He uttered an unprintable word, kicked the hated door, went out the wide terrace window and, like an angry giant in a storybook, magically stomped away, across the rooftops and chimney-pots of Paris.
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The slate roof is original. Chimney pots also are Victorian. The house's details suggest several stages of alteration / extension and repair. It has seven bedrooms.
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The slate roof is hipped and a front gable contains a two-storey bay with segmental arched windows. The two storey verandah has been enclosed on the upper level. (RNE,1978). It features French windows onto ground floor verandah which also has thin columns. Four chimney pots on chimney.
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The two western turrets are round and proportioned like pepperpots. They have steep concave conical roofs, covered with slate at the bottom, capped with lead at the top, and crowned with ball finials. The southeastern turret serves as chimney stack. It is round and low and carries four clay chimney pots.
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Typically two layers of floorboards, placed at right angles to each other, sat on the joists. Different types of wood were used for different purposes, and by the Renaissance period the nearer mainland forests were running short, and the cost of timber had risen considerably.Howard, 60–61; Burns, 24 The distinctive and very large Venetian chimney-pots, with a terracotta covered top like an inverted cone, were designed to stop dangerous sparks from escaping and starting fires.Howard, 66 Palazzo Dario, 1480s, with characteristic Venetian chimney-pots The main city was already very largely built up, with buildings tightly packed in the centre; this is shown clearly by Jacopo de' Barbari's huge woodcut View of Venice with an elevated view of the city in 1500.
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It was designed in 1833 by John Dobson of Newcastle for a Peter Dixon (a cotton mill owner at Warwick Bridge). It is said to have seven entrances, 52 chimney pots and 365 windows. In 1875 it was sold to a Wiliam Watson. From 1921 until 1983 it served as an abbey to Benedictine nuns.
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The chimney is an addition albeit an historic one. Two modern chimney pots extend up from the north side of the stack, one of which must provide the flue for the range within the present kitchen; it is notable that there are no extant fireplaces in the rooms at the south end of this wing.
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The external doors are moulded panel doors (one hung upside down). Windows are twelve panel double hung sash colonial style with timber louvre shutters and stone sills. A single corbel chimney exists on the southern end with two chimney pots. The original structure was divided with four rooms on the lower level and two rooms on the upper level.
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Following the 2010 Canterbury earthquake, the building's chimney pots were removed and stored in the garden The building was registered as a heritage building by the New Zealand Historic Places Trust on 2 April 1985 with registration number 3659 classified as A. With the change of the classification system, the building later became a Category I listing.
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Since then chimneys have traditionally been built of brick or stone, both in small and large buildings. Early chimneys were of simple brick construction. Later chimneys were constructed by placing the bricks around tile liners. To control downdrafts, venting caps (often called chimney pots) with a variety of designs are sometimes placed on the top of chimneys.
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Hestock through the trees Hestock is a substantial two-storey sandstone residence, with verandahs on three sides. The sandstone walls are rock-faced ashlar and feature smooth dressed quoins and smooth dressed stone mullions to the windows. The house is asymmetrical, with a steeply pitched gabled slate roof. Chimneys are sandstone with pairs of unglazed terracotta chimney pots.
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It is located at the junction of the Central's former Macon-Atlanta mainline and its branch to Thomaston, Georgia. The building includes Spanish or Mission architecture (red roof tile, tall chimney pots, and curvilinear gables) and replaced an earlier stone depot constructed in 1852 by the Macon & Western Railroad. It is now used as an arts center.Barnesville Depot RailGA.
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Alterations made earlier this century to the front verandah. The turned timber columns were cut short from their base to incorporate a new brick fence to Cumberland Street. The building appears to have altered little from the original form. Restoration in 1987 by SCRA included recovering the roof in timber shingles, replacement of chimney pots, window and door shutters and general internal refurbishment.
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The house is well composed and articulated with moulded detail and retains much of its original fabric including decorative chimney pots and historic windows. The yard and outbuildings survive their historic layout and appearance and enhance the context of the house. The entire ensemble demonstrates the affluence of a larger tenant or gentleman farmer at the close of the nineteenth century.
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Erle Stillwell House is a historic home located at Hendersonville, Henderson County, North Carolina. It was built in 1926, and is a two-story, L-plan Tudor Revival style brick dwelling. It has a multi-gable and hip roof with flared gable ends and two brick chimneys with chimney pots. The entrance and sun porch are covered by ribbed copper roofs.
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This s house was demolished in 2009. Glimpses of large tree tops and very interesting chimney pots give hints of the Briars' garden within. Over the past eight years the present owners have restored and developed the garden. A gravel carriageway into the "hatchet" shaped block is flanked with photinia hedges under-planted with blue flowered Nile lily (Agapanthus orientalis).
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An unexplainable architectural mystery here is that the short flanking wings are dwarfed by massive chimneys containing far more chimney pots than the rooms within could possibly require. Behind this severe public face of the prison, all attempts at attractive architecture ceased. Tall red brick cell blocks several stories high under a slate roof surrounded the central courtyard. The architecture was utilitarian in the extreme.
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The village is now an affluent residential suburb of Fareham, but was once a separate entity with a brewery and tannery as its main industries. Wallington was also important in brickmaking and pottery. The bricks known as "Fareham reds" were made locally - the most famous use of which is the Royal Albert Hall. Wallington also boasts the largest collection of Fareham pots - chimney pots.
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Accessed 2015-12-25. The windows are sheltered by hoodmolds, and the upper and lower sections of the facade are separated by a stone belt course. Decorative elements in the upper part of the house include a pair of gargoyles atop the roof and the ornamental chimney pots atop the chimneys. Extensive wooden panelling beautifies the interiors, which feature ornamental ceilings and marble fireplaces.
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The existing chimney pots are not original. The walls of the original building are Flemish bond tuckpointed brickwork with sandstone capping to the parapets and sandstone quoins to the external corners and reveals to openings. An arch on the centre of the original parapets has a stone infill carved with "ERECTED 1884". Sandstone finials top the gables and bull's-eye vents in the gables are edged with sandstone.
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It was taken over by Dennis' in the 1960s but closed in the mid-1970s. The works site is now an industrial estate as is the original clay pit. #The "Tatham Brick & Tile Works" or "Afongoch & Tatham Tileries" was at Afongoch, on the west side of the Ruabon–Wrexham road, off Tatham Road. Opened about 1860 by Henry Richard Bowers & Co. of Penbedw, Acrefair, it produced bricks, pipes and chimney pots.
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The scale, detail and finish of the entrance hall, grand corridor and state rooms together with their furniture are unequalled in Australia. Much of the furniture ordered especially for the house and shipped out from England is still in daily use. Outstanding exterior features of the house include bas-relief architectural sculptures, exceptional stonework, and individually carved sandstone chimney pots. The House also features ornately designed English gardens.
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The roof form has distinctive metal ventilators and banks of brick chimneys with terracotta chimney pots. The interior plan form of the rectory remains relatively unchanged except for minor modifications to accommodate the church offices, meeting rooms and storage space. Most of the cedar joinery, except for one fireplace surround, has survived. Contemporary car accommodation has been constructed at the rear and a disabled persons ramp built alongside the northern verandah.
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Although the domestic pottery did not function after 1907, pipes, tiles, chimney-pots and bricks continued to be produced in large quantities, right through the Depression and during the Second World War. The competition from Fowlers in Sydney, which had a similar reliance on heavy industrial wares, was successfully met, while there was sufficient demand for bricks to make profitability possible for four or five brickworks in twentieth century Lithgow.
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However the ceiling joists in the main structure are a mixture of hand and machine cut timbers. Three chimneys penetrate the roof line, each with a double corbel and one, or two, English vernacular revival (c.1915) chimney pots. There is clear evidence in the roof space that approximately 600 mm height has been added to the upper storey and that the roof structure has been completely replaced over the main section.
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By this time, it is clear from photographs that the combined output of the sites included tiles, bricks, drain pipes and chimney pots as well as horticultural pots. Williamson's Potteries closed in 1905 and in the same year the cottages were condemned as unfit for human habitation by the Medical Officer of Health. The site then served as a rubbish tip for a number of years before being developed for Harringay Stadium and Arena.
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The windows have slate stonework below and are topped with arches of rubbed brick in a lighter colour; there are fourteen windows at the front and fifteen at the back. The house has pilastered doorcases at both the front and rear. At the front, there is also a round- headed outer doorway. The house has a slated roof with an 'M' profile, with chimney stacks at either end constructed of brick with yellow chimney pots.
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Gram Ensley is the richest man in Claines who also owns the majority of its land. He lives at Chimney Pots, an expansive manor which has been in his family for centuries. Ensley is a respected, if feared, figure in the community and makes significant contributions to the local parish although he does not regularly attend services. Constance Bailey is a self-proclaimed white witch who works at the inn where Thunstone stays.
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The station is located in a bushland setting at the bottom of a valley. ;Platform Building (1915) There is a single painted brick island platform building, curved to follow the curve of the platform, with a gabled corrugated steel roof and skillion corrugated steel awning roofs on both sides. The building has two painted brick chimneys with pairs of unglazed terracotta chimney pots. There are rectangular timber vents to the gable ends of the building.
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A short circular driveway leads from Route 9 to the parking lot, where the main building's northern entrance facade dominates. It is an H-shaped two-story building with a steeply pitched cross-gabled slate roof. It has many distinctive Jacobean features, such as vertical emphasis via the roof gables from which rise brick chimneys with corbeled chimney pots. There are projecting end wings and classically inspired door and window decoration trimmed in stone.
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Rows of chimney pots in an English town, 2013. A chimney pot is placed on top of the chimney to expand the length of the chimney inexpensively, and to improve the chimney's draft. A chimney with more than one pot on it indicates that multiple fireplaces on different floors share the chimney. A cowl is placed on top of the chimney to prevent birds and other animals from nesting in the chimney.
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This is one of several houses in town that are noteworthy for their quoined corners, a rare architectural feature in Iowa. with The 2½-story brick house features an irregular roofline with both hipped and gabled areas, two large chimneys with corbelled chimney pots, and a wrap-around porch. It was built for D. H. Anderson in 1888 in a section of the city known as "Society Hill." These were financial boom years for Maquoketa.
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The present building was erected c.1874 near the site of the old manor house. It was designed in a neo-Jacobean style by the architect Walter F K Ryan and it built in red brick with Bath stone dressings. Architectural features include a half-timbered jettied top floor; tall decorated brick chimney pots; a square tower with an ogee-shaped lead roof; ornamental herringbone brickwork, carved Jacobean-style Ionic pilasters and stucco panels.
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Carthona is a single-story brick dwelling on a sandstone base. Soundly built the house features dichromatic and tuckpointed brickwork to the front elevation and decorative timber setailing to the verandah and gable end in the Queen Anne manner. The house features a hipped slate roof with terracotta ridge capping and a gable over the front bedroom. The tall chimneys have all survived and feature roughcast and cement detailing with terracotta chimney pots.
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The Verandah: Has some of its original posts and the beam that supports the verandah, you can see the new development emerging in the south western corner of the Briars. Note the original chimney pots with fans on the roof. The Garden: The owners found a jungle when they bought the property; some sixty trips to the rubbish tip were needed to clear the property. However, a number of old trees and shrubs were retained.
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The brick chimney shafts have rendered mouldings and cornice, and terra cotta chimney pots. At the roof terrace they are grouped in stacks and turned on the diagonal, showing an Old English influence. The building features many classical motifs, both internal and external, in its articulated street facade and ornamentation of the major rooms. There is an extensive range of pressed metal ceilings throughout the building, with the degree of ornamentation varying with the importance of the room.
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There has been a pottery, with a Bottle kiln, on the current site in Greet since at least 1800, north of Winchcombe. Known as Greet Potteries under the management of R A Beckett (who died in 1913), it produced a range of farmhouse ware, advertised as "Garden, Sea-Cale, Rhubarb, & Chimney Pots". Closed in 1914 at the outbreak of World War I, it did not restart again after the war. Bernard Leach is credited with restarting craftsman pottery in Britain in 1920.
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Dance among the chimney pots from Mary Poppins (1964). Following his graduation from the University of Southern California in 1934, Warburton declined an offer to become a professional football player with the Chicago Bears. He became an assistant film editor at Metro-Goldwyn Mayer Studios, where he remained for 19 years. As was common in the studio era, his first editing credit came after about eight years with the studio, and was for the Laurel and Hardy film Air Raid Wardens (1943).
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Sunnyside, also known as the Duke House, is a historic home located at Charlottesville, Virginia. The original section was built about 1800, as a 1 1/2-story, two room log dwelling. It was expanded and remodeled in 1858, as a Gothic Revival style dwelling after Washington Irving's Gothic Revival home, also called Sunnyside. The house features scroll-sawn bargeboards, arched windows and doors, and a fieldstone chimney with stepped weatherings and capped corbelled stacks topped with two octagonal chimney pots.
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Waddell House, also known as Pastorium of the First Baptist Church or Van Amburg House, is a historic home located at Lexington, Lafayette County, Missouri. It was built about 1840, and is a two-story, red brick dwelling on a partial basement. It features decorative elements such as clustered chimney pots, scalloped vergeboards with pendants, and a spindled stickwork Late Victorian porch with mansard roof. William Bradford Waddell acquired the house in trade for stock in the local Baptist Female College in 1869.
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The capping courses have been rebuilt and an additional stack added to the rear. Only two flues remain active, indicated by the pair of modern chimney pots on the east side of the stack. The second chimney on the east side of the building is at the south end of the east wing. The south stack is of fairly plain construction, rectangular in plan with a single projecting course above the base, stepping back towards the upper part of the stack.
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Upon Carlyle's death in 1822 Shawhill was greatly enlarged and improved by Colonel Clark. In the 1870s John Stewart of the firm of Stewart Brothers, Clothiers, Kilmarnock and London, owned the estate. The Category B Listed house that exists today dates from 1820Love, Page 123 and has a large Doric porch, five bay windows at the front and five chimney pots on a single pediment above the front door. An older building of white-washed stonework is incorporated at the back.
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The loch was said to be the home of a "water-cow" or kelpie, and another tradition told of a child being carried off by an eagle and dropped into the loch. John Leyden (1775–1811) mentioned the darker associations of the loch in his 1803 poem Scenes of Infancy. In the 1960s a dam was constructed and the loch was enlarged to its present size. An existing farmhouse was not removed, and its chimney pots can be seen in when the water level is extremely low.
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In The Grampians, Banksia saxicola grows on exposed summits and slopes as well as gullies in scrub or woodland on a loamy soil, generally among sandstone boulders, with such species as brown stringybark (Eucalyptus baxteri). Plants have been recorded on Mt William, Major Mitchell Plateau, Mt Lubra, Mt Rosea, Mt Difficult, Stony Peak, Mt Thackeray and Chimney Pots Gap. The northernmost populations are on the margins of Mt Difficult Plateau, 9 km southeast of Wartook. It is found at altitudes above 600 m (2000 ft).
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Remains of buildings at Maryland, Brownsea Island Maryland is a deserted village on Brownsea Island in Poole Harbour, Dorset, England. It was named for the wife of its founder, Colonel William Petrie Waugh. The village was established in the mid-19th century to house workers for a new pottery industry (Branksea Clay & Pottery Company) on the island. The supposed deposit of high quality china clay proved to be unsuitable for porcelain, and the drainage pipes and chimney pots that were produced were not financially viable.
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European architects persistently used battlements as a purely decorative feature throughout the Decorated and Perpendicular periods of Gothic architecture. They not only occur on parapets but on the transoms of windows and on the tie-beams of roofs and on screens, and even on Tudor chimney-pots. A further decorative treatment appears in the elaborate paneling of the merlons and that portion of the parapet walls rising above the cornice, by the introduction of quatrefoils and other conventional forms filled with foliage and shield.
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The main entrance is located on the north-east side and a timber wing and other timber additions are attached to the rear (north-west) side. The roof of the core is clad in slate with lead ridge capping and has boxed eaves ornamented with paired and tripled timber console brackets. Two rendered brick chimney stacks, one double and one single, capped by chimney pots, are symmetrically arranged on either side of the central ridgeline. The concave, timber-framed verandah roofs are clad in corrugated metal sheeting.
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In 1960 Norstad was asked to join architects Warren Callister and Jack Payne as an architect at their firm Callister and Payne in Tiburon, California. Norstad worked on multiple residential projects in Northern California while continuing to make ceramics on the side. Soon Callister and other architects began commissioning unique ceramic pieces from Norstad such as fireplace fronts, chimney pots, large planter pots, and decorative relief murals. In 1962, Norstad left Callister and Payne, and opened Norstad Pottery building a larger kiln on their property.
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The front wall of the building consists of dressed sandstone blocks bonded with shell lime and cement mortar, which suggests it is the original wall while the verandah and steps suggest they were built during the first half of the twentieth century. The sandstone walls are in generally good condition, although the lower western (rear) walls have experienced some deterioration. The roof of terracotta tiles with matching chimney pots are a recent modification. The roof line has been altered at the rear with the addition of unsympathetic dormer windows.
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There had probably been a pottery on the site in medieval times, as evidenced by the excavation of medieval tiles there. The pottery was founded in 1865 in the hamlet of Aller between the village of Kingskerswell and the town of Newton Abbot and had originally produced simple kitchenware. In 1868 it was taken over by John Phillips (born 1835 in Shaugh Prior), a clay merchant who lived in Newton Abbot. Phillips changed the focus of the company to make builders' earthenware—drainpipes, roof tiles, chimney pots and the like.
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Flora stayed involved with The Oban Times until her death at 99 in 1958. She was succeeded as editor by her nephew, Alan Cameron. In 1884 he commissioned the Edinburgh architect, Sir James Gowans to create a villa named "Waverley", formerly 82 Colinton Road, but converted to retirement flats in the 1990s and now named Perdrixknowe.Buildings of Scotland: Edinburgh, by Gifford, McWilliam and Walker The house contains numerous odd details, such as the stair banisters being in the form of pens and the chimney pots being based on pen- nibs.
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Heritage boundaries The Cranbrook Group is of State historic significance as part of the last portion of the once-extensive Fowler estate, which at one time covered most of Camperdown. It is associated with Enoch Fowler and was the home of Robert Fowler owner of Fowler Pottery and Lord Mayor of Sydney and Camperdown. The Fowler family were early pioneers of the pottery industry in NSW producing pipes, tiles, chimney pots and items for residential and industrial use. The group is of aesthetic significance as they retain most of their original Italianate features.
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The roof is predominantly hipped, of corrugated steel, with a pyramidal roof on the corner tower and belfry, and a steel finial and lightning conductor at the apex. There is a skillion roof on the south-eastern single-storey additions. Four chimneys punctuate the roofline of the two-storey section, one at the southernmost end of the south-western wing, one either side of the southern edge of the main roof section and one at the north-western corner. Each chimney is rendered, with moulded tops and terracotta chimney pots.
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Construction on the present-day Koessler Academic Center, also known as Berchmans' Hall, was started in 1918 by George F. Rand, Sr., founder and former president of Marine Midland Bank. The facility was originally built as a private residence in the Jacobethan style, with gables, steep green slate roofs, chimney pots, and mullioned windows. The building was sold in 1924 to the Masons, who converted it into the Buffalo Masonic Consistory. The Masons made several additions to the building, including a large marble foyer, a pool, Turkish baths, bowling alleys, and locker rooms.
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It appears as though a concrete band towards the capital of the shaft is a mid to late 20th century alteration but that is to be confirmed. The construction of the cottages is load bearing brick in English bond with original timber joinery including: windows, doors, turned timber verandah posts and boarded verandah ends, Marseilles pattern terracotta tiles, brick chimneys and terracottag chimney pots. Internally the cottages are also substantially intact retaining much of their original finishes and joinery. The front fence is a conservation of the original.
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The three principal colliery companies in Lithgow all diversified in the later 1870s: Eskbank into iron and bricks, the Vale of Clwydd into copper and LVC into clay products. The area immediately to the east of the LVC mine was developed first by lease, then by direct investment. The name used by the LVC in all its surviving catalogues for clay products is the Lithgow Pottery and Brickworks which produced bricks, pipes, chimney-pots, tiles and, for a time, domestic pottery. The brickworks was the first to be established in 1876 when a brickmaker called Aston was operating a clamp-kiln.
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On either side of the house stand two tall chimneys with corbelled cornices and metal chimney pots. ;Interior On the ground floor a wide partly glazed front door with sidelights and highlights opens into a central entrance hall with a marble and slate floor and a secondary hall with polished non-original timber flooring beyond. Off the main hall lie a square room on the north-west side and a larger rectangular room on the south-east. Off the second hall is another square room to the north-west and a rectangular room to the south- east.
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On the forecourt and track sides two double-raftered dormers were built and the timber-framed facade and the rooms in the centre section were restored. In the centre section, the balconies were rebuilt and were given copies of the original doors based on an original blueprint. All the windows on the first floor were replaced in order to recreate its former appearance and chimney pots of the original design were added. The old offices on the ground floor were restored to their original dimensions, the station restaurant was renovated and the roof was recovered with slates again.
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Moulded timber capitals, neck-moulds and a "gothic-arch" frieze provide decorative interest. The floor is paved with encaustic tiles and stairs provide access on both the front (west) and north elevations. The external walls are generally of warm-red face-brick with darker purple-brown bricks used dressings such as windows heads, the surrounds to the rondel window, window sills and balus Rough-cast plaster is used at the top of the gable of the front bay while the gables to the north east are left plain as befits their secondary status. The two pairs of rendered chimneys feature decorative mouldings and fluting and are topped with terracotta chimney pots.
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The town of Innsmouth is described as being in a horrendous state of decay, with many of the buildings rotting, and on the point of collapse. In "The Shadow Over Innsmouth," the protagonist describes his first sight of the place: > It was a town of wide extent and dense construction, yet one with a > portentous dearth of visible life. From the tangle of chimney-pots scarcely > a wisp of smoke came, and the three tall steeples loomed stark and unpainted > against the seaward horizon. One of them was crumbling down at the top, and > in that and another there were only black gaping holes where clock-dials > should have been.
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In the early Twentieth Century, Rowland Hazard III (1882–1945), the heir of an industrial fortune from Rhode Island, came to the area and established a large ranch and farm in the canyon areas above La Luz. He had the Coronado Lodge constructed as a hunting lodge in Cottonwood Canyon out of native stone in the early 1920s. Hazzard also established the La Luz Pottery Works after discovery of rich clay deposits in La Luz Canyon. The pottery works were well known for the manufacture of clay roof tiles and other architectural components such as chimney pots as well as extremely large pottery vessels.
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The Mount Coot-tha Lookout and Kiosk are located at the summit of Mount Coot-tha fronting Sir Samuel Griffith Drive to the southeast. The Kiosk The kiosk, located to the north of the lookout, is a single-storeyed timber building on a stone base with a terra-cotta tiled gable and half-gable roof. The roof has a prominent central fleche ventilator, terra-cotta finials and chimney pots, and half- timbered gables. The building has evolved from an open sided kiosk, and the main section is formed by two adjoining similar kiosk structures, with a two- storeyed service wing to the rear and an addition to the northeast.
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In 1671 he still lived in Buren, but by January 27, 1688, his wife "Beliken" was noted to be a widow in the same town. In 1876, Jechiël Ephraim, a descendant of Moses' son Ephraim Moses (c. 1650-1731) who in 1678 had moved to nearby Tiel and became a very successful banker, published a story that got much press relating that ancestor Moses Ephraim was honourably known as Tilanus ("of Tiel") for his successful strategy during a Spanish siege of Tiel. Moses would have suggested that the citizens place their metal chimney pots round the city walls (they only had two cannons) to scare away the marauding Spanish siege-makers.
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Ingatestone Hall, May 2003 Plan of Ingatestone Hall showing the additions and demolished sections The building comprises three wings (north, east and south) around a central court. It was built by Sir William Petre 1539–1556 around a central courtyard in English bond brick and includes features typical of Tudor , including stepped gables and tall, ornate chimney pots. Within the courtyard, a prominent feature is a tall crenellated turret containing an octagonal staircase. In the late 18th century Robert Petre, 9th Baron Petre moved back to the other family property, Thorndon Hall, which was being rebuilt in the Palladian style by the architect James Paine.
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The south side of Church Street differs slightly in that the houses all have front gardens, and (with the exception of the first house on the row) are slightly larger, with three bedrooms, and the presence of extra chimney pots indicating that they have additional fireplaces in the kitchen and one of the rear bedrooms. These larger houses also mostly have two narrow windows side by side in the living room and front bedroom, although some have been altered and had larger single windows installed. The bathrooms of these properties occupy a small extension on the back of the house, as opposed to the smaller properties, whose bathrooms were created by partitioning the rear bedroom.
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The Bolton Evening News reported the incident, with a photograph of Dibnah's feat, but attributed it to the activities of students from Manchester University. At about the same time, Dibnah decided to replace the chimney stack at his mother's house on Alfred Street with one of his own design, as his mother used only one fireplace—leaving four of the five chimney pots redundant. As the single opening at the top of the new stack was only about wide, the flue needed regular maintenance. On one occasion, he was cleaning the flue using a sack of bricks tied to a rope when the sack ripped open, breaking several pipes and flooding his mother's kitchen.
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Lamb House is a large, two-storeyed, red brick residence with a multi-gabled roof clad in terracotta tiles. Conspicuously situated above the Kangaroo Point Cliffs at the southern end of the suburb, overlooking the South Brisbane and Town reaches of the Brisbane River, The house is an inner city landmark, prominent from many parts of the Brisbane central business district, the river and the Captain Cook Bridge and Pacific Motorway. Queen Anne influences are evident in the timber and roughcast gable infill designs, the ornate cement mouldings to the entrance portico- cum-observation tower, and the elaborate chimney stacks and tall terracotta chimney pots. Verandahs on three sides at both levels have timber posts, arches and weatherboard friezes.
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Hollybush Cottage Park House and the Lower Cable House There is a wide range of estate housing on the Leighton Hall estate, which reflects the various levels of those employed on the estate. The estate manager's house was probable the ‘‘White House’’ on the main road near Severnleigh, while some of the more important houses were in a Tudor style and constructed in stone with elaborate terracotta chimney pots. The labourers on the farm had simple double cottages, such as the brick cottages near Moel y Mab. Often much older timber framed buildings were refaced in brick and given a Cottage Ornée appearance, often by adding decorative bargeboards to the dormer windows.
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In addition to the architectural details, The Stonemason's Yard shows scenes of daily life in Venice, probably in the early morning: a cock crows on a windowsill to the lower left, and sunlight streams in from the left behind the viewer's (east). The mainly domestic buildings are generally in poor repair, with typical Venetian flared chimney-pots. Laundry hangs from many of the windows, and potted plants stand on several balconies. One woman is using a distaff and drop spindle to spin thread on a balcony to the right; another draws water from a well in the campo beside a wooden shed, from a well-head shaped like the capital of a column.
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In all, Dunning produced 302 published articles, 188 of them were concerned with medieval or Anglo-Saxon pottery.There is a bibliography of Dunning's published work included in his festschrift ; Vera Evison, Medieval Pottery from Excavations: Studies Presented to Gerald Clough Dunning (London, 1974), pp. 18–32 His many other research interests included: French and English schist hones, stone mortars from Purbeck and Caen, the medieval Devon slate trade, black marble Tournai fonts in England and on the Continent, ceramic roof furniture such as chimney pots, finials and roof-tile crests, Iron-Age Swan's neck and Ring-headed pins and late Anglo-Saxon belt buckles.Hurst, 'Gerald Dunning and His Contribution', pp. 12–13G.
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A large garden surrounds the house (although reduced by subdivision, notably of the former tennis court to its east and land to its south. From the east/ street the garden was (until its 2009 demolition) screened by a single storey 1950s house built on (the former) tennis court, however glimpses of large tree tops and very interesting chimney pots give hints of the garden within. A gravel carriageway into the "hatchet" shaped block (around a small park on what was previously the Briars' tennis court) is flanked with hedges, leading to the front door and around to the garage on the south side. The house is faced with verandahs across the front (east) and down part of both sides (north/south).
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They at times will make use of manmade perches in suburban areas, such as utility poles, peaked roofs, chimney pots, tall fences, billboards or television antenna by dusk, while during the day they often tuck away in hollies, evergreens, oaks and/or thick ivy. On occasion, they may found roosting even in the attics of large buildings, barns or sheds, inside church towers or the chimneys of houses. One may be able to locate tawny owls by looking for whitewash but, unlike long- eared owls, tawny owls changes perch sites with some regularity so they tend to be less detectable overall. Often finding tawny owls during daylight is done by listening for noisy mobbing of a discovered owl by other birds, especially by large and/or bold passerines, or by squirrels during the day.
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The Glenelg River rises at an elevation of above sea level below The Chimney Pots within the Grampians National Park, on the eastern slopes of the Victoria Range, and west of the Serra Range, within the Grampian Range. The river flows north through swampland before heading west, transversed by the Henty Highway, and then south where the river is impounded by the Rocklands Reservoir, formed by a concretewalled gravity dam with embankment sections constructed in 1953. The reservoir has a maximum capacity of . Leaving the dam wall, the river flows west through state forestry areas towards , where the river is joined by the Salt, Mather, Yarramyljup, and Schofield Creeks, flowing to the east, north, then west of Balmoral, through the settlement of , where the river is met by another creek, also called Salt Creek.
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The pottery produced enjoys extremely high local esteem, as evidenced by the new building opened in 1996 at Eskbank House Museum in Lithgow specially to house its collection of pottery from this site. Although the pottery was in fact of minor economic significance and survived for only twenty years on a site used for other clay products for 69 years, its products are visible and collectable where pipes, chimney pots, tiles and bricks have for the most part remained functional and less well regarded. As an aspect of Lithgow Valley Colliery, the most long-lived of all Lithgow enterprises, the clay products division offered employment and company facilities (such as quoiting) which were a significant part of Lithgow life for a century. Lithgow Valley Colliery & Pottery Site was listed on the New South Wales State Heritage Register on 2 April 1999.
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The building is notable for its Arts and Crafts decorative treatments including: extensive use of high- quality, tuck pointed face brickwork and stucco; rendered dressings; tall decorative brickwork chimneys with chimney pots; decorative eaves brackets; a prominent semi-circular window flanked by horizontal bands of render; and rusticated Tuscan order columns and a curved pediment with a sculpted naval coat of arms to the portico. A decorative wrought iron gate opens to the entry portico where the floor is finished with tessellated encaustic tiles with slate thresholds and the ceiling is v-jointed timber boards. There are two adjacent entry doors from the porch; both are timber double doors with leaded fanlights. The larger door opens into the hall via a small foyer and the smaller door into the front room which is divided into two parts by a large arched opening.
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Part I is thirteen lines, part II ten, part III fifteen and part IV sixteen. The somewhat abstracted and fragmented description of "Preludes" appears frequently in Eliot's poetry, and although it can be hard to discern the purpose of each individual image, they add up to a whole greater than the sum of its parts. The images in the first stanza of "Preludes" set the context for the rest of the poem: "grimy scraps / Of withered leaves" (6-7), "newspapers from vacant lots" (8), "broken blinds and chimney-pots" (10) are the dingy, littered, concrete objects of the city. In the second stanza, "The morning comes to consciousness / Of faint stale smells of beer" (14-15), hungover, and the narrator "thinks of all the hands / That are raising dingy shades / In a thousand furnished rooms" (21-23).
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The place is important because of its aesthetic significance. The former Naval Offices is important for its aesthetic significance through an accomplished use of Arts and Crafts decorative treatments. These include: an asymmetrical composition; extensive use of high-quality, tuck-pointed face brickwork and stucco; rendered dressings; tall chimneys with decorative chimney pots; decorative eaves with brackets; circular accents; contrasting earthy colours and textures; a conspicuous use of hand-crafted ornamentation; ornate decorative features of the portico including rusticated Tuscan order columns and a curved pediment with a sculpted naval coat of arms. As a finely crafted, small-scale building, the former Naval Offices makes an important contribution to the streetscape of the Lower Edward Street precinct of late nineteenth and early twentieth century buildings including the Port Office, Smellie & Co. warehouse (Old Mineral House), Smellie's Building and the Port Office Hotel; as well as the City Botanic Gardens.
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At Pampaneira, near the bridge by which the main road from Órgiva and Lanjarón crosses the river, there is another hydro-electric installation, and just before the Poqueira river joins the Trevélez, at the narrowest point, there is a third - deep in the gorge and invisible from above. High on the eastern side lie the villages of Capileira, Bubión and Pampaneira which have become noted touristic attractions: they are of Moorish origin, with narrow, winding streets, flat roofs, characteristic chimney-pots... On the hillsides the terraces created by the Moors can still be seen, though now they mostly lie uncultivated, and the channels also built by the Moors still bring water to the villages and terraces. The higher part of the valley lies within the Sierra Nevada National Park, the lower part within a Natural Park; and the valley with its villages has been declared a "Conjunto Historico". The Poqueira valley was the scene of the first major battle in the second "Morisco" rebellion, in January 1569.
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These rare examples seem to be all that survive of Sherwin Pottery, however it produced a huge array of serviceable pottery, as advertised in the Hobart Town Courier in 1835: bread pans, milk pots, cream pots, butter containers, cheese pans, baking dishes, hand basins, pipkins, flower pots, chimney pots, malt kiln tiles etc. Sherwin also played a role in producing earthenware for Hobart's infrastructure by making earthen made pipes for the supply of water. Sherwin Pottery was recognised as being comparable in ‘neatness and durability' to anything of the kind imported from England and considerably cheaper. The pottery was also credited with successfully competing against the substandard pottery coming from Sydney. With the Hobart Town Courier stating in 1831 that even ‘though apparently neat and well-made, [Sydney pottery] were nevertheless in some degree pervious, and allowed the liquid in them to escape’. By 1836, the Pottery in Kangaroo Valley was advertised for sale as Sherwin wanted to move to another area of ‘more convenience’.
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I remember them. Like stagecoaches > they rumbled past East End chimney pots, wharves and shipping stopping at > empty black stations till they came to a final halt at Blackwall > station...When one emerged there, there was nothing to see beyond it but a > cobbled quay and a vast stretch of wind whipped water... The minor stations at Leman Street and Shadwell were closed in 1941 as wartime economy measures (as was Burdett Road opened on the Bow extension route in 1871). The junction at Stepney was disconnected in 1951, so that the only remaining access to the Blackwall Branch was from the LBER via the Limehouse Curve, and this was abandoned in 1963 (last train ran 5 November 1962). Access for occasional goods services to Blackwall and North Greenwich via the North London Railway at Poplar continued until 1968, but with the closure of the docks the line was abandoned, leaving only the Fenchurch Street–Stepney section of the original Blackwall branch still in use.
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The collection includes Bristol-glazed stoneware and Rockingham-glazed, Majolica-glazed and cane-glazed items, and is said to demonstrate the full range of the Lithgow Pottery's catalogue. The simpler wares include teapots and a teapot ornament; bread trays; plates; water monkeys; bowls; mixing bowls; cheese covers and bases; jars; plant pots; tobacco barrels; pots; a Grecian pot and lid; saucers; a spirit drum; slip moulds; a storage pot; a milk churn; a table spittoon; a cake stand; a cake plate; a leaf platter; jelly moulds; flasks; pipkins; an ashtray; jars; a bedpan; a flour canister and lid; a Palace water filter and filter unit; flower pots; and garden edging. The collection also includes bricks; pottery moulds; sewerage and water pipes; flower pots; chimney pots; ledgers; moulds; bonding and shaping tools and a ceramic roller; and photographs and documents associated with the pottery. The collection is NSW's largest collection of items related to the Lithgow Pottery, rivalled only by that held by the Museum of Applied Arts and Sciences.
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Exterior features of Branch House include its perimeter wall of brick construction, wall materials of weathered brick combined with distressed and patinized briarcliff sandstone, sculpted stone motifs, sandstone door and window surrounds, chimney pots, brickwork with diamond diapering, leaded glass, carved-stone heraldry, oriel windows with cul-de-lampe (corbeling resembling the conical bottom of ancient lamps), bargeboards resembling those of Compton Wynyates, inscriptions at the window heads referring to the Branch family's arrival in Virginia during the 17th century, a tower reminiscent of that at Hampton Court Palace, and three characteristically Tudor twisted brick chimneys that resemble those found in Tudor pattern books of the period. The interior features vaulted ceilings, curvilinear tracery featuring heraldic symbols, heavily decorated pargeted Tudor-style plaster molding, and modern features including fireproof concrete floors and a redundant boiler in case the primary boiler failed. Utilizing artifacts from the Branches' personal Renaissance collection, the house incorporated an Italian door and a carved wood gallery screen (or minstrel screen) from England. Until Beulah Gould Branch's death, almost every wall surface in the home's primary rooms was covered with the couple's collection of tapestries and textiles.
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