedrooms would be used for expanded entertainment space.
The Arthur Provost Three-Decker is located southeast of downtown Worcester, on the south side of Thorne Street in the city's Franklin Plantation neighborhood. It is a three-story structure, built out of red brick and covered by a hip roof. Windows and doors are set in segmented-arch openings, and there is a polygonal window bay on the left side of the front facade. The right side originally had a stack of wooden porches with elaborate Queen Anne styling, including turned posts, spindled balusters, and bracketed eaves; the porches have subsequently been entirely removed, and the upper-floor doorways filled by wood framing and windows, while the ground-floor entrance is now fronted by an open porch with iron railing.
According to OED, "baluster" is derived through the , from , from balaustra, "pomegranate flower" [from a resemblance to the swelling form of the half-open flower (illustration, below right)],The early sixteenth-century theoretical writer Diego da Sangredo (Medidas del Romano, 1526) detected this derivation, N. Llewellyn noted, in "Two notes on Diego da Sangredo: 2. The baluster and the pomegranate flower", in Journal of the Warburg and Courtauld Institutes 40 (1977:240-300); Paul Davies and David Hemsoll's detailed history, "Renaissance Balusters and the Antique", in Architectural History 26 (1983:1–23, 117–122) p.8 notes uses of the word in fifteenth-century documents and explores its connotations for sixteenth-century designers, pp 12ff. from Latin balaustium, from Greek βαλαύστιον (balaustion).
Elegant Bronze Age torc in striated gold, northern France, c. 1200–1000 BC, 794 grams Most Achaemenid torcs are thin single round bars with matching animal heads as the terminals, facing each other at the front. Some Early Celtic forms break from the normal style of torc by lacking a break at the throat, and instead are heavily decorated at the continuous front, with animal elements and short rows of "balusters", rounded projections coming to a blunt point; these are seen both on the sculpted torc worn by the stone "Glauberg Warrior" and a gold torc (illustrated) found in the same oppidum. Later Celtic torcs nearly all return to having a break at the throat and strong emphasis on the two terminals.
The Strand Arcade is a heritage-listed Victorian-style retail arcade located at 195-197 Pitt Street in the heart of the Sydney central business district, between Pitt Street Mall and George Street in the City of Sydney local government area of New South Wales, Australia. It was designed by John B. Spencer, assisted by Charles E. Fairfax; and built from 1890 to 1892 by Bignell and Clark (1891), with renovations completed by Stephenson & Turner (1976). The only remaining arcade of its kind in Sydney, the property was added to the New South Wales State Heritage Register on 13 December 2011. Being three storeys high, the arcade has the traditional-styled protruding galleries, cedar staircases, tiled floors, cast iron balusters and timber framed shop fronts, under a prominent, tinted glass roof to reduce glare.
Dining Room, The Kirna (2018) Staircase, The Kirna (2018) Staircase finial, The Kirna (2018) The Kirna retains all of its original 1867 Scots Baronial and Venetian Romanesque design features including an idiosyncratic tower in Ruskinian Gothic style. The heavy oak main staircase features distinctive turned and carved balusters also found in F T Pilkington's own house, Egremont, 38 Dick Place, Edinburgh, and grotesque finials holding shields sporting the initials of George Ballantyne and his wife Marion White Aitken (1841-1914). The dining room ceiling incorporates the initials of Colin Ballantyne and his wife Isabella Milne Welsh (1881-1969), respectively. Of special architectural note is the main entrance and heavily decorated (sculpted) elevation featuring a central flight of ashlar steps leading to a polygonal, arcaded loggia entrance area which is supported by two rope-moulded arches.
In 1642, it was for Henri de La Trémoille, Duke of La Trémoille and Count of Laval and "following the drawing given to him by Monseigneur le duc", that he made an important contract with the marble makers Jean Nicquet and Philippe Cuvelier.These undertook to provide him with twenty- six balusters of Saint-Berthevin marble, including fourteen 3 feet long and proportionally large, and twelve 2 feet 7 inches long, and six feet of estaux that will carry their cornices all around by the hault with a plinth at the bottom, 3 feet hault, and thirty feet of molded cornice. There is no indication of which church or residence, , Olivet or other, this marble decoration was intended for. For Abbot Angot, they were intended for the balustrade of the choir of Les Cordeliers in Laval.
Screens made up of labyrinths of complicated joinery, consisting of multitudes of tiny balusters connecting hexagons, squares or other forms, with the flat surfaces constantly enriched with small carvings, are familiar to every one. In Cairo we also have examples in the mosque of Qous (12th century) of that finely arranged geometrical interlacing of curves with foliage terminations which distinguishes the Saracenic designer. Six panels in the Victoria and Albert Museum (13th century), and work on the tomb of the sultan Li Ghoury (16th century), show how deeply this form of decoration was ingrained in the Arab nature. Figure work and animals were sometimes introduced, in medieval fashion, as in the six panels just referred to, and at the hflpital du Moristan (13th century) and the mosque of El Nesfy Qeycoun (14th century).
Located on lots in the original City of Austin and subdivided and developed earlier than most other parts of East Austin, Swedish Hill was a residential neighborhood occupied by downtown business people and tradesmen. Its significance derives not only from the broad range of architectural styles which is represented in the District, but also from the fact that each building is an excellent example of its own particular style. Architectural styles which are represented in the District are vernacular versions of the Victorian L plan, T plan, Cumberland plan, late Victorian corner-porch plan, Pyramidal plan, and Bungalow plan. All of the buildings are finely detailed; many display pleasing carpentry ornamentation in the forms of porch columns, balusters, railings, brackets, spindles, and a variety of siding and shingling types.
The three- story ex-libris of Ribeira Grande, with covered archway and clocktower The municipal hall is situated in the city of Ribeira Grande, fronted by the gardens of the Praça Hintze Ribeiro (also known as the people's garden) and alongside the walls and grade of the Ribeira Grande river. Immediately nearby are the Church of the Misericórdia, Church of the Holy Spirit and Church of Nossa Senhora da Estrela (the parochial church of Ribeira Grande) in the east and the Ribeiragrandense Theatre in the southwest. The building is the ex- libris of the city, consisting of a three-story structure linked by archway to a right, lateral clocktower. The principal corp of the building is a rectangular plan with access by a symmetrical staircase that includes large balusters to the entrance, flanked by windows.
A considerable sum was spent on repairs to the roof, and there is a note on the estimates for painting, that the "colour is so much injured by damp that it will require in many places to be painted four times over". Various repairs to the wainscot were also carried out, so it would seem that the building had suffered considerably from neglect. A bill was sent in at this time for "a flight of three oak steps carved at the sides, the top forming a platform, with carved balusters, the arms of the College on each side, the founder's arms in front, with a rich carved foliage ornament of vine leaves and wheat with ribbands". This elaborate stage was used for reading essays and declamations from, and was intended for the ante-chapel.
Distinctive features of Hall houses include small kitchens and bedrooms, large public areas, more closets and storage spaces than usual, bay and oriel windows, stepped stair railings with squared balusters, pocket doors, rough clinker brick fireplaces (often with seating nooks), wooden wainscoting, built-in china cabinets, and a tendency to place the front door on the side of the house. Especially notable is her attention to design features that made life easier for women, such as pass-throughs between kitchens and dining rooms. Hall got into speculative building in the East Bay on a large scale following the 1906 San Francisco earthquake, which created an exodus of people looking for new homes outside the city itself. Between 1906 and 1912 she concentrated on the Elmwood district of Berkeley, an area that was then just beginning to be developed.
On either side of the window opening are simple rectangular tablets bearing on the left The Lord's Prayer above the Apostles' Creed and on the right Exodus XX (The Ten Commandments) under which is printed the Summary of the Law. In the middle is a reredos, obviously of non-colonial origin with an opening for the window incorporated within it. It bears, from the top down: 1) a cross placed so as to intersect center of the circular window; 2) a truncated tympanum, 3) a square-columned pilaster on either side of the window, and 4) a bottom forming a flat window sill. The chancel is physically separated from the rest of the church by vertical panels a few feet north and south of the window openings and a rail with 8 turned balusters on either side and a central opening.
The staircase, lit by a circular cupola rising above a moulded frieze and cornice, is unusually dark for an Edinburgh New Town house because it continues up to the attic floor. The cantilevered stone steps would normally stop at the second or bedroom floor, with a cupboard-like arrangement of wooden stairs continuing to the attics. The uppermost flight of stairs was probably added in 1889 by Thomas Leadbetter, at the request of Sir Mitchell Mitchell-Thomson, who wanted a billiard room on the top floor of Bute House, in order to take advantage of the spectacular northern views over the Firth of Forth. To offset the darkness on the ground floor, the walls were repainted in 2001 with a very light stone colour, repeating the existing scheme, while the balusters were repainted in white – a common late 18th-century treatment.
Grade II listed The garden railings form part of the building's listed status The structure was built in 1872 for William Thorne, but sold to the Barnstaple Bridge Trust in 1876 who then sold it to William Frederick Rock. Constructed in red brick with dressings of stone and terracotta, the hipped and slated roof has a flat central section which is set with ornamental iron railings together with 5 red brick chimneys with stone caps. The building is square and is built round an internal courtyard with on the right on the building's North side a small service wing which may actually be a former coach-house with a walled courtyard behind. Inside is a fine wooden staircase in the Jacobean style with twisted balusters and large carved newels with a Gothic stone fireplace in the entrance hall.
With the opening up of the Cleveland-Wynnum area, an increase in the number of day trippers and holiday makers was possible, thus enabling the Waterloo Bay Hotel to capitalise on such a population increase. Further, the Waterloo Bay Hotel is significant as an example of a hotel that has functioned as such for over a century and is one of the few remaining buildings in Wynnum associated with the opening of the railway line. The place is important in demonstrating the principal characteristics of a particular class of cultural places. Built in a similar style to the Grandview Hotel at Cleveland, the Waterloo Bay Hotel is significant as a good example of a prominent, two-storeyed masonry hotel with substantial ground floor verandah and first floor balcony with timber posts and cast iron balusters and brackets.
The earliest examples of balusters are those shown in the bas-reliefs representing the Assyrian palaces, where they were employed as functional window balustrades and apparently had Ionic capitals. As an architectural element alone the balustrade did not seem to have been known to either the Greeks or the Romans,Wittkower 1974 but baluster forms are familiar in the legs of chairs and tables represented in Roman bas-reliefs,Davies and Hemsoll 1983:2. where the original legs or the models for cast bronze ones were shaped on the lathe, or in Antique marble candelabra, formed as a series of stacked bulbous and disc-shaped elements, both kinds of sources familiar to Quattrocento designers. The application to architecture was a feature of the early Renaissance architecture: late fifteenth-century examples are found in the balconies of palaces at Venice and Verona.
The two Pulpits date from 1626, are of oak and of the same general design, set against the two responds of the chancel-arch, each of pentagonal form with a short flight of steps, base having a series of short turned balusters connected by segmental arches and capped by a cornice, the whole continued outwards as a rail to the stairs; upper part of pulpit, each face divided into two bays by turned columns with moulded bases and capitals from which spring segmental arches and the whole finished with an entablature; door similar but with one half-column only, between the bays and with strap-hinges; sounding-board resting on panelled standard at back with two attached pilasters; board finished with an entablature with segmental arches below and turned pendants, boarded soffit with turned pendant in middle. A view down the nave showing the twin pulpits.
On the interior, the broad central hall is divided at midpoint by a graceful elliptical arch which rests at either side on piers alluding to the Doric order in detail. The stair which ascends along the east wall of the hall and curves at the beginning and end of each flight, develops exceptional rhythm of design due to the repetition of the octagonal- shaped and turned balusters, two to a tread. In addition, the scrolled, uncarved brackets on the step ends and the fascia board on the landings increase the activity of the design, making the stairway the finest single piece of woodwork in the house. Two rooms flank the hall on both sides and offer a calm contrast to the stair by featuring broad, flat window and door framings as well as black marble mantels with arched openings and subtle curving lines in the shelf.
Domenico Ghirlandaio, Confirmation of the Rule (detail) - the original Marzocco can be seen on the corner of the palazzo in the background at left, 1480s. The original that had stood since (perhaps) 1377, and is now lost, appears to have been similar to Donatello's in design, though it was fully gilded and may have crouched over a submissive wolf representing Florence's great rival Siena.Victoria and Albert Museum, page on their replica of the Donatello It can be seen in the background of several paintings and prints, though by the time it was replaced it was so worn that (being only medieval, not classical) it was not considered worth keeping, and disappeared. About 1460 it was given a richly sculptural socle with double baluster-like motifs"Resembling pairs of handleless all'antica urns arranged like the bulbs of a Roman candelabrum", according to Paul Davies and David Hemsoll, "Renaissance Balusters and the Antique" Architectural History 26 (1983:1-122) p. 4.
Other elements within the grounds are primarily arranged on two axes: an east-west axis from Inglis Street to Thomas Street (north of Block C); and a north-south axis on the western side of the site (in line with the centre of Block A). The east-west axis comprises a driveway beginning at the decorative, wrought-iron Thomas Street gates. The gates stand between rendered concrete piers and have an archway featuring "WILSTON STATE SCHOOL" lettering welded to iron latticework. Emphasising the east-west axis is a concrete balustrade (1933) that tops the retaining walls, forming the south and west edges of the former parade ground (north of Block C). The balustrade, which steps with the contours of the terrain, has large square piers and decorative concrete balusters. Rounded stairs, located in a break within the balustrade, are aligned with the centre of Block C. A timber bell tower with a gable roof and decorative timberwork is located at the east end of Block A and houses an early school bell.
Gold Celtic torc with three "balusters" and decoration including animals, found in Glauberg, Germany, 400 BC Depictions of the gods and goddesses of Celtic mythology sometimes show them wearing or carrying torcs, as in images of the god Cernunnos wearing one torc around his neck, with torcs hanging from his antlers or held in his hand, as on the Gundestrup cauldron. This may represent the deity as the source of power and riches, as the torc was a sign of nobility and high social status.Green, 78−79 The famous Roman copy of the original Greek sculpture The Dying Gaul depicts a wounded Gaulish warrior naked except for a torc, which is how Polybius described the gaesatae, Celtic warriors from modern northern Italy or the Alps, fighting at the Battle of Telamon in 225 BC, although other Celts there were clothed.Green, 77 One of the earliest known depictions of a torc can be found on the Warrior of Hirschlanden (6th century BC), and a high proportion of the few Celtic statues of human figures, mostly male, show them wearing torcs.
The distinctive twist-turned designs of balusters in oak and walnut English and DutchTwist-turned legs on a backstool feature prominently in a conversation piece of a couple in an elaborately fashionable Dutch interior, painted by Eglon van der Neer (1678): illustration. seventeenth-century furniture, which took as their prototype the Solomonic column that was given prominence by Bernini, fell out of style after the 1710s. Once it had been taken from the lathe, a turned wood baluster could be split and applied to an architectural surface, or to one in which architectonic themes were more freely treated, as on cabinets made in Italy, Spain and Northern Europe from the sixteenth through the seventeenth centuries.The architectural invention of the applied half-baluster, with a caveat concerning "the fallacy of first recorded appearances", by Filippino Lippi in the painted architecture all'antica of his St. Philip revealing the Demon in the Strozzi Chapel, Santa Maria Novella, Florence, and in Michelangelo's planned use in the Medici Chapel, is explored by Paul Joannides, "Michelangelo, Filippino Lippi and the Half-Baluster", The Burlington Magazine 123 No. 936 (March 1981:152–154).

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