122 Sentences With "chimneypiece" | Random Sentence Generator

The upper part of the chimneypiece is similarly decorated, ending in a frieze and cornice.

The egrets from the Roosevelt dining table reappeared, this time supporting the dining room mantel, but the house is best remembered for the nightmarish chimneypiece in its library. The tall and massive walnut chimneypiece featured compressed columns supporting oversized piers incised with stylized sunflowers, twin "hounds of hell" grotesques snarling from behind shields, a diapered and gold-leafed tympanum bisected by a center column, a crocketed pediment rising to a finial, and twin owls staring down from the roof. The Moore house was demolished in the 1950s, but much of the chimneypiece, stripped of its grotesques and thus about 3 feet (0.91 m) shorter, survives.Bloomfield Moore chimneypiece in 2009, nos.

Both of May's rooms are embellished with ornate plasterwork, the hall also having a chimneypiece by John Michael Rysbrack.

Inside the building, the original staircases are still extant, and there is "an Adamesque chimneypiece of timber carved with exquisite delicacy".

A chimneypiece with details in the Empire style is decorated with tiles made in the Ginori factory, showing several different butterflies.

182 A black and white chequered marble floor and a chimneypiece by John Devall were also added to the entrance saloon at this time.

The extension consisted of a wing containing a new drawing room. Internal alterations were made which included a staircase, and a chimneypiece in the dining room.

Extensions have been built to the side. Within the house is a chimneypiece by Sir John Soane, which was brought from the old Bank of England.

In 1969, the stonework was cleaned by abrasive blasting. The plasterwork in the dome was repainted in 1973/4. The entrance hall was restored and adapted in 1993, and a new chimneypiece installed.

Bruce's panelling survives in part of the south apartment, which was later turned into a single room. The chimneypiece and wood carving in the "Blue Room" is also 17th century.Gifford, et al., p.

Arlington House Parisian chimneypiece, circa 1775-1785, Carrara marble with gilt bronze, height: 111.4 cm, width: 169.5 cm, depth: 41.9 cm, Metropolitan Museum of Art (New York City) The fireplace mantel or mantelpiece, also known as a chimneypiece, originated in medieval times as a hood that projected over a fire grate to catch the smoke. The term has evolved to include the decorative framework around the fireplace, and can include elaborate designs extending to the ceiling. Mantelpiece is now the general term for the jambs, mantel shelf, and external accessories of a fireplace. For many centuries, the chimneypiece was the most ornamental and most artistic feature of a room, but as fireplaces have become smaller, and modern methods of heating have been introduced, its artistic as well as its practical significance has lessened.

The ground floor comprises a large drawing room and dining room with four first-floor bedrooms approached by a vaulted corridor above. The rooms have what may be the tallest windows in a private house of this period, overlooking the woods and lake. The chimneypiece in the drawing room is identical to a Wyatt chimneypiece at Curraghmore, Co. Waterford. The gardens, together with the lakeside and woodland walks, are no longer open to the public, but are the venue for the Body & Soul Music Festival in June.

The massive chimneypiece in the drawing room is classically designed, believed to be inspired by one of the great Italian architects of 16th-century Mannerism, Giacomo Barozzi da Vignola. It is two storeys in height, the lower being Doric and the upper Ionic. The distribution of the members is regular, and the shafts of the columns are variegated marble. The upper compartment of the chimneypiece is composed of separate pieces of the same diversified material, and the frieze of the upper order also consists of coloured marble in the centre.

To the west of the Entrance Hall is the Library. This is in the shape of a double cube, measuring by . Its major item is a richly carved Tudor chimneypiece. The bookcases were designed by A. W. N. Pugin.

When Lord Tyrconnel died in 1754 a catalogue of his library identified almost 2,300 books. Almost all of these remain in the Belton library today. Rupert Gunnis attributed the carved marble chimneypiece depicting two Roman goddesses to Sir Richard Westmacott.Marsden, 28.

The intent was to give a castle style to the building, reminiscent of historical fortresses, but with the comfortable interior of a house. On entrance through the porte-cochère, there is a circular hall with staircase hall to the right. To the left of the hall is the dining room, with windows at the end which give views over the park. Straight ahead from the hall is the drawing room, an octagonal room with book cases on four sides and with a white marble chimneypiece designed by John Flaxman, the only surviving chimneypiece by the sculptor.

This simply furnished room has a combined bathroom, dressing room and office; the room was so private that few contemporary descriptions exist. Its walls are lined with naturally grained paneling and matching bookcases. In contrast to the privacy of the study, since Washington's time, the grandest, most public and principal reception room has been the so-called New Room or Large Dining Rooma two- storied salon notable for its large Palladian window, occupying the whole of the mansion's northern elevation, and its fine Neoclassical marble chimneypiece. The history of this chimneypiece to some degree explains the overall restrained style of the house.

The design is copied from the mediaeval chimneypiece in the Bishop's Palace, Exeter, installed c.1485 by Peter Courtenay (d.1492) Bishop of Exeter, a younger son of Sir Philip Courtenay (1404–1463) of Powderham.Pevsner, N. Buildings of England: Devon Another copy made c.

It had a four-centred, local green sandstone ogee arch, pointed and chamfered arch tower, parapet corbelling of the roofs, and an "impressive perpendicular chimneypiece". George Herbert of Swansea inherited Candleston from Margaret and Sir Richard Herbert. Mathew Herbert, George's son then held Candleston.

Occupied by squatters, the château underwent various degradations. In 1994, an attempt to remove the joinery and a chimneypiece was thwarted by the police. The owner then put the property up for sale, and it was bought by a French investor who carefully restored it.

The Library's paneling and its stone chimneypiece came from the Brudenell seat, Deene Park, Northamptonshire, England. Harris suggests that this already once removed paneling had come from another 'Brudenell seat.' The Study has a wooden overmantel with the date 1585, from Heronden Hall, in Tenterden, Kent.Harris 2007.

The first floor has exposed roof framing. Three heavy timber tie beams that appear to be original survive. The main roof framing and boards above were replaced after the 1985 fire. The fireplace at the north end of the first floor retains some elements of the original timber chimneypiece.

It was two storeys high. There was oak panelling and a minstel's gallery. The hall ceiling was arched over "with curved timber of curious workmanship" and may the have resembled the slightly later decorative hammerbeams of the Great Hall at Wollaton. The chimneypiece was carved from blue marble.

Inside, there is an early 17th-century moulded plaster ceiling. The ceiling is decorated with ornamental bands around panels that contain emblems. There is a wood and stone chimneypiece of the same age. Figures on either side of the stone hearth support an entablature bearing two carved scenes.

Bartoli certainly supplied table tops to Ireland and one chimneypiece at Belvedere House in Dublin could be attributed to Richter. Their styles are very different. There is little evidence that either of them came to Ireland. Pietro Bossi though arrived in Dublin in 1784 and probably died there in 1798.

Glenview Mansion in 1886. The cameo-carved maple exhibition cabinet in the Sitting Room (center) and the ebonized chimneypiece and bookcases in the Library (background, left) are attributed to Pabst. Henry Charles Lea Library (1881), as now installed in Van Pelt Library, University of Pennsylvania. Pabst created masterworks without Furness.

Some rooms retain their original gas light brass wall brackets and a few ceiling gas fittings remain. Fireplaces: The groundfloor chimneypieces are Victorian in style and are generally of varnished cedar. The first floor chimneypieces are painted timber in art nouveau style. Exceptions are a white marble chimneypiece to room 3.

The Duke of Edinburgh seated in the Chinese Luncheon Room at Buckingham Palace. The chimneypiece was designed by Robert Jones and sculpted by Richard Westmacott. It was formerly in the Music Room at the Brighton Pavilion.Harris, de Bellaigue & Miller, p87 Robert Jones was a British designer active between 1815 and 1833.

Lower panel of the Rotherwas Room. Made of carved walnut. The chimneypiece of the Rotherwas Room is of oak, a material widely used in English household construction. Its woodwork is a product of the union of artisanal tradition of the English countryside and an interest in architectural ornamentation arriving from Renaissance Italy.

A wall to the east, which contains the entrance, forms the fourth side of a square court. The buildings around the courtyard are three storeys high, built of pinned boulder rubble. The main gables are crow stepped. The drawing room, which is panelled, has a large chimneypiece, with a later one inserted in it.

The drawing rooms contain fine Rococo plasterwork on both ceilings, and on the walls and the chimneypiece of the front room. Hartwell et al. describe the plasterwork as being "quite sumptuous and exceptionally delicate". In the staircase hall is a panel between the windows containing a bust of Diana, with decorative plasterwork including festoons and hunting trophies.

A richly ornamented chimneypiece in the late Louis XIV style was placed in the small period room. Most of the time he resided at his castle Ilpenstein. He also owned Bronstee, a country estate near Heemstede. De Graeff had a famous art collection, and sold some of the family paintings to an art dealer from Hamburg.

The second floor, probably the lord's chamber, has a hooded chimneypiece, mural passage, garderobe and a small bedroom. It was originally painted blue and one wall has a Crucifixion mural. The floor above, contains a secret chamber. The top floor chamber is the largest and best-lit room in the castle, used for general family living.

In domestic work of the fourteenth century, the chimneypiece was greatly increased in order to allow of the members of the family sitting on either side of the fire on the hearth, and in these cases great beams of timber were employed to carry the hood; in such cases the fireplace was so deeply recessed as to become externally an important architectural feature, as at Haddon Hall. The largest chimneypiece existing is in the great hall of the Palais des Comtes at Poitiers, which is nearly wide, having two intermediate supports to carry the hood; the stone flues are carried up between the tracery of an immense window above. The history of carved mantels is a fundamental element in the history of western art. Every element of European sculpture can be seen on great mantels.

Meeting of the cabinet in the cabinet room, 2007 When Bute House was first furnished as an official residence in 1970, this room was intended as the Library or private study of the Secretary of State. With the establishment of the Scottish Government in 1999, it became the cabinet room. The original appearance of the room, with its robust colour scheme picking up the brown marble of the chimneypiece, is recorded in Harry More Gordon's conversation piece portraying all the successive Secretaries of State for Scotland. This room retains its original cornice but the chimneypiece and the shaped treatment of the south wall, which replaces the 19th-century double folding doors that led into the front drawing room, were introduced in 1923 by Lord Bute and Balfour Paul.

The family dog also appears in another room, The Room of the Little Dog. The Crociera room depicts imaginary landscapes and the villa's staff peering around trompe-l'œil doors. The Room of the Oil Lamp has images symbolizing virtuous behavior and strength. The Bacchus Room shows winemaking scenes and a chimneypiece carved with the figure of Ambundance, reflecting the bucolic ideals and splendor of the villa.

There are staircases in the east and west ends of the building, each now fitted with a lift shaft. The Lord Clerk Register's room is behind the entrance portico, adorned with a frieze and a chimneypiece in grey marble. Beyond the rotunda is "Historical Search Room", previously the "Antiquarian Room", a two-storey timber-galleried room of bookcases with a coffered ceiling with rosettes.

But in 1927 part of the hall collapsed because of subsidence resulting from the extraction of brine nearby. The building was abandoned, and is now a ruin. The chapel (now known as St Peter's Church) was demolished and rebuilt near to the west front of the new house. The ornate chimneypiece was moved and reinstalled in the Old Hall Room on the west side of the house.

Each triangular panel is inlaid with a flower. The chimneypiece has the Fairfax achievement of armsFairfax: quarterly of six, Fairfax, Malbis, Etton, Carthorpe, Ergham and Folyfayt. in the centre panel. Above are the arms of Queen Elizabeth I. The chimney breast above the fireplace has four coats of arms - of Sir William's four sisters and their husbands (Bellasis, Curwen, Vavasour, and Roos, each impaling Fairfax).

Though using the original English Baroque style. The major interior is the saloon, in the style of John Vanbrugh, stone-walled, rising through two floors, with a stone staircase rising behind an arcade. Above the large stone chimneypiece are three stained glass windows by Morris & Co. of Faith, Hope and Charity (1877). He also designed the stables, the walled garden, a lodge, and cottages.

The Gallery, the largest room in the house, is panelled with sixteenth-century oak linenfold relief carved wood panelling. Its hooded chimneypiece is from Wollaston Hall in Worcestershire, England; the timber-framed house had been demolished in 1925 and its dismantled elements and fittings were in the process of being dispersed. A staircase came from Lyveden Manor House, also known as Lyveden Old Bield, second home of Sir Thomas Tresham.

Anna Rouw, wife of Peter Rouw, pencil drawing squared in ink for transfer by Henry Bone, probably after George Francis Joseph, March 1806.( National Portrait Gallery, London, NPG D17307) He was the son of the sculptor Peter Rouw I (fl. 1787- 1793The elder Rouw exhibited wax portraits and a figure for a chimneypiece at the Royal Academy, 1787-93 (Gunnis 1968, s.v. "Rouw, Peter, the Elder").), apparently of Dutch origin.

The alabaster chimneypiece depicts the winged figure of Time rewarding Industry and punishing Sloth, symbolised by two boys, which is surmounted by a carved portrait of Sir Randolph Crewe. A small chapel lies to the north of the central hall. Originally rather austere, it was lavishly decorated by Barry in the High Victorian style. There is much elaborate wood carving, with the altar rail featuring angels and the benches poppyheads.

In Early Modern times, the practice of integrating caryatids into building facades was revived, and in interiors they began to be employed in fireplaces, which had not been a feature of buildings in Antiquity and offered no precedents. Early interior examples are the figures of Heracles and Iole carved on the jambs of a monumental fireplace in the Sala della Jole of the Doge's Palace, Venice, about 1450.Noted by James Parker, in describing the precedents for the white marble caryatid chimneypiece from Chesterfield House, Westminster, now at the Metropolitan Museum of Art (Parker, "'Designed in the Most Elegant Manner, and Wrought in the Best Marbles': The Caryatid Chimney Piece from Chesterfield House", The Metropolitan Museum of Art Bulletin, New Series, 21.6 [February 1963] pp. 202-213). In the following century Jacopo Sansovino, both sculptor and architect, carved a pair of female figures supporting the shelf of a marble chimneypiece at Villa Garzoni, near Padua.Also noted by Parker 1963:206.

He produced a number of chimneypieces in Dublin of very good quality. Scagliola inlay proved to be desirable in Ireland and there appears to be a continuation long after it became unfashionable in England. In 1911, Herbert Cescinsky, in English Furniture remarked that scagliola had been popular in Dublin fifty years before. This would explain one at 86, Stephen's Green, clearly an 18th. Century chimneypiece, which has been later embellished in the mid 19th.

The North Wall- Night The north wall differs dramatically from the other three. Instead of having windows, this wall is dominated by the back of the cottage’s chimneypiece and the door that leads into the cottage. The mural is thought to represent the night air, made luminous by a host of enormous moths. On the white plaster of the chimney, Anderson introduced a human element, in mythical female form, to the world of nature.

The plasterwork features vines and leaves, and the white marble chimneypiece is decorated with wreaths and torches. The main staircase is cantilevered and follows all four walls of the stair hall; it has limestone steps, a balustrade with cast-iron scrollwork and a mahogany handrail. The sitting room and study contain oak panelling. A window contains stained glass panels dating from the mid-16th and 17th centuries, which possibly originated in the earlier house.

Commodes were made by ébénistes; the French word for "cabinet-maker" is derived from ebony, a black tropical hardwood notable as a foreign luxury. The beautiful wood was complemented with ormolu (gilt-bronze drawer pulls). The piece of furniture would be provided with a marble slab topThe slab might be veneered with a fine or rare marble, such as a breccia; its edges might be moulded. selected to match the marble of the chimneypiece.

The Howe o'Buchan House is a Category C listed building on Inverugie Road in Peterhead, Aberdeenshire, Scotland. It dates from 1840 (although an inscription of unknown origin above a door gives a date of 1711), and is a two-storey residential building. The house contains a marble chimneypiece that dates from circa 1805.HOWE O'BUCHAN HOUSE - Historic Environment Scotland It also contains a sculptured panel and bannisters which originated from Brucklay Castle.

The collection was bequeathed to the British Museum upon his death. A carved chimneypiece in the armoury has three roundels carved with the goddesses Minerva, Venus and Juno in medieval attire. The garret originally contained day and night nurseries, which the author James Stourton considers a surprising choice of arrangement for the "childless bachelor Burges". They contain a pair of decorated chimneypieces featuring the tale of Jack and the Beanstalk and three monkeys at play.

A Carrara marble quarry Parisian chimneypiece, circa 1775–1785, Carrara marble with gilt bronze, height: 111.4 cm, width: 169.5 cm, depth: 41.9 cm, Metropolitan Museum of Art (New York City) Carrara marble is a type of white or blue-grey marble popular for use in sculpture and building decor. It is quarried in the city of Carrara in the province of Massa and Carrara in the Lunigiana, the northernmost tip of modern-day Tuscany, Italy.

The hall's walls and ceiling were paneled in dark, mahogany coffering, with a narrow, latticed stair in the center of the room rising steeply like a ship's gangway.Dolobran's hall from Lower Merion Historical Society. Surrounding this are blue-and-white, Delft-tile murals and a Jacobean chimneypiece - gifts from the Queen of the Netherlands, in gratitude for one of Griscom's ships helping to rescue a Dutch ship that was sinking.County Lines Magazine, January 30, 2012.

Displays: Visitor Reception and Cloakroom This room was formerly Sir Richard and Lady Wallace's breakfast room. As this photograph from c. 1890 shows, it contained a large cabinet filled with Sèvres porcelain dinner wares, probably more for use than decoration, and sixteen Dutch pictures. The French chimneypiece in this room was made in the mid-18th century and installed in this room when the house was modified for Sir Richard and Lady Wallace.

During the 1980s the house underwent extensive restoration, revealing the lost early 18th-century wall paintings by Louis Laguerre. Work was also done on the Green Pavilion, in an effort to restore it to its appearance during the occupation of Queen Charlotte. Work was done on the cornice, dado and chimneypiece, which retain Wyatt's "characteristically crisp detailing." The restorations cost a total of £2.5 million by the time they were completed in 1990.

The alcove to the fireplace is entered through a large columned opening and contains a fine white and green serpentine marble chimneypiece. The stair is heavily carved in the Art Nouveau style with large newel posts at each change of direction. The lower posts now support modern white ball light fittings. The other ground-floor rooms display varying degrees of lesser decoration down to the minimal work in the south-west servants' wing.

Interior Former Tudor hall, later the kitchen, retains a moulded plaster ceiling decorated with rib work and part of figured frieze; open fireplaces, one with early C18 mantle. C18 front room with earlier C17 panelling (brought from elsewhere in the old house) and similarly a fine carved chimneypiece with elaborate coat of arms and crowned supporters inscribed below Holophernies and Judith with date 1585. Elaborate C18 plasterwork to entrance hall including doorcase, niches, chimney- piece etc. Naturalistic classical ceiling.

The ground floor originally contained six rooms; clockwise from the doorway they are the entrance hall, two drawing rooms, the staircase hall, the dining room, and a study or morning room. An extra room was added in the 19th century. The entrance hall is relatively plain, with a stone fireplace and pulvinated friezes over the doors. The study is panelled, and contains doorcases, a chimneypiece and an overmantel all of which are carved with flowers and fruit.

A flower marked the door to the garden, with the front door marked by a key. The library is indicated by an open book, the drawing or music room by musical instruments, and the dining room by a bowl and flask of wine. The library, its walls lined with bookcases, features a sculptured mantelpiece resembling the Tower of Babel. The hooded chimneypiece represents the "dispersion of languages", with figures depicting Nimrod ruling over the elements of speech.

Scotstarvit tower In 1500, Scotstarvit Tower was built a mile southwest from Hill of Tarvit. This was constructed by the Inglis family of Tarvit as the centre of their estate. The tower was then sold in 1611 to Sir John Scott of Scotstarvit. Sir John rebuilt much of the tower in the 1620s – seen by the date 1627 on a piece of the Tower's chimneypiece that now forms part of the fireplace in the Hill of Tarvit's smoking room.

Tilework Chimneypiece, Turkey, probably Istanbul, dated 1731 The V&A;'s collection of Art from Asia numbers more than 160,000 objects, one of the largest in existence. It has one of the world's most comprehensive and important collections of Chinese art whilst the collection of South Asian Art is the most important in the West. The museums coverage includes items from South and South East Asia, Himalayan Kingdoms, China, the Far East and the Islamic world.

It was then sold to F. W. P. Rutter and was used as an orthopaedic hospital for officers in the First World War. The house was later sold to Sir Henry Roberts, and demolished in 1927. Before the house was demolished a sale was held and parts of the house were re-used elsewhere. The large chimneypiece from the dining room went to form part of the entrance to what is now a restaurant in Borough Road, Birkenhead.

At each end of the long central corridor in the old wing are spiral staircases, which are contained in semicircular projections. On one side of the corridor are rooms including a drawing room and a small dining room. On the other side are service rooms, and behind these is a courtyard. The contents of the wing include panelling removed from Canon Winder Hall, Flookburgh, a chimneypiece from Conishead Priory, and a pair of Baroque barley-sugar columns.

The Great Room on the first floor has been restored in an attempt to link with its original design, including its classical ordering with a dado, pilasters and entablature. The walls would have been hung with tapestry, but this has been replaced with family portraits that originally hung in Sherborne House. The floor has been reconstructed, using chestnut boards measuring from the Welsh borders. The chimneypiece has been reconstructed by masons from the Hereford Cathedral workshop.

On the ground floor, the main room is the former entrance hall to the west porch, which was adapted into a narrow dining room after the main entrance was moved to the east side. Its interior features date from the early 19th century. The room is crossed by two screens, each flanked with clustered columns whose "delicate" capitals are decorated with lilies and leaves, described as acanthus or lotus. Similar columns also flank the room's marble chimneypiece.

Grand Neoclassical interior by Robert Adam, Syon House, London Inside ornament was far more generous, and could sometimes be overwhelming.Jenkins (2003), xv; Musson, 31 The chimneypiece continued to be the usual main focus of rooms, and was now given a classical treatment, and increasingly topped by a painting or a mirror.Musson, 84–87 Plasterwork ceilings,Musson, 113–116 carved wood, and bold schemes of wallpaint formed a backdrop to increasingly rich collections of furniture, paintings, porcelain, mirrors, and objets d'art of all kinds.

The main house is a large Old Colonial Georgian style sandstone house of symmetrical design but has had a two-storey matching bay added to the east end. A stone flagged verandah to the ground floor has bellcast iron roof supported by slender cast columns. There is a one-storey stone addition with carved bargeboards on one side. All internal joinery is of polished cedar including the original geometric stair, one chimneypiece and some later marble and cast iron chimneypieces.

A typical example of a pronkstilleven by van Utrecht is the Banquet still life (Rijksmuseum, 1644). In this picture the notion of abundance is emphasized through the depiction of exclusive and expensive imported fruits, an exotic South-American parrot and other items of luxury such as musical instruments and expensive table ware.D. H. van Wegen, Het Vlaamse schilderkunst boek, Waanders, 2005, p. 296 Given its low vantage point, the large painting (height 185 cm; width 242.5 cm) was likely intended as a chimneypiece.

In the 16th century the dining hall was heated by an open fire in the centre of the room, supplemented by movable braziers. In the 1680s the hall was renovated, with a raised floor to accommodate a wine cellar below and a reconstructed roof. Another renovation phase in the mid-18th century included a new chimneypiece, a new ceiling to cover the original timber beams and two gilded chandeliers. The original brazen nose was placed above high table in 1890.

The windows looking out over the driveway from the Hall depict Elizabeth I at Tilbury. The hall also features the most notable of the manor's impressive chimneypieces; incorporating at its centre a late 17th-century marble cartouche of arms flanked by life-size wooden Mannerist figures of Ceres and Prudence. Other rooms of note include the Oak Room, whose chimneypiece is flanked by cross-legged cherubim, each with six wings. The drawing room and boudoir have Jacobean alabaster mantle-pieces.

The marble Grecian chimneypiece incorporates two female figures.Lennox M. Original English country charm; Marsya Lennox finds a "magical" Georgian house, unspoilt by gimmicky restoration, and with a £2 million package price tag. Birmingham Post (30 October 1999) (accessed 7 April 2010) Pevsner described the ceiling as "elegant", and Marcus Binney compares the room with Robert Adam's library at Kenwood House, Hampstead Heath. The dining room has a shallow alcove at the north side, flanked by pilasters, with a shell-shaped ceiling and a scrollwork frieze.

The house's furniture was also designed by Pugin and was based on surviving mediaeval originals from the Bishop's Palace in Wells. The house was demolished in 1959, after Birmingham City Engineer Herbert Manzoni demanded that the Roman Catholic Archdiocese of Birmingham pay for any alterations to the city's inner ring road scheme that would be required to avoid the building's demolition. The chimneypiece and two chairs from the Bishop's House are now held in the collection of the Victoria and Albert Museum in London.

Catalogue of English porcelain, earthenware, enamels... (Victoria & Albert Museum), cat. no. 1279 "Pair of oval plaques" with Flaxman's "Sacrifice to Hymen" forming the pendant. both versions were executed in Wedgwood & Bentley's white-on-blue jasperware that imitated cameos; the 'Marlborough Gem' first appeared in Wedgwood's 1779 catalogue. The Wedgwood plaque, available in several sizes, appears mounted on Parisian and London furniture, and a marble relief of the scene is set in the chimneypiece of the red drawing room at the original home of the Marlborough gems.

17 Detail from portrait by Richard Cosway (1742-1821), collection of Earl of Devon, Powderham Castle, hanging over chimneypiece in Music Room William "Kitty" Courtenay, 9th Earl of Devon, in boyhood. William "Kitty" Courtenay, 9th Earl of Devon (c. 1768 – 26 May 1835), was the only son of William Courtenay, de jure 8th Earl of Devon, 2nd Viscount Courtenay and his wife Frances Clack. He attracted infamy for a homosexual affair with art collector William Beckford from boyhood when it was discovered and publicised by his uncle.

He also supplied a chimneypiece for the art critic William Locke at Norbury Park. One of his most notable works is the reclining plaster sculpture of Giovanna Baccelli, the Italian dancer and mistress to the Duke of Dorset. Despite his later conflicts with the Royal Academy, Locatelli was initially on good terms with that institution. He was gifted £50 when in financial trouble in 1780 and was then paid £64 in 1781 for another ornamented fireplace in Somerset House, headquarters of the Academy at the time.

Neoclassical design of a chimneypiece with Ionic columns, and a frieze with cornice, from 1745-1796, pen and brown ink, brush and gray wash over graphite, in the Metropolitan Museum of Art (New York City) In the early Renaissance style, the chimneypiece of the Palais de Justice at Bruges is a magnificent example; the upper portion, carved in oak, extends the whole width of the room, with nearly life-size statues of Charles V and others of the royal family of Spain. The most prolific modern designer of chimneypieces was G. B. Piranesi, who in 1765 published a large series, on which at a later date the Empire style in France was based. In France, the finest work of the early Renaissance period is to be found in the chimneypieces, which are of infinite variety of design. The English chimneypieces of the early seventeenth century, when the purer Italian style was introduced by Inigo Jones, were extremely simple in design, sometimes consisting only of the ordinary mantel piece, with classic architraves and shelf, the upper part of the chimney breast being paneled like the rest of the room.

The comparison with Claude Nicolas Ledoux's utterly French pavilion at Louveciennes for Mme du Barry (Eriksen pl. 79) is instructive. He also designed and built the Hôtel Gontaut in rue Louis-le-Grand, 1772 and was commissioned to remodel the Hôtel de Luynes (c. 1770-75, demolished in 1901 with the piercing of the Boulevard Raspail and the rue de Luynes)Boiseries and a chimneypiece were salvaged and refitted first in the Hôtel Lebaudy, 57 rue François Ier, then refitted in the Musée du Louvre (French Wikipedia:"Rue Saint-Dominique").

A survey undertaken in January 1965 revealed that the exterior stonework was badly decayed, dry rot had eaten through the roof and the structural floor timbers, and the attics were infested with pigeons. Vandals had stripped the lead from the water tanks and had damaged the mirrors, fireplaces and carving work. The most notable loss was the theft of the carved figure of Fame from the Dining Room chimneypiece. Betjeman suggested that the owner's agents had deliberately refused to let the house, and allowed it to decline, intending to demolish it and redevelop the site.

Staircase heraldic animals The interior of Crewe Hall contains a mixture of original Jacobean work, faithful reproductions of the original Jacobean designs (which in some cases had been recorded), and work in the High Victorian style designed by Barry. The entrance hall in the east wing was remodelled by both Edward Blore and Barry. It is panelled in oak and contains a marble chimneypiece with Tuscan columns featuring the Crewe arms. It opens via a columned screen into the central hall, which was an open courtyard in the Jacobean house.

The other chimneypiece, in the bedroom James I used, is at another stylistic extreme; a very polished and spacious stucco piece in a style comparable to that of the First School of Fontainebleau, and probably not made by English artists. The central medallion, with a mythological scene, is designed by Rosso Fiorentino, and also appears in the Palace of Fontainebleau. This is flanked by two large nude boys. The Italian artists of the Tudor court Henry VIII used at Nonsuch Palace have been suggested; the pieces were almost certainly made elsewhere and taken to Broughton.

A low entrance hall leads into a large stair hall that extends to the full height of the building, with a cantilevered stairway with ionic newel posts leading to the upper floor, and a coffered ceiling with gilded detailing. Opposite the entrance hall is a drawing room, with an red marble chimneypiece that is original to the building. To the north west is a wood-panelled library, originally the dining fool, also with a coffered ceiling, and a marble fireplace featuring religious scenes. In the west wing is the cafeteria, which was originally a ballroom.

The murals around the walls draw on Aesop's Fables with delicate drawings of animals in the Aesthetic Movement style. The Three Fates chimneypiece, Castell Coch The octagonal chamber with its great rib-vault, modelled on Viollet-le-Duc's chambers at Coucy and Pierrefonds, is decorated with drawings of butterflies and birds. Off the hall lies the Windlass Room, in which Burges delighted in assembling the fully functioning apparatus for the drawbridge, together with murder-holes for expelling boiling oil. The Marquess's bedroom provides some spartan relief before the culmination of the castle, Lady Bute's Bedroom.

The house is Grade I listed and has a dining room described by Pevsner as "a splendid mid C18 room with a proud chimneypiece and wall panels of tapestry framed in plaster". There was probably a medieval village at Little Durnford, beside the river, but this had disappeared by the 18th century after parkland was created for the manor house. The Manor House at Great Durnford was built in brick in the 18th century, then acquired in 1904 by George Tryon, who altered and extended the house in 1912-13, and became Baron Tryon of Durnford in 1940.

John Staples was a well known lawyer and orator and was the last speaker in the Irish House of Commons in 1801; his wife was the Hon. Henrietta Molesworth, daughter of Field Marshal Richard Molesworth, 3rd Viscount Molesworth. Their son Thomas Staples became the 9th Baronet. During William Lenox-Conyngham's tenure, the estate was drained and improved and a large well-appointed dining room was added to the rear of the house, complete with a 17th-century Italian chimneypiece salvaged from Frederick Augustus Hervey's (the Earl of Bristol and Bishop of Derry) Ballyscullion House near Bellaghy which was demolished in about 1825.

Aerial view of the gardens of the Petit Trianon. The Petit Trianon is in the center, the Temple de l'Amour is behind, the Pavillon français is in front in the same perspective. The salle à manger (dining room): finely carved boiseries are without gilding, simply painted to complement the bleu Turquin chimneypiece The Salon The French Pavillon The Belvedere in the park The Petit Trianon (; French for "small Trianon") is a Neoclassical style château located on the grounds of the Palace of Versailles in Versailles, France. It was built between 1762 and 1768 during the reign of King Louis XV of France.

The drawing room and inglenook fireplace"sensational", "spectacular" or "sickening", according to taste The drawing room was constructed in the 1880s phase of building, when Armstrong had sold his Jesmond house and was residing solely at Cragside. Aslet suggests that the inspiration for the design was the great hall at Haddon Hall, Derbyshire, although Saint considers Shaw's Dawpool Hall, Cheshire as the more likely source. Pevsner and Richmond mention Hardwick Hall and Hatfield House as possible models for the "spectacular" overall design. The room contains a colossal marble inglenook chimneypiece, reputed to weigh ten tons, and designed by Shaw's assistant, W. R. Lethaby.

The breakfast table carries the mark of the Lancaster firm of Gillow. The lantern suspended from the middle of the ceiling was made by Ince and Mayhew in about 1770, and was restored by Plowden and Smith in 1998. Tabley, the Seat of Sir J. F. Leicester, Bart: Windy Day by alt= A painting of a lake with choppy waves, a sailing boat and a tall round tower To the east of the Portico Room is the Drawing Room. This was designed by Carr as the dining room, and contains a white marble chimneypiece designed by Carr.

The chimneypiece in this room is decorated with female caryatids and bears the arms of Elizabeth I; its plaster would originally have been painted and gilded, and traces of this still remain. William Moreton III used what is today known as the Exhibition Room as a bedroom in the mid-17th century; it is entered through a doorway from the adjoining Withdrawing Room. Following William's death in 1654 his children Ann, Jane and Philip divided the house into three separate living areas. Ann, whose accommodation was in the Prayer Room above, then used the Exhibition Room as a kitchen.

Faith and Hope panelling in the Compton Room On the second floor the panelling is more elaborate, of the type called "panel within panel", and there is liberal use of strapwork on the ten pilasters. The chimneypiece again is elaborate, with ﬁgures of Faith (one knee exposed, one arm missing) and Hope in a border of ﬂowers and abstract pattern. The Latin inscribed beneath FaithFides Via Deus Metameans "Faith is my way, God is my aim", and under HopeSpes Certa Suprameans "My sure hope is above". The frieze over the ﬁreplace consists of pomegranates and exotic fruits.

Of its interiors, three ceilings and some wall decorations survive in part, but no interior remains in its original state. This process began as early as 1662, when masons removed a niche and term figures and a chimneypiece.John Newman, noting this, identified a chimneypiece likely to have come from the Queen's House, at Charlton House, barely three miles away; for its design it drew upon an engraving in Jean Barbet's Livre d'architecture (1633); Newman, "Strayed from the Queen's House?" Architectural History 27, Design and Practice in British Architecture: Studies in Architectural History Presented to Howard Colvin (1984:33–35).

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.

Two of the bedrooms, the two "White Rooms", were originally connected to what was called the Flower-de-luce Room, but the doors have been boarded up. The Long Gallery fills the first floor of the northern range: long and with a richly decorated stucco ceiling and a complex wooden chimneypiece, it formerly contained a "very curious collection of portraits of distinguished characters". Also on the first floor is the "Chapel Drawing Room" in the south wing, connected to the Drawing Room. The Copes created this room by reducing the size of the original chapel, which is entered through it.

The work is signed "1844", and may therefore have been posthumous. The bust remains on display in Bicton House in 2013. In 1845 he assisted in the decoration of the summer pavilion at Buckingham Palace and sent two of his group sculptures the Great Exhibition of 1851, where they attracted notice: Satan Vanquished and Satan tempting Eve, for a chimneypiece at Buckingham Palace. In 1864 Stephens was elected an associate of the Royal Academy, but possibly in the mistaken belief on the part of the members that he was Alfred Stevens, the sculptor of the Wellington monument in St. Paul's Cathedral, London.

At Redbraes lived Sir Patrick Hume of Polwarth, later Patrick Hume, 1st Earl of Marchmont. His portrait by William Aikman, c 1720, and framed by a George II period gilt mirror, hangs above the chimneypiece in the drawing room. It is not coincidence that a near identical portrait hangs in the Music Room at Mellerstain. Having been implicated in the Rye House Plot, Sir Patrick was forced into hiding in the vaults of Polwarth Church, close to the house. His daughter, Lady Grisell Hume, (later Grizel Baillie) smuggled food to him, and her well trod path from Redbraes to the church became known as ‘Lady’s Walk’.

Original interior fittings include a large "Jacobean-cum-Baroque" chimneypiece in the hall of number 32. H.J. Lanchester's Palmeira Mansions of 1883–84 (21–31 pictured) are in the same style as the rest of the square. The terrace on the east side is identical, again having 17 five-storey houses with hipped slate roofs hidden behind parapets, three-window ranges with sash windows and heavy Doric porches. As on the west side, the house in the centre projects slightly from the terrace and has a larger square bay window rising through the first and second floors, forming a loggia which is supported on a colonnaded porch with rustication.

Fish and eels swim in a frieze of waves painted under the ceiling, and fish are also carved in relief on the chimneypiece. On the fire-hood, a sculpted mermaid gazes into a looking-glass, with seashells, coral, seaweed and a baby mermaid also represented. Charles Handley-Read described the frieze around the Mermaid fireplace as "proto-Art Nouveau" and noted "the debt of international art nouveau to Victorian Gothic designers, Burges included". In this room, Burges placed two of his most personal pieces of furniture, the Red Bed, in which he died, and the Narcissus washstand, both of which originally came from Buckingham Street.

Merchant's House is a rare example of early Victorian period Merchant's' residence with attached adjacent store in Sydney, and probably New South Wales. No. 43 George Street contains a rare example in Sydney of an intact mid 19th century first floor townhouse drawing room complete with its original fabric including moulded plasterwork, chimneypiece and grate, joinery, French doors and balcony. No. 43 George Street contains a number of rare and excellently detailed elements including a timber geometric stair and cast iron cantilevered balcony. The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.

Hardwick's skyline features six rooftop banqueting house pavilions with Bess of Hardwick's initials "ES" (Elizabeth Shrewsbury) in openwork. Chimneypiece in High Great Chamber Hardwick's long gallery in the 1890s Hardwick's long gallery today Hardwick Hall in Derbyshire, is an architecturally significant Elizabethan country house in England, a leading example of the Elizabethan prodigy house. Built between 1590 and 1597 for the formidable Bess of Hardwick, it was designed by the architect Robert Smythson, an exponent of the Renaissance style of architecture. Hardwick Hall is one of the earliest examples of the English interpretation of this style, which came into fashion having slowly spread from Florence.

Dodderidge was a son of Richard Doddridge, merchant, of Barnstaple. His elder brother was Sir John Dodderidge (1555–1628), of Bremridge, near South Molton, Devon, Justice of the King's Bench in 1612 and MP for Barnstaple in 1589 and for Horsham in 1604, whose splendid recumbent effigy exists in the Lady Chapel of Exeter Cathedral. 1617 carved oak chimneypiece formerly in the Dodderidge House, Cross Street, Barnstaple, decorated with two strapwork panels inhabited by putti and showing at middle top the date 1617 with to the left the initials "PD" (for Pentecost Dodderidge (d.circa 1650)) and to right "ED" (for Elizabeth Wescombe his wife).

Eyre Hall renders a culmination of "architectural sophistication and regional preference." Littleton Eyre (1710-1768) may have wished to erect a structure with regards to the conventions of his neighbors yet of a scale that addressed his position and aspirations. Houses of wood outline development with gambrel rooftops were prominent locally and all through the Chesapeake, yet once in a while for the wealthiest of the upper class, who tended to work with brick. Ann and John Eyre, married in 1800, rolled out unobtrusive however stylish improvements to the house, including supplanting a straightforward bolection chimney shaping in the parlor with a neoclassical chimneypiece highlighting a cut urn and anthemions.

Fireplace and panelling in the Spencer Room The room on the ﬁrst ﬂoor commemorating the occupancy and work of Sir John Spencer is the plainer of the two panelled rooms. The chimneypiece is the most elaborate part, with lions' heads. At the top just below the ceiling there are three curious carved ﬁgures like the ﬁgurehead of a ship and there is another, which has lost its head, at eye level in the centre, just below a pair of bellows. There is strapwork ornament on the underside of the mantelpiece, and at either side Tudor roses in what might be garters preﬁgure or reﬂect the Rosicrucian interests of Sir Francis Bacon.

The undercroft In 1925, William Randolph Hearst saw St Donat's Castle advertised for sale in Country Life magazine and cabled his English agent to buy it. He also bought and removed the guest house, Prior's lodging, and great tithe barn of Bradenstoke Priory; of these, some of the materials became a banqueting hall, complete with a sixteenth-century French chimneypiece and windows; also used were a fireplace dated to c. 1514 and a fourteenth-century roof, which became part of the Bradenstoke Hall, despite this use being questioned in Parliament. The demolition of the Priory had been strongly opposed by the Society for the Protection of Ancient Buildings, including a poster campaign on the London Underground.

In the latter part of the century the classic architrave was abandoned in favor of a much bolder and more effective molding, as in the chimneypieces at Hampton Court, and the shelf was omitted. In the eighteenth century, the architects returned to the Inigo Jones classic type, but influenced by the French work of Louis XIV. and XV. Figure sculpture, generally represented by graceful figures on each side, which assisted to carry the shelf, was introduced, and the over-mantel developed into an elaborate frame for the family portrait over the chimneypiece. Towards the close of the eighteenth century the designs of the Adam Brothers superseded all others, and a century later they came again into fashion.

The chimneypiece of the corner room, the chambre de parade represents a bas-relief medallion of Louis XIII supported by captives and a frieze of the triumph of Louis XIII, works of Gilles Guérin that have given a name to the suite of rooms. The apartment on the right, called the Appartement de la Renommée was entirely redecorated by Bélanger for the comte d'Artois in a discreet neoclassical style quite in keeping with the general classic style of the château. The staircase was of a type that Mansart originated at Balleroy,Cecil Gould and Anthony Blunt, "The Château de Balleroy" The Burlington Magazine 87 No. 511 (October 1945, pp. 248-252), p. 251.

Arms of Thomas Parlby: Argent, a parrot vert. These arms are not recognised by the College of Arms in London, but were nevertheless used by his family, as visible on a marble chimneypiece circa 1780 in Stover House, Devon, the home of his sister Mary Parlby.See letter to Stover School from College of Arms (Chester Herald) dated 23 November 2004 Thomas Parlby (1727–1802) Stone Hall, Stonehouse, in PlymouthHeraldic Visitation of England and Wales, Notes (1896–1921), Howard, Joseph Jackson, 14 volumes, London, 1896–1921 "the big house overlooking Stonehouse Pool"Gill; Plymouth, A New history, p.91 (since demolished), was a civil engineering contractor described in his obituary in the Gentleman's Magazine as "Master Mason of HM Docks".

The thoroughness with which this space was redecorated suggests that the vestibule as inherited by Lord Bute may have been heavily adapted to suit Victorian taste. As the vestibule does not open directly into the stairwell, Balfour Paul sought to ensure that it would not appear dark and forbidding by deciding to greet the visitor with a welcoming central chimneypiece in white marble facing the front door. The plan of the vestibule is T-shaped, with archways leading through from the right-hand and left-hand sides of the fireplace. The vestibule features a rosetted ceiling, highly decorative plasterwork in the Adam Revival style, and a floor of polished Caithness flagstones in octagons and squares, in the Georgian manner.

First Minister Alex Salmond and his cabinet in the Drawing Room, 2011The present green colour scheme in the drawing room dates from 1985 when the damask curtains were introduced. The room features original elaborate ceiling plasterwork, with the frieze repeating the same festoons found in the ceiling decoration. In 1923, Lord Bute and Balfour Paul complemented this ceiling by introducing new doorcases in the same Adam style, together with an inlaid chimneypiece with a central tablet depicting Venus and Cupid and vases echoing the frieze. The new single-leafed doors replaced 19th-century double doors, which connected this large drawing room at the front of Bute House, to the back drawing room that is now the cabinet room.

All the other windows on this floor are 3×5 sashes; those on each side of the central window have triangular pediments, while those in the lateral bays have horizontal architraves. The top storey has seven 3×3 sash windows; the central three have scrolls similar to those on the south front, while the surrounds to the lateral two windows on each side are plainer. Part of an ornately carved, painted and gilded, chimneypiece with female figures on the sides, and a coat of arms in the middle On each side elevation there are central canted bay windows. The middle floor has arched windows on the west front, while the corresponding windows on the east front are blind.

Busts of Sir Randolph Crewe and Nathaniel Crew The long gallery, along the north side, has a chimneypiece in coloured marbles with busts by Henry Weekes depicting Sir Randolph Crewe and Nathaniel Crew, 3rd Baron Crew, Bishop of Durham. The library, above the carved parlour, contains statuettes of book lovers by Philip and a frieze of scenes from literature by J. Mabey. The drawing room has a facsimile of the Jacobean ceiling, which had been recorded by architect William Burn. Identical in pattern to one at the Reindeer Inn in Banbury, of which the Victoria and Albert Museum has a plaster cast, it was presumably originally the work of the same craftsman.

'In 1781 there was one water closet, hung with green flock paper and equipped with what was called a 'Mahogany Watercloset with Bason and Handles Compleat', situated on the ground floor. The library on the same floor, which had an out-of-order wind-dial over the chimneypiece, was hung with green gilt-bordered flock paper. Above, the curtains, hangings and upholstery of the two drawing-rooms were all of crimson damask, and the two Wilton carpets each covered 'the whole Floor'.' Following the 5th duke Bolton the lease holders or occupiers were the 3rd Duke of Grafton, Prime Minister, 1765; 4th Earl of Tankerville, 1769–79; Baron Alvensleben, Hanoverian Minister, c.

He began his career in his native Italy and was a member of the Venetian Academy. Early examples of his work include several sculptures for the Villa Bettoni near his hometown of Verona. When he first arrived in London he was living at the Haymarket with fellow Italian immigrant Ananso Rossi, father of sculptor Charles Rossi who became a pupil of Locatelli Locatelli was occasionally employed in the workshop of Joseph Nollekens where he was supposedly mistaken for the master himself due to his 'superior manners' and his 'dashing mode of dressing in a fashionable coat and red morocco slippers'. During his time in England he received commissions from famous architect Robert Adam including a chimneypiece for Harewood House.

An 1877 newspaper article credits the mansion's mantels to Pabst; and the interior woodwork, ebonized library, and grand staircase are attributed to him. Although there is no evidence of Furness's involvement, Pabst used design elements that can also be found in Furness commissions—the parlor's mantel features the dog-faced beasts that flank fireplaces in several Furness houses, the entrance hall features door frames and a chimneypiece with shingled roofs (a frequent Furness motif). The 1877 article specifically credits the dining room's "very elaborate buffet" to Pabst, although only its base survives. Its relief-carved fox-and-crane panels, copied from a plate in Charles Eastlake’s book Hints on Household Taste, are repeated on the sideboard at the Art Institute of Chicago, and on other attributed pieces.

A commode occupied a prominent position in the room for which it was intended: it stood against the pier between the windows,Such a piece, when made particularly shallow, not to impede passage along the enfilade that connected rooms might be called a demi-commode (Francis J. B. Watson, Louis XVI Furniture 1973, fig.fig. 27). in which case it would often be surmounted by a mirror glass,"In a room with three windows, for instance, one could place between them a commode with drawers and one with drawers, while still preserving an essential symmetry." (Pierre Verlet, French Furniture and Interior Decoration of the 18th Century, 1967) p. 154) or a pair of identical commodes would flank the chimneypiece or occupy the center of each end wall.

The opposite range was semi-private, with the Duke's drawing-room and bedchamber (hung with framed miniatures), a cabinet and a gallery with a porcelain chimneypiece. The schloss was the center-point of a range of grand buildings sited in deference to it, including the Hofkirche that served as the court chapel. A central avenue through the town was laid out, centered on the schloss; on the garden side, the axis was carried through as the Hofdamenallee ("Court ladies' allée"), a central ride through the enclosing woodland, still reaching the slightly elevated wooded horizon today. The garden front from the axial Hofdamenallee, a memorial and grave field for 200 inmates of Wöbbelin concentration camp The palace's surrounding Schlosspark of 120 ha.

Anton Seidl, the 47-year-old Hungarian-born musical director of the New York Philharmonic and conductor of the Metropolitan Opera, died unexpectedly in 1898. A group of Seidl's friends and colleagues commissioned Barnard to create a burial urn to hold Seidl's ashes. Barnard had made a spectacular debut at the 1894 Paris Salon, and his Struggle of the Two Natures in Man had entered the collection of the Metropolitan Museum of Art in 1896.Donna J. Hassler, "George Grey Barnard (1863 - 1938)," American Sculpture in the Metropolitan Museum of Art, Volume I, Thayer Tolles, ed., (New York: The Metropolitan Museum of Art, 1999), p. 421. In 1891, he had modeled a chimneypiece decorated with high bas-relief figure groups illustrating Scandinavian myths.

Thomas, Lord Knivett, at Stanwell, Middlesex (1623); Sir William Pope, in Wroxton church, near Banbury; Sir Nicholas Bacon, in Redgrave church, Suffolk (with Janssens), the composer Orlando Gibbons, in Canterbury Cathedral (1626);It is the canonic portrait of Gibbons; see Paul Vining, "Orlando Gibbons: The Portraits" Music & Letters 58.4 (October 1977), pp. 415-429. and Sir Julius Caesar, in St Helens, Bishopsgate. Of Stone's non-sepulchre sculpture precious little remains: a chimneypiece, from 1616, at Newburgh Priory depicting mythological standing deities in bas-relief; two crumbling garden statues at Blickling Hall and a collection of statues in good repair at Wilton House. The Wilton House statues, as at Woburn, indicate the close working relationship that Stone had with both Inigo Jones and Isaac de Caus both of whom worked on the design of Wilton.

She danced with William Cecil, the son of Sir Robert Cecil, and tied a jewel in his ear.HMC Salisbury Hatfield, vol. 15 (London, 1930), p. 148. The house was much admired, especially for its long gallery on the top storey, where one chimneypiece had the date "1585".Mark Girouard, Robert Smythson and the Elizabethan Country House (Yale, 1983), p. 113-4. In 1607 there were rumours about the grandeur of a mansion that George Home, 1st Earl of Dunbar was building in the ruins of Berwick Castle. George Chaworth wrote to Gilbert Talbot, 7th Earl of Shrewsbury saying he heard the long gallery at Berwick would make that built by his father at Worksop look like a garret or attic.Edmund Lodge, Illustrations of British History, vol. 3 (London, 1838), pp.

The Guard Room, the former great hall of the fortress (now known as the State Hall), was transformed by new Renaissance decorations and the addition of a monumental chimneypiece. Charles III also made serious attempts to find the various works of art and furniture looted, sold and dispersed during the revolution. Together with new purchases, a fine art collection once again adorned the palace which included not only family portraits such as that of Lucien I by de Predis; Honoré II by Philippe de Champaigne; the head of Antoine I by Hyacinthe Rigaud, and van Loo's portrait of Louise-Hyppolyte (Illustration 11) but also such masterpieces as The Music Lesson by Titian. Charles III was also responsible for another palace in Monte Carlo, one which would fund his restorations, and turn around his country's faltering economy.

From the Caffieri workshop in rue des Canettes came an amazing amount of work, chiefly in the shape of those gilt- bronze furniture mounts which adorned furniture by the best ébénistes of Paris. Little of his achievement was ordinary; an astonishingly large proportion of it is famous. In the Wallace Collection, London,F 86 is the royal commode delivered by Antoine-Robert Gaudreau, ébéniste du Roi, in 1739 for Louis XV's bedchamber at Versailles: it is richly mounted with an integrated series of corner mounts, chutes and sabots, and the drawer-fronts and a single composition into which the handles are fully integrated. It must have been the result of close cooperation between Caffiéri and Gaudreau, who was responsible for the veneered carcase. In 1747 Caffiéri supplied gilt- bronze mounts for the marble chimneypiece in the Dauphin's bedroom at Versailles.

Seigniorial ovens were masonry ovens built on the Roman plan and were large enough to hold an entire community's ration of bread. For example, in the hamlet of Nan-sous-Thil (Côte-d'Or, France), the villagers were required to bake their bread at the four banal, as at home they were permitted only a small oven placed under the hood of the chimneypiece, for baking "gâteau et flan". Those regulations sought to reduce the risk of fire where thatched cottages huddled together. The danger was real, as demonstrated in 1848 when a full quarter of the neighbouring hamlet of Thil-la-Ville was consumed by a fire that ignited from sparks when a housewife heated her oven.Lucien Logeat, Nan-sous-Thil Semur-en-Auxois, 1940, noted in a review by Albert Colombet, "Review: En feuilletant une monographie de village", Annales d’histoire sociale 3.1/2 (January - June 1941):78-80.

The core of Athclare castle is a detached multiple-bay three-storey tower house, built on a rectangular plan in the 1550s. To the east of the tower block is a hall containing an early 17th-century chimneypiece. The 16th-century tower house stands complete to the parapet with various loop insertions, including angle and cross loops, and there is also a ventilator at the upper level at the opposite end to the tower. Features of the castle also include a pitched slate roof, clay ridge tiles, red brick corbelled chimneystack, half-round gutters on corbelled eaves course, corbelled stone parapet to tower, random rubble stone walling, stone quoins, stone string course to parapet, pointed archways, square-headed window opening, arrow loops to north, south and east including decorative arrow loop to first floor south elevation, stone surrounds, a pointed arch door opening to south, and dressed limestone voussoirs.

He removed many of the contents and fittings from Ballyscullion to Downhill, and Ballyscullion was demolished in 1813 (or possibly 1825). The columns from Ballyscullion’s portico were bought by Dr. Nathaniel Alexander, then the Church of Ireland Bishop of Down and Connor. Alexander donated the columns to be incorporated in the rebuilding of St George's Church, Belfast, where they form its portico. Many fireplaces, columns, windows and other features from Ballyscullion can still be found in other historic houses in Ireland: Alexander also acquired other marble columns and chimneypieces for his house at Portglenone House - now a Cistercian monastery; other chimneypieces adorn Bellarena House; an Italian chimneypiece from Downhill (probably originally from Ballyscullion) is today at Castle Upton in County Antrim; and the staircase was bought by Charles O'Neill, 1st Earl O'Neill to be included in Shane’s Castle, then being rebuilt, but was destroyed in a fire in 1816.

Good photographs allow an appreciation of how the objects were displayed, in glassed cases and on open shelves around the walls, over doors, and over the small fireplace, which had an elaborate shelved chimneypiece in wood above. Several objects, including the Casket of Saint Valerie, were on tables away from the walls. Comfortable seating was plentiful, some upholstered with pieces from medieval vestments, and there were framed photographs and houseplants.Thornton (2015), 31–41; Thornton (2011), 65–67 The room is now refilled with objects from the same period though of somewhat different types, and visitors to Waddesdon Manor can see it from the doorway.Thornton (2015), 60–65 Baron Ferdinand Rothschild MP, about 1880 The room, with the adjoining Billiards Room, is the only reception room at Waddesdon Manor to follow the French Renaissance style of the exterior;Thornton (2015), 14–17; Thornton (2011), 66 the other rooms are in broadly 18th-century styles, and contain a magnificent collection of paintings and furniture centred on that century.