The earliest ones were narrow, precipitous, almost improvised spaces, tucked into the classical campaniles and Gothic belfries that topped those pioneering buildings; the decks were reached through tiny penthouse elevators and steep staircases, in a staged ascent not unlike mountaineering.
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The building's finely wrought façade, dominated by spires and campaniles seemingly out of a Perrault fairy tale, enhances the prestige of the liqueur.
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The Romanesque campaniles are similar to the ones found in the village of Teror, in an old octagonal Italian Romanesque tower of the same date. This exactly reproduces the flanking campaniles of the cathedral, and was probably by the same architect. It rises simply from the ground, and consists of six equal stages; the mouldings are good and divided, and the alternate faces of the top stage are pierced for the bells with a Pisan-looking arcade. It has a pyramidal, and very Norman-looking, capping.
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It was fitted with a mechanical clock during the mid-14th century. Its design has been used as the basis for several other campaniles, including the Dock Tower in Grimsby, England, constructed in 1852 and the Joseph Chamberlain Memorial Clock Tower in the Edgbaston campus of the University of Birmingham, which was completed in 1908.
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One of the campaniles. Crucified by José Luján Pérez, 1793, located in the Sala Capitular. Video on Luján Pérez masterpiece. The exterior was intended to be entirely cased by Eduardo, and reduced to a so-called classical uniformity with the new works, which, though Pointed both in feeling and detail internally, are entirely classical on the exterior.
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This new work was set forward a few feet, so that the old western front is partly discoverable. It consisted of a centre gable for the nave, flanked by two octagonal Italian Romanesque campaniles. The primary aisles again are gabled; but it is impossible to say whether the secondary aisles were gabled, or again terminated westward by turrets. Whatever was their western finish, it is now embedded in the modern work.
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The towers are also reminiscent of the campaniles of northern Italy. In the second half of the 20th century many churches, monasteries and houses were built in this style, predominantly in the south of the Netherlands. Because of falling church attendance, a large number of these buildings have been threatened with demolition, as happened for example St. Willibrord's Church in Almelo. The Bossche School was the latest phase in the development of Dutch church architecture.
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In 1862 he accompanied Montalembert on a tour in Scotland, and five years later travelled in France and Italy, with the view of making a special study of campaniles. But Irish archæology mainly occupied him. He is said to have visited every barony in Ireland, and nearly every island off the coast. He was usually attended by a photographer, and Dr. William Stokes and Miss Margaret Stokes were often in his company.
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A church at the site had been present putatively since the fourth century and later dedicated to St Martin of Tours. The present church building was designed by Francesco Martinez of Messina, great-grandson of Filippo Juvarra, and built during 1775–1780. The bell-tower dates from the 13th century. It has only five bells since Napoleonic forces confiscated bells in excess of this number from campaniles for scrap metal to use in munitions.
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Bonifacio's mother was Emilia Conti, sister of pope Gregorio IX. Another Conti pope was Michelangiolo Conti, who was elected in 1721 as pope Innocenzo XIII. Filippo Coletti's son Tito would eventually marry into this illustrious Conti family. Anagni was the summer residence of the papacy until a recent transfer to Castel Gandolfo. The town centre consists of romanesque churches, campaniles, the cathedral, the palace of Bonifacio VIII, the civic palace and steep twisting streets enclosed by Roman built town walls.
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Clérigos Church interior Clérigos Church facade The Clérigos Church was one of the first baroque churches in Portugal to adopt a typical baroque elliptic floorplan. The altarpiece of the main chapel, made of polychromed marble, was executed by Manuel dos Santos Porto. The monumental tower of the church, located at the back of the building, was only built between 1754 and 1763. The baroque decoration here also shows influence from the Roman Baroque, while the whole design was inspired by Tuscan campaniles.
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The original church was built by the Barnabite order in the 9th century, on the ruins of the Pretorium which tradition holds was the prison that held the martyred Sant'Alessandro. Its construction for the Barnabite order began in 1601 to a design by Lorenzo Binago, Francesco Maria Richini also contributing to the project. It comprises a principal building on the Greek cross plan with a central dome, and a separate presbytery which also has a dome. The façade, with decorations in bas-relief, has two campaniles.
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Purdy and Henderson were retained as the structural engineers. Located on what would later become the World Trade Center site, the Hudson Terminal buildings preceded the original World Trade Center complex in both size and function. When the Hudson Terminal buildings opened, the height and design of skyscrapers was still heavily debated, and New York City skyscrapers were criticized for their bulk and density. Some of the city's early-20th-century skyscrapers were thus designed with towers, campaniles, or domes above a bulky base, while others were divided into two structures, as at Hudson Terminal.
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His object was to fuse the whole cathedral, with its vast accessories of sacristies into a complete design. Only the eastern part is finished, in which the sacristy has a somewhat grand, though false, apsidal look, with very lofty columns and recesses; the northern and southern fronts of the transepts were to have been masked by huge, soaring, and deep portals, and the western facade was to have been resolved into a Corinthian arcade, with flanking campaniles. Of these latter only one is executed. The arcade is carried up to the architrave; but the second story has not been built.
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Jordan (2Q 1996), p. 24 The massive arch of the front entrance is flanked by twin campaniles, each topped by a colorful tile-covered dome and displaying Santa Fe's blue "cross" emblem on all four sides. The structure draws much more heavily from the architecturally distinctive Spanish, Moorish, and Mexican lines exhibited by the Mission San Luís Rey de Francia (located in the town of Oceanside in north San Diego County) than it does from the nearby Mission San Diego de Alcalá, some nine miles (14 km) away. The grand interior space of the depot features natural redwood beam ceilings, highlighted by walls covered with a brightly colored ceramic tile wainscot.
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The structure survived the earthquake of 1693, and the present cathedral is a 17th-century building with significant additions from each succeeding century. Of particular note are the Baroque portal representing the Annunciation by Placido Blandamonte of Messina, dating from 1668, combined with a Neo-Gothic west front by Giovan Battista Filippo Basile, completed after his death in 1891 to his plans, of c.1900. The two campaniles, in Mannerist style with octagonal bases, although identical in appearance, are centuries apart in construction: the one to the south is from 1655, as is the cupola, while the one to the north, as well as the rose window, are from 1890. The interior is 17th century Baroque.
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