64 Sentences With "bow window" | Random Sentence Generator

At the back is a sitting room with a bow window with stained-glass details.

The lower level includes a game room with an elaborate wet bar, rusticated stone fireplace and bow window overlooking the lake.

The entrance hall has a floor of vitrified "clinker bricks" and opens to the dining room, with garden views through a broad bow window.

At the rear of the house is a 24-foot-long living room with the original cooking hearth and a dramatic bow window overlooking the gardens and river.

Original tracery patterns made of thin strips of molding decorate the ceilings, with lattice in the living room and a chevron pattern in the dining room, which has a bow window.

Bow window on the Boulevard De Smet de Nayer in Brussels (Art nouveau style) A bow window or compass windowSturgis, Russell. "Bow window, Compass window" Sturgis' illustrated dictionary of architecture and building: an unabridged reprint of the 1901-2 edition. Mineola, N.Y.: Dover, 1989. Print. is a curved bay window.

To the east is an added wing with a large full-height bow window, and there is a similar window at the west gable end.

Along the garden front, starting from the eastern end, were a loggia, the Big Room, a circular drawing room fronted by a broad bow window, a glass-domed hall known as the Winter Garden, a dining room fronted by another bow window, and a smoking room. The bow windows continued up the facade, and the circular drawing room was surmounted by a circular bedroom. There was a semicircular dip in the centre of the facade, probably in order to let light into the glass dome.

The door is set below a pediment and fanlight which is obscured by a hood-moulded porch projecting forwards over the steps. The southeast-facing side has a tall 19th-century bow window. Another wing was added to the north in the mid-19th century at the request of Rev. Maberley.

Now the courtyard provides for a pleasant collection of shops, a coffee house and a cafe bistro. In Church Street, it is worth noting the rather irregular bow window to the chemists by the entrance to White Swan Court, which the poet laureate John Betjeman said "must never be demolished".

Behind the main house is Thomson's original carriage house, which was originally connected to the main house by a covered walkway, since replaced by an enclosed passage. This alteration resulted in the loss of a projecting bow window. Above the carriage house is a space that was used by Elihu Thomson as a laboratory.

I set apart the south-western half for my work. The largest room has a bow window and here I made my door and constructed the terrace and lodge. Inside the room I set up my oratory proper. This was a wooden structure, lined in part with the big mirrors which I brought from London.

The building is dominated by a large rounded two storey bow window consisting of three sash windows on each floor. The hipped slate roof is concealed by balustrades. The eastern entrance has a two storey square porch. The interior has a grand entrance hall with an open well staircase with moulded segmental arches, modillion cornice and a roof light.

The ground and first-floor windows have 12-pane sashes with triangular pediments to the ground floor and cornices to the first. The shorter second floor windows have casements added later. The south front has a three-bay bow window with tall ground-floor windows. The centre window was originally a doorway accessed by a flight of four steps.

The settlement called Constantine Churchtown grew up around the church. Mineral extraction led to an increase in population and the village expanded down what is now called Fore Street, during the 19th century.Ordnance Survey 6-inch map, 1888, surveyed in 1878 Sheet LXXVII NW shows the street complete. However, one property, "The Bow Window", is thought to be a 300-year-old farmhouse.

He was High Sheriff of Kent in 1768 and a JP. He held the office of Deputy Governor of the Hudson's Bay Company between 1799 and 1805. He lived at sometime at Baldwins, Kent, and died unmarried without progeny. Hulse added a room with a bow window on the north side to balance Chesterfield's gallery and this is how the house appears today.

The three-storey lifeboat station was built in 1997 in a style that blends with the older buildings around it. The gabled central section has covered facilities for the IRB at ground floor level and a small bow window at first floor level. On the left is a two-storey wing which includes a fund- raising RNLI shop. The right hand wing is three storeys high.

The bays on the west wall of the nave are separated by buttresses, each bay containing a three-light window with reticulated tracery. At the south end is a castellated bow window for the baptistry, above which is a three light window. The aisle has three-light windows with trefoil heads in rectangular surrounds. The interior of the church is lined in brick with stone bands.

Row in front of Bishop Lloyd's House in 2008 showing the walkway and stallboard The ground floor of the west house includes a shop with a central entrance. On each side are two piers and an 18-light bow window. At the row level is a wooden balustrade, and brackets with carvings similar to the east house. Above this level are eight recessed carved panels.

The Jacobean north front of the house is constructed of ashlar and has a projecting porch with a bow window above. At each end of this facade are two flanking canted bays, each with a double height oriel window. Immediately on each side of the porch are two large windows of the hall inside. Hiding the roofscape is a parapet with vases erected in 1740.

The Tottenham Court Road façade features a ground level entry sheltered by a broad marquee with the second through fourth levels framed by large pilasters. The central portion is concave and faced with Portland stone. A three-bay bow window extends the height of the second and third storeys and is surmounted by sculpture of two griffins. Behind the griffin statue are three square openings which hold decorative iron grates.

All the main windows of this face are double transomed. East wing: south face, showing centrepiece The east face of the eastern wing has four bays with canted bay windows, shaped end gables and a central cartouche. In the centre of the northern (garden) face is a large bow window, originally Jacobean, which illuminates the chapel; it has stone panels decorated with cartouches below arched stained glass lights.Pevsner & Hubbard, p.

The southeast view of Government House from below, showing the bow window of the Ballroom at left The present Government House is a T-shaped, four level (including the basement) building of steel frame construction clad in a Modern Tudor revival envelope. The walls are of rusticated blue, grey, and pink British Columbia granite with Haddington Island stone trim, and the roof, which is two storeys high in itself, has steeply pitched, chalet-style gables and numerous dormer windows. A rendition of the Royal Arms of British Columbia is visible in the gable above the Ballroom's south facing bow window, which commands a view over Ross Bay and the lower part of the Fairfield neighbourhood, across the Strait of Juan de Fuca, to the Olympic Mountains in Washington state. The main entrance is in the centre of the north facade, beneath the original Tudor Revival porte cochère of the previous Government House, which had been inspired by Rattenbury's own Hatley Castle.

The original bow window was also replaced with a pair of lead light French doors. Recesses were also made within the walls to accommodate Normans art works. At the same time temporary wooden studio was built under a Moreton Bay Fig, where the courtyard is today. Whilst Lindsay used this studio, the construction of a more permanent sandstone studio was under way to the west of the main building, and further down the hill.

A few apolitical and affable gentlemen managed to belong to both. The new architecture featured a bow window on the ground floor. In the later 18th century, the table directly in front of it became a seat of distinction, the throne of the most socially influential men in the club. This belonged to the arbiter elegantiarum, Beau Brummell, until he removed to the Continent in 1816, when Lord Alvanley took the place of honour.

The house is of a classic Regency style with mellowed ashlar stone elevations and sash windows under a hipped slate roof. The house has a symmetrical front, a full height bow window, ionic pilasters, moulded dentil cornicing, fanlights and parapet wall. The house is linear in plan with bays arranged symmetrically, with the side bays slightly stepped back. The house has three storeys, and serving quarters located on the lower ground floor.

The various parts of the bow can be subdivided into further sections. The topmost limb is known as the upper limb, while the bottom limb is the lower limb. At the tip of each limb is a nock, which is used to attach the bowstring to the limbs. The riser is usually divided into the grip, which is held by the archer, as well as the arrow rest and the bow window.

The west front has sash windows, a projecting chimney, and a canted four-light oriel window. The south front is irregular in plan, with a recessed gabled portion to the left containing one window, a central portion with three windows, and a right gabled portion containing a canted two-storey bay window. To the right of the south front is a wing with a bow window containing a French window. Above this is a Doric cornice.

There was a bow window on the left of the front door and a double hung sash window on the other side of the door. Because of the potential fire risk, the kitchen was a separate building. The kitchen was constructed from a different stone to that of the main building and was located on the highest point of the property. This siting suggests that perhaps the kitchen was the first building constructed, even when Ryan owed the property.

The griffins were removed in 1932 to mount an aeroplane for the musical Silver Wings. The remainder of the bow window was hidden during the run of We Will Rock You by a large shimmer curtain and statue of Freddie Mercury. These elements were reinstalled as part of the restoration. In addition to restoring the Tottenham Court Road façade, the stonework and windows of the dressing room block at the rear of the theatre were cleaned and replaced.

A Grade II listed building, this shop contains some medieval masonry and was rebuilt about 1900, the architect probably being John Douglas. The shop has three storeys and three bays. The middle storey contains a six-light oriel window, the central two lights of which project to form a bow window; on each side of the oriel is another single-light window. The top storey is jettied and contains two canted five-light oriel windows and braced panels.

The foundation stone was laid by Queen Victoria on 23 March 1887 in her Golden Jubilee year. Built by Birmingham firm John Bowen and Sons, the courts were opened on 21 July 1891 by the Prince and Princess of Wales. Additions were made adding a projecting bow window on the left in 1891–94 and extensions along Newton Street in 1914. The interior, including the Great Hall, is faced with sandy-yellow terracotta and intricate ornamentation.

The entrance is on the right through a recessed porch, with an octagonal column, above which is an inscribed stone. To the left of the porch is a large oriel window, and in the upper floor are three windows and a stepped parapet. On the left of this is a square tower with a small recessed bow window, above which is a larger window divided by a large transom. On top of the tower is a domed lantern.

The main entrance has a semi-octagonal porch of ashlar stone. The gallery displays the Hanoverian arms. In his 1958 book South and West Somerset, Nikolaus Pevsner described the chancel and its glazing as being reminiscent of "the bow-window of a house", which created a "surprising and attractive effect". Fittings of the church include painted reredos, an early 19th century pulpit and altar table, 17th century coffin stools, a 19th- century organ and 20th century font.

In 1903 Guimard removed the look-out tower, which had become unstable, and added a bow window on the façade facing Rue des Binelles. Castel Henriette fell into disuse before the Second World War, but during the 1960s was used as a setting in several films: ' (1963), La Ronde (1964), La Métamorphose des cloportes (1965), What's New Pussycat? (1965) and A Flea in Her Ear (1968). The house was demolished in April 1969 despite efforts to save it.

Dr. Jacob Geiger House-Maud Wyeth Painter House, also known as the United Missouri Bank, is a historic home located at St. Joseph, Missouri. It was designed by the architecture firm of Eckel & Aldrich and built in 1911–1912. It is a 2 1/2-story, Gothic Revival style masonry building with a three-story crenellated tower and a two-story crenellated tower. It features an arcaded porch and a four-bay bow window with gargoyles.

The dominant roofline, dormers, arched bow window, and wooden interior are typical of the style. Like many of Richardson's designs, the station was well-praised; Henry- Russell Hitchcock called it a "better and somewhat more personal work" in The Architecture of H. H. Richardson and His Time. A small square baggage room was built in the same style just east of the station, near the Concord Street (Route 126) grade crossing. The station's importance remained through the first half of the 20th century.

While there, he is supposed to have once bet £3,000 on which of two raindrops would reach the bottom of a pane in the bow window. Later, the spot was reserved for the use of the 1st Duke of Wellington until his death in 1852. Alvanley's was not the most eccentric bet in White's famous betting book. Some of those entries were on sports, but more often on political developments, especially during the chaotic years of the French Revolution and the Napoleonic Wars.

She named the building "Oakholm". The home was complete enough that, by May 1, 1864, she wrote, "I came here a month ago to hurry on the preparations for our house, in which I am now writing, in the high bow-window of Mr. Stowe's study, overlooking the wood and river. We are not moved in yet, only our things, and the house presents a scene of the wildest chaos, the furniture having been tumbled in and lying boxed and promiscuous."McFarland, Philip.

Prior to moving in, he built a two-story, semicircular "Bow Window" addition to the south wall of the President's House, enlarging the State Dining Room and the State Drawing Room above it. This may have inspired the Powels to build the three-story half-turret addition to their city house. While its exterior was canted (like a bay window), the interior wall seems to have been bowed (curved),Historian David Dashiell discovered references to a "Bow room" in the Powel papers.

The bow window on the ground floor indicated the living room, an array of small windows over the entrance indicated the staircase, and the large bay window on the upper floor windows indicated the artist's workshop. He used curving iron columns to support the overhanging roof and stone columns supporting the balconies to give a strong vertical element. The balconies have wrought-iron railings in geometric designs. Variety was given to the facade by the use of different shades and colors of brick and stone.

The arrow rest is a small ledge or extension above the grip which the arrow rests upon while being aimed. The bow window is that part of the riser above the grip, which contains the arrow rest. In bows drawn and held by hand, the maximum draw weight is determined by the strength of the archer. The maximum distance the string could be displaced and thus the longest arrow that could be loosed from it, a bow's draw length, is determined by the size of the archer.

The Kimball house was designed by architect Solon Spencer Beman in the Châteauesque style. The house's design features a number of turrets with a variety of roof shapes, a limestone exterior, and an elliptical bow window topped by an ornamented gable facing Prairie Avenue. The design is considered a significant example of the Châteauesque style by architectural historians; John Drury called the house "Chicago's best Châteauesque design" in 1941, and Marcus Whiffen cited the house as a representative example of Châteauesque architecture in America.

An earlier house on the site was rebuilt in the 17th century by Sir Peter Brooke, MP, a son of the Brookes of Norton Priory, who had bought the house in 1652 from the Mere family. It has been extended in stages, and by the early 18th century had become a large brick house with eleven bays by nine bays. Later a bow window with a dome was built as an entrance, and later still pavilions were added. During the 19th century the house was reduced in size to an L-shaped building.

In 1755, Johann Georg Hoffschlaeger, a wine merchant and city counsellor, had a house built on a site now designated as No. 31B, An der Schlachte. The stonemason Theophilus Wilhelm Frese (1696–1763) decorated the façade in the Rococo style, with a bow window and a gable topped with a wig. In 1836, the building was bought by Georg Friedrich Pflüger who used it as an inn named Stadt Paris (City of Paris). In 1875, the property was taken over by Carl Wilhelm Meyer, a publicly appointed sampler.

Lewis acquired land in what was to become the beachside suburb of , and started work on the sandstone bungalow which became Bronte House. The house was originally built with the intention of housing his family but Lewis was forced to sell mid-construction during the 1840s recession. The partially built property was purchased by Robert Lowe. The four square asymmetrical plan, including a bay and bow window, was typical of Lewis, except the external detailing, such as the romantic circular and hexagonal corner turrets, were assumed to have been altered to suit the new owners’ needs.

A new building for the Liberty Bell opened in Philadelphia in 2003. During excavation in 2000, remnants of the icehouse of the long-demolished President's House were uncovered. A more extensive archeological excavation was undertaken in 2007, which revealed foundations of the kitchen, an underground passage that connected the kitchen to the main house, and foundations of the Bow Window (a precursor to the Oval Office). A memorial has been created on the site of the President's House to commemorate the house and all its residents, and honor the contributions of the slaves there and in Philadelphia and US history.

Bretton Hall's south range The oldest part of the house, the south range dates from about 1720 and was designed by the owner, Sir William Wentworth and Colonel James Moyser. It was enlarged when the north range was added in the 1780s by William Lindley of Doncaster. A bow window and portico were added to the south range and the block linking the two ranges was remodelled between 1811–14 by Jeffrey Wyatt for Colonel Thomas and Diana Beaumont. Around 1852 Thomas Richardson added the projecting dining room on the house's east front for Thomas Blackett Beaumont.

It was a simple oblong mansion, about forty feet by twenty-three feet with walls two and a half feet thick. The ground floor was vaulted and the entrance was central, leading into a passage with a straight staircase branching off to the right up to the first floor hall. A wheel-stair in a square chamber led to the upper floors. The hall was lit by windows in three of the walls and had a large fireplace on one side, and a circular bow window on the opposite side, boldly projected on a series of corbels (see photograph).

It has two storeys and attic, 6 wide bays; 2-bay piended > projecting wing to front (west) elevation with porch in left re-entrant, a > single-storey addition with 5 long multi-pane windows in right re-entrant > and bow window to centre of wing; it has crenellated parapets, 5 piended > dormers with decoratively carved wood jambs; 2 stair windows to rear; > 12-pane and lying pane glazing; end and ridge stacks; slate roof. Interior: > projecting front wing (circa 1780) contains dining room at ground floor and > drawing room above. Original ornate plaster ceiling in drawing room.

A large central bow window designed by Thomas Cundy was added around 1800.Robinson, p. 145 In the 18th century the village was cleared to make a park for the estate of the Heathcote family with the population mainly re-housed in Empingham and the old church on the estate was rebuilt in 1764 in a new location by the 3rd Baronet. The deconsecrated St Matthew's Church, Normanton, now in the middle of Rutland Water In 1827 Sir Gilbert Heathcote 5th Baronet (later Lord Aveland) married Clementina Willoughby, (later Baroness Willoughby d'Eresby) who was heiress to the Ancaster estates.

Facade of Casa Pomar Casa Pomar is a modernist apartment building located at number 86, Carrer de Girona, Barcelona. Designed by the Catalan architect Joan Rubió y Bellver (1871-1952), a pupil of Antoni Gaudí, construction of the building began in 1904 and was completed in 1906. Despite the building having a narrow facade, its architect achieved a distinctive appearance for the building's western side with the construction of a bow window on the first floor, above which are several balconies on upper floors. The bow window's base is constructed of green ceramic tiles and wrought iron, its appearance inspired by the neo-Gothic style.

The permit was for a three- story pressed brick building, with a flat roof embellished with a slate mansard and brick cornice. The plan of the house was to include a bow window, one bay window and a tower projection. The house as it appears today includes each of these specifications, as well as an addition at the north elevation, made under the design of architect Henry Simpson and the supervision of builder Charles A. Langley in 1901. While visually distinct, the design of the two-story addition complements the main building, featuring pressed brick, a flat roof, and matching double-hung windows and brownstone sills.

A kindergarten class was established and the school was officially named St Margaret's School for Girls. The ‘best’ rooms were the sitting room, with its veranda and stairs leading down to the back garden (the present headteacher’s room), and the great drawing room (present library), with its vast bow-window, highly polished floor and gilt chairs. Following the sisters’ retirement, the newly formed Council appointed Mary C. Bell as the first headteacher of the new independent St Margaret's. Electric lighting and a system of central heating were installed throughout, the big drawing-room was converted into a gymnasium and the assembly hall was turned into a library.

The stream in the foreground, over which a woman is crossing on a plank bridge to left,Swete, p. 123 was dammed-up in the 19th century landscaping to form a series of ornamental lakes, which survive Little Fulford House in 1797, viewed from south-west, detail from watercolour by John Swete. The west front (left) is Elizabethan, as built by Sir William Peryam (1534–1604); the south front (right, with bow window) is a Georgian alteration. Swete found the juxtaposition of the two styles "widely incongruous"Gray, Todd & Rowe, Margery (Eds.), Travels in Georgian Devon: The Illustrated Journals of The Reverend John Swete, 1789-1800, 4 vols.

To the left side of the east facade is the rear of the original tower house, which has an early seventeenth-century tourelle, and another dormerhead featuring a carved sun. The south facade looks onto the clifftop and the Cullen Burn below. At its right end is a staircase tower attached to the original tower house, to the left of which is a very large bow window. Left of this is a section of five bays, which part of the eighteenth-century building work and has been little altered since, save for the addition of a single tourelle, and an elaborate staircase tower which can be seen prominently from the gorge below and is known as the Punch Bowl.

In the centuries following its initial construction, the house underwent a series of renovations, extensions and modifications. A tower was added in 1660, shortly after the third Earl inherited it, then in 1709 Alexander McGill and James Smith were asked to submit plans for a complete remodelling in the Palladian style. These were drawn up, but in the end less radical extensions and modifications were executed to the north and west wings, between 1711 and 1714. James and John Adam worked on the house from 1767 to 1769, installing the main staircase and building the gatehouse, and John Baxter made more internal modifications, and built the large bow window in the east facade, between 1777 and 1778.

It was restored to the Sheldons in 1660, who had the present Beoley Hall built after the Restoration, either late in the 17th or early in the 18th century. It is a neoclassical house with an H plan, originally entirely three-storeyed, built of brick and entirely stuccoed. In 1791 the new proprietor Thomas Holmes had the east wing rebuilt to plans by John Sanders, with two storeys built to the same height as the original three and a portico with four Tuscan columns. On the south end of the east wing, a bow window was added to the ground floor in 1791; a matching window was subsequently added to the first floor above.

Melbourne Mansions was a five-storey plus semi-basement apartment building located in Collins Street in Melbourne, Australia. Constructed in 1906, it was the first purpose-built residential apartment block in the city. Designed in the Federation Free Style by the architectural partnership of Walter Butler and George Inskip for newspaper proprietor David Syme, its facade featured prominent arched bays with inset raised first floor and balconies behind, with contrasting central and side bays of oriel windows, a top level of bow window and balconies, and a tall parapet.1950s photograph held by the State Library of Victoria Melbourne Mansions The basement and ground levels had medical rooms, while the floors above housed 25 apartments.

The east front was rebuilt with a shallow bow window rising through all three floors and the former entrance hall enclosed by large glass doors at the first set of columns to form another reception room. This room, the Morning Room, originally had a double-height ceiling but was given a massive barrel-vault in order to reduce the visible height of the room. By the time Walter Rothschild had become a young man, it was clear that he had no interest in the family's banking business. His passion was zoology and it was to this end that he devoted his life's work. The Walter Rothschild Zoological Museum was built in the grounds in 1889 as a twenty-first birthday present.

Powderham Castle and Rose Garden from the south-east, an identical view to which was engraved by Samuel Buck in 1745 Since 1745 the second library has extended the chapel wing, the two low rooms either side of the clock tower have been converted to bow-window fronts, and the castellated gatehouse tower, which might have blocked this view, has been demolished. In addition, the harbour on the River Kenn, which here flows into the River Exe, has been altered by landscaping. Powderham Castle has been a Grade I listed building since 1952, and recognised as an internationally important structure. The staircase, hall, music room and master bedroom of the house were used as locations for the 1993 film The Remains of the Day.

On the ground floor the reception area for the Gabinete de Estudos Olisiponenses is in the former living room of the palácio, and GEO workspaces are in the former library and in a dressing room connected to the former bedroom, within the bow window. The old gallery and painting rooms were transformed into the GEO library catalogue room (decorated by Francisco Vilaça in the Renaissance style that included the painted ceiling of the allegories of painting and sculpture). The former Golden Hall/Salon is the most notable space in the house, and includes the grand tapestry by Columbano Bordalo Pinheiro, "O Carnaval de Veneza", that is today used for the library reading rooms. The old music room (with decoration inspired by classical mythology) was also transformed into a reading room and decorated by Francisco Vilaça, who executed stuccos of musical instruments.

The Teesdales did not inhabit the house, but continued to be buried in the family vault below the chapel, until it was made into a Church for this part of the extensive Parish of Funtington, following the sale of the rest of the estate in 1929. Between 1839 and 1929, the house was let to a succession of tenants, the most notable being Prince Louis of Battenberg, who had Sennicotts as his first home after his marriage in 1884. The house is mentioned in David Duff’s “Hessian Tapestry”, and another book called “Louis and Victoria”, and in an earlier work on Prince Louis written by Mark Kerr, the Prince’s letter at the end of June 1885 says how sad he was to leave Sennicotts. The new owner in 1929 was William P. Wilson, who built the Music Room with a fine Venetian window at one end, a bow window at the side, and a shallow vaulted ceiling of the kind favoured by Repton, Soane and other Regency architects.

A keen disciple of Antoni Gaudí, he collaborated with him until 1905, on such works as La Sagrada Familia, the Casa Batlló, the Casa Calvet, the Torre Bellesguard and Parc Güell in Barcelona, the restoration of La Seu (the cathedral of Palma de Mallorca), and the Colònia Güell (factory town) in Santa Coloma de Cervelló, where Rubió built the agricultural cooperativa building with Francesc Berenguer in 1900, along with two private homes: Ca l'Ordal (1894) and Ca l'Espinal (1900). When designing houses the architect had a prevalence for bow window on the corners of his designs. Rubió was also a regidor (councillor) on the Barcelona City Council (Ajuntament de Barcelona, 1905) and was appointed an architect for the Province of Barcelona (1906-1943) by the Barcelona Provincial Council (Diputació de Barcelona). His architecture is also prevalent on the Balearic Islands, for example in the northern town of Sóller, on Mallorca, where he designed the façade of the church of Sant Bartomeu (1904) as well as the Banco de Sóller (1912), remarkable for its intricate ironwork (wrought iron).