Elaborate cornices, veranda's and woodwork adorn the two story brick exterior.
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Across Concord Avenue, the lot faces brick townhouses with bracketed cornices.
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Victorian details include lofty ceilings, original skirting boards, cornices and ceiling rosettes.
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Millwork frames the windows and doorways from the floor to the carved ceiling cornices.
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Barry Feldman, a historian and the tour's guide, will share stories of the buildings' decorative beasts, grotesques and cornices.
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They may look pretty but drapes, valances, cornices, and curtains made of heavy material subdue too much natural light.
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I mean check out this exteriorgreco-roman cornices, seashells above the pseudo-arched doors, topped with a dome airlifted from fucking st.
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Then, among the retracting ladders and dripping cornices, I noticed a head thrust from the window of a grand prewar apartment house.
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Doorways replete with ornately carved frosting jambs open into niches and cul-de-sacs of mirrored halls and oppressively, delightfully pink buttercream cornices.
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Many doors and cornices throughout the building have fine decorative detailing, and a large number of the windows feature the original leaded panes.
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And they used the terrain itself as a weapon, rolling boulders to crush attackers and sawing through snow cornices with ropes to trigger avalanches.
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Throughout the house are period materials from Spain, Morocco and France installed during the renovation, including plaster cornices and floors of handmade terra-cotta tile.
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But whereas rocky crags, treacherous cornices, thin air, and wildly fluctuating temperatures are common to most vertiginous snow-clad peaks, Everest's troubles are partly man-made.
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Most of the architectural details are original, including plaster walls and cornices, baseboards with cap and shoe molding, paneled doors, cut-glass knobs and woodwork throughout.
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The Art Deco building, named for the entrepreneur James Oviatt, incorporates Italian Romanesque elements, with tiled roofs, cornices, marble and a three-faced French-imported clock.
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Its spirit is Mediterranean with hints of Morocco, but in luxurious rooms replete with moldings, cornices and pilasters, in the Lowell Hotel on the Upper East Side.
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A pair of archways leads to dining room, where the walls are covered in damask over a paneled wainscot, and the windows have elaborate cornices and drapery.
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So, operating as a self-described "rubble rouser," he set out to save what he could, driving around in a beat-up Jeep in search of cornices, capitals and gargoyles.
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Another route to the walkway is through downtown Poughkeepsie, a riverfront city whose Victorian houses and Main Street facades with ornate cornices speak of its prosperous past as a manufacturing center.
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At Jackson, you take the tram up to the top and you have the fingers there, which are cornices into narrow chutes, and are normally only available with heli-skiing type operations.
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What were once banks and factories are now restored commercial and residential buildings, an impressive patchwork of colors and styles restored right down to the molded cornices, marble pilasters and stained glass windows.
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The existing cornices on the library's north wall would be removed, as would the all-important tree-filled planter behind the wall that draws the eye through the garden into a space beyond.
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I explored every day, gazing up to Beaux Arts cornices, perusing antiquarian hardbacks at the Bouquinistes along the Seine, enjoying obscure film retrospectives (Joseph Losey, Jon Cassavetes) at the cinema on Rue de Christine.
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Three-foot-wide brick piers will climb to the roofline, which will be topped with a flat ribbon of gray-colored metal — a modernist riff on the elaborate cast-iron cornices in the area.
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The Crown Estate has produced a slick brochure that suggests how the property could be configured without affecting the listed elements, such as marble fireplaces, cornices and the reliefs of dancing naiads in the main hall.
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A master of the Italianate style, Thomas designed symmetrical rows of arched windows separated by fluted columns and topped by decorative elements such as cornices and torches that the new technology of iron casting made possible.
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"I used to visit every applicant," Mr. Bennett said, adding that while he no longer does, he still manages to exasperate his walking companions by stopping to exclaim over cornices he somehow has never noticed before.
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Specifically, the columns, capitals, domes, pediments, and cornices of neoclassicism—all the things that made capitol buildings seem so trustworthy (until the Gilded Age) and Main St. bank buildings seem so permanent and reliable (until the Depression).
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It was Modern verging on Art Deco, with the exception of two grand rooms for entertaining that were embellished with ornate cornices and other detailing in the French Beaux-Arts style still most widely favored at the time.
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The architect and professor David Erdman has suggested fitting in more people in those same buildings by going even higher, adding cornices of from 5 to 25 stories atop the existing structures, which are already often about 40 stories tall already.
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Walking up a steep hill lined with mature trees, he passes homes that could pass for works of art: Victorians, some with stained glass and elaborate cornices and moldings painted in a soft palette of pastels, ocher, celadon and teal.
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He tore through decades of neglect, removing all but a few details: delicate plaster cornices, dramatic guillotine windows and an original marble fireplace the shade of mint-chip ice cream — one of the few shots of color in the whitewashed space.
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Many of Plas-yn-Cwm's public rooms — including a sitting room, a drawing room, a dining room and a study on the ground floor — have 14-foot ceilings, as well as architectural details like intricately molded cornices, plasterwork, window seats and wood paneling.
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The space, in a gracious but modest 0003 building by the Beaux-Arts architecture firm McKim, Mead & White, was gut-renovated by the New York architect Jim Joseph with a meticulousness that Adler might have appreciated, down to the hand-troweled cornices and custom mahogany raised panel doors.
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Among the highlights: "Portrait of Borges" (1968), a labyrinthine march of synonyms inked on graph paper; "Contempt" (2005), a campy bricolage of invective; and "The Joys of Yiddish" (2013), a 345-foot-long ribbon of nonsense ("Kibbitzer, kvetcher, nudnick, nebbish, nudz, meshugener…") hugging the cornices of the Haus der Kunst, Munich, site of Adolph Hitler's infamous "Degenerate Art" exhibition in 1937.
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Many of the windows have cornices or pediments of different styles.
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The second floor of the original wing has heavy molded plaster cornices.
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Older building roofing systems generally comprise the roof, parapets and cornices. Projecting metal cornices are subject to corrosion. Parapets may be subject to cracks and degrading mortar joints. A careful examination of the top-floor ceiling may reveal water leakage.
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However, their layout is well organized and more complex than it first appears. For example, there was a gradation of materials used; rustic stone for nymphée, smooth cut stones for the roof base, plaster cornices and protruding, stepped cornices floors.
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A coffered plaster ceiling with large cornices is supported by pilasters with Corinthian capitals.
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The new columns, friezes and cornices were cast at the Kirov factory in Leningrad.
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This peak is still an unclimbed peak due to sharp cornices and icefalls on the ridge.
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Mann Verlag, pgs. 28-54, 355; 2015. Each scene is bordered around the edges of the ivory and the entire series has detached decorative cornices, borders and colonnettes. The cornices and borders contain inhabited scrolls, plants and cornucopias, while the colonnettes contain a decorative twisting column.
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Roughly $1,200,000 has been devoted to restoring the nearly 162 year-old windows, facades, and Italianate cornices.
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Dentiled cornices run under the roof. Gabled dormers, some containing round-headed windows, pierce the mansard roof.
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The panelled door and ground-floor sash- windows are surmounted by hoods with moulded cornices supported by carved consoles. First-floor windows are surmounted by pediments, again with cornices and consoles. A string course on brackets divides the stories. The roof is of slate and lead, with brick stacks.
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At St. Mary's of Gdańsk, all five lateral portals and some simple but long cornices are of ashlar.
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The passenger building has a significant architectural façade, with a string course of Baveno granite and three cornices.
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The storefronts have 19th century Italianate and Victorian Eclectic features, including cast iron columns, cornices, and recessed entrances.
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All rooflines and cornices save the veranda and the hood on the main entrance have a simple cut molding.
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The façade is rather lavishly decorated, divided by pediments and cornices. Inside, the iconostasis, also by Jegorov, is noteworthy.
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The floor boards are comparatively wide and appear to be original. The original central staircase appears to be largely original with Georgian styling. This stair hall also has marbling on the wall plaster and early twentieth-century wall paper. The remnants of some original cornices remain, although the plaster quad cornices are recent.
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The district has a number of contiguous contributing buildings, many with brick facades, bracketed cornices, and decorative arched stone lintels.
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Massive cornices above the second and third floors visually separated the base from the shaft that rose until the fourteenth floor. Starting from the ninth floor, it gradually re-acquired ornaments and arched windows as if in anticipation of the ornate Italian Baroque cupola above. Copper was used to cover the dome and cornices.
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The problem arises with certain sections of the eastern corrie which bite far back into the ridge and can be snow covered in winter forming cornices. Walkers taking direct compass bearings between the high points on the summit ridge have fallen through the cornices by underestimating the distance that the corrie bites into the ridge.
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Additionally, the firm designed the new structure to be similar but distinguishable from the original library. The new structure uses bricks that match the color of the old structure's bricks, but the bricks and mortar are different and the mortar joints are thicker. Additionally, the new structure uses colored fiberglass cornices instead of copper cornices.
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However, house eaves may also be called "cornices" if they are finished with decorative molding. In this sense, while most cornices are also eaves (in that they overhang the sides of the building), not all eaves are usually considered cornices – eaves are primarily functional and not necessarily decorative, and a cornice has a decorative aspect to it. The projecting cornice of a building may appear to be heavy and hence in danger of falling, particularly on commercial buildings, but often it may be very light, made of pressed metal.
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The interior of the building originally held 102 apartments. Decorative elements included wood frame moldings and hallway cornices with leaf motifs.
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The decoration shows historical embellishments such as pilasters and corbels alongside simpler, more modern elements such as the cornices and pediments.
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The shallow roof cornices are studded with brackets. The rowhouses were listed on the National Register of Historic Places in 1989.
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As a late example of Italianate the T. Goings Building lacks the elaborate window detailings of the district's other Italianate structures. Despite this, the building does have elaborate cornices. The wood cornices have brackets set atop brick piers, with finials atop. They are constructed of clapboard with the brackets and organic appliques in between the piers.
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As at 24 July 2014, some new fibrous plaster ceilings and cornices, some original timber boarded ceilings and cornices, original cedar joinery, original galvanized corrugated iron roof and water tank sheeting, ogee gutters and round downpipes in parts and intrusive gutters with square downpipes elsewhere, painted timber linings, joinery and decorative timberwork, stone flagging and timber tank stands.
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The rear wing contains three servant's bedrooms connected by a side hall. Decorative plaster cornices and ceiling friezes are in several rooms.
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Its roof has five gables; the gable ends have parapets with metal caps and limestone cornices. A bell tower is tall. With .
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The 17th-century Korobov mansion with its semidomes and patterned cornices is a fine example of the civil architecture of the period.
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It was constructed with Darley Dale stone, relieved with cornices, strings and arches of dressed stone. The total cost was around £2,700.
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The restoration of the building cost $1,000,000.Along Broadway Jettisoned Cornices Are Being Rebuilt, The New York Times, January 7, 2007, pg. 11.9.
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It has been built on a rectangular outline, with two angular towers on the northern side. The towers are decorated with bossage, pilasters, cornices and blind windows and are roofed with tented roofs. Northern and southern façades have ostensible avant-corpses, separated by cornices on the sides. The avant-corpses contain tympanums with stucco reliefs and coat-of-arms cartouches.
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The auditorium ceiling was decorated with a number of cornices featuring egg and dart, chain and bead and other features. The cornices were decorated in rose, shamrock and thistle designs in green, salmon, blue and gold. Each side of the stage featured a pillar decorated in gold accents. Seats in the Dress Circle were in maroon velvet, as was the stage curtain.
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He put arches, copings and tiles on the facade of his buildings in foreground, emphasized symmetry and highlighted conventional style with turrets and cornices.
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Other important elements include the water portal and the string course cornices. On the back there is a large garden in an excellent state.
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D. u. Ö. Alpenvereins. Nr 9 and leeward sides of mountains. Cornices are extremely dangerous and travelling above or below them should be avoided.
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Its size was soon surpassed by the dome of St Peter's, built using flying scaffolding supported on the cornices and constructed using two stone shells.
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The house is divided horizontally by several cornices. The figures are by Richard Kuöhl. They represent typical professions on which the Hamburg economy is based.
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The cornices and pediments are decorated with dentils. The building, with its dignity, simplicity, symmetry and perfect craftsmanship, is considered a masterpiece of Romanesque architecture.
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Such features were American colonial architecture doorways and interiors, along with window lintels and cornices. These details were indicative of construction in the distant past.
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A triumphal arch supported by pilasters supports the vaulted structure over wood cornices in the presbytery, dominated by a floor-size wooden crucifix and altar.
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Apart from these modern facades, the old town still remains, with many of the older buildings, with their ornate windows and elaborated frames and cornices.
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In the corners of the triangular niches on the exterior, are columnar decorations. Other designs may be seen around the saddles above the windows, the eaves and cornices, and decorative features that were once around the portals. Foliage relief may be seen around the windows, while geometric relief is along the eaves and cornices. There are also traces of painted relief on the interior of the church.
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The cornices of a modern residential building will usually be one of three types: a box cornice, a close or closed cornice, or an open cornice.
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La Trémoïlle set to the task of restoring the castle and added several features, including parapets and cornices. The La Trémoïlle family still own the château.
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Just above the columns, on the cornices are putti wielding the Arma Christi. At the chapel's entrance is the Ducal box, part of Charles Eugene's suite.
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MARKHI, 1986, pp. 31, 59. Decorativelly it features foreign exotic motifs, likely of eastern origin (examples are arrow-shaped and "flaming" cornices, stupa-like forms and dharmacakras).
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Historic Campus Architecture Project. The Council of Independent Colleges. Retrieved on October 1, 2008. Stone is used for architectural accents of lintels and cornices on the exterior.
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The main facade is symmetrical, with a pair of entrances, each flanked by pilasters, sidelight windows, and outer pilasters, and topped by entablatures and peaked cornices. Windows on the second level also have peaked cornices. and Tuftonboro's Methodist congregation first met in 1804, and its first church building was constructed in 1820. The present building was erected sometime between 1849 and 1854; the congregation ascribes its construction to 1853.
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The facade is decorated with different decorative elements. These include a meandering band on the eaves of the cornices and a number of decorative elements on windows and doors, such as ventilation holes in the cornices over the windows. The window elements facing the tracks are richly decorated. Manfred Berger stated in 1980 that the building was a functional, yet beautiful building that was amazing for this small town in Brandenburg.
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The main hall was designed with Italian limestone claddings with ornate plaster ceilings and cornices. Floor-length windows, cornices, panels, friezes, and details reflecting a range of styles are found throughout the interior. Rooms drew from various period styles including Georgian, Adamesque, Jacobean, and even Arts and Crafts. The house was fully electrified, and had a central vacuum system, recirculating hot water, and a ten port shower in the master bathroom.
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Skirtings are generally simple timber of a simple profile, and cornices are rounded plaster. Lightweight modern partitions and modern carpet floor-linings are not of cultural heritage significance.
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Below the bust, sitting on cornices, are two caped female figures holding lyres in their hands. The original figures were stolen and have been replaced by plastic replicas.
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Like the earlier version, it had a long room with a vaulted ceiling; the walls were thick and the interior vaulting was high. The building featured decorated cornices.
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Moulded cornices are consistent throughout. Ceilings are tongue and groove boarding. Circular fretwork vents are central to five existing ceilings. An unpainted brick fireplace remains in seasonal use.
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These spaces are deferentially scaled with tiled gable roofs, including one annex, while simple faceted spires have been erected on the bell towers (painted white). The walls are plastered and white-washed, with the main floor, corners, pilasters, friezes, cornices and frames in black stone. The church is oriented to the southeast, with its main facade finished in an ornamented pediment, that includes a central circular clock, and crowned by an iron Latin cross above a gabled plinth and parallel elliptical scrolls, with lateral pinnacles. Consisting of two registers, the church is divided by cornices and friezes: by three rectilinear lines, with frames surmounted by convex friezes, linear cornices and windows with sills.
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In the southeast corner is the top lookout tower which is decorated in Mudejar style. The building facade is white lime contrasting with red brick pilasters, architraves and cornices.
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Two bay windows have paneled aprons, round-corner windows, and bracketed cornices. The house has a low pitch hip roof with paneled soffit windows and paired-bracket cornice supports.
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The house also has open porches with decorative wrought iron railings, balustrades, and cornices. Note: This includes It was added to the National Register of Historic Places in 1985.
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The Joy house is a two-story frame structure with clapboards and a gabled roof, built in a style somewhat reminiscent of the Italian Villa style. The windows are double-hung sash units with plain trim. The most distinctive feature of the house is the three-story corner tower, with a pyramidal roof and crocketed finial somewhat like a pagoda. The tower has box cornices, and two front windows with bracketed balconies and cornices.
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The building includes heavily bracketed cornices and window openings that featuring a combination of round, segmental and stilted segmental arches. There are cast iron storefronts on the building, as well.
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The three storeys are separated by horizontal bands of stone, with the corners, frames, lateral limits, cornices, pilasters and pedestals finished in stone, while the walls are plastered and whitewashed.
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It had two access stairways flanked by steep balustrades topped with vertical cornices. Behind the platform two stairways descend Group B's retaining wall towards Group B-X.Lehmann, pp. 40–41.
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It has four turrets with curved cornices. The brick walls, in particular, were damaged due to sulphate effect. It was renovated in the 1980s according to guidelines set by UNESCO.
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The station building from 1894 is a brick building with Renaissance Revival and eclectic elements with stone-accented corners, cornices and window surrounds and it has some Art Nouveau elements.
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Both structures used the Richardson Romanesque style, specifically multi-story round-arched arcades upon a stone facade. The design also had smaller cornices above the 6th, 8th, and 10th floors.
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Sandgate is a substantial two storey residence. It retains its original character and detailing including elaborate wrought iron verandahs and columns, ornate plaster cornices and friezes and full cedar joinery.
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Single-storey section in a similar style adjoining north-west corner. Two doorways with rendered coved and splayed cornices flanking base of stack to east.J. S. Curl, The Egyptian Revival (1982).
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Not all the parties are able to reach the true summits of Chakrarahu Este and Oeste, because this requires traversing below the cornices and obviously increases the seriousness of the climbs.
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Its hall and two front rooms have cove cornices. Mary Bayne, who lived there, wrote Crestlands about the founding of the Christian Church. With It has also been termed The Coachstop.
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The Bhima Ratha has a pillared open veranda, a column with a Pallava seated lion, and "horseshoe-arch dormer like projections" called kudus. These decorations are carved on the external faces of the ratha, above the cornices which also forms the dividing line between the ground floor and the first floor of the structure. Oblong-shaped shrines are carved at the cornices linked with a passage. The small shrines have a wagon-type roof supported on lion mounted pillars.
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This caused the side-tower cornices to conflict with the arcade capitals, so the cornices were removed. Following war damage and the resulting weather-related damage, the organ was noted to be in a poor state by 1953, notably the Choir division was completely 'bombed out'. Hill, Norman & Beard remodelled the organ as a two manual and pedal instrument in 1964. This is the organ present today albeit with some additions to the piston system added in 1996.
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Neoclassical (or neoclassical revival) buildings have traits such as classical symmetry, full-height porch with columns and temple- like fronts. Ornamentation that iconifies this style are classics, such as dentil cornices. See.
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The building was designed in the Beaux-Arts style. Architecture of the building employs Baroque, classic cornices, combined with a Gothic bas-relief on the pediments. The facade is decorated with quoins.
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The core building contains finely crafted timber joinery, plaster cornices and leadlights. The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.
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For the construction of the mosque, brick and rubble stone, was used, together with saw-toothed brick cornices at the top of the walls and terra-cotta tileswere used on the brick dome.
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There are amalaka-type segmented rings at the corners at one level, and the ornament with corbels, leaves and festoons on the lower cornices, below the gavakshas, suggest influence from Chinese Buddhist art.
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Wakakusa has a long tradition of tilemaking. In the past, the Devil's Head tile adorned the cornices of many houses in the village. It is believed that the face keeps evil spirits away.
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The interior has Tudor arched doorways and moulded cornices. The octagonal entrance hall has a Tudor arched fireplace and enriched plaster wall panels. British Listed Buildings. Gives details of architecture and some history.
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In the rear service wing original plain plaster ceiling without cornices survive. There is an existing modern enlarged opening between the kitchen and the family room which does not extend to ceiling height.
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The spaces include the central aisle, today exposed to the open air, with smaller covered sacristy in roofing tiles. Most of the facades were plastered and painted white, while pillars, corners and some cornices, the sacristy corners, frontispiece and cornices painted in grey. The principal facade is marked by a sundial-type clock constructed of light stone, over dark basalt. The bell- tower, which is accessible by a lateral staircase on the church exterior, is also constructed of local basalt.
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About two-thirds of the buildings in the district were built before 1900; most of these are designed in the Italianate style. The four buildings at State Street near Pleasant are particularly fine examples of the style with tall narrow windows and pressed metal cornices. The William H. Piel Building and its neighbor at 522 South State Street are good examples of the Chicago School. The Belvidere National Bank and Trust is of a Classical Revival motif with Roman arches and projecting cornices.
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Corners are decorated with flower designs. The cornices are also seen with kudus carved with human faces inside. In the floor above the cornice, lion motifs are carved. A square supports the domed roof.
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Pocket doors lead to parlors on the north. All the rooms on the first floor have their original plaster cornices and projecting Greek Revival moldings and architraves. The second floor's rooms are more restrained.
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Either side of the central front bay there were projecting bays with bay windows. Detailing was spare and well executed. Cornices were plain, skirtings simple. There was a wide plate rail in the halls.
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Gables are clad with vertical boards. Shutters cover the four bay windows. Two front porches haves paired support columns and heavy cornices. On the interior, the house has hardwood woodwook of cherry, walnut, and oak.
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To the underside of the mezzanine is in extensive pressed metal ceiling and cornices, with a pressed metal cladding also to the balustrade. The ceiling to the store is raked, exposing the timber roof trusses.
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Dark red brickwork with full-height brick pilasters and decorative light red brick lintels cornices. Sandstone moulding at base of pilasters. ;Classroom Block Two-storey rendered brick building with neo-classical detailing. Terracotta tiles roof.
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It is covered by a roof- like canopy and adorned with ornamentation, such as decorative brick and tile work, cornices, arches and inscriptions, with the transition from the shaft to the gallery typically displaying muqarnas.
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Schenectady City Hall viewed from the rear Marble is also used extensively inside the building for stairs, flooring and wainscoting. Other decorative touches include the city's seal on brass doorknobs and intricately molded plaster cornices.
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Walls and ceilings are lined with fibrous cement sheeting joined with cover strips and floors are lined with carpet. Internal doors are panelled timber. Cornices and picture rails are simply detailed and formed from timber.
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It cost $10,855 and was designed by Wagoner and Dobson of Montgomery, Alabama. It is a by brick building with "elaborately corbeled entablature-like cornices". with Its interior has arched corrugated metal and concrete ceilings.
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In addition to picture frames, the company manufactured a line of ornately framed mirrors, picture frame moldings for use in commercial frame shops, accent tables, and decorative specialties such as cornices and fan display boxes.
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A broad architrave and frieze bands run under the cornices. On one side of the front entrance are six-over-six windows. Other windows are Colonial in appearance, likely the result of a 1930s modernization.
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In 1971 First Lady Pat Nixon, working with White House Curator Clement Conger, refurbished the Vermeil Room adopting a Federal style for the room's decoration. The Georgian cornices were replaced with later period cornices. Several of the vitrines were closed up, and the paneling was given many coats of putty to transform it to a smooth finish. The room was painted a soft green and drapery was designed by Edward Vason Jones in gold, green, and blue with complex swags trimmed in bobbin tassels.
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Iona constructed 1888 is significant for its high aesthetic quality as a late Victorian Italianate villa demonstrating the transition into Federation period styles of residential architecture. Its form, use of materials and detailing, particularly the highly ornate cornices provide the building with its high aesthetic value with such cornices being relatively rare due to their excellent quality. Iona is associated with prominent businessmen and public figures of the time. Historically the place was also adapted for use as a private hospital for many years.
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Tuck-pointed brickwork, timber moulded panel doors, some with transom windows, timber double-hung sash windows bordered with stone lintels and ornate, rendered sills and pressed metal cornices. The layout consists of refreshment rooms and kitchens on the ground floor with passenger accommodation on the upper floor, with associated bathrooms and linen stores. Internally the building features pressed metal cornices and ceilings, hardwood floors, a pine staircase and balustrade.CCG Architects, 2016, 11 The type 4 elevated signal box with a hip roof was completed in 1923.
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This facade is terminated with cornices and surmounted by a latin cross over a cylindrical stand. The entrance is marked by a doorway decorated with cornices and rectangular window protected by wood grade, while the rear is blind. The interior walls are plastered and painted in white, while the floors and ceiling are built in wood. The lateral door is flanked by a hemispherical baptismal pia and wardrobe, while at the top of the nave (behind the pulpit) is the door to the sacristy.
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The First Floor of the main block is generally accommodation. The rooms to the southern end have been divided off as the Manager's Residence, but generally retains its layout and pressed metal ceilings and cornices.. There is a Lounge located centrally at this level, from which lead several corridors to the verandahs and to the west wing. Generally at this level, there are pressed metal ceilings and cornices through the halls and bedrooms. The doors are low-waisted four panel doors with tilting fanlights.
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Ceilings are of plaster with cornices and decorative ceiling roses that remain. Skirtings, architraves and cornices in the chamber have multiple stepped profiles. To the rear of the chamber a full height wall of perforated fibreboard, is a later addition, built in line with the front of the strong room, which remains with its original door in place. While the walls and ceiling of the banking chamber are relatively intact, the fittings belonging to the bank have been otherwise removed and the floor covered with carpet.
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The house is clad with clapboards, and has one-over-one windows with cornices above. The house was constructed before 1903, and is associated with Isaac Bartram, a laborer at Darling & Beahan's seed and implement store.
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The great plaster cove cornices, believed by Waterman to be unique in colonial architecture south of Maryland, further enhance the monumentality of the house. It was listed on the National Register of Historic Places in 1972.
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It features brick columns, arched windows, ornamental cornices and a wrap-around veranda. Antlers Hotel was listed on the National Register of Historic Places in 2007. It has been renovated into a 14-unit apartment complex.
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The architectural feature has been richly detailed with sculpture, including the: lintel, window and portal frames, pilaster bases and capitals, cornices, and friezes. Furthermore, some of the blind windows, window niches, sacristy, and scarps are plastered.
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The view from the summit gives a fine panorama and takes in all the Cairngorm giants."The Munros" Page 121 Gives details of ascents. In snow and cloud, the cornices on the plateau are a notorious hazard.
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The interior has a four-room plan with central hallway. The ceilings and walls are plastered. The house has its original floors. Most major rooms are decorated in Adamsesque style with cornices, ceiling medallions, and carved mantels.
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Only the plaster cornices at the base of the vaults and at the top of the main quadrangle, as well as pilasters between the windows on the north and south walls, have survived from the interior decoration.
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The roofs of both the porch and the bay window have box cornices with decorative bracketry. The mansard roof contains round arch gabled windows. Vergeboards in the window coverings are carved, as are the ornamental pendants present.
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The other windows on the upper storey are decorated with architraves and cornices, while those three that are above the central portico have balustrades and consoled cornices. Beneath the upper and lower storeys, the building is of rusticated ashlar to the ground level. The entrance, in the centre of the front, is approached by an imperial staircase and framed by a tetrastyle portico of the Corinthian order. Decorative panels in Liardet's stucco with festoon motifs decorate the wall above the portico, while the royal coat of arms of the United Kingdom decorates the pediment.
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Generally, the rooms have timber board floors, timber tongue-and-groove board walls and ceilings with moulded timber skirtings, architraves, belt rails, and cornices. The ceilings are generally high with a lower ceiling () in the hall. The principal rooms (drawing and dining rooms) are connected by a large square opening with an elaborate architrave. These two rooms have larger and more elaborate skirtings and cornices than other rooms and the dining room has a fireplace with a decorative fire surround of painted timber panelling including a small amount of white marble.
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The first floor of Tamworth Post Office comprises the concrete and vinyl tiled former telephone exchange, tiled staff amenities and carpeted lunch room, storage and former offices, the front "meeting" room having sheet vinyl flooring. Excepting the staff amenities and lunchroom, the upper floor is currently vacant. Ceilings to the first floor are as for the ground floor, being suspended ceilings without cornices and later plasterboard with coved cornices. Air conditioning vents are located within the ceilings and there are banks of fluorescent lighting to the spaces, with pendant lights to the verandah.
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The roof is pitched and features a large dormer window on the front facade with a balcony on top while there's a series of smaller dormer windows behind. Brick cornices frame the eaves on the front and back.
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Over the cornices are quadrangular oculi, with circular frames of spiral and shell motifs with frieses, containing interlaced motifs and inscription, surmounted by volumous cartazes and shell with the monogram "AM" (MATER DEI, Latin for Mother of God).
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The cornices of the building have hundreds of masks of Chaac with Venus symbols under the eyelids.De Meis (2014) p. 159 Inscriptions De Meis has a table of 14 Long Count inscriptions that record heliacal phenomena of Venus.
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The lens was replaced by a 500mm lens. No record has been found which indicates that major structural changes or alterations were introduced in the dwelling. The decorative elements are purely neo-classic especially its cornices and pediment.
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All are trimmed with carved stone elliptical arched surrounds. The entryways and the adjacent first-story windows have an additional keystone molding. The upper windows also have corbeled sills. The flat rooflines have projecting cornices with vertical brackets.
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The most popular route to the summit is through the south west face. About 200 m away from Suj Tilla West is Suj Tilla East (6394 m). This peak is still unclimbed due to multiple cornices on the ridge.
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The interior contained eighteen rooms including ten bedrooms, four bathrooms and a conservatory. There was extensive use of fine eastern hardwood. Oak was used for doors, panelling, cornices, floors and fireplace mantles. Rooms were finished in quarter-cut oak.
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The clapboard siding rises to a steeply pitched mansard roof with two cross-gables. It is shingled in patterned slate. The rooflines are marked by heavily molded cornices, paired brackets and decorative friezes. The gables are topped with finials.
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All interior timber work and joinery is varnished. Walls and ceilings are lined with hardset plaster with deep moulded cornices. A single decorative plaster ceiling rose is located in the banking chamber. Floors are generally covered with recent carpet.
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Neoclassical elements such as urns, columns, and cornices adorn its interior; these were most likely inspired by the architecture of the recent Columbian Exposition. The house was added to the National Register of Historic Places on February 24, 1992.
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The cornices of the roof, projecting bay tops, and front porch are all studded with modillions, and the front porch features turned posts with decorative brackets. The house was listed on the National Register of Historic Places in 1989.
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The original internal finishes include decorative plaster ceiling and moulded plaster cornices to the waiting room and ladies waiting room, moulded timber architraves to original building joinery, plasterboard ceilings to amenities, and tile and carpet floorings. All fireplaces have been enclosed.
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Inside, the two parlors on either side of the main hall have marble fireplaces, plaster cornices, wooden architraves and wide plank flooring. Ornamentation continues in the upstairs bedrooms with wood molding in a lyre motif and other intricately detailed woodwork.
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GSA, 2006 It was reported as at 8 February 2007 that much of the internal original and early building fabric survives, including timber staircase, several fireplaces, various ceiling linings (plaster, timber and pressed metal), decorative plaster cornices and details. (1995).
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It represents the Virgin of the Rosary. The exterior of the church is simple: its façade is gabled, with prominent cornices in its mid and top portions. It counts with a bell tower that rises to the left of the façade.
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Vernon Hunter oversaw the modernization. Beacham Theatre upstairs offices in March 1991. In 1954 the look of the theater was modernized once again with the removal of parapets, cornices, and windows. The marquee was replaced with a new porcelain one.
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The most typical examples were Renaissance stone buildings and half-timbered building from the 17th and 18th centuries. On the right part of the facade is a bay window on consoles. The facade above is divided by half-columns and cornices.
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The main facade is three bays wide, with windows that have bracketed surrounds, and a pair of entrances with bracketed cornices above. The building was listed on the National Register of Historic Places in 1985. It presently houses a daycare center.
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Windows are topped by bracketed cornices. An open veranda extends across the front, its balustrade also with delicate woodwork. The home is a rare surviving farm cottage is what is now an urban section of South Portland. It was built ca.
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Before the Emigrant Savings Bank Building's completion, developers frequently bought surrounding low-rise buildings to preserve their structures' views, or their architects would design the upper floors to be smaller than the lower floors to compensate for large rooftop cornices.
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These spaces use marble for trim and on the faces of the courtroom clocks, contain leather covered doors, oak cornices, and coffered ceilings. Additionally, these courtrooms contain almost full-length windows, oak shutters, Corinthian columns, and bronze lamps among other details.
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It had brick interiors with cornices. The original main building has a length of 25.78 metres and a width of 14.32 metres. The narrow main hall of the building was open at first. In 1888, the State Railways installed doors.
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The toothed cornice is decorated a saw-toothed trimming which runs along pilasters to the chancel gabel. The nave walls are similarly decorated with cornices and pilasters. The chancel windows resemble those of the apse but they have been extended downwards.
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The partition walls are of narrow tongue and groove vertical boarding and there are timber ceilings and cornices. The doors have fretted transoms with a lyre and acanthus design, a classical reference appropriate to centre dedicated to education and the arts.
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The building is a single storey building constructed of brick with a corrugated iron hipped roof in a Federation Free Classical style. The building sits upon a rendered plinth and has stuccoed archways, keystones and string courses with feature timber cornices.
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A one-story porch running the length of the street facade, and uses a simple configuration supported by three square posts with beveled corners. The windows for this section are two-over-two double hung and capped with simple cornices.
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Conger and Jones cited illustrations shown in an early 19th-century pattern book belonging to the Society for the Preservation of New England Antiquities (now called Historic New England). Coral and gilt ornamental cornices were constructed and installed above the windows. They were topped by hand-carved, gilded American eagles with outspread wings, a favorite decorative motif of the Federal period. The cornices are similar to those in the library of the Miles Brewton House in Charleston, South Carolina, and the South Drawing Room of the Sir John Soane House in London in the United Kingdom.
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When a cornice collapses, it breaks in from the cornice to the top of the peak; even being on the snow on top of rock exposes the alpinist to hazard in this situation. The best practice in mountaineering is to stay far enough back from the edge Interview und Bilder zum Unglück so as not to be able to see the drop, as an approximate metric of exposure. In avalanche safety, cornices are a high avalanche danger as they often break and trigger larger avalanches that permeate several snow layers. Cornices are particularly vulnerable to collapse during periods of solar warming.
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The old paint was removed and a special clear coat was applied to prevent rusting of the wrought iron and to allow the details to be visible. Plaster works were carried out on the plaster motifs, cornices, balustrades, capitals and carving of the old building were either deteriorated or destroyed during the earlier renovations. Skilled artisans from India were brought in to recreate the plaster works which include restoring many of the windows, doors and cornices. Its largest work done was the coat of arms of Queen Victoria and the entire northern facade which had been destroyed.
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The structure alternately shows variations in the use of the carved lobes, concave cornices, the large number of pendants, false aprons and backs. The curved frieze that surrounds the large window and divides the body refers is an element of the Estado Novo era, with an inscription alluding to the patron. The hermitage consists of a polygonal plan with nave and left-hand bell-tower, with articulated volumes and differentiated spaces with tiled roofs. The facades are plastered and painted in white, with stonework running throughout, flanked by pilastered wedges, and rectangular plinths, topped with friezes and cornices.
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The main facade (which is oriented to the west) is decorated with a gable, cut and ornamented in spiral decoration, surmounted by cornices and Latin cross over double plinths. The main portal in a polylobial arch, includes several frames, flanked by two orders of pilasters and two columns built into the wall, surmounted by friezes over rectangular plinths. These plinths include inferior plinths supporting fragments of the portico and superior plinths with angular cornices, that extend until the corners, and pinnacles similar to balustrades. Between the portal and corners, are small backrests with the Portuguese shield.
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Rectangular windows with pointed arch motifs run between the projecting bays, and the rooms are accessed via timber double doors. Rendered masonry dressings include toothed window surrounds, hood mouldings, cornices with dentils, and copings. The upper level classrooms at the ends of the east and west wings feature timber arched braced trusses springing from semi-circular impost blocks, diagonally boarded timber ceilings with exposed rafters, and timber cornices with quatrefoil motifs. The four classrooms either side of the Great hall on the upper floor and several on the ground floor have sheeted ceilings with dark timber coverstrips.
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The main church has a longitudinal plan, composed of an elliptical nave, rectangular presbytery, with chamfered interior angles, forming polygons, divided in two parts: a rectangular tower and, opposite it, an addorsed sacristy. The facades in limestone, are partially constructed with granite masonry and decorated with cornices and awnings. The west wall has a convex profile, with straight gable, dominated by a main portal with a decorated facade cut with ornated curves and cornices that frames a Portuguese escudo (shield), surmounted by a closed crown. Over the portico is a large rectangular window, with salient frame, topped by arch in brick.
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In the body of the nave (divided into two registers), there appears, on the first, an adjoining annex and in the upper two, arched windows. The volume of the main chapel also includes an attached/adjoining annex and in the upper register, two straight windows, decorated by cornices. The north facade, in the body of the nave, is a straight portal and half-cane frame surmounted by a protruding frieze and bowed arch with straight window, decorated by the coat-of-arms. In the volume of the chancel, the sacristy appears with two straight windows, decorated with cornices.
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The building assumes an important position in Santa Cruz, being visible from most places in the town. It includes a principal body, a narrower chancel, two bell towers and annex structures on either side of the presbytery forming "L"-shaped extensions of the presbytery and nave. The entire building is constructed in masonry and stonework, plastered and painted in white, except for the , cornerstone, cornices, pilasters, columns, frames, pinnacles and decorative elements, that include interior arches, pillars, corbels and stonework. The principal facade is divided into three levels by cornices and three vertical sections by pilasters.
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Second-floor rectangular windows are crowned with segmental cornices with relief. The second floor has small balconies with delicate iron-cast railing. The columns of the central arch use composite Corinthian order. The entrance to the yard is decorated with two atlantes.
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The building of the church is cross-shaped. The only altar is consecrated in the name of John the Theologian. Entrance gates are crowned with semicircular cornices. The triangular windows are situated on the four sides of the church, three on each.
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Inside the building, there are arched verandah and internal arcades on the ground floor. The walls are plastered and painted and the floor is screeded. For the first floor, the original wooden doors and windows, cornices, skirtings and floor boarding are still presented.
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The Basilica forms a Latin cross with three naves. Despite being a late construction, it retains the mannerist scheme typical of Jesuit art. However, the façade differs substantially and has a neoclassical style with Baroque-inspired cornices, and the towers recall Romanesque solutions.
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The interior retains many original features of quality including doors, joinery, staircase, cornices and hall screen doorway. Chimney pieces have been removed, wall surfaces renewed and various unsympathetic fixtures installed. Wall cladding and details in the attic area have been generally altered.
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There is similar decoration in the western parlor, but without the doorway cornices. Next to its fireplace is an original china closet. The door leads to the west entry to the house. This vestibule leads to the rear wing of the house.
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The buildings are one- and two-story brick commercial buildings with shared walls. The two-story ones have pressed- metal cornices. The main architectural style is Italianate, reflected in round-arched window openings. No original storefronts are present; all have been modernized.
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The Military prison building was designed in the Classical Greek - Italian style. The portico is Ionic. In front of the vestibule is the portico of two Ionic columns and two pilasters with vertical fluting. Windows are decorated with segmental cornices and pilasters.
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A large two- storey school building in Gothic Revival style. The walls are face brick on sandstone foundations and featuring stone dressing around windows and sills, cornices and finely detailed parapet cappings. The walls contain excellent brick detailing. The plan is asymmetrical.
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The kitchen and bathrooms have recent vinyl sheet coverings. Walls are generally plastered and painted. Ceilings to the bedrooms appear to be original plaster board with rounded cover strips and moulded cornices. The living/dining area appears to have a recent plasterboard ceiling.
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The building is designed in the Neoclassical style. Its design includes cornices and a large colonnade spanning its northern facade. Its exterior is mainly composed of granite wainscot and Berea sandstone cladding, while the windows have Vermont marble panels and iron grill encasements.
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Above building cornices, bay windows are topped by gables. Inside, some elements are still preserved, such as original furnishings, including an antique stove. The building has been put on the Kuyavian-Pomeranian Voivodeship Heritage List, N°601300 Reg.A/742, on January 15, 1986.
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By February a large portion of the pine frame had been erected, and in March the cornices and the tin roof on the mansion were completed. Slave quarters and a small carriage house, both made of red brick, were also on the property.
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Rooms of various dimension run off central corridors at ground and first floor levels. The rooms in the northern end of the building provide large museum display space. Walls are plaster over brick and ceilings lath and plaster with moulded decorative cornices.
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Apart from the toilets and the waiting room the rest of the rooms are kept locked. The interiors have been refurbished with only plasterboard ceiling panelling, simple moulded cornices and high wall vents appear to remain from the original phase. The floors are tiled.
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The ground floor was equipped with huge display windows, and higher floors had horizontal windows. Both corners facing Swidnicka street were rounded. The façade of the store was characterised by the rows of windows and decorative cornices below them. Elevation details were given special attention.
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The cornices are shallower. The west wing has an entrance with paneled reveal and transom light. A larger, later wing extends from the north, of brick in common bond with a gambrel roof and cornice echoing the main roof. It ends in a loading platform.
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The building's massing terminated in a gable roof sheathed in metal standing-seam panels. Wooden block modillions ornamented the front and rear eaves and partially returned cornices. Central brick exterior-end chimneys were located on each gable-end. Small attic vents punctuated the gable ends.
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Plainer wings extend to either side of the main building which protrude to the front. The interior of the former booking hall continues the Italianate theme, with a high, coved ceiling and full-height cornices. The interior was carefully restored in the early 2000s.
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The O'Conor House was designed by native Ottawan Norman Cook, a lifelong friend of the O'Conor family who designed several other significant buildings in LaSalle County. The Colonial Revival O'Conor House has in its windows, cornices and entrances the principal areas of Colonial Revival style.
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The interior features original cornices, doors, and other woodwork. The house was built c. 1813–15 by Daniel and Isaac Pinkham, in the wake of Portland's devastating 1813 fire. The latter was a noted local cabinetmaker, whose work is presumed to decorate the interior.
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107 The interior of the cathedral is spacious and light. The pillars which support the gallery are modified visually by the arches which link them and surround the chancel. Profiled wall columns, cornices and the installations form an organic part of the interior.BUTRIMAS, Adomas.
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Bracketed cornices and paneled soffits at the roof line are topped by a shallow hipped roof. The interior is divided on a side-hall plan. Notable ornamental features are a curved staircase, marble mantels, the original bronze chandeliers, and floor-length windows overlooking the veranda.
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The 42nd Street archway, showing the large window above the doorway. The architrave runs below the top of the arch. The facade is divided into three vertical sections: the base, tower, and upper stories. The facade contains elements such as arcades, and cornices with corbelling.
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The facade is plain and traditional, with a triangular pediment and a flat wall. There are no horizontal bands to separate the facade into storeys, though a steam of cornices separate the pediment from the wall.Galende, Pedro G. Philippine Church Facades. Quezon City: Filipiniana.
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All ceilings are plasterboard with scotia cornices. A fireplace is concealed by the display. There are two counters, one formed by joinery, and the other framed by a large opening to the rear wall. The square heads of the windows are visible at the sides.
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The original floor layout remains including parcels office and Station Master's office with ticket window looking over the general waiting room, and toilets including an accessible toilet at eastern end. The interiors generally feature custom orb ceilings with ceiling roses, enclosed or adapted fireplaces, moulded picture rails and cornices to the general waiting room, decorative cast iron wall vents, later floor tiling or carpet finish, and timber bead style moulded cornices. All toilet and light fittings are relatively new. The Platform 1 door of the general waiting room and the ladies toilet door have also been fitted with a solid panel at the back.
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The top floor was made into a gallery for the family and their guests and included their collection of Roman sculptures. The cortile (internal courtyard) is so long, narrow and open to the Arno at its far end through a Doric screen that articulates the space without blocking it, that architectural historiansSigfried Giedion, Space, Time and Architecture (1941) 1962 fig.17. treat it as the first regularized streetscape of Europe. Vasari, a painter and architect as well, emphasised its perspective length by adorning it with the matching facades' continuous roof cornices, and unbroken cornices between storeys, as well as the three continuous steps on which the palace- fronts stand.
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The overall finishes include timber board wall and ceiling linings, moulded timber cornices and dado line, ceiling roses, fluorescent lighting, a fireplace in the SM's office with cast iron grate timber surrounds and tile hearth, and tile, linoleum or carpet floor finishes. Toilet fittings are modern.
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The church forms a cruciform and has a measurement of . It is constructed in the Corinthian and Ionic architectural orders. Its facade has classical Corinthian columns and cornices across a floral stone relief. The church's side entrance is elaborately designed which is typical of churches in Laguna.
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The rest of the surface is plastered and painted in white. Dividing each floor are cornices: on the first floor is a rectangular window and the second floor includes four Roman arches with the tower bells. The tower is topped by a pyramidal spire and corner pinnacles.
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They were originally lined with paper on hessian. The walls of the chimneys are painted stone. The ceilings are lined with wide, single- beaded tongue-and-groove boards, with timber cornices. Under the secondary pitch of the roof, facing west, there are a number of bedrooms.
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The central dome. The exterior of the building is entirely of stone with elaborate columns and handsomely designed cornices and capitals. Iowa stone is the foundation for the many porticoes of the building. The building is brick with limestone from Iowa, Missouri, Minnesota, Ohio, and Illinois.
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Decorative turned elements on the porch and on the front gable are inspired by Eastlake designs. The gable also has diagonal sheathing boards. Windows in the house are one-over-one double-hung units with decorative cornices. The Elias Meyers House was constructed some time before 1899.
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The elevation of the sub shrines seems to form a series of cornices with small rows of pillars, crowned by a ribbed dome. The seven temples were built in an architectural style similar to Kashmiri temples, with dentils, fluted pillars, trefoil arches, and rooflines that are pointed.
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The semicircular entablature rests on the capitals, made up of the architrave, frieze, and cornices. On its east side is a semi-dome decorated with high relief ornaments. In the centre is a shield with the initials "I.H.S.", a monogram of the name of Jesus Christ.
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It has an L-shaped veranda, partly recessed, around Humboldt Street and Mendocino Street sides. It has gables in both directions, with boxed cornices. It originally was a one-story house with Queen Anne elements. In 1919, Dr. Babcock built a one- room hospital behind the house.
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The bar area is open plan with original plaster ceilings with decorative cornices. Toilet facilities are located in the western corner. The bar area opens to the gaming room, a 1960s addition to the hotel. The first floor of the 1918 extension is currently used for accommodation.
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The passenger building has two storeys. Only the ground floor was open to the public. The building is made of brick, painted brown, and has nine single-light windows with round arches accompanied by cornices. The station once had a goods yard with an adjoining goods shed.
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There are plaster ceilings to the other offices with coved cornices and a ceiling rose in the eastern front office. Lighting is both suspended and attached fluorescent tubing. Architraves partitions are later, with some original architraves on original openings. Skirting is later, plain, brown and narrow.
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Over the former loggia area the ceiling is a flat board-lined ceiling. The ceiling then rises much higher over the main public space and beyond, with fibre or plasterboard linings, the original ceiling rose ventilators. The cornices are curved metal, probably corrugated galvanised and painted iron.
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The roof is supported by four wooden posts on octagonal plinths. Behind all three bays have French doors, molded cornices and louvered shutters. The second-story windows have similar trim. On the northernmost two bays of the first story on the east is a projecting bay window.
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The shopfronts are original to this period. They have single-storey verandas of timber framing on concrete bases and fibre cement valences. Inside, the shops retain some pressed metal ceilings, cornices and rendered brick wall surfaces. The first floor above the shops has two residential flats.
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A sculpted capital in the cloister. There is little exterior ornamentation on Conques except necessary buttresses and cornices. The exception to this is the Last Judgment tympanum located above the western entrance. As pilgrimages became safer and more popular the focus on penance began to wane.
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Ulrich Nitschke and Hans Klakow are the authors of façade elements such as ceramic cornices, human head sculptures, fleurons and masts. The main entrance faced Swidnicka Street. The ground floor and four storeys were dedicated to the retail area. Offices and food service areas occupied the two highest floors.
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In May, the East Room was cleared of furnishings. Mrs. Patterson oversaw the selection of new yellow wallpaper with a black and gold border, lace curtains, and reupholstered furniture. The ceiling was repainted and frescoes added, and the ceiling centerpieces and cornices were regilded. Only once did Mrs.
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Evidence shows that the fascia and cupboard are constructed from Australian Red Cedar. It is likely that the balusters and risers are similar. Ceilings and cornices in the main structure are a mixture of fibrous cement, plaster, timber, pressed metal and gyprock. These suggest several different phases of renovation.
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These included houses known as the hipped box, gabled-roofed and cottages. The apartment buildings built in the first two decades of the 20th century are three or more stories tall. They feature a simple, rectilinear form with flat fronts. Details are concentrated at the doorways, cornices and windows.
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The main color for the name tablets and cornices was dull green. The platforms also had shields with the white letter "W". Alternating columns between the local and express tracks had black on white signs reading "Worth." The station's walls and columns have been heavily covered with graffiti.
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Florence Downtown Historic District is a national historic district located at Florence, Florence County, South Carolina. The district encompasses 24 contributing buildings in the central business district of Florence. The district's buildings were built between about 1890 and 1940. Most buildings are two-story brick buildings with embellished cornices.
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Three of the gable ends feature coved cornices and decorative shingles and wood pieces. The front porch is supported by turned posts and features quarter round brackets and a spindlework cornice on its roof. The house was added to the National Register of Historic Places on February 5, 1998.
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Also, matching double leaf, five paneled doors are at the front and rear entrances, framed by rectangular transoms and sidelights with unusual rectangular pane design. Boxed cornices are bracketed all around. Behind the house are a barn and the old slave quarters, which were built around the year 1853.
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The Zhiyun Pagoda was first built between 976 and 984 in the Song dynasty (960-1279). The pagoda has the brick and wood structure with five stories and four sides. Curved bars and cornices are set on each story, which are magnificent and become the symbol of Guangjiao Temple.
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On the interior, the first floor is a side hall plan, with a high-ceilinged stair hall in the corner. Off the side hall are a front parlor and a dining room. Both rooms have plaster ceilings with heavy molded cornices and a central rectangular panel and marble mantlepieces.
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Although some original fabric at the basement and ground floor level has been lost as a result of alterations, elements of the main construction phases are evident throughout the building. The building exhibits high level of decoration such as cornices, attached columns, string courses and imitation stone courses.
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The building is covered with clapboard, with the gables ornamented with decorative fishscale shingles. he windows are one-over-one double-hung units with cornices above. This house was constructed by 1899, and is associated with W.S. Carmichael, a carpenter who lived in the house for many years.
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The façade was richly decorated with ocher color. The first level: ground floor in the middle of the body (4 axis), has a small flat roof porch with the main portal. The portal has fanlight, flanked by half-columns with smooth shafts. The capitals with cornices are decorated palmettes.
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As designed, the tubes were to be elaborately decorated meant to resemble castle walls with machicolated cornices, stringcourses and loopholes. The fitting of external decorations was abandoned on the grounds of expense and extra weight. The bridge contractor was William Evan. The ironwork was constructed by Easton & Amos.
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Cornices of masonry drape around the building on all sides and the roof on the gables are half-hipped while the dormers are hipped. The outbuilding is constructed of boulders with gables of yellow brick and contains a preserved bakery with oven and a partially buried milking room.
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Four rooms are organised off a central hall which narrows halfway along. The main entrance to Nash Street is a four-panel timber door with sidelights and fanlights. Both front rooms have fireplaces with carved timber surrounds. Ceilings throughout the residence are plastered and plain with no cornices.
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There are decorative metal cornices between the floors and at the roof line. The building's original commercial tenants were the Bank of Yellville and the Layton Department Store; the bank's vault is still in the building. The building was listed on the National Register of Historic Places in 1978.
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Other impressive interior spaces are the two U.S. District Courts on the sixth story. Brown Nebo Travis Gold marble was used for trim and clock faces. Main doors are covered in leather; walls, cornices, and desks are oak. The decorative coffered ceiling, rosettes, and wall panels are plaster.
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On the interior, the woodwork is made from the finest hardwoods - walnut, butternut, and maple - throughout the house. The house still contains antiques purchased at the 1876 Philadelphia Exposition of 1876. The full-length windows are topped with carved interior cornices and the ceilings are decorated with sculptured plaster.
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The ornament of the apse floor is adorned in three color stones. Fine ornamentation covers cornices. West of the church stands a bell-tower built in a defensive wall which encircles the entire complex. Constructed in the 17th century, it is a three-storey structure, measuring 7.4 × 6.8 m.
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Elaborately designed mechanisms connect to the narrower lower case with the console.Edskes, Vogel (2016). Arp Schnitger and His Work. p. 8. The richly decorated cornices, stands and friezes of the facade echo the appearance of the previous instrument, or perhaps parts of the old ornamentation were re- used.
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Although the architect is not known, the building's style is classed as Sullivanesque Chicago Style. It is a skeleton-framed rectangular structure with a flat roof. It has the characteristics employed by Louis Sullivan, such as elaborate projecting cornices, ornate two-story base and linteled windows with vertical bands.
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This particular example shows one of the adaptations of the style using applied decorations. The windows surrounds feature shallow, broken cornices and the front porch features brackets and an unusual spiral motif on the columns. The residence has been listed on the National Register of Historic Places since 1984.
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The Nakipari church is built of limestone blocks. It is a hall church, set in a rectangular plan, with an inscribed semicircular apse on the east. The church is based on a single-step socle. Its walls terminate with simple profiled cornices made of small hewn stone slabs.
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The house is capped by a low hipped roof with broad eaves. The wings also feature low hips with plain, narrow cornices. The main entrance is located off-center to the left and it is framed with sidelights and a transom. The porch is possibly a later construction.
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The buildings that line all but the north side were built from 1815 to 1828. Much repaired, they have ornate brick dressings to windows and dividing storeys, with some use of white stucco and cornices, with original street-side railings. They form №s 2 to 44 - listed grade II.
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The bottom of the Zastler Loch. Centre: the Zastler Hut Das Zastler Loch is the source region of the Zastlerbach stream. In winter the slopes of the cirque are prone to the formation of cornices and to avalanches. Sometimes the snow remains until well into the summer months.
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The central pavilion is crowned by a grouping of three mansard roofs, whilst the two-story sections of the building have gabled roofs, sheathed in slate with galvanized iron cornices. The central pavilion originally had slate with wood cornices and a tin capping but following restoration work in the 1960s these were resheathed and the wood and tin was replaced with iron and copper respectively. The west facade The central clock tower, unlike the rest of the roofing, is still in the original diamond pattern slate, crowned by a gold leaf finial and weather vane. It is a replica of the original 1817 market steeple and is constructed in the Georgian architectural style.
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A window cornice is an ornamental framework of wood or composition to which window curtains are attached by rods with rings or hooks. Cornices are often gilded and of elaborate design, but they are less fashionable today than before it had been discovered that elaborate draperies harbor dust and microbes. Like other pieces of furniture, they have reflected taste as it passed, and many of the carefully constructed examples of the latter part of the 18th century are still in use in the rooms for which they were made. Chippendale provided a famous series still in situ for the gallery at Harewood House, the valances of which are, like the cornices themselves, of carved and painted wood.
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A diamond-shaped window is above the vestibule on the main building. The northern and southern elevations have four one-over-one windows with decorative wood cornices and sills. The windows are decorated to appear like twelve-over-twelve windows, a feature that was probably added during renovations in the 1960s.
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The present navaranga is of the 14th century. While the mukhamandapa may be of the 16th century. The outer walls of the garbhagruha and vestibule are raised on a square basement which consists of six cornices. The outer walls of the navaranga and mukhamandapa are built with brick and mortar.
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It features some of the elements of the Neoclassical architecture style, such as cornices, pilasters, candelabra, Roman arches, relief motifs, and classical ornamentation. These elements were blended with some of the details of the popular architecture of the southern area of Puerto Rico that prevailed when the structure was built..
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Most of the buildings in the Old Market are brick, and the streets throughout are covered with bricked surfaces, cobblestone and asphalt. There were also cast- iron fronts, metal cornices, stone trim, and metal sidewalk coverings shelters attached to many of the buildings around the turn of the 20th century.
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The late Kora Chandy described the Mayo Hall as "one of the most elegant public buildings of the era in Southern India." Several Greco-Roman elements and influences are apparent in the building: architrave and pediment windows, key-stoned arches, balustrade ledges, beautiful consoles, Greek cornices, Tuscan columns, and wooden floors.
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It was decorated with swags and ribbon motif in the pediment, and columns in the Tuscan order. It also featured ornamental shingling of the gable ends on the front and on the south side window bay. At one time the window surrounds had small bracketed cornices and heads with incised decorations.
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Below the gable is a single story polygonal bay window with a hipped roof. The entrance is located on the side of building, through a projecting entrance bay. The house has one-over-one wood-framed window units capped with cornices. The Sarah Pennington House was constructed some time before 1902.
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Above building cornices, bay windows are topped by gables. The tenement corner is rounded, topped with a tower covered with an onion dome. In the same area, Józef Święcicki also realized many other edifices, among others the Hotel "Pod Orlem" at Gdanska st.14; the Oskar Ewald Tenement at Gdanska st.
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The ceilings are in height and lined with wide beaded tongue-and-groove boarding. The boarding features a central dummy bead. The hallway's ceiling is lined in a similar manner. A fibro sheet ceiling has been removed to reveal the ceilings boards, 2-part cornices and picture rail fitted at .
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The fireplace in the chimney breast on the south- eastern wall has been bricked up. Timber floors may be partly original and have been carpeted. The Vestibule has been treated similarly, though the floor finish is vinyl. Two tall arches between the Vestibule and Ballroom spaces have cornices at springing point.
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Internally the building has been largely altered with later office partitioning and modern ceilings. However, a number of original features remain including the central timber staircase, marble mantelpieces, decorative plaster cornices and archways, tiled bathrooms, tessellated tiles to entry and bathrooms, timber panelled doors, "mini-orb" and "lath and plaster" ceilings.
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The red carpet outside the theatre entrance A brick building with stone cornices, strings and other dressings, ornamental terracotta capitals, spandrils, rosettes etc. with tiles panels and into which was later built an atmospheric type plaster and brick picture palace.Chapman, 1976. The current theatre was designed by R. H. Broderick.
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The overall features include plaster ceilings with no cornices, timber architraves and four-panel doors (some removed), parquetry flooring, and modern kitchen and toilet fittings. The former porter's and lamp room maintain original finishes with only a new floor addition and is used for storage. The corrugated metal ceiling is exposed.
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The main building from 1838 consisted of two single-story wings which met in three-story "tower" overlooking the garden. The two low wings were heightened to two stories in 1880. The building is yellow with white cornices. The tower is topped by a domed roof surrounded by four pinnacles.
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Window cornices were removed and new window openings cut in the south facade. The second and third floors were divided into three room suites; however, the first floor remains largely unaltered. This house was the last example of Greek Revival architecture to be built in the prestigious area of High Street.
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Offices are more simply detailed with plaster cornices and some feature decorative plaster ceiling panels. All rooms have silky oak architraves, panelled doors and skirtings. Floors are lined with hardwood boards though some have been covered with carpet. Some pendant lights remain but some have been replaced with recent fittings.
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Its symmetrical floor plan is characteristic of early Ohio architecture, with features such as chimneys on each end, a curved water table, and detailed cornices. Also typical of the period is its simple facade, built of brick and covered with an asphalt roof., Ohio Historical Society, 2007. Accessed 2010-08-04.
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The interior features a domed skylight, extensive use of marble, plaster cornices, brass railings, and ceramic tile floors. The walls of the courtroom feature strips of wood that are applied in angular patterns. At its opening, the building housed a room displaying memorabilia from the Grand Army of the Republic.
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The current colonial style main house, the cellars and the keeper's house, date to 1909. They feature cornices and friezes. During the second construction stage in 1916, the powerhouse was added, which also accommodated the grain shredder. Various styles can be seen in its construction, including the Renaissance and neoclassical.
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Its façade is staggered, has a triple structure, and the building itself has a north-west-southeast orientation. Arch rows, cornices and square toothed wall planes function as horizontal dividing elements. External dimension 9,30 × 20 meters. There are two extensions to the facade, the choir driveway and the courtyard driveway.
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The cornices were emphasized, but the windows are not accentuated. Ionian columns at the expected place at the entrance are kind of unusual. The elements of the classic architecture were incorporated in a completely new architectural concept. All of that indicates that the author found inspiration in popular art deco architecture.
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The two-story frame commercial building has two bays with entrances. The exterior is covered in metal panels pressed to simulate stone with pressed metal accessories and cornices. An oval stained glass window is to the left of the right-hand storefront. Four windows face the street in the upper story.
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The entirety of the interior is plastered and painted in white. Along the left wall is a pulpit over corbel and with wooden balustrade. To the left of the triumphal archway is a doorway that provides access to the sacristy. Both the pulpit and sacristy doors are decorated within cornices.
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The building is brick, three- storeyed on a high basement. In its decoration, red facing brick and light plastering parts, in particular profiled cornices, rods, platbands, rust at the corners of the building and rezalitov are used. The yard facade of the building was rebuilt during the post-war reconstruction.
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In the corners of the ceiling there are small landscapes, in circular cornices. The walls bear depictions of various female personifications of virtues, all of which are now fragmentary except for "Temperance." The interior is also enriched by sixteenth century tapestries. The authorship of the works is not entirely certain.
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Internally, the bank contains fine decorative elements. It has plaster ceilings with elaborately decorated plaster cornices, ceiling roses and beam encasings. Timber work includes finely carved and turned stairs, and panelled cedar doors with ventilated fanlights. The public banking area contains a particularly impressive richly carved counter inset with ventilation grilles.
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An imposing tower dominates the southwest corner of the church. The tower was completed in the neo-Gothic style of the late 19th century. With its height of 76 metres, it is one of the highest church towers in Slovakia. It has six storeys, separated from each other by stone cornices.
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Zeev Rechter was born in Ukraine. He immigrated to Palestine at the age of 20. His first job was measuring the land that became Allenby Road. In 1924, he designed Beit Hakadim ("The vase house"), on the corner of Nahalat Binyamin and Rambam streets, named for the large vases on its cornices.
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Marbleized plaster, scagliola, panels complete the walls. The building's ceilings are decorated with plaster cornices and molded leaf and rosette complements. The Honduras mahogany doors have a rail and panel design and beveled glass is used for decorative side lights and panels.This postcard from the early 20th century shows the McLean County Courthouse.
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The rear side of the building The main entrance The buildings was probably designed by Andreas Kirkerup. It is constructed in red brick with plinth, cornices and window frames in Bornholmian granite. The building is seven bays wide and has a median risalit. The first floor features three-bay balcony supported by corbels.
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The building was constructed on a site acquired by Arnold Constable in 1914. It was erected and consists of six stories. The facade is made of granite with cornices above the second, fifth, and sixth floors. A 1980 renovation replaced the original display windows on the first floor with full- height windows.
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Greek Revival was the first style of architecture to have an impact in Davenport. The side gabled house features a large porch across the front. It is capped by a triangular pediment that is held up by Doric columns. The long rectangular windows on the first floor are decorated with simple, molded cornices.
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Windows are framed by delicate Federal period moulding. Brick chimneys are set on either side of the roof. The interior includes Federal-style cornices, and a fine carved arch in the central hall. Although many rooms retain original Federal period styling, some were altered by subsequent owners to have simpler Greek Revival elements.
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The bishop's house stands several hundred feet from the church. It is a modest two-story wood-frame structure, by , clad in shiplap siding. Single-story wings extend to the east and west of the main block. The cornices of the second story roofline have elaborately carved friezes and carved wooden corbel blocks.
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The center bay of each set of five being the widest. On each side are carvings on the wall with four horizontal rows of friezes. These narrate Hindu legends and Puranic mythologies from the Shaiva, Vaishnava and Shakta traditions. Each storey has moulded horizontal projections (cornices) with floral arch-shaped motifs (gavaksha).
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The back of the house faces Fifteenth Street. It was converted to the Colonial Revival style when it was renovated in 1905. It features a symmetrical façade and a hipped roof with dormers. The dormers themselves have a gable roof that features partially returned cornices and fluted pilasters that flank the small windows.
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The once small windows in the chancel have now been replaced by large modern windows. The impressive cornices were probably used to support a stone roof for the chancel. The original height of the upright nave appears to have been some 4.60 meters but it has now been heightened to 5.80 meters.
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The underside of the eastern stair is painted boarding. That adjacent to the vestibule, of cedar panelling. The upper level contains ten bedrooms, some of original dimensions, some divided by hardboard partitions, reusing in places, original panelled doors. Original walls are rendered, several with cornices and light surrounds matching the ground level rooms.
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All rooms have timber skirtings and simply moulded cornices. The staircase is a reconstruction of the original and leads to an upstairs area which is divided into three rooms and a hallway. The hallway is lined with (approx) wide pine boards. The original shingle roof of the building survives under the corrugated iron.
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The Kittie C. McCoy House is a simple two-story gabled-ell farmhouse with a one-story, gabled rear ell. It has a fieldstone foundation and is clad with clapboard, with cornerboards. It has projecting eaves with raking cornices. The front of the house has a hip- roof porch covering the main entry.
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The building has a gable roof on the main section, with hipped roofs on the two-story blocks; the roofs are covered with modern asphalt shingles. The eaves have sheet metal cornices. On the track side, a wooden canopy runs along most of the building. The canopy is supported by cast iron columns.
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The cornices has vegetative decoration. The Jardin de las Cactáceas or Cactus Garden covers four hectares and exhibits a wide variety of plants found in the deserts and arid grasslands of Mexico. Some of the plants include maguey, various palms, barrel cactus and other cacti. It is located next to the archeological site.
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Recessed, square copper panels are placed between the upper and lower windows. Internally, the building has undergone refurbishments on both the ground and first floors. The entrance foyer has a decorative plaster ceiling and cornices. An archway with recent decorative timber work opens to a hallway from which offices open on each side.
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The water tower has a squat, brick cylindrical body with a strong reminiscence of neo-gothic forms. The tank was located in the top circular bay window. Outside cornices under the bay window and the bay window itself are richly decorated. All the openings display a lanceolate shape, highlighting the gothic inspiration.
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To the left are two small mullioned windows that have possibly been reused from an earlier version of the house. The interior has several original features including rooms with the original oak and pine panelling, various mouldings, a fine marble chimney-piece in mid-eighteenth century style and ceiling cornices of various periods.
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The plasterwork to arches & ceiling cornices is also in good condition & quite elaborate. There are 2 pressed metal ceilings in upstairs bedrooms replacing earlier plaster ceilings & a pressed metal ceiling & dado in the billiard room. There are 10 fireplaces of pink, black, grey or white marble. All feature different tiles to hearths & grates.
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The front façade has decorative detailing in render in the form of raised mouldings/cornices and label courses. The rear façade is similar in features and detailing. It is a prominent building within the streetscape of Tenterfield. The street facade of the station building is highly intact and visible from a long distance.
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The center bay is flanked by four-story-tall paneled buttresses capped by pinnacles. On the 6th through 30th stories, each bay has two double-hung windows on each story, with two exceptions: the southernmost bay on Liberty Place has three double-hung windows per story, while the center bay on Liberty Street has two pairs of double-hung windows per story. There are cornices above the 22nd, 23rd, 26th, 27th, and 28th floors, with the 27th-floor cornice being more elaborate and projecting further outward than the others. The cornices above the 26th and 27th floor are discontinuous; they do not extend across the center bay on Liberty Street, or across the second or fourth bays on Liberty Place and Nassau Street.
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Often she would work on scaffolding twelve feet high. Here an interesting incident took place. Garrett preferred modeling children wherever the opportunity presents itself, and made a number of very good nudes of little cherubs which were put on the cornices. One night, soon after, the Salvation Army women chopped them down with axes.
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The houses are three-story brownstones, some of which have been painted. Their raised rusticated basements all have segmental-arched windows and stoops leading to the main entrance. The stoops lead to double-doored main entrances flanked by narrow parlor windows. At the flat rooflines are galvanized iron cornices with dentils and angular brackets.
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A frieze has raised Roman lettering stating "MDCCC PUBLIC LIBRARY 01111". Above this is a full pediment with stone raking cornices. An oculus with stone garland surround is centered in the brick tympanum. The bays flanking the entry projection have paired double hung three over one sash with heavy stone lintels at the basement level.
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The annex has facades onto Nassau Street and Theatre Alley. The facade on Nassau Street is made of limestone, with cornices above the second, sixth, and ninth floors. It is two bays wide. An arched entrance on this side provided entry into the annex until 1963, when it was turned into a storefront entrance.
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The Woodward Building is a historic two-story building in Payette, Idaho. It was designed by John E. Tourtellotte & Company with "ornate metal cornices" by Charles Oscar Kirkendall, and built in 1908 for Dr. 0. C. Woodward, a physician. With It has a cavetto between its first and second stories, with modillions at each end.
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Naturally, many buildings in the new city were built of wood; Central Avenue was lined with frame stores with boomtown fronts and wooden cornices. The street itself was dirt/mud/dust, but wooden boardwalks ran in front of the stores.Kleiman, p. 6. Wood was plentiful, cheap, and quick to build with, but also flammable.
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The Altadena Apartments in Salt Lake City, Utah, also known as Altadena Flats and as Sampson Altadena Condominiums, were built in 1905 or 1906 by the Octavius Sampson family at cost of $21,000. The building has Tuscan columns, pediments, and dentillated cornices. The building was listed on the National Register of Historic Places in 2010.
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The west and east sides match each other. Most houses have two storeys, but some rise to three; all have a basement and a three-window range with sash windows. The entrances are in the rear elevation and are paired under single doorcases with cornices, architraves and fanlights. The windows are topped by similar architraves.
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There are large wooden columns, pediments, and cornices and a plaster barrel vaulted ceiling. The Library. This room was designed to conceal books behind a system of large wooden panels which are detailed with concealed hardware. The panels are flanked by large wooden columns, and all of the woodwork was originally a dark mahogany.
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The gable roof is covered with standing seam sheet metal with box cornices at the eaves. Most of the exterior walls are covered with weatherboards with the remaining sections covered with asbestos shingles. The underpinning of the home is made of fieldstone. Sadly, as of December 2019, the home is in a severely dilapidated condition.
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The same material is also used on the cornices at the rooflines. All the roofs are clad in slate shingles. Between the towers, on the main block, are mansard roofs pierced by small lunette dormer windows and topped with an iron balustrade. The towers have peaked roofs with one small oculus and the same balustrade.
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St. Patrick's Church is a frame structure that measures , and it has a sacristy attached to the back. It is five bays in length with a round-arch Stained glass window in each bay. A small rose window is located above the altar. A low-pitched gable roof with partially-returned cornices caps the sanctuary.
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Stone foundations of the house with remnants of hand-made brick walls, fireplaces and other features were uncovered. Artefacts including toys, game tokens, thimbles and pins were found. Articles of affluence were also found in the form of a network of servant's bells, fragments of marble fireplaces and decorated plaster cornices were also uncovered.
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The upper level vestibule has walls lined with hard plaster and timber-paneling. Plaster ceilings have moulded plaster cornices. Timber skirting boards, architraves architrave blocks are intact throughout the room and all interior timber work and joinery has a varnished finish. Internal openings are generous in height and doors feature tall glazed pivoting fanlights.
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Ground floor dining rooms and sitting room have plaster ceilings with elaborate circular surrounds to central lights. Doors are cedar panelled with rectangular fan lights over. Deep cornices and pelmets are of moulded cedar. The front dining room has walls of full height cedar, with beaded vertical boarding above the panelling to dado height.
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On its facade the first story has rectangular windows in arched window openings while the second and third stories have rectangular windows and window openings. There are cornices below the second and third stories. The annex contains wide window openings with narrow brick piers outside them. The roof's northwest corner contains a one-story extension.
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Laid out across the tiers like cornices are diamond and rectangular designs, as well as the shallow, ornamental relief work which suggest Muslim art. Few openings suggest massiveness in the design. The attached bell towers give an impression of solidity and strength by their massiveness which tries to squeeze the middle part of the façade.
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The property was held by the Nicholl family since the time of King Henry VII. The dwelling is of castellated Tudor architecture with blue lias limestone exterior, and Coombedown stone windows and cornices. The south-facing front is more than in length. The western coast of Cornwall and Lundy Island are visible from the turrets.
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The minarets are double storied and round in shape; projecting cornices surround the shafts up to the middle height of the minarets and a window fitted at this mid height provides ventilation and light. A spiral staircase in this minar leads to the top. Artificial tusks of elephants decorate the exterior of the minarets.
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The barn on the property also dates to the 1870s, and has some elaborate Gothic styling, including bracketed cornices, and bargeboard decoration around its entrances. The property was associated at that time with Comford R. Thomson, a breeder of show cattle. On October 7, 1983, they were added to the National Register of Historic Places.
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Above it is ridged metal convex cornice that marks the roofline. It is topped by a parapet with four rows of recessed square panels. A flagpole is located in the center of the roof at the front. The east face has a similar, more restrained treatment, with the sandstone trim, stringcourses, cornices, and fenestration.
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The oldest portion is a relatively modest structure suitable for what was at the time a primarily agrarian community. When Littleton's industries boomed in the late 19th century, the prosperity made possible the construction of the much larger and more elaborate front section, with its finely detailed cornices and porches. The building now houses apartments.
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London Sawdust has been used as a substitute for hair and also instead of sand as an aggregate. Sawdust will enable mortar to stand the effects of frost and rough weather. It is useful sometimes for heavy cornices and similar work, as it renders the material light and strong. The sawdust should be used dry.
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The building's facade was extensively renovated in two stages between 2002 and 2003. During the renovation work, columns, wrought-iron structures, fluting, cornices, Cotta Sandstone stone work and mosaics were uncovered and restored. In 2005, the restoration work was praised by the Patriotische Gesellschaft von 1765 (Patriotic Society of 1765).Bert Ulrich Beppler: Kontorhaus Ballindamm.
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Doric pilasters rise at the building corners to a broad entablature. The ground- floor front windows are taller than those of the second floor, and are topped by a shallow projecting cornices. The house is estimated to have been built c. 1845–55, and was probably around the time of Nathaniel Clark's marriage in 1844.
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The dependencies of the convent were also altered, but these were lost by 1533. The only remnant of this period is a fragment of double capital, decorated in a vegetal form with crochet.Luís Pinto (1997), p.24 The lateral facades include cornices, with two doors on the southern facade and one on the northern facade.
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The two southern rowhouses, 744 and 746, are an identical pair with sandstone facing on their foundations. Stone stoops with wrought iron railings lead to entrances framed by sandstone architraves and molded pilasters topped by a molded entablature. Sandstone is also used for the window trim. Along the roofline they have denticulated cornices and a plain frieze.
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The south-west elevation is relieved by three large unglazed window openings. The shed accommodates plant and equipment associated with the boilers including ladders, gantries, pipes and valves. The tall brick stack is square in plan, tapers to the top, and is bound by metal strapping. The stack is distinguished by stepped cornices to the plinth and crown.
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The central dormer takes the form of a triumphal arch with heavy stone blocks. Its overall level of decoration is unusually sophisticated for a utilitarian structure., New York City Landmarks Preservation Commission; May 13, 1980. Across the street, 182 East 73rd is a brick Romanesque Revival structure with stone trim and cornices separating several of its stories.
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The focal point is a three-story square tower capped by a mansard roof with dormers. Its first two stories are brick and the third story is wood with corner pilasters. The friezes above the windows of the main facade are concrete. The other decorative elements are rather simple and include plain cornices and relatively unadorned porches.
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All of the houses are wood frame structures, and all but one are two stories in height. One house is a duplex. Five houses are Second Empire in style, typically with slate mansard roofs, bracketed cornices, and ornate window and porch details. There are two Italianate houses, each with flushboarded facades and elaborately-decorated entry porches.
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The first floors are commercial spaces with cast-iron storefronts, and the buildings are capped with metal cornices. The more elaborate decorative details are found on the buildings that were built in the 1880s and the 1890s. The simplest buildings are the oldest. The buildings north of the Main Street/Pearl Street intersection have primary facades on both streets.
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Many of them were ornamented in the popular style of the 1900s – Romanesque, Italianate and Second Empire. They are fashioned in a classical Victorian style row home way with carved doorways, cornices, corbelling, cast iron ornaments and geometric slate patterns.East Carson Street Historic District, Pittsburgh City, Allegheny County, Pittsburgh PA 15203. Livingplaces.com. Retrieved on 2010-11-29.
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The soldiers built small houses in Alpine style on the glades, with typical cornices and Bavarian windows. In the surrounding area they dug numerous underground bunkers which are today decaying and are mostly covered with overgrowth. Those which are outside of the woods are occasionally rediscovered during construction works. After the war, architect Ratko Tatić developed the settlement.
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The gatepiers at the lower lodge have chamfered rustication and moulded cornices with elliptical ball finials. There are similar gatepiers at the upper lodge north of the house, and another at the entrance to the stable yard. Within the grounds are two lakes fed by a small stream. The stream is crossed by a small ornamental balustraded bridge.
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Bigsweir House, British Listed Buildings. Retrieved 11 February 2015 Additions were made to the house after it passed to James Rooke (d.1805). The estate was enlarged by purchases of woodland, and the house itself was refurbished with rich internal decoration, including panelled rooms and elaborate cornices and architraves. Further extensions were added in the 20th century.
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The original design contained three main storeys, an attic storey, pavilions, mansards, and basements, as well as shallow porches, square headed doorways, shallow architraves, first floor cornices, balustraded parapets, wings with Venetian-style windows, cast iron balconies, and spearhead area railings. There are fluted shafts, well proportioned capitals, and an entablature, No. 1 was adorned with a caryatid- bow.
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Sacrament of quadrangular shape. Along the side walls, inside arches intertwined with stone pilasters, there are the niches hosting statues of saints. Above the cornices of the side walls open windows on both sides. The bell tower is located at the back of the building, on the left side and is accessed from the back-apse.
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19th century pub interiors often featured very high ceilings – typically four metres (12 feet) or more. Ceilings and upper walls were often embellished with elaborate plaster panels and cornices. Mass- produced embossed tin panelling was widely used when it became available in the late 19th century. Windows were often glazed with decorative leadlight or etched/sandblasted glass panes.
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Most interior spaces have plastered walls with v-jointed (VJ) timber board ceilings with early fretwork ceiling vents. The first floor lecture room retains its coved ceiling, and the roof lantern is visible in the space. A pressed metal ceiling is featured in the foyer space. Skirtings, cornices and architraves are generally early and of timber.
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The church is Munich's first church building in late baroque style. The central building, with its dome and elaborate entrance, was built after Viscardi's death in 1713 by Enrico Zuccalli. The double-faced south façade protrudes the front of the houses of the street. The polygonal main entrance is divided by columns and strong baroque cornices.
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The archivolt interrupts the monotonous shape of the windows, while the design of the main facade is consistent with the other buildings. The turrets above the finishing cornices, the richly decorated mansards and the clock tower enhance the sumptuousness of this warehouse. The rows of cast-iron mullions and the avant-corpses give the whole building an extraordinary perspective.
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The Church of Nossa Senhora do Bom Despacho () is the parochial church of the civil parish of Almagreira, located in the municipality of Vila do Porto, Portuguese archipelago of the Azores. It is a church of masonry, plastered and painted, constructed with decorative pilasters, friezes and cornices, molds and corner pinnacles, with a carved retable and tile covering.
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Mixed-use development began to appear, with new houses having commercial space on the first story and living space above. Ornate storefronts survive at 79 South Ferry and 104 Madison. Older houses also saw their facades updated with timely decorations like bracketed cornices, metal lintels and ornate friezes. Third stories were added to some flat-roofed buildings.
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The front facade is five bays wide, with the central entrance sheltered by an elaborate porch supported by paired Corinthian columns. Windows on the first floor have decorative bracketed and dentillated cornices, while those on the second floor have simpler hoods. Above the main entrance is a Palladian window. with The house was built in 1816 by Rev.
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The structure has a hipped iron roof, verandah, the tall chimneys have cornices and windows have flat arches. The structure abuts the perimeter wall. A small freestanding carport was added to the south of the complex at some stage. ;Officer's residence: A second, three bedroom residence, is located outside the compound on the eastern side of the entranceway.
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The façade, still intact, is made with pieces of ceramics and has corbels and portals of carved stone. On the ground floor there are four shops and three more doors. The main one has a portal realized with very solid limestone travertinoide. Above it is a smooth pediment, some cornices and an open tympanum ending with two volutes.
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Tenders for its construction closed in September 1926, and construction was completed by 1928. The exterior of the building has a pared-back neoclassical style, with three bays of triple-light windows surmounted by curved pediments, each flanked by pilasters, on the two street facades, and cornices framing the top and bottom of the building's parapet.
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It has a decorative cornice, and low- waisted four-panel doors with fretted toplights. The central bays has two offices with moulded arched openings. The south-eastern end four offices opening from a central corridor. The interior features rendered brick walls, high ceilings with decorative cornices, double-hung and leadlight windows and panelled doors with fretted toplights.
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Wood steps with a balustrade lead up to it, and consoles support a small sheltering hood. Above it is a double window with similar treatment. All the windows have cornices – molded and flat on the first story, rounded on the second. The roof has three arched dormer windows, with the central one having a pair of windows.
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The house is constructed of limestone. Typical elements of Davenport's early homes that are found in this structure are the single story, side-gable roof, and the entrance on the long side of the house. The only style elements of the house are found in its symmetry and the molded cornices above the windows and door.
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The police station was designed by Bagley, Soule & Associates of Chevy Chase in 1958. The construction was completed in 1959. The building has several additions, which reflect a change from the original Colonial Revival design. The complex features traditional details including denticulated cornices, brick laid in American bond course, molded brick surrounds, and double hung sash windows.
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Over the windows are dentiled cornices and dentils are also located along the roof cornice. The house has weatherboard siding, exterior end brick chimneys, a gable roof of composition shingles, and a stone foundation. On the south facade are original four panel doors which open onto a ca. 1960 one-story porch with square Doric motif columns.
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While simple in composition, many feature ornate decorative cornices. The Italianate and Romanesque Revival styles dominate. Oxford began informally in the 1850s by workers who serviced the engines on the Mississippi and Missouri Railroad, which was replaced by the Chicago, Rock Island and Pacific. The town itself was platted in 1868, and it experienced significant growth in the 1870s.
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Over the Tuscan-colonnaded and entablatured front portico is Keyes's central triangular pediment with ornate cornices. A tall, iron-railed transom window tops the front door. The house's simple symmetry and proportions are broken up by a large garage to one side. Low lanterned walls of matching construction to the house frame the front of the property.
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The first three floors of the Public Service Building are faced with gray terra-cotta, and the upper floors in gray brick. The cornices and details are also terra-cotta. The building has a stylized wave motif that can be seen along its moldings. The original roof, like its sister buildings, was clad in red clay tile.
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Shantz Button Factory is a historic button factory located in southeast Rochester, Monroe County, New York. The factory consists of three buildings built between 1903 and 1920. The buildings are of heavy timber-frame construction with brick walls, large window openings, flat roofs, and decorative brick cornices. The buildings are five, two, and one stories in height.
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Prospekt Mira () is a station on the Kaluzhsko–Rizhskaya line of the Moscow Metro. It was designed by V. Lebedev and P. Shteller and opened on 1 May 1958. The station features flared pylons faced with white marble and trimmed with sharp-edged metal cornices. The walls are faced with off-white ceramic tile with horizontal black stripes.
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Slight cornices there form the springline for the arches. The pilasters' Ionic capitals support a molded frieze with an egg-and-dart pattern underneath the modillioned cornice at the roofline. Above it is a balustrade. The gently pitched hipped roof is pierced by two brick chimneys at either end with a copper roofed cupola in the middle.
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A rear porch fills the angle between the gables, and a single story addition projects to the rear. The windows are one-over-one units with simple cornices. The A. Malin House was constructed some time before 1899, when A. Malin lived here. By 1903, Robert Kepsel and Peter Myers, a laborer, live in the house.
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These pinnacles have two superimposed rows of blind arcades with cusped brick arches. The spire is crowned with a ball and cross finial with an added weather vane. The top part of the tower shows a strong similarity to the bell tower of the Basilica of San Zeno in Verona. The rectangular tower is articulated by stone cornices.
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Here she used rubble stone retaining walls and bases, low pitched tiled roof with wide projecting cornices, combined with plain white rectangular walls. Because of the unique foundation requirements of building on the coast, she employed corbelling and consoling techniques for support. The Constantiniu House, built in 1935, is the most dramatically site and well known.
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Most rooms have access to either the western or southern verandah. Much of the timber door and window joinery survives intact, including a coloured leaded glass main entry and coloured patterned glass stairwell window. The original timber internal staircase has been painted. Some original internal decorative finishes survive including moulded plaster cornices and ornate plaster ceiling roses.
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Also these civilizations reused 2nd-century Roman elements. Have to say that is very-usually at the al-Andalus territory that Muslim liked to build on Visigothic buildings. The large number of Visigothic decorative reliefs forming friezes and Roman cornices embedded in the walls is surprising. The current church is still oriented south-east, in the direction of Mecca.
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The rear elevations are composed mostly of brick, as was the now-demolished south wing, and contain arched and rectangular window openings. The east elevation, now mostly concealed, contained cornices above the 16th and 20th floors. The south wing was topped by a decorative cartouche similar to those on the Exchange Place and Broad Street elevations.
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Clendenin Historic District is a national historic district in Clendenin, Kanawha County, West Virginia. The district includes 38 contributing structures constructed between about 1890 and 1940. Many of the major downtown buildings are of brick and feature heavy cornices, brick corbelling, and vernacular builders facades. It was listed on the National Register of Historic Places in 1996.
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A single pendant light hangs centrally from the ceiling. Other rooms on this level have similar though simpler detailing. In the former public office to the west, walls are hard plaster with elaborately moulded cornices. Timber joinery including architraves, window sashes and skirtings are painted though some timber joinery in the former public office has a varnished finish.
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The Hall has an L-shaped layout, with the rear wing extending south from the central block. The main block has a center hall plan. Though there were originally four chimneys, the current building has only three -- two on the east facade of the central block, one on the west wall. Window cornices and sills are of cast iron.
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A small lawn is located between the driveway and Fifth Avenue. A statue to the 369th Regiment stands across Fifth Avenue from the administration building. The northern and southern facades are located next to the sidewalks of 143rd and 142nd Streets, respectively. Inside, the corridors contain terrazzo tile floors as well as cornices with chevron motifs.
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Orchards in the city suffered near complete loss and many shade trees were also damaged. At least a few chimneys toppled and several others were left leaning. A bathhouse at Harvard University lost a portion of its tin roof and its copper cornices. At Cape Cod, a wind speed of was observed at Highland Light in North Truro.
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From the 1840s to the 1870s, Main Street had mostly wood frame stores with wide shingled canopies resting on wooden posts. In the 1880s these small frame shops gave way to the buildings that exist today - two and three story brick buildings constructed with local cream brick, and adorned with fancy cornices and dentils. Canvas awnings replaced wooden canopies.
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Rumsey Farm was a historic home located near Middletown, New Castle County, Delaware. It was built in 1854, and was a three-story, "L"-shaped, frame dwelling. It was representative of Peach Mansion architecture, with Greek Revival and Italianate style details. The house had porches with Doric order columns, flat roofs with protruding bracketed cornices, and Doric corner pilasters.
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The Subiaco Hotel is a two storey brick building, with stucco and iron roof. It was designed in the Federation Romanesque style. On the corner of the building is an imposing three storey tower, which used to have a spire. The outside walls, painted grey, feature decorative elements – cornices, pediments, Corinthian pilasters, pier caps, and mouldings with floral decorations.
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This image was taken in the 1970s before the Pagoda was restored. The pagoda was built in 681 during the early Tang dynasty (618-907). The pagoda has the brick structure with eleven stories and four sides. Curved bars and cornices are set on each story, which are magnificent and become the symbol of Xiangji Temple.
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The Botsford- Graser House is a two-story house of mixed Greek Revival and Colonial Revival style. It has a clapboarded exterior. The house is visually divided into two rectangular sections. The first, smaller sections fronts on the street, and is a gable-roofed Greek Revival section, with a broad frieze and classical cornices with returns.
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Instead, the - originally light yellow - clinker bricks and the cornices made of solid natural stone masonry are now visible, as was the case previously with the Verbindungsbahn and the Berliner Stadtbahn. Visually, the vaults stood in stark contrast to the white plastered station buildings, except in the light rail, the architect has planned or executed no further brick facades.
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This church was built in 1843 in a neoclassical style. The tower of the church was rebuilt between 1878 and 1879 and repairs were made to the church in 1905, 1929, and in 1969. The interior is vaulted with a Prussian arch, which reaches to the cornices of doubled pillars. In the western section is a stone choir.
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The first floor is divided into two sections. The larger section to the west consists of four bedrooms, bathrooms and utility room. The eastern section consists of the master bedroom, dressing room and bathroom, the entrance marked by an arch. There is carpet to bedrooms and hall, lath and plaster ceilings, and ornate cornices and ceiling roses.
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The hallway has a central archway and a timber stair with turned balusters. The original kitchen would originally have been located in rooms at the rear. There is a large proportion of surviving original fabric in the main part of the house, including plaster ceilings, roses and cornices, marble fireplaces and timber skirtings, picture rails, doors and architraves.
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Walls are painted brick, except the larger eastern corner room which is plastered. Some original doorways are flat-arched. Cornices and other details are absent and the contemporary, plain ceilings are notably lower than in upper storeys. A variety of contemporary services have been fixed to walls and ceilings and in some places penetrate brick walls.
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The western wall accommodates inside three mihrab –the central one semi –octagonal and the side ones rectangular. The central doorway and central mihrab are larger than their flanking counterparts. The mosque has four axially projected frontones, each corresponding to the centrally located doorways and the central mihrab. The parapets and cornices are horizontal in the usual Mughal fashion.
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The ground and first-floor windows have 12-pane sashes with triangular pediments to the ground floor and cornices to the first. The shorter second floor windows have casements added later. The south front has a three-bay bow window with tall ground-floor windows. The centre window was originally a doorway accessed by a flight of four steps.
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"Nebraska National Register Sites in Douglas County", Nebraska State Historical Society. Retrieved 12/2/07. The exterior of the building features a large copper domed tower, flanked by two smaller towers of similar detailing. The diamond- patterned brick facades contain oriel windows, elaborate cornices, glazed terra-cotta tile copings, and a series of free-standing columns which support griffins.
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The brick structure features a small one story Greek Revival pedimented porch on a relatively plain facade. The flush cornices and simplified detailing are characteristic of an understated application of the Greek Revival style. The slate roof is a clipped hip form that follows the L shape of the plan. The interior features Greek Revival detailing with plain surfaces.
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At its summit, Cotopaxi has an wide crater which is deep. The crater consists of two concentric crater rims, the outer one being partly free of snow and irregular in shape. The crater interior is covered with ice cornices and rather flat. The highest point is on the outer rim of the crater on the north side.
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Green tile medallions (paterae) are centered over the pilasters in the friezes below the first and second story cornices. Both roofs are flat and topped with brick parapets. The cornice and exterior trim are painted metal and stone. The one-story sun porch at the front elevation projects out from the main mass of the two-story building.
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Edskes, Vogel (2016). Arp Schnitger and His Work. p. 143. The facade of the Hauptwerk ('Great organ') is three-towered with an elevated, polygonal central tower and two side towers, which were originally also polygonal. The towers are connected by two-storey pipe-flats, which are divided by profiled intermediate cornices; the lower pipes of these are mute.
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The kitchen retains its stove alcove. Interior walls and ceilings are lined with VJ timber boards, with simple-profile timber skirting and cornices. The understorey has a concrete slab floor and is enclosed with timber battened screens. A laundry in the southeast corner is enclosed with flat sheeting and has a boarded door to the east.
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The windows in the south wing of the house are flanked by recessed panels, which contain shutters that are flush with the wall surface. The front gable contains two small round-arched windows. The third stage of the tower has three round-arched windows on all four sides. The rectangular windows are topped with molded cornices.
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There is a small memorial at the intersection of Olive and Boyle featuring some decorative columns like those that used to be on the street and a wall with a stone plaque with names of people and establishments from Gaslight Square's past topped with a few sections of modest cornices of former buildings from the district.
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On the sides of the trapezoidal passage to the refectory, there are small rooms with a staircase in the southern one. Only the plaster cornices at the base of the vaults and at the top of the main quadrangle, as well as pilasters between the windows on the north and south walls, have survived from the interior decoration.
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The front central space, formerly the public office, features a crows ash and ironbark timber floor forming a striped pattern. Walls are finished with hard- set plaster. Ceilings are also finished with plaster and are adorned with ornate plaster cornices and panels featuring geometric designs. Multi-paned skylights with coloured glass have been inserted where early pendant lights remain.
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The courthouse is set on a rise overlooking the Black River. It is a two-story brick building, set on a stone foundation. Brick pilasters rise two stories at its corners, and between its window bays. It square tower is decorated with heavily bracketed cornices at the top of each stage, and is topped by a pyramidal roof.
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Guide by Tojana Račiūnaitė. Baltos lankos, 2007, p. 108 Telšiai Cathedral is the only church in Lithuania which has a two- storey altar. The churchyard gates are designed as a tripartite triumphal arch with ornamental decoration: the complex cornices, vaults and niches reflect the harmony of neo-baroque and neo-renaissance forms typical of fin-de-siecle historicism.
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The theater was designed for live performance, with a large stage and supporting spaces. The theater's street facade employs Missouri limestone piers with terra cotta cornices, cartouches, quoins and parapets. Infill between these decorative elements is brick. A fire in 1920 completely gutted the stage area, but the remainder was saved by the fireproof asbestos curtain.
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Joinery throughout is of cedar, and all fireplaces retain their mantelpieces of marble, grates and hearths. Floors in each room are edged in cedar. Original lath and plaster ceilings have been replaced, though plaster cornices remain in all rooms. In the sub-floor at the rear are five small rooms which were used as servants' quarters and a laundry.
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The walls are pierced by shot-holes and embrasures. The basement, and the fifth and sixth stories, are vaulted. In the remains of the main block is a fireplace surmounted by the Dunbar arms and the date 1602. Internally there are extensive areas of plasterwork, along with timberwork such as floors, cornices, doors and a shuttered window.
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Scully Ranch, on Marlette Street (Five Mile Drive) in Ione, California, was listed on the National Register of Historic Places in 1978. The listing included five contributing buildings. Architecture includes some elements of Classical Revival design. The main building of the ranch is an L-shaped one with a medium hipped roof, four chimneys, and boxed cornices.
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The service area of the building has narrower windows. These windows are divided into six by glazing bars. d’Estaville lacks the cupola, a square tower with bracketed cornices, which is generally a common feature of Italianate style architecture. Through its years, the building has seen different renovations and extensions from many owners that have been added to the structure.
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These rooms have ornate plaster cornices and ceilings. The lounge and dining rooms have timber parquetry floors and coloured leadlight windows in distinctive art deco patterns. On the second floor bedrooms and bathrooms are linked by a central corridor. Much of the fabric dates from 1889 including doors, architraves and skirtings, plasters arches over the hallway and main stairwell.
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There are dark-stained and clear-finished timber skirtings, cornices, picture rails, and architraves in most rooms. Room names are painted on timber panels and fixed above doorways. The timber doors match the other timberwork in the building with circular, glass observation panels, or panels with bolection moulding. Most retain original brass hardware and some the original auto- closers.
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Designed by local architects Dufrene and Mendelssohn in 1884, the three-story Specht Building was modeled in the Italian Renaissance Revival Style. This was a popular style for cast-iron facade buildings. Christian Specht's company, the Western Cornice Works, manufactured the facade. The company was a manufacturer of galvanized iron cornices, finials and other metal building products.
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The mosque is a square, single domed mosque measuring square internally with a single hemispherical dome atop the square room. Entrances are from east, north and south. Pre-Mughal features included the curved cornices and battlements, corner octagonal turrets, and arches on the south, north and eastern sides. The ornamentation is modest and the building is coated with plaster.
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All of the ground floor offices are now used as storage areas. They have timber floors, painted brick walls (which were originally plastered) and a plaster ceiling with the original cornices intact. The stair hall to the eastern end was originally part of the offices but converted c.1914 to give access to the first floor.
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100 North Tampa is composed of a pewter-tinted glass and Spanish Rosa Dante granite façade. The former AmSouth Building is an example of postmodern architecture; postmodern aspects of the building include its Gothic-style roof, granite cornices, prominent setbacks at the levels of the 38th and 40th floors, and granite arches at the two entrances.
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In 1944 Governor José Lugo Guerrero bought the house for 65,000 pesos as the seat of executive power. The "Casa Rule" is now the Pachuca Municipal Palace. The 2-story house surrounds a central courtyard, and has a European style. The entrance shows neo-classical influences, with pilasters supporting an entablature with a pediment, cornices and corbels.
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Stamped tin cornices top the brick, creating a small overhang topped with the false mansards. The front of 320-322 is symmetrical, with end bays protruding from the face. A high porch, not original, stretches between across the facade with a single stair access. Windows on the first floor are single pane, replacing the original double-hing units.
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The second staircase is in the north wing. The rooms are lofty (ceiling height downstairs is 4 metres and upstairs 3.7m), well-proportioned with cedar joinery and elaborate cornices to the major rooms. The rooms opening onto the verandahs have stone thresholds, French doors and louvered shutters. Many of the rooms have marble mantlepieces with tessellated tile hearths.
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In 2010, a project involving the restoration of damaged cornices and corbels was carried out. Damaged decorations were replaced by using modern repair mortars which produced perfect reproductions. Mick Summers was in charge of crafting the ornate flowers around the façade. This was achieved with the help of latex moulds which were taken from the original form.
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The two side tympana are richly carved and decorated. The side entrances are surmounted by stained glass windows with cornices and an arch above them. In the centre is a niche with a semi-circular conch design, symbolising pilgrimage, which contains a statue of the saint. Above it is another stained glass window with its own tympanum.
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On the first floor, the central section is flanked by projecting bay windows with decorative surrounds and modillioned cornices. The front facade is in a flush-boarded wood finished designed to simulate stone. The roof line below the mansard roof has an extended eave with single and paired brackets on the sides. The house was constructed c.
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The eastern colonnade showing the imperious Roman-like pillars One of the inscriptions at the edge of the eastern wing The South wing, defining the Paço Square, is composed of various buildings from the 16th, 17th and 18th centuries. Access to the complex occurs across the 15th century body, consisting of a two- to three-register structure on a slight terrain, constructed of granite, except for the portion oriented to the encircled Largo D. João Peculiar (which is plastered and white-washed). The facades of the buildings are decorated in cornices and marked by several vertical rectangular vains. The facades to the Largo do Paço, with wings covered in grated-windows and surmounted by rectangular cornices on the first register and more simple rectangular windows on the second floor, with guardrails.
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In the centre is the rectangular, framed doorway surmounted by frieze and cornices, topped by an inscription and a large circular oculus flanked by stone sculptures in the form of candles. The entranceway inscription includes: :DA SANTÍSSIMA TRINDADE FEITA NO ANNO DE 1846 :Of the Holy Trinity built in the year 1846 The tympanum is decorated by two scrolls and stars, also from sculpted stone. The belltower with pilasters cornerstones is two registers and separated by cornices, with a rectangular window on the ground floor (lighting the old baptistery) and topped by rounded belfry with three bells. The tower is decorated with a bulbous cupola and pinnacles on each corner, while it is accessed from the rear through a door located at the level of the choir, preceded by an exterior staircase, constructed over washrooms.
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The "museum" has been partitioned into several rooms, with plaster ceilings and cornices, timber architraves and skirtings, and casement windows. A boarded ceiling with deep cornices and high level windows is located in the rear northeast room, which is the location of the maid's dining room and scullery prior to the building's conversion into flats. The rear room (within the lean-to) has boarded walls and raked ceiling, and was used as a work room at the rear of the museum prior to the conversion into flats. A lightwell has been inserted into the eastern side of the "museum" wing adjacent to the early section of the structure (in place of the original openings into the museum from the former dining room and courtyard), and provides light and ventilation to internal rooms adjacent.
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The Bell Hill School is a single-story brick structure, measuring about by , resting on a granite foundation. It has a front-facing gable roof with low pitch, covered in asphalt shingles. The cornices are simple wooden boxes, with a piece of ogee moulding on the eave wall. The main (southern) facade has three bays, with a centered doorway flanked by sash windows.
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The roof is square-butt wood shingles and finished with plain box cornices and rakeboards. The slave quarters contributes to the Tavern and the Clover Hill village scene as it was at the time of the surrender of General Lee to General Grant in 1865. The present structure is a reconstruction of the 1819 slave quarters that was rebuilt in 1954.
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The two rowhouses are both on the south side of the street, at 171 and 175. Both are narrow three-story brick Italianate buildings built in 1860, part of an original row of six. They are trimmed with stone around the windows and doors and decorative wooden cornices. The house at 171 also retains a cast iron veranda shading the first floor.
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Vertically proportioned sash windows are placed equally on the long sides while the shorter sides have a window and a door opening with awning. Security grilles installed to the windows. Internal: Internal features and finishes of the Shed are contemporary consisting of plaster board walls and ceilings with simple cornices. The kitchen of the staff meal room has a wall with rusticated weatherboard.
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Central block with Dutch gables to west, north and south, the west one facing the entrance and with an attic window. Windows generally are ovolo-moulded cross casements, cornices are saw-toothed. 2 square one-storey pavilions flank main entrance right and left. Recessed linking blocks had retaining walls with taller central doorways enclosing forecourt, but this remains now only to south side.
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Flat arched windows come in pairs and are placed in pier- defined bays. Centered in the rear facade, a two-story extension measuring 15 by 25 feet is present. Enclosed porches at the entrances of the front and back of the building, along with the northwest corner of the building. Many of the building's elements are symmetrical, including cornices, lintels, and sills.
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With very minor exceptions, no stone was used in the building and decoration of Sutton Place, only brick and terracotta.Harrison, p.153. Exceptions include stone tops of semi-octagonal turrets flanking the main entrance door (p.162, note 1) Thus, the bases, doorways, windows, string- courses, labels and other dripstones, parapet, angles, cornices, and finials are all of moulded clay.
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The Moreton Room occupies most of the remaining floor space, and features pressed metal cornices and ceilings. Part of the ceiling has been lowered to house air conditioning ducts. A timber panelled door with fanlight assembly of recent origin opens to the verandah running along the eastern elevation. An early fireplace is located on the northern wall of the room.
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It is 7.5m wide, 63m long and 17.5m in total height. It consists of a base of red marble paved stones, upon which stand Corinthian columns with blue-veined marble as the shafts with white bases and capitals. These columns support an entablature with architrave and richly decorated friezes and cornices. A large marble wall encloses the back of the stage scaenae frons.
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The site was occupied until 1798 by a prison. Construction of the church, or oratory, was patronized by Baron Gaetano Adamo and his brother Carlo; and construction was pursued from 1803 until 1806, when it was consecrated by the Bishop of Agrigento. Until 1880, it was occupied by the Confraternity del Purgatorio. The façade is framed by pilasters and cornices of sandstone.
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The green rolled asphalt roof is steeply pitched, cross-gabled with smaller dormer gables. Bargeboards decorate the cornices of the intersecting gables, with turned finials at the apexes. Two large brick chimneys further accentuate the vertical Gothic motifs. A veranda on brick piers matches the Gothic trim on the gables, with clustered octagonal-capitalled columns and open-work tracery at the soffitt.
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The exterior has occasional decorative motifs, like sunbursts, meanders, basket-wave patterns and cloisonnés: the latter motif is typical of the Greek architecture of this period but unknown elsewhere in Constantinople. Of the original interior, nothing remains but some marble moldings, cornices, and doorframes. Despite its architectural significance, the building is still one among the least studied monuments of Istanbul.
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Ascoli Piceno's passenger building is a two-storey structure, comprising three sections. It is made of brick and painted brown. The central section of the building has six mullioned windows topped by arches, and its first floor windows are decorated with cornices. The ground floor of that section houses services for passengers, but the first floor is not accessible to the public.
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In La Palma a falling palm tree, trunk snapped by the wind, injured the leg of a German tourist. Many palm trees along the Avenida Marítima were also blown down. The storms winds blew out windows and collapsed cornices, although other structural damage was minimal. Metal plates that had been used to board up buildings were strewn all over the island.
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Baltisches historisches Ortslexikon: Lettland (Südlivland und Kurland). - 387 lpp. In 1870, when the manors were owned by Bistrami, a Lithuanian pastor, musician and folklorist Theodor Brazis was born at Vecmeme Manor. Built in the second quarter of the 19th century, the manor was later rebuilt in Italian Neo-Renaissance style with modern building decoration using arches, pilasters, cornices and decorative medallions.
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The cornices are curvilinear and have stone gutters to drain off the rain water from the roof. There are five arched doorways in the eastern facade and three each on the north and south walls. Corresponding to the five archways in the east wall there are five semi-circular mihrabs inside the west wall. The stones of most of these miharbs have disappeared.
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Each of its four corners features a tower and there is also a central clock tower topping the building. Some architectural elements found on the structure include: quoins, cornices, a mansard roof, modillions, belt courses and patterned roof tiles. From the basement to the eaves the building stands 55 feet tall and the clock tower sits at 70 feet above the basement.
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Some of the most recognisable Federation/Edwardian features include red brick exteriors with embellished wood detail known as fretwork. Cream painted decorative timber features, tall chimneys were all common. Stained glass windows towards the front of the home became increasingly popular during this period. Internally, Victorian-era features were still evident, including plaster ceiling roses and cornices and timber skirting and architraves.
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The manor is a rectangular building with two side annexes with roof terraces. The facades are richly decorated for the period: the front door is flanked by fluted pilasters and the windows are outlined with fillets and rest on moulded sills on consoles. The window frames are topped with cornices or pediments. Under the hipped slate roof, the eaves are adorned with modillions.
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The buildings both feature brick exteriors with limestone bases and terra cotta cornices, and the taller building has a turret at its corner. The interior features extensive detailing typical of luxury housing, including ornamental moldings and brackets and a mosaic tile floor in the lobby. The buildings were added to the National Register of Historic Places on February 5, 1998.
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The entry is offset to the left side, with a portico that is also heavily bracketed. A wing, also mansard- roofed, extends to the southwest at the rear of the main block. Bay windows project from the front and side, topped with roofs whose cornices are also bracketed. The house was listed on the National Register of Historic Places in 1987.
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In plan it resembles older Federal period New England churches, with the nave set parallel to the roof gable. The building is richly decorated, with corbelled cornices and decorative buttresses. The square tower is offset at the northwestern corner, with a Gothic-arched entrance and a belfry with louvered pairs of Gothic-arched openings. A small baptistry and meeting, added c.
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The stately design shows the importance that the railway had as a means of transport. The façade mainly displays Gothic Revival elements and the structure is accessible via a two-flight staircase. The walls are divided by cornices and the building edges are accentuated by corner blocks. The now restored building has been converted into a residential and office building.
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The exterior design of the hotel originally consisted of arches and cornices reminiscent of traditional Indian architecture. The hotel appointed SRSS Architects to redesign the building's exterior envelope. The new design was thus modified to include a palette of polished granite, metal accents, Indian Jali screens, and custom light fixtures featuring Indian motifs. The interior were designed by DiLeonardo Hospitality Design.
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The Ferrell House is a square Italianate residence with a cupola atop the center of the hip roof. Two stories high, the weatherboarded structure rests on a foundation of limestone; its roof is tin, and additional elements are made of wood. A small porch is attached to the front, and the roofs feature cornices with brackets., Ohio Historical Society, 2007.
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The façades are elaborately decorated with columns and pilasters, plastic cornices and stucco ornaments. During his long creative life Kamen Petkov left numerous lovingly designed buildings in a Bulgarian strain of the Art Nouveau movement which renders evident the ample extent and diversity of this ground-breaking phenomenon.See this 1903 blueprint for a private home, kept at the Plovdiv city archives.
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It has five bays on the front and sides, four chimneys, granite footings and door lintels, sandstone window lintels and sills, and granite steps. There is a two-story narrower extension of the main building with a side entrance. The main building has fret work at the cornices and under the eaves. The main house has eight feet of cellar space beneath it.
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On the Willow Street facade, the bays are articulated by pilasters. An entablature runs on both facades between the second and third floors, and there are cornices above the third and seventh floors. Windows are set in pairs between the pilasters, with decorative panels between the bays on the third floor. The building is capped by a bracketed cornice and low parapet.
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The architectural plans were by Jacobberger and Smith. The architectural style is Twentieth Century Romanesque and Byzantine, with a red tiled gable roof, cast-stone Corinthian columns, and a square tower with copper cornices. The marble floor in the apse was laid in 1926. The new marble on the floor in the remainder of the cathedral is a pattern of several Italian marbles.
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The two-story, brick house was built in a vernacular form of the Greek Revival style. It features a side-gabled roof and a wide entrance that was placed off-center. The three symmetrically placed windows on the second floor and the two on the first floor are capped by simple, molded cornices. The full porch on the front has subsequently been removed.
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Hornbarger Store is a historic general store located at Vicker, Montgomery County, Virginia. It was built in 1910–1911, and is a two-story, three-bay, rectangular brick commercial building. It has a parapet shed roof, segmentally arched one-over-one double-hung sash windows, and wood bracketed cornices. Also on the property is a contributing board-and-batten hipped roof outbuilding.
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The windows have lintels with nearly flat pediments. The newer section was built of frame construction on the back of the older section, and it is also capped with a hipped roof. Its windows are set in flat enframements and are topped with narrow cornices. A single-story porch with pent roof is located in the angle formed by the two sections.
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The buildings remained unused and gradually decayed, eventually being demolished almost 60 years later for health and safety reasons. The Royal Hotel remained, standing to the West of the Bath Grounds, and was granted a grade 2 listed building status in 1950. Remnants of the spa buildings are still visible within the Bath Grounds, including stone fragments from the columns, pediments and cornices.
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The partitioning on the upper floor is constructed with lath and plaster walls and the ceilings are also lath and plaster. The upper floor has more decorative finishes than the lower floor with moulded archways along the hall, and cornices and skirting boards of various sizes in the halls and rooms. Early paint schemes are evident in many places of the upper floor.
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Duncan Manor is a historic house located in rural McLean County, Illinois, near Towanda. The house was built circa 1866 for William R. Duncan, a livestock breeder well respected for his short-horned cattle. The Italianate house features two three-story towers on its northwest facade; the towers feature bracketed cornices on their pyramidal roofs. The main entrance is located between the towers.
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The church retains the fragments of relief sculpture of the façades and ornate details of cornices and arches. A piece of the inscription in Georgian has also survived. The Tkhaba-Yerdy Church is one of the four monuments of Ingushetia classified as having a federal importance. The other three are: Alby-Yerdy Church, and the Islamic mausoleums of Borga-Kash and Myatsel.
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It was built in about 1920 by Nelson & Co. of Durham, and has two manuals. In front of the pulpit is a dais surrounded by communion rails. On each side of this are curved doors leading to vestries with a store room between them. The ceiling contains coving with large panels; it is decorated with stucco leaves, cornices and roundels around the ventilators.
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The main facade is three bays wide, with pilastered corners. The main entrance is at the center, flanked by pilasters and topped by a corniced entablature. Windows are rectangular sash, with shutters on the sides and shallow projecting cornices above. The vernacular Greek Revival church was built in 1828 on Thompson's Hill, and was originally known as the South Meetinghouse.
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Downtown Hopewell Historic District is a national historic district located at Hopewell, Virginia. The district encompasses 38 contributing buildings in the central business district of Hopwell. The district primarily includes masonry buildings, largely built after a devastating fire in 1915. The scale is low with most buildings only two stories in height with decorative brick cornices and Art Deco features.
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Terra-cotta cornices and rosettes were extensively employed, along with ornamental ironwork. "JLH"-emblazoned ovals decorated frosted windows on the mezzanine and 3rd through 5th floors. The building measured tall from its second basement to the top of the penthouse tower. It was also topped by a high flagpole. The store closed January 17, 1983 (at the nadir of downtown Detroit's decline).
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Only three other Manhattan buildings which lacked cornices have received landmark designation. Robert Redlion, an engineer employed by the owner, submitted plans to repair ornamental cornice in October 1999. A 1987 facade inspection filed with New York City concluded the cornice was safe. Redlion and the owner contended that the ornamental molding was dangerous, with pieces having fallen on the ground.
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The U-shaped configuration promotes transverse ventilation and illumination. The building is single- storey with a high ceiling. Its two lateral wings are topped with full length gable roofs, each featuring upright projections overlooking the street and the parade ground. Both wings have cornices and mouldings, nineteenth-century style casement windows facing the parade ground and sash windows opening onto the street.
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The buildings were modern, with radiators for heating, ventilation, water tanks and gas lighting. Giandomenico Facchina contributed mosaics. The facade on the Boulevard des Batignolles combines Romanesque and the Renaissance elements. It is over in length, flanked by square towers, The decor includes multi-colored geometric brick patterns, serrated cornices, wrought iron work and carved reliefs representing Trade, Industry, Science and Art.
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The east facade has a distinctly pyramidal-layered facade structure, which skilfully breaks through the block-like character of the solid walls of the building The facade of the church was mainly executed in white marble. It covers 12.000 m². The polished Grecian Volakas marble from Kavalla took 14 months to install. Cornices are made of red Balmoral granite from Finland.
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The building uses buff-colored brick on its exterior, and has terra cotta ornamentation. Its entranceway onto High Street is two stories tall, with stone pilasters. It originally featured columns and a pediment extending into the third story. Its third story has terra cotta ornamentation including pilasters between the windows, semi- engaged columns flanking the windows, and cornices above and below the level.
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There are many decorative elements constructed in basalt, such as the frames, rectangular windows and ornate door. The main facade is marked by picture windows on the first floor and several friezes and cornices over the coat-of- arms of the family. Its interior includes a central vestibule, open to the front by arched entrance over pilasters, from which was constructed a staircase.
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North side of the entrance building, around 1890 The entrance building was built for the Hanoverian Southern Railway to plans by Hubert Stier in 1886-89. This building from the Wilhelminist period is a brick building with facades covered by tiles. Other elements of shaped stone are found in arched profiles and cornices. Formal design tools are used sparingly on the facades.
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Yuantong Hall () is the main hall to enshrine Guanyin. It was built in 1214 during the Southern Song dynasty and rebuilt in 1693 during the reign of Kangxi Emperor of the Qing dynasty. The hall is high, wide and deep. It is single-layer and double-eave wooden structure and covered with yellow glazed tiles on the roof with solemn and elegant cornices.
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The third floor is within the building's hipped roof and is windowless. The exterior is clad in cast terracotta with marble trim, and the roof is covered in red clay tiles. Terracotta is also used for the cornices. Two ornate bronze lamps flank the central entrance, similar in style to fixtures used on Portland's Doyle-designed Public Service Building of the same period.
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The Genesee County Savings Bank is an eleven story building with a limestone exterior, located on a lot on the corner of Saginaw and Kearsley. Multiple cornices run around he building, emphasizing its length. The upper floors contain large windows to let natural light into the interior. The top two floors consist of executive offices, with a colonnade running around the building.
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In the hall are located the only skirting boards to be found in the house. The floor is polished timber boarding, as are all others excluding those in the bathroom, ensuite, kitchen and laundry. The ceilings in both segments of the hallway are pressed metal, as are the cornices. There are further pressed metal ceilings in the living room, kitchen and main bedroom.
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Due to corrosion caused by coal smoke, the building deteriorated: the dressed surface of the facade dropped off, some of the cornices near the roof began to fall, and the building had a scaly appearance. Even in its deteriorated state, it was a handsome structure. On May 7, 1882, a fire broke out and ruined the building. Subsequently, it was demolished.
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On the west is a large two-story wing that was added later. It has a gabled roof of lower pitch than the main block, and bracketed cornices on the north and south elevations. A small one-story shed- roofed wing projects from the north. The main entrance is a centrally located, recessed and paneled door flanked by fluted pilasters with Doric capitals.
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A wide box cornice, which is common practice on houses with gentle roof slopes and wide eaves, requires the use of lookouts to give it support and to provide a surface to which to securely attach the soffits. Box cornices often have ventilation screens laid over openings cut in the soffits in order to allow air to circulate within the cornice.
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Elsewhere in the room, the figures are either astonished or oblivious to the apparition. In places, the work appears unfinished (e.g. the tiles of floor and the cornices are still visible through some clothing and figures). The foreshortening is accentuated by the tiles, the wall tombs, and finally the rays of light that emerge from the crypt in the background.
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The bell tower stands as a separate building. It is 62 m-high and was begun in 1045 and completed in 1178. It is stylistically Romanesque like the church, having a central vertical belt of alternating tuff and brickwork bands. It is divided in floors by cornices and small tuff arches, and rises to a double-storied bell chamber with triple mullioned windows.
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The east entrance is inspired by the main building of the Sapienza University of Rome campus, designed by italian architect Marcello Piacentini and completed in 1935. The horizontal delineations of the facade reflect the classical precedents of the architectural style. Cornices and pink granite string courses create a base-shaft-capital system. The wings create a series of interior courtyards.
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The Masjid, built on a high plinth, has a frontage with an arched entrance at the centre flanked by two lateral arches. Initially, three entrances existed on the east, south, and north directions. There are well spaced minarets fashioned with horizontal cornices and mouldings, and decorated niches. Of the three domes, the central one has a fluted design and is colourful.
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Constructed of engineering brick, the viaduct has eight semi- elliptical arches, each spanning and rising . It is wide. The supporting piers are hollow and tapered, rising to projecting stone cornices that held up the arch centring during construction. When built, the viaduct was designed to carry two broad gauge tracks: the piers were wide at ground level and at deck level.
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The roofline is gently pitched and had projecting gables with heavy eaves and cornices and with returns suggestive of a classical pediment. The eaves have carved and scroll cut brackets with turned pendants. The main facade gable is pierced with a bull's-eye window. Windows have round arches with distinctive cast iron keystones that may have been made in the Kohler foundry.
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Separately-listed on the Commonwealth Heritage List, the Naval Store is a large victualling store constructed in 1893 to an Admiralty design, of polychrome bricks brought from Britain. With sandstone string courses, cornices, sills, granite thresholds to doors. Of three storeys and semi-basement with parapet to the roof, the northern fourth floor never having been completed. Otherwise remains in near original condition.
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Chapel Hill is a historic home located near Lexington, Rockbridge County, Virginia. It was built about 1842, and is a two-story, Federal style brick dwelling. It has a lower two-story rear wing with a brick first story and weatherboard-sided second story add about 1910. It features a molded cyma recta brick cornices below a metal sheathed side-gable roof.
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The facades are plastered and painted in beige, circled by entablatures of granite and decorated by friezes and cornices in granite. The principal facade (oriented to the southeast) is marked by several faces, some detached and slightly advanced, framed by granite wedges, formed by overlapping silhouettes with filled joints. This facade includes a composition with three windows, interconnected by granite parapets.
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Siding consists of clapboard on all facades save the north (front), which uses flushboard. All windows have low-relief molded surrounds and flat cornices. That face's central bay, with the main entrance, is framed by full-height square recessed Doric pilasters, which repeat at the corners. They support a wide molded frieze, above which are small windows with decorative grillwork.
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One of the west-facing windows on the second floor has two rowlock arches above it; the other second-floor windows are rectangular. There are two circular window openings in the attic, one facing west and the other south. The rectory has a sloping roof with overhanging eaves and wood cornices. On the south wall is a tympanum, filled in with siding.
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The south facade has a bank of six sash windows, while the north side has none. A wood frame addition extends to the rear, with the main entrance in its southern facade, sheltered by a shed-roofed hood. Decorative detailing includes a band of corbeled brickwork in the cornices. The main brick block of the school was built in 1848.
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The ground-floor windows have projecting cornices, and the entry is framed by an elaborate Federal style surround. The interior, in particular the staircase, also has fine Federal period details. The house was built c. 1790 by David Dexter, who along with his brother Stephen established the first mills on the Sugar River in Clarement, on land that later became the Monadnock Mills.
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The church building is cross-shaped. It has two chapels - the first one in the name of the Holy Great Martyr Barbara and in the name of St. George the Victorious. On the perimeter of the facade, the walls are decorated with decorative cornices. The central dome is four-sided, with beveled edges and has four windows on each side.
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The main entrance is defined by a rendered masonry portico off-set to the south of the small front verandah. Internal walls are mostly rendered brick and the floorboards are of pine. The main reception rooms feature coffered ceilings. The ornate friezes, cornices and dados in the principal rooms, which were restored in the early 1980s, are thought to date from the 1880s.
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He transferred the old Fritzsche organ to the Pankratiuskirche in Stade, and extended it there with pedal towers. Neuenfelde is Schnitger's largest two- manual organ. The facades of the Hauptwerk and the Rückpositiv are of five parts, each with a tall polygonal central tower and lateral pointed towers. Two-storey pipe-flats, which are separated by intermediate cornices, span between these towers.
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Further masonry decorations include palmettes and arcatures on cornices. The east exterior of the building has two towers that contain lancet windows. There are a variety of sculptures between the towers and central building. Around the year 1660, the parapet of the gallery was decorated with motifs copied from the Cor Iesu Amanti Sacrum series, otherwise known as Emblems from the Heart.
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334–337 Its popularity was due to being suitable for many different building materials and budgets, as well as the development of cast-iron and press-metal technology making the production more efficient of decorative elements such as brackets and cornices. However, the style was superseded in popularity in the late 1870s by the Queen Anne and Colonial Revival styles.
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Brunel's first major structural design and the first contract to be let on his Great Western Railway. The viaduct carries trains across the Brent valley at an elevation of . Constructed of brick, the bridge has 8 arches, each spanning and rising . The supporting piers are hollow and tapered, rising to projecting stone cornices that held up the arch centring during construction.
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On the upper floors are four arched windows flanked with borders. The entire facade is covered in smooth azulejos with figues in white, blue and yellow, with imitation balustrades over the windows. It is decorated by cornices and surmounted by rectangular merlons. The yard currently covered and subdivided by moveable partitions is surrounded on its perimeter by a balcony, constituting an exhibition gallery.
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All three street-facing facades are crowned by projecting cornices. Those three sides also originally had ground-level truck bays extending across most of their lengths, and the east side also featured a railroad siding. The building was built by Turner Construction Company in 1900 for A&P;, which had its start in New York City c. 1859 as an importer.
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The rear elevation has a central recessed verandah with skillion awning. Internally, the building has been altered quite substantially, with partition walls creating a central court room surrounded by offices and meeting rooms, with service rooms at the rear. Surviving sections of original walls are rendered masonry, and ceilings are suspended. The entrance foyer has some surviving expressed mouldings including pilasters and cornices.
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Rapps Bridge, also known as Rapps Dam Bridge, is one of fifteen surviving historic wooden covered bridges in Chester County, Pennsylvania. Rapps Bridge is located on Rapps Dam Road in East Pikeland Township. It is a , Burr truss bridge, constructed in 1866 by Benjamin F. Hartman.Pennsylvania Covered Bridges website It has fieldstone abutments, horizontal siding and boxed cornices with returns at its portals.
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The rear of the building has a discrete hipped roof, also clad with corrugated iron sheeting, the verandahs to the east and west are infilled. General the interior comprises concrete slab floor, rendered brick walls and partitions and fibrous sheeted ceilings housed in a decorative timber grid like system. The skirtings and cornices throughout the buildings are rendered concrete and simple in execution.
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The rear wings are generally of unpainted brickwork, including several brick chimneys decorated with cornices and corbels. Each wing is terminated with a timber lean-to, housing the amenities. The verandahs of these wings have cast iron balustrades matching that of the western verandah. The Public Bar features a silky oak bar with a curved central bay and mirrored shelving behind.
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The hall features a number of plaster rendered archways supported on piers. The ceiling of the hall is plastered and without cornices. The first room on the west of the hall from the doorway is a study, which has a large bay window into which is fitted a window seat. The three windows within the bay are fitted with leadlight panels.
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Doors at the western end open out onto a short flight of concrete stairs into the concreted yard. The toilet blocks have polished concrete floors, fibrous plaster sheet walls and ceilings, with timber coverstrips and cornices. The rooms have square timber framed windows of obscure glass louvres. The cubicle partitions are terrazzo and the walls are lined with green square ceramic tiles.
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Today it has been made into a park, with playgrounds and other facilities. The mill complex consists of three sections. The north and south wings are both three and a half stories tall with gabled roofs, corbeled cornices and a square tower rising from their 24-bay west facades. The seven-bay central section, built later, comes to a full four stories.
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External walls were bricks deep, quite solid for a low building. External walls were revetted with special brick, the socle was revetted with ashlar, there were stucco mouldings in the vestibule and hall cornices. The solidity and reliability was felt in everything. At the railway side there were service rooms, gendarme rooms, main tsar's rooms and outlets to the platforms.
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Science Hall is a two-story brick building measuring by , constructed on a granite foundation. While Science Hall is executed in the Queen Anne style with its scale, massing and steeply pitched roof, it also reflects how Classical Revival influences had been growing since the turn of the century, with denticulated cornices; an arcaded entry; and a pedimented Palladian dormer.
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Its hipped roof is covered with slates. The entrance to the house is on the north side through a single storey portico. The north façade features tall sash windows on the ground and first floors of 12 panes; the second floor windows to the central section are shorter and of nine panes. moulded stucco cornices run above the ground and first floor windows.
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The main facade is three bays wide, with the main entrance flanked by sash windows. Above these, the main gable, fully pedimented, is finished in flushboard. Windows are topped by simple cornices, as is the entry. The interior retains virtually all of its original finishes, including plaster, wallpaper, chair rails, wide flooring, and period carpeting in the aisles between the pews.
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A cornice separates this stage from the octagonal open belfry, which has round-arch openings. An octagonal cupola and weather vane cap the tower. The main facade is three bays wide, symmetrically arrange with a pair of entrances in the outer bays and sash windows in the other bays. The entrances are framed by simple pilasters and entablatures with cornices.
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The interiors are relatively plain, having moulded plaster ceilings of Regency style with deep coved cornices only to the main living and reception rooms. The original door and window joinery is largely intact - these elements, like the deep timber skirting which survives in most rooms were dark stained maple. In some rooms original timber finishes have been covered by white paint.
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Above this is banding with the words "Stationery Warehouse" in raised lettering with cornices above and below. This is surmounted by a parapet with a raised central section which has a segmental top supported on piers. The facade has been recently painted in a contemporary colour scheme. Behind the parapet is a simple corrugated iron roof with a central raised skylight.
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All the windows and doors are trimmed in carved wood; the rooms also have similarly carved wainscoting and ceiling cornices. The upper story, mainly given over to bedrooms, also has several fireplaces, all with similarly detailed and painted wooden casings and mantels. The attic is unfinished. There are three outbuildings: a small brick smokehouse, frame woodshed and two-story frame barn.
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However, early finishes such as the textured render on walls and piers and the ceiling lining and cavetto profile cornices, are still in place. Room 1, designed as a store, now serves the function of a scullery. The floor has been tiled relatively recently, and shelving and a stainless steel sink have been installed. The wall surface below the southern window is deteriorating.
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The "castle" featured arched windows and cornices, cloisters, gargoyles, stained glass, mahogany paneling, plaster arches, chandeliers and terra cotta tiles and terrazzo floors with two courtyards and plans for additional wings and buildings.Leonhart (1939), pp. 123–124. Memorial plaque for BCC alumni who died in World War I The following year, in 1927, the "Advanced Academic Course" ("A" Course) was introduced.
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Once completed, it was equipped with a clock and bell tower rising 113 feet into the sky. Its construction included a mansard roof, and was constructed of brick with iron cornices. Its size proved to be a disadvantage when a fire broke out in 1901. The size prevented ladders and water from reaching to the upper floors where the fire began.
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" The facades also had pressed metal Italianate-style cornices and window hoods. The building's southwest wall was painted with "several fine early commercial graphics, including 'LET US BE YOUR TAILORS; THE UNITED WOOLEN MILLS CO; TAILORS TO THE MASSES.'" The building served as a saloon and a boarding house. It was significant as "a prominent Ashland social center until Prohibition.
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The Delaware Public Library is built on an ashlar foundation and constructed of buff glazed brick.National Register of Historic Places, Delaware Public Library, Delaware, Delaware County, Ohio, National Register #83001957. The exterior of the building is decorated with Bedford limestone trimming and copper cornices. The library is entered by walking up a set of stairs leading to large, centrally located double doors.
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The three-storey towers are also divided by Tuscan and Tuscan-Ionic columns: the first floor, have three windows and sills with angular cornices on the outside and rounded cornices on the interior; the intermediary floor has a comparable number of windows, while the third floor windows are surmounted by smaller windows (much like on the panels). The southern lateral façade has three storeys, with 19 windows in succession, comparable to the main entrance, although there are a series of niches at the base. The uncompleted western façade show signs of vestiges of various dependencies with a wall of open window sills/arches with Tuscan pillars and access to the central courtyard by three rounded arches. Embedded in the vast foyer with a vaulted edge supported by Tuscan columns, has twenty-two marble statues, some signed and dated.
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The mountainsides of the Zastler valley are particularly prone, but they also occur on leeward slopes like the Feldseekessel at Seebuck, the Herzogenhorn and the Baldenweger Buck. Snowfall driven by western winds forms cornices on the downwind sides of ridges (e. g. the Zastler Wechte), which can break off. Several fatal avalanche burials have happened, the last in January 2015 which left two dead.
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Many of the external features were replaced or rebuilt during major renovation work in the 2010s, including the restoration of columns, imposts, and cornices, plus an added roof parapet including a balustrade. The exterior fire escape, which had become dangerous, was also removed at this time. Several of the building's interior features and fittings were formerly part of the now largely demolished Cargill's Castle.
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The floor layout of the building comprises a booking office, waiting room, ladies waiting and toilets and male toilets with access from the south end of the building. The interiors generally feature custom orb ceilings with ceiling roses, fireplaces with no grates, timber floor boards to main rooms and tiling to toilets, beaded dado line and timber bead style moulded cornices. Toilet fittings are modern.
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All except two of the chimney pieces have been removed. The surviving joinery, cornices and staircase are well built and finely executed examples of their period. The original verandah on the front of the building (its east side) was removed in the mid-1970s and replaced with a smaller portico.Macarthur Development Board, 1977:86 This portico was later removed and the verandah recreated in 2003.
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Its spans are , three at totalling . The solid arch ribs are semicircular, with projecting cornices separating them visually from the piers below. The smaller end spans spring from a higher level, again marked at the pier by a small cornice. The recessed spandrel walls are finished off with the form concrete slightly patterned to contrast with the smooth finish of the projecting faces of the arches.
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The main facade is symmetrical, with paired sash windows flanking the center entrance. The windows are topped by bracketed projecting cornices and are articulated by narrow pilasters. The entrance is simply framed, and is sheltered by a gabled portico with Doric columns. The parsonage house is a vernacular 1-1/2 story wood frame house located about behind the church; it was built in 1895.
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Artificial stone was sometimes used for exterior features such as cornices and columns, though, especially during the Victorian era. Flint was historically a common building material as it was "always readily available in Hove, Portslade, West Blatchington and Hangleton". Agricultural buildings and cottages used random (unknapped) flintwork extensively, as did all four parishes' ancient churches and others further east such as Ovingdean and Rottingdean.
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The windows are double hung with each sash divided vertically into two panes. The front door has glazed sidelights and highlights and the door has glazed top panels with a semi-circular head. Internally the walls are plastered and the ceilings are lath and plaster with deep decorative plaster cornices and elaborate ceiling roses. The main rooms have timber mantlepieces with decorative brackets to the mantle shelf.
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W.L. Carroll was the architect for the residence that was built in the Italianate style by John Drew. The house is constructed of red brick and features stone trim and a porch that wraps around the ground floor of the building. At one time the exterior was stuccoed and painted. The three-story structure has elaborate bracketed cornices, and was originally topped with a belvedere.
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The drapes were hung in straight panels from the carved and gilded 1902 wooden cornices. The design of the valances was not finalized until April 1964. First Lady Lady Bird Johnson asked Jacqueline Kennedy to assist her in finalizing the design. Originally, they were to be of brocatelle, a jacquard weave fabric similar to brocade but thicker and heavier and with designs in high relief.
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The pylons of the platform hall, which sloped and widened near the top, were lined with light- colored marble. Above the posts were cornices, where the lighting fixtures were mounted. Tiled walls of black and white lined the track and the flooring was tiled with gray and red granite. 1962, Profsoyuznaya station, also known as the "Trade Union" station teamed Aleshina and for the project.
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The mansion has 65 rooms spread across three floors, including 25 bedrooms. One of the largest is the ballroom, measuring long with a height of . It has oak flooring and the timber wall panels are in walnut, with carved cornices embellished with gold leaf. Other rooms are the Drawing Room, Study, Entrance Hall and staircase, and most of the bedrooms are all in an opulent classical style.
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The Colfax County Courthouse is a building listed on the National Register of Historic Places. The courthouse is located at 230 North 3rd Street in Raton, New Mexico. The courthouse, built in 1936, is a five-story blond, brick building with a hipped tile roof on the top story and flat roofs on the lower portions. The building has glazed tile cornices and bas relief metal panels.
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"Su" is mainly reflected in the integration of Suzhou's ancient city features and cultural connotation. "New" mainly manifests in the material. With his wisdom and unique design style, master Pei made "new" full of "Su flavor" and became "Su" and "China" of innovation. The design of the roof of the new museum is inspired by Suzhou's traditional slope-top landscape -- cornices and meticulous architectural details.
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The façade of the church is made of pink granite with well-defined bases, columns, and cornices. The small, two-level belltower is square and simple. The monetary is high and formal; it may have been built after the church. The church is unique in that it faces the east, there is no real atrium, and there are neither capillas posas nor an open chapel.
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At the top of the columns are moulded cornices, which are carried out over the lateral bays. These bays contain two round-headed windows with imposts and keystones, one in each storey. The lower windows are partly blocked with notice boards, and the upper windows contain circular geometric glazing. Under the arch, steps lead up to a recessed porch with doorways and a Venetian window.
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Approach as for the Garganta route but after the route develops straight over the West face. # Northeast ridge ('Spanish' route), rated TD+, was climbed on 18 July 1961 by F. Mautino, P. Acuna, A. Perez and S. Rivas. The route starts from Chopicalqui col, takes across the upper part of the Matara glacier and reaches the northeast ridge developing across cornices and snow mushrooms.
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The west wing was rebuilt after the Second World War. Internally, the entrance hall is early 18th century with a black-and-white stone floor. Four rooms have moulded plaster ceilings and cornices dated to the second quarter of the 18th century. The central staircase was installed when the courtyard was enclosed and features carved panelling from circa 1540, believed to be from Royton Chapel.
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The left and right doors were used by boys in first through eighth grades while the middle door was earmarked as an entry for girls of all ages. Each of the doors feature transoms topped with cornices. The bell tower rises , and halfway up its length is a large round sign. The sign denotes the school district, Pine Rock, and the year of the school's foundation.
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The building exhibits typical architectural features from its era such as its facade, which includes cornices and columns. In the mid-19th-century, the building was also used as an improvised post office. The latest renovation was completed in 1995. The big guild hall on the first floor, the small guild hall, and the White Rose hall on the second floor are available for visiting.
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Traces of Greek Revival details remain, including narrow corner pilasters, the wide frieze band below the cornices, and the side and transom lights framing the front entrance. The upright portion of the house is three bays wide with a shallow pitched roof. The wing section is three bays wide on the ground floor and two on the second; it also has a shallow roof.
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The first ascent of Kalabaland Dhura happened on 6 June, 1979 by Harish Kapadia, Vijay Kothari and Lakhpa Tsering. They taken the route from Camp 3 to a col on the north side of the peak. Then followed a steep gully to the top which had heavy cornices on the top. Kalabaland Dhura is a suggested name for this unnamed peak at that time.
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Elkins welcomed the challenge of restoring the crumbling 1830s building. Casa Amesti was Elkins and Adler's first large scale collaboration. Adler installed all of the modern convinces of the age and added details that would enhance the historic architecture. Adler juxtaposed a newly added classical features such as dentil cornices and fluted door casings against the house's rustic adobe walls and wide-planked ceilings.
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Fulton United Methodist Church is a historic Methodist church located near Advance, Davie County, North Carolina. It was built in 1888, and is a one- story, brick building with vernacular Gothic Revival and Italianate design elements. It features a steeply pitched gable roof, bracket cornices, a large pointed arch window, and engaged five-stage tower. It was added to the National Register of Historic Places in 1979.
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The 2-1/2 story wood frame house was built c. 1865, and his one of the village's finest Italianate houses. It has roughly square proportions, with an off-center entry flanked by a single-story projecting bay window, both of which are topped by cornices with brackets. Above them are three sash windows with projecting lintels, and there is a round-arch window in the gable.
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Roof eaves are studded with paired brackets, as are the cornices of projecting window bays on the front and side. The porch is supported by chamfered square posts, and features a low balustrade and a decorative valance. The roof is broken by gabled dormers with decorative hooded windows. The house's interior features original ornate wooden finishes, and fine fireplace mantels, including one of delicately veined black marble.
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The plan is symmetric and U-shaped, with a basement, ground floor and second floor; the building forms an imposing presence in the city center. The grooved columns are both Ionic and composite. The pediment features symbolic bas-reliefs and acroteria. The cornices are denticulate, there is egg-and-dart moulding, as well as meanders, decorative balustrades, semicircular niches, bossage in strong relief and medallions.
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The Horatio N. Howard House is a two-story, end-gable, red brick Greek Revival house, with a one-and-one-half-story flank-gable wing. The house sits on a stone foundation. The main portion of the house has a low pitch roof with classical cornices with returns. The main facade contains a main entrance at one end, set into a recessed porch with fluted columns.
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The Arts House at The Old Parliament opened on 26 March 2004 as an arts and heritage centre. The old building was restored, and the furnishings and the design were preserved. The Chambers were converted into a function room where music performances could be held. Art exhibitions and other functions are also regularly held at the gallery, which has Tuscan style-columns and cornices.
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Its architecture is based on 16th century traditional styles. The main part of the building has a cubical form, crowned with one illuminated and four decorative drums decorated with arcature and bearing large onion cupolas. The decor of the facades is simple: plain cornices and mouldings and window-jambs on rollers. In 1880, the chapel, refectory and bell-tower were rebuilt in a pseudo-Russian style.
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The smaller Shiva temple behind the main temple is a double storied structure with a stepped pyramidal tower with an octagonal shikhara built over a circular griva. A kalasa and finial are fitted above the shikhara. kudus (horseshoe-arch dormer like projections) and small shrines are part of the cornices at both levels of the structure. A Somaskanda panel decorates the back wall of the inner shrine.
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A plinth is visible up to about one meter above the ground. The plaster is decorated with flat rustication with arches furrows to emphasize each window. The ground floor is separated from the second floor with a continuous frieze of vertical furrow motive. The frieze surrounds the porch and the risalit (towers), and above there is a corbel with repeated motifs supporting string course cornices.
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The village houses are built in a double horseshoe around a village green. Two- storey cottages with attics were built in terraces of eight in red brick with a decorative first floor band and saw tooth eaves cornices. Their Welsh slate roofs have decorative ridge cresting. Each house has three-light casement windows in ashlar surrounds and a doorway with ashlar lintels and an overlight.
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The windows of the first floor are shaped according to the template of curtain-shaped windows of Late Gothic architecture. Structural Gothic elements are abundantly displayed by the building and prove the Jan Santini Aichel authorship of the edifice. There are several other elements inherent to the architect's style. These are expressively articulated cornices, pillars on the corners, concave arches of the cloister that create swaying rhythm.
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The upper side of the wall has adorned cornices and above the mosque is a new minaret. South from the Bahr Mosque is the Ayn el-Jami'i prayer house. As circulated among the citizens of the city, the mosque dates back to the Crusaders. Muslims constructed this place near a water source, then it developed into a prayer house, then became the Ayn Mosque.
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Argyle Flats is a three-story structure built on a raised basement. Its basic form is compact and rectilinear. It rises three floors above an exposed basement and features an asymmetrical facade. The smooth brick walls contrast with the rough textures of the cornices that feature Romanesque Revival corbelling and round-arched windows on the attic level in pointed gables that rise above the coping.
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The Silas W. Kendall House is a two- story, gabled-ell former farmhouse covered with clapboard. It has broadly overhanging eaves with plain raking cornices, plain corner boards, and simple frieze boards. The windows are primarily narrow, double-hung, single-light, sash type units. A slant-roof porch, with Queen-Anne-style lathe-turned support posts fits in the angle between the upright and wing in front.
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The commercial buildings are largely consistent in design. Nearly all stand two stories tall, with brick walls or façades, and featuring a commercial adaptation of Italianate architecture. Their ornamentation is largely restrained to simple brick cornices, stone window sills and keystones, and a modest variety of window styles. One contributing property, the Hurd House–Anderson Hotel, had been individually listed on the National Register in 1978.
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The platform consists of a single level set upon a base and possesses corniced walls. Access was via an inset stairway in the centre of the south side. The platform top was floored with slabs and possessed a low double terrace at the rear. Platform B5 possesses two stepped levels with cornices and encloses the northern part of the west side of the Group B plaza.
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Each unit consists of one or two rooms and an ensuite bathroom, and most have a kitchenette. Despite these alterations, many features such as ceiling roses, cornices and bay window seats remain in situ. Two further units are accessible via the rear verandah area and have share kitchen facilities. Ground surfaces around the house are generally paved and the front garden is landscaped with recent garden beds.
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The columns are mounted on seated lions which are the typecast design of Pallava architecture. There are also two pilasters, which are also lion mounted, and they face each other. It is a rock cut structure. The cornices above the pillars have Kudu (Horse-shoe shaped dormer windows) depictions along its entire length and these kudus are also depicted at the gable ends of the roof.
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Single-story porches with spindled valances flank the Adams Street facade. Most windows are framed by moulding with shallow cornices above and tab feet below the sill. The land on which the house stands was sold by the Waltham Watch Company in 1868 to Charles Baker. A house of different configuration is recorded as standing here in 1874; the present house appears on an 1886 map.
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A major reconstruction took place in 1928 under the direction of the architect Hubert Worthington. Much of the west wing was demolished, removing the ballroom but retaining the drawing and dining rooms. To avoid leaving a gap exposing the courtyard, Worthington filled it with a screen wall containing a corridor linking the west and south wings. He decorated this with quoins, cornices and sash windows.
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St. Clair Shores: Somerset, 1999. Architecturally, Levering Hall is distinguished by such elements as elaborate ironwork and detailed cornices. Built in the national centennial year of 1876, it was initially conceived as a village hall and fire station, but before construction began, local businessmen proposed using its front portion for commercial purposes. Ultimately, the front and rear were built separately at a combined cost of $22,500.
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It was constructed by Antonio Santamaría de Incháurregui for Juan Ignacio Morales, who was a master ironsmith. The façades also contain ironwork balconies, cornices and a crown. The house was left to the state by Alejandro Ruiz Olavarrieta in 1896. It was first used to house the first public museum in the city of Puebla. The collection contains more than 1,500 pieces of a historical nature.
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The Johnson County Courthouse is a good example of the Italianate style of architecture. The stilted arch window openings with pronounced keystones and the consoles on cornices are characteristics of this style. Bricks for the courthouse were made from clay soil mined from a location just south of the Buffalo City Park. Kilns at the foot of the Big Horn Mountains provided the lime for the mortar.
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The cornices replicate the stepped pattern found throughout the building. Centrally placed silver foil appliques adorn the ceilings. The central staircase, which is accessed from the lobby through an arched opening with stepped, rectilinear forms, is clad in the same marble found in the lobby and has wood handrails with octagonal cross sections. Similar arched openings lead from the lobby to the east and west corridors.
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The Church of the Virgin Mary is of a simple three-aisle design, with a plain, undecorated facade. The core of the church is enlivened by only four support pillars decorated with sloping roofs. In between are four rectangular windows with semicircular tops. The facade of the rearranged main entrance tower (not in use at this time) is horizontally decorated with cornices and smaller rectangular windows.
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There were two portals at its eastern end, perpendicular to each other, creating a cross-vault. The arch had Ohio sandstone and wooden lining inside, and the portals contained circular cornices, outward-facing piers, and octagonal domed finials. Meadowport Arch was restored in the 1980s, but has since fallen into disrepair. Nethermead Arch, also completed 1870, carries Center Drive through the center of the park.
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The summit ridge is used as a cross-country ski course for the crossing of the Vosges mountains. Great care is recommended in winter because of the cornices, the possible fog and the violent and icy winds that can occur. On 28 December 1965, two inexperienced young German hikers, became lost in the fog and cold and died on the RothenbachkopfReportage sur l'accident (archive du site Vosgesfreeride).
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Beyond the latter to the north a verandah has been enclosed as two small rooms, the single- skin, once-exterior wall still visible. At the rear, north-eastern corner are three small rooms leading into a kitchen. The main rooms of the residence are predominately lined with vertical tongue-and-groove boards on the walls and ceilings. There are also simple timber strip cornices and skirtings throughout.
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Among its most distinctive architectural elements are its ornate cornices and its tall, narrow windows. In 1980, the house was listed on the National Register of Historic Places both because of its well- preserved architecture and its connection to George Lambert. The name "Lambert-Parent" is derived from its builder and from the Parent family, who were business associates and his relatives by marriage.
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The church exhibits a blend of Kerala and Portuguese styles of architecture. Its European architectural style galleries, large granite pillars, cornices and pediments make it an attractive building. The roof of the portico is supported by ten granite pillars and has a large lotus carved out of single piece of granite. Even the baptism basin inside the church has been chiseled from a single stone.
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The main roof is hipped with a slate covering. The wide eaves retain the original timber soffits with supporting modillions and fascias largely intact. Later additions, including the ballroom, are roofed with a combination of slate and copper, the copper replacing an earlier lead covering. The building retains most of the original timberwork, including stairs, architraves and doors, and internal plaster finishes, including cornices, intact.
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Provision is given from the central section of the hallway to a dining/drawing room separated by a three leaf folding door. These rooms have beaded board ceilings, small moulded cornices and frieze rails, high cedar skirting boards and rendered walls. Both rooms feature polished cedar chimney pieces, with timber corbels supporting the mantle. French doors provide access to the verandah on the east of these rooms.
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The Board and Batten Cottage is a board and batten house located on Prospect Street in Tonopah, Nevada. The house was built in 1909. Its design features a "T"-shaped plan with symmetrical features, a hipped roof, and molded and boxed cornices along the roof line. The house originally had two porches, including one along the entire front of the building, but both have been removed.
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The facade, facing the Rio Marin, is of four levels with a mezzanine and two noble floors. The first noble floor is decorated with an elegant serliana with white-stone inserts and a balustrade. Both noble floors are underlined by stringcourse cornices, standing out of the pink plaster wall. There is a gable in the central part of the top floor, terminating with a tympanum.
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The Tonopah Mining Company House is a historic house located on Queen Street in Tonopah, Nevada. The house was built in 1904 by the Tonopah Mining Company and served as a company house for its employees. The wood frame house was designed in the Georgian Revival style. The house's design features an entrance porch topped by a gable, three chimneys, boxed eaves, and molded cornices.
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The pipes in the upper pipe-flats are dummies. There is a total of 204 original pipes, with a tin content of about 23%, in the facade. The Hauptwerk case is flanked on each side by further two-storey pipe-flats with mute pipes, connecting it with the pedal towers on the gallery parapets. The upper and lower cornices are profiled and have a frieze.
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Glanmore National Historic Site is built on land that Harriet Dougall Phillips inherited from the Bleecker family. She and her husband, wealthy banker John Philpot Curran Phillips, constructed the house in 1882-1883 in the Second Empire architectural style. The building exterior features a slate mansard roof, cornices, and elaborate molding. It was designed by architect Thomas Hanley of Belleville and built by Francis McKay.
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The three-towered facades of the Hauptwerk and Rückpositiv are matching. In each, the elevated polygonal central tower is connected to the pointed side towers by two-storey pipe- flats. Intermediate cornices separate the upper pipe-flats from the lower ones. In the Hauptwerk facade, the pipes of the upper pipe-flats, and in the Rückpositiv the pipes of the lower pipe-flats, are dummies.
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The design included a veranda and a second-floor balcony on the front of the house, boxed cornices with brackets and friezes on the eaves and walls, and three gabled dormers; the interior of the house includes a fireplace with a $2,200 Yum Nan marble mantle. The Wong K. Gew Mansion was added to the National Register of Historic Places on September 20, 1978.
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On the western part of the main nave there is renaissance matroneum, the room underneath is vaulted by groin vault. A small door leading to spiral staircase leading to matroneum is located at the south side of the entrance in the main nave. Presbytery and main nave are about 18 m tall. Between main and side naves there are semicircular vaulted arcades with cornices.
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The principal south facade presents a double-storeyed range, with Neo-Mughal lobed arches beneath and temple-like columns and brackets above. This scheme is interrupted by trefoil arches capped with curving cornices and small domes. The same elements cap the octagonal corner towers. The ground floor of the New Palace accommodates the Shahaji Chhatrapati Museum, given over to memorabilia of the Kolhapur rulers.
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The nine stories above the base contain columns of wide rectangular windows, organized into "bays". Each bay is separated by concrete piers, and each window contains a concrete still below it. There are cornices at the top of the tenth and eleventh floors. On the eleventh floor, each bay contains triple-windows, and there are stair and elevator bulkhead structures, as well as skylights.
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The marble floors and handrails are polished nightly to maintain the centre's opulent appearance. The Trafford Centre has features which pay homage to the local area and North West England. The Orient food hall is themed around a steam ship, paying homage to the Industrial Revolution and the nearby Manchester Ship Canal. The Lancashire Rose also permeates the décor on window panes and interior cornices.
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The projecting sections and the main roof both have dentillated and modillioned cornices. The ground floor houses town offices, organize around a central corridor, and the upper floor has a large auditorium space with a stage set under a proscenium arch. The interior retains many of its original period finishes. Acquisition of the land, and the construction of the building were authorized by town meeting in 1907.
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The front entrance leads into a hall with a central arch way and stairway. The walls are painted a soft green with decorative stencils lining the cornices and chair rails. The stencils have been reproduced from late 19th century styles. The front door is framed by lead-light windows, a fanlight above and rectangular panels on either side as well as two panels in the door itself.
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The "Old Church" was built around the 15th century. Subsequent modifications took place in 1696 and 1763. It has a simple façade, marked by six pilasters with an elegant portal and an oval window with projecting cornices. In its interior are side altars of stone, an altar in polychrome marble, a wood crucifix from the 16th century and an 1809 painting made by Domenico Carella.
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The windows are flanked and topped by semi-circular niches, each with an arch over Tuscan pilasters with triangular gables. To the left of the entrance is a rectangular bell-tower, topped by conical spire, with facets marked by pillar wedges and topped by three-stage pinnacles defined by friezes and cornices. The four-bell belfrey is composed of Roman arches presented in salient limestone.
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It follows the ridgeline of the paha that defines the town. The buildings were constructed between 1860 and the 1930s, with most of them in place by the turn of the 20th century. Eight of them were built in the 1890s. The district is also unified in appearance with two-story pressed brick facades, ornate metal cornices, heavy pedimented window hoods, and roughly dressed limestone trim dominate.
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There is a pressed metal ceiling and cornice, forming coffers between the beams. Beyond the Lounge is the Bistro area which also has a pressed metal ceiling with borders, cornices and roses. From here several French doors lead into beer garden courtyard. In the central wing across the courtyard is the laundry, the kitchen and the former Dining Room now used for serving breakfast.
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The two-story building has tilework designs suggesting Native American aesthetics. Other ornamental touches associated with Art Deco include, floral and patterned metalwork along the shop cornices, and polished green and black marble inside. There are also ribbed pilasters between the windows and a multicolored chevron pattern above and below the roof parapets. The interior is intact, although some of the offices and shops have been modernized.
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Saint Mary of Good Counsel Catholic Church is a red-orange brick Italian Romanesque structure with stone trim, a sandstone foundation, and a partly projecting, centrally positioned, square, pyramid-roof bell tower. It has wooden cornices. Three front entrances are topped with round-headed, recessed panels with wooden relief carving. On the interior, the church has a main vestibule and two smaller vestibules on the sides.
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The building's rather straightforward appearance is the result of Canonica's restructuring in 1829 when he added a facade divided into three bands by cornices. Between the first and second floors, the building is decorated with medallions of distinguished Italian figures including Alessandro Volta, Leonardo da Vinci, Canova, Pietro Verri, Cesare Beccaria, and Giuseppe Parini.Guida d'Italia - Milano, Touring Club Italiano, 1998, p. 282. Gallerie d'Italia .
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The bar windows and glazed doors have cut, engraved, and frosted glass. The upper floors have recessed sash windows linked by ornate iron balconies on the second and third floors. The slate roof is framed by a stucco molded parapet with a prominent stucco main entablature with deep cornices and lions' head modillions. Centred on both sides are upstands with "The Albert" incised on them.
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Fenton Downtown Historic District consisted of commercial and municipal structures constructed on each side of Leroy Street for two blocks. Most of these structures were two-story brick buildings; however there was one single-story building and a few three-story buildings. The buildings had individual brick and galvanized iron cornices, along with a mix of rectangular and round-arched windows capped with assorted materials.
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There is a clear influence from Diego de Siloe on Ribero's plant, columns and cover style, evident in de Siloe's 1528 Granada Cathedral. Ribero's church features Gothic columns and ribbed vaults. The rectangular floor plan is divided into three parts (naves) of equal height, with the central nave wider than the surrounding two. The naves are separated by thick columns, topped with classical cornices and capitals.
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Its span measures . The bridge is built of sandstone with rusticated ashlar facings and radiating stonework that frames the arches and forms the spandrel panels. Horizontal stone courses make up the parapet and the pilasters of the central cutwater and span ends, and the coping and cornices are made of plainly dressed stonework. On 15 September 1830, the bridge was opened, along with the L&MR; line.
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In 2004, a new courthouse was built in Jefferson. Courthouse in 2012 It was renovated in 1978. (including two photos) Its courtroom has a "Cathedral quilt" pressed metal coved ceiling and egg and dart cornices. Its architect, William Winstead Thomas (1848-1904), was president of an insurance company but also designed buildings, including the White Hall estate house outside Atlanta and at least two other courthouses.
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The structures are made from wood, brick, cement block, stone, and various combinations of these materials. The core of the district is the two commercial blocks in a T-shaped area at the intersection of Leroy and Shiawassee Streets. This area includes mainly two-story, brick Italianate commercial style buildings. Many have cast iron and pressed metal storefronts, rounded arch windows and decorative cornices.
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Former U.S. President Ronald Reagan was born in a second floor apartment of what is today a restored early 20th century bank. The Reagan Birthplace is similar to most of the commercial buildings along Tampico's Main Street. It is brick, two stories tall, has three second-story windows and a cornice. Only the area's oldest buildings differ from the Reagan Birthplace's metal cornices and flat headed windows.
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Its foundation is not mentioned by any ancient writer. Laodicea is at Ladik, and numerous fragments of ancient architecture and sculpture have been found. Visitors in the 19th century described seeing inscribed marbles, altars, columns, capitals, friezes, and cornices dispersed throughout the streets and among the houses and burying grounds. From this it would appear that Laodicea must once have been a very considerable town.
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Unit 1 retains decorative features including plaster ceiling roses, cornices, joinery. Tesselated tiles on balcony. Notwithstanding the substantial changes it has experienced, 2 Hayes Street presents as a fine example of the Federation period Arts and Crafts style. The additions and alterations in the 1980s have captured the characteristics of this distinctive style, maintaining the typical asymmetry and variations in the use of architectural forms and devices.
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This room also has a partially glazed six-panel timber door. The central hall has a curved corner at the intersection with the rear hallway. The small room off the central hall has built-in timber bookcases on either side of the former fireplace. The s room features a decorative plaster ceiling and cornices, a different profile of timber skirting, and different door architraves.
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The church is predominantly Baroque in style. Its first level is devoid of any embellishment or fenestration save for the main semicircular arched portal and the wave-like cornices and rounded, high- relief pilasters. A similar motif has been adapted on the second level of the façade, which is pierced by three windows. The center of the softly undulating pediment showcases one blind window encased by pilasters.
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The house had double hung windows with rectangular surrounds and pediment shaped window heads. The first floor featured one-over-one windows and the second floor featured six-over-six windows. Medium pitched gable roofs capped both the main structure and the wing. The exterior also featured pilastered corner boards, projecting boxed cornices and a plain frieze on the gable ends where double hung windows were located.
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Power House & Pump House is at the west end of Cockatoo Island, Sydney Harbour. The powerhouse is a good example of Federation Romanesque style, as seen in the rounded arches that distinguish the building. It is built of brick, laid in English bond, and there are sandstone capitals, string courses, sills and cornices. The roof was once tiled, but was later clad with corrugated asbestos cement.
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Bockenheimer Depot from the university The main building of the depot once served as a shed for trams. It was built in 1900 with three naves of yellow bricks with red cornices and decorations. The wooden roof construction goes back to models of the French Renaissance builder Philibert de l'Orme and has become rare. As a theatre venue, the hall now seats around 400 people.
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This two storey commercial building with a basement was built during the Federation period with load-bearing brick external walls and timber internal columns. The Flinders Street facade was dressed with cement and decorated with arched windows, pilasters, string courses, pediments and cornices. The building was surrounded by a decorative slit parapet on all external walls. The centrally placed entrance was emphasised by an arched opening.
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The house consists of a 1-1/2-story rectangular mass with a one-story salt box addition at the rear and a hip roofed, single-story addition attached to the front facade. The front addition has corner pilasters, a recessed porch supported by turned uprights, and a simple entrance door in the porch. All three sections have a wide frieze and two have cornices with returns.
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Its hip roof is supported by Tuscan columns, and it has shingled skirts topped by low metal balustrades. Its two entrances are in the two center bays, each doorway flanked by sidelight windows; they share a molded lintel. Windows are topped by slightly projecting moulded cornices. The interior is divided into roughly symmetrical side-by-side units, each retaining some original 19th- century woodwork.
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All the other windows are rectangular symmetrical and topped with projecting cornices. A columned Greek Revival portico runs the length of the first story. On the west gable there is a Palladian opening with grilled quarter-round openings on either side and topped with a pediment. The rear entrance uses a Dutch door and lacks the transom but is otherwise identical to the front.
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These Italianate buildings are examples of the two-and three-story brick commercial buildings, which lined La Porte's downtown area. Common arch architectural details if the Italianate include: pressed metal cornices and window hoods, and storefronts with cast-iron columns. The downtown area occupies the location where two pre-European trails met. The number of lakes and wetlands to the north forced the town to firmer ground.
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The overall fabric of the hall is intact, although a few alterations have been made. The ceilings retain features such as decorative ceiling roses and cornices with geometric designs. The proscenium arch has elaborate mouldings with abstract geometric designs. Pairs of eight-light French doors opening to the north into the supper lounge are intact (although a few lights have been replaced), as is the timber floor.
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The Hardenbergh structure, seen from Third Avenue to the east. The top six floors were added after construction. There are cornices above the 10th, 12th, 13th, and 17th floors, and a crowning cornice above the 18th floor. A penthouse can be seen on the 19th floor and is set back from the main facade The initial structure by Hardenbergh was one of the architect's last designs.
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A single spacious interior compartment around the subdome bay includes radially oriented semi- circular apses. One of these, the altar apse, projects outward prominently due to its large bema. The drum of the dome is also faceted. Each facet of the main body of the church as well as that of the dome and gallery terminate in a pediment with three lines of polygonal cornices.
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A large ell extends to the rear. The house has wide cornices with returns and a frieze band below. A porch with Doric columns fronts the wing; a second small porch was formerly located in front of the entry door. The windows are double-hung, six-pane sash units, with iron lintels and sills on the front facade and sandstone lintels and sills on the other facades.
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St Marys Convent at Cooktown The former St Mary's Convent is sited on a hill overlooking the Endeavour River. It is constructed in red brick in a Victorian Gothic style. It has an "L" shaped floor plan with a bay projecting to the west on its northern end. Brick cornices surround the building below the ground and first floor window levels and at first floor level.
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The porch has a flat roof, and is supported by turned posts with decorative brackets, and has turned balusters. The main entrance is in the rightmost bay, and is framed by sidelight and transom windows. The other bays have simple sash windows, and are topped by relatively plain projecting cornices. The side elevation has a projecting polygonal bay, with small recessed panels above and below its windows.
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Main entrance of Grasse Mount viewed from Main Street in Burlington, VT Grasse Mount has been recognized as the best example of a Georgian colonial house within the State of Vermont, and was included in the book "Great Georgian Houses of America", originally published by the Architects' Emergency Committee in 1933. Here the mansion was represented in an illustration with a hipped roof in place of its belvedere structure. Considered to be a sophisticated example of federal domestic architecture, Grasse Mount is a two-story brick mansion with a hipped-roof, cupola, and balustrade which runs along the perimeter of the roof adorned with cornices between the second story window bays, which are flanked by exterior louvered shutters. The space between each of the flat-arched second story windows and the cornices are adorned with alternating oval and oblong re- entrant angle swag panels.
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The slabs at the entrances were of Kapunda marble. The elevations, similar on both Rundle and Grenfell streets, were of Italian style; the lower half dominated by the glass shop-fronts and arcade entrances, protected by verandahs supported by decorative iron columns, with a square balcony at the centre, behind which was an octagonal tower and dome, bearing an Australian coat-of-arms (not _the_ coat of arms — Federation was still 15 years away, but the design used bore a strong resemblance to that ultimately chosen). Inside, the ceiling featured wide cornices constructed of moulded galvanized iron, and the upper cornices being surmounted by a deep cove finished with panelled soffit, returning down the cove and across the ceiling, which is broken up into a series of deeply recessed panelled bays, glazed with diapered and coloured glass. Additional sunlight was supplied by circular bullseye lights in alternate bays of the cove.
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They decided to avoid the gully by climbing a minor arête which led from the foot of the gully up to a high point on the main ridge but they had to leave a deadman anchor when deteriorating weather forced them to retreat to camp. Next day Bonington and Frost got within of the crest of the Ice Ridge but again bad weather forced a retreat. By 18 April only had been gained since the Col had been reached eleven days earlier and from Base Camp and on 19 April Haston again ascended the minor arête where the way to the main ridge was blocked by huge cornices but he found he could slip through gaps in the rotten snow between the wall of the ridge and one of the cornices. However, after reaching the crest of main ridge and fixing a rope he was forced back by the weather.
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The courthouse's upper stories are reached by a broad white marble stairway. It features bronze fish-scale screens which are decorated with laurel wreaths, the same type of screen closes the rails around the rotunda opening. Inside the rooms are sand cast plaster cornices and a variety of floor finishes which include mosaic, marble and maple. The original stenciling in the rooms has been lost to the past.
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Morson's Row, also known as James Morson's Row, is a set of three historic rowhouses located in Richmond, Virginia. They were built in 1853, and are three-story, three bay brick structures with flat roofs. They feature Italianate style heavy bracketed cornices, arched door enframements, and elaborately molded consoled lintel over the windows. The distinctive feature of the row is the off-center, two-bay bow on each house.
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The steam mill is an early industrial building from the district's history of economic development, whose gable projection and fenestration show traditional ruling- class architecture, thus stating the manufacturer's claim to importance. The masonry is made up of local quarrystones with skilful working of the natural bossage. Cornices, window arches and windowsills are made of red brick, contrasting with the grey walls. Small tie rod disks show the stretched ceiling construction.
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Framed in timber, it has a valance and parapet of fibrous cement sheet cut to a sawtooth between the posts. At the entry to the store are island plate glass display cases with red tiled bases, brass framing and leadlight upper panels. This area has a pressed metal ceiling and cornices. Above each entry is a sign painted on the glass including "Stan Pollard & Co." at the central bay.
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Listing Reference Number 87001310. August 4, 1987. The most continuous side of the E-shaped structure constitutes the front facade; it is articulated to best reflect and express the internal organization in plan. Sophisticated neoclassical details, although integral to the building's public "face", are not used with such insistence anywhere else on the building, except for the lobby, which includes some mouldings, cornices and relatively simple pilaster inlays.
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The opening between the two center columns is extremely wide to visually show off the wide front entrance. The cornices are bracketed, and the tympana has a semi-circular fanlight with radiating tracery. There are pilasters at the junction of the portico with the house that terminate at the second-floor level. A wide porch is located on the west and on a portion of the south elevations of the clubhouse.
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The Pagoda of Seventh Patriarch was originally built in the reign of Emperor Xuanzong of Tang dynasty. The pagoda has granite structure with five storeys and five sides. Curved bars and cornices are set on each story, which are magnificent and become the symbol of Jingju Temple. Its body are engraved with Chinese characters "Pagoda of the Seventh Patriarch Hongji Chan Master in the Tang dynasty after his Parinirvana" ().
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St Mary's is constructed in limestone ashlar, and is in Gothic Revival style. Its plan consists of a three-bay nave, north and south transepts, a chancel and a west tower containing a porch. The tower is in three stages on a moulded plinth, with string courses, a frieze, and cornices, one of which is carved with Romanesque-style decoration. The parapet is embattled and there are pinnacles at the corners.
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Hotel Oregon, also known as Oakman Drugs, Oakman Glass, and Spartan Hotel, is a historic hotel building located at Spartanburg, Spartanburg County, South Carolina. It was built in 1909, and is a three-story, brick building with two first floor storefronts. It features horizontal granite belt courses, decorative brick panels, brick cornices, and a stepped front parapet. It was listed on the National Register of Historic Places in 2001.
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French doors, possibly replacing earlier double-sash windows, open from both bedrooms onto the s sleeping verandah on the western side of the house. At the southern end of the s extension is a bathroom. Most of this has been modernised, but a section of s terrazzo flooring remains. The internal walls of the brick core are plastered and the rooms have highly decorative s plaster ceilings, ceiling panels and cornices.
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The house was designed by architect Henry Austin as an Italian villa. It includes "flat and semicircular arch motifs in window openings, bracketed cornices, and recessed front entry behind arcade with semicircular arches." It was "remodelled" by architect Edward Larrabee Barnes in 1979. It has been listed on the National Register of Historic Places as a contributing property to the Hillhouse Avenue Historic District since September 13, 1985.
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The tower has a crested mansard roof. The building retains some of its rich ornamentation. The first floor bays on the northern frontage have single windows framed by pilasters, and are encircled with cornices, with a parapet with pediments above the windows. The two-storeyed parapeted bay to the eastern frontage has a (now enclosed) belvedere, with arched openings with imposts, extrados, keystones, small balustrades, and parapet with stepped cornice.
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Constructed of granite, the shape of the church's main body is that of an elongated octagon, with decorative plaster ceilings. The façade, also granite, is regular and mostly plain, with two bell towers and a rectangular recess where a figure of the patron saint of the church stands. The bell towers include decorative cornices and dentils. Each tower is topped with masonry spheres, a stone cross, and a metalwork flag.
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Mostly in brick, it is interrupted by two raised areas in sandstone containing the side portals, under cornices of travertine, running along the frontage at the level of the base of the second storey. The tympanum has an indented triangular frame. The second bishop, Cosimo Gherardesca, gave the new building the necessary furniture to equip it for worship. The choir stalls are still the originals, made in 1628 by Silvestro Ceramelli.
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It may also be marshy, muddy, and wet. It may be necessary to cross streams and rivers, and slippery rocks present a hazard. If there is snow and ice, there can be cornices, crevasses, and avalanches, although snow can make it easier to spot and track reindeer. The weather during the beginning of the autumn hunting season is often pleasant, relatively warm, and mild, but it can change very quickly.
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The Jaffrey Mills is a historic mill complex at 41 Main Street, in the central business district of Jaffrey, New Hampshire. It consists of a connected series of primarily brick buildings flanking the Contoocook River just north of Main Street. Its oldest buildings, the original mill and office building, are on the west side of the river. They were built in 1868, and feature mansard roofs and banded dentil brick cornices.
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Hamilton Family Estate is a set of nine historic homes located in the Spruce Hill, Philadelphia, Pennsylvania. They were built between about 1853 and 1863, and are representative examples of the Italianate-style of architecture. They are commonly built of stucco and masonry, with porches and bracketed cornices. The houses at 400 S. 40th Street and 4000 and 4002 Pine Street are believed to have been designed by architect Samuel Sloan.
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Five of the row's six houses are identical two-story, three-bay frame structures with a continuous gable roof shingled in asphalt. They have distinctive Italianate features such as bracketed cornices, two-over-two sash windows and paneled entrance reveals. All the east (front) facades are sided in clapboard, and all windows have paired louvered shutters. The basement on the west elevation is exposed, giving the appearance of a third story.
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Its ornate carving embellishes the tongue and groove joint construction in the floor and ceiling. French doors provided access to the house. The slate mansard roof, with arched dormer windows is accentuated by cornices at its base and top. The slates are several different patterns set in rows of three; the central east facade of the roof is crowned by a wooden cupola with windows and a spire.
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The present figure-eight pattern of lanes was adopted in 1854. The first main gate, the Gaylord Gates on Pleasant Street, was built in 1907, but was replaced in 1954 with the construction of the Burnham Gates on Triangle Street. The older gate is made of simple granite piers, and is normally chained. The Burnham Gates are made of ashlar stone piers, topped with molded cornices and pyramidal capstones.
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They both feature door surrounds with Corinthian columns and are ringed by paneled pilasters, topped by plaster cornices. The main entrance for the first floor enters a L-shaped front hall, with a cantilevered staircase in the side portion of the hall. Other rooms on the first floor are the dining room, gentleman's parlor, and the warming room. The second floor houses a T-shaped hall and four bedrooms.
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Pilasters with Doric capitals are present on the corners of both the main block and the wings, as well as terminating the portico. The main block has a gable roof, while the one-story wings have flat roofs with deep cornices forming parapets. There are four interior chimneys in the main block, and one each in the wings. The double entry doors have multi-pane sidelights and a transom.
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The Jacob Hoffstetter House is a large two-story, red brick, gabled Late Victorian structure sitting on a coursed ashlar foundation. The windows are narrow, single-light-sash, double-hung units with stone sills and segmental-arch heads. At the lintel level in each story, a two-brick high belt course of yellow brick encircles the building. Bay windows and the two side porches are topped with cornices.
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The entrance is flanked by pilasters, and has sidelights and a transom. The side wing also has a low pitch roof with classical cornices with returns, and has a porch stretched across most of the front. The interior of the house contains a main staircase against one, with a hall leading to a pair of parlors connected by a large, segmental arch-head doorway. Each parlor contains a fireplace.
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The stone contractor Thomas Osborne, whose ruinous speculative investment it was, gave the building his name.The most extensive description of the Osborne is Andrew Alpern's essay in Luxury Apartment Houses of Manhattan, An Illustrated History, (Dover Publications, New York), 1992. Three modillioned cornices divide the height into three broad horizontal bandings, with a two-story attic added for servants' quarters in 1891 that is capped with a top cornice.
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There is an original external timber staircase in the verandah area of the central building range. The brick gable ends of both wings feature small ventilation openings. The interior fabric of the building is largely intact. Most internal ceilings are lined with pressed metal, in a variety of patterns, including ceiling roses and cornices, although modern fluorescent lights and ceiling fans have often been fitted over the roses.
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It was built to honor the memory of Lord Mayo, the 4th Viceroy of India. It offers a panoramic view of the city's Parade Grounds and Ulsoor Lake on one side, and the Bangalore Race Course and Brigade Grounds on the south. This two-story structure is known for its ornate furniture and architecture. It is adorned by chandeliers, Greek cornices, Tuscan columns, stone arches, wooden floors and beautiful furnishings.
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The doors and windows were built with round arches. The upper floors were made of brick, with the lintels and cornices built of sandstone as a contrast. Since 1873, it had been clear that a branch line from the Murr Railway to the Northern Railway was necessary to relieve the railway junction at Stuttgart. This project was realised when the State Railway opened the Backnang–Bietigheim railway on 8 December 1879.
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Its interior retains elaborate decorations, including plaster cornices and marble chimneypieces, dating from Robertson's remodelling. In the grounds is an 18th-century garden house, octagonal in shape with a pyramid roof, which contains a sundial dated to 1661. The grounds are accessed by two gates, which have square ashlar gatepiers with carved ball finials, which are included in the listing for the building. The house has been praised for its elegance.
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This section of the building has been altered over time. Many of the rooms have decorated plaster ceilings and deep cornices with Art Nouveau inspired ornamentation. The front entrance to the building opens into a hallway space and reception area that has a recent, low ceiling of acoustic tiles and a timber reception desk. Central hallways run from the entry area through both the western and eastern wings.
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The Woodstock Academy Classroom Building is a three-story wood frame structure that stands impressively on a rise overlooking the Woodstock Green. It is nine bays wide, with the middle three projecting outward, capped by a pedimented gable over the center bay. Window bays are articulated by paneled pilasters, which rise to paired brackets in the eaves. Windows on the projecting section are topped by pedimented and bracketed cornices.
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The Zhenfeng Pagoda () was originally built in the Song dynasty (960-1279) and reconstructed in 1570 in the reign of Longqing Emperor (1567-1572) of the Ming dynasty (1368-1644). It initially called "Ten Thousand Buddha Pagoda" (). The high pagoda has the brick and wood structure with seven storeys and eight sides. Curved bars and cornices are set on each story, which are magnificent and become the symbol of Yingjiang Temple.
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The building corners are pilastered, and windows are topped by projecting cornices. The church was built in 1790, but has seen numerous alterations in its long history. Originally a plain rectangular structure, it was given Greek Revival features in an 1839 renovation, and the tower was added in 1889. The 1889 renovations also included a substantial remaking of the interior, which is now nearly entirely late Victorian in style.
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Auburn is a two-story brick building, with a central core and flanking symmetrical wings. A four-column temple front adorns the center of the block, with modified Ionic columns supporting an entablature and fully pedimented gable. The gable has modillioned cornices and an oval window at its center. The main entrance is set in a segmented-arch opening along with flanking sidelight windows and a transom window above.
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The parapet is enriched with classical stone cornices and decorative embellishments. The inter-war period of this classical building is emphasised by its large metal framed windows and spandrel panels. Initially the building has been substantially refurbished in the early 1970s and in the late 1980s, with modern office interiors consisting of plasterboard stud wall and suspended ceilings with glazed partitions predominate. The entry foyer features travertine marble cladding.
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The color of paint still on the remaining walls was carefully noted for later copying. Photographs and early plans of the palace were brought together to help with the restoration. As soon as the war ended, a search began for treasures stolen from the Palace. Curators collected pieces of furniture, fabric, the legs of tables and pieces of doors and gilded cornices from the German fortifications around the Palace.
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The house is an updated and simplified version of the style. It features a plain brick exterior and lacks the decorative window surrounds and bracketed cornices that were popular in the Victorian era. The primary decorative details are found at the house's main entrance. It features a wrought iron grill that was generally not found in Davenport until Mediterranean/Spanish Colonial Revival architecture became popular in the 1920s.
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The ground floor ceiling of the printers' shop still displays original ceiling roses and cornices picked out in pink paint. The earlier 1877 shop blends with the later gabled shops but is of simpler design. The upper balcony also displays cast iron balustrades with decorative iron posts and a convex corrugated iron awning, The upper rooms are accessed by French doors to the balcony. This building has a plain horizontal parapet.
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When the tower was built, the base comprised the first through fifth stories. A large cornice was located above the fourth story, and smaller cornices above the second and fifth stories. The original ornamentation on the rest of the tower was relatively restrained, except around the clock faces. The 1960s renovation replaced the marble between the first and fifth stories, and between the 20th and 36th stories, with limestone.
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The gables are clad with wooden shingles. Gabled dormers pierce the roof, as does a small tower with an onion-like dome at one end of the facade. A single story porch supported by Doric columns runs across the facade; the porch and the house itself have classical cornices. It is likely that Phillip Rehkopf, a mason, built this house himself some time before the turn of the century.
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The majority of buildings are brick, and the predominant architectural style is Italianate. Dating from the 1860-80 period, this style is characterized by bracketed cornices and round or segmental arched window details. Good examples of earlier Greek Revival style architecture constructed between 1835 and 1860 are also found, predominantly located on the lower streets which developed the earliest. This style utilizes classical details and geometric, symmetrical forms.
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On the roof there are grouped chimneys with decorative shafting. The Jacobean façade features a 3-storey 3-bay centre block and 2-storey single bay wings with cornices, parapets and shaped gables. The outer bays of main block have 2-storey angled bay windows with open parapets. Access to the main house is via a semi-circular headed doorway with rusticated arch and an Ionic motif above a keystone.
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At the base of the tower is the main entrance into the church. The tower is flanked by narrower side entrances. The three entrance portals are framed by compound round arches that feature limestone keystones and impost blocks. Above the main entrance is two pairs of round arch windows, and above them is the bell chamber whose cornices are arched to accommodate a clock on each face of the tower.
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Round marble columns, terraces, bedrooms, wooden and crystal halls have features like neo-classical, neo-Islamic and neo-Ottoman characteristics. The arches in S and C shapes originated from the Rococo style. Columns, palmets or sea shells have been added to the keystones of the arches. The baroque style of the 19th century has been reflected with oval windows, fluted cornices, flushed columns with small tower on ends.
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The only decorations are the pommels and cornices around windows. The building was significantly damaged in an earthquake on 8 May 1940 and was subsequently repaired by a team of Georgian specialists between 1950 and 1953. Two more interesting structures can be found in the vicinity. The mausoleum of Merab Panaskerteli is situated next, south to the church, with carvings, depicting Merab with his wife and the son.
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The meat market had pilastered arcades, 360 windows, fanlights and wooden cornices, and four avenues each long. It contained 180 butchers' shops when it opened. The vegetable market was given an open-plan layout, long, wide and high, with a fine timber roof. In 1835, to celebrate the opening of the markets, a grand dinner was given in the vegetable market, with 2,000 guests and presided over by the Mayor.
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Other ornamental features include decorative plaster cornices and borders around entranceways. The main staircase occupies an alcove at the far end of the foyer, opposite the entrance. The winding half-turn staircase retains the original carved handrails and timber treads and is the dominant feature of the interior. Accommodation units and public areas (such as a laundry) occupy the remainder of the ground floor on the southern and western sides.
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Capitals and cornices show a variety of sculptures. The heraldic symbols of the Nemanjić-Dynasty are a dominant motif. Floral motifs and anthropomorphic figures are inspired by the rich sculptural tradition of the Morava school. The main author of the stone ornaments of the interior decoration was initially Aleksandar Deroko, whose plans were executed on all of the capitals at the columns between narthexes and naos and the altar apse.
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A barge lock was constructed against the north-east ("Surrey") side. This is followed by four immense brick piers protected by large ashlar stone cutwaters (starlings). These in turn support relatively thin stone dressings reaching to the metal parapet level, carved in a classical style with reredos and cornices, supporting painted metal arches. A matching-colour balustrade is above the arches finished with black lanterns, metal pillars and simple finials.
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The house measures 23.5 metres high, is 18 metres wide and 14 metres deep. The jetty plates (Stockschwellen) are decorated with double "ship cornices" (Schiffskehlen). On the shoulders are fan rosettes (Fächerrosetten), the heads of the jetty beams have very elaborate profiles. On the building are the inscriptions Am tage kiliani mit gots hilfe gericht ("Built on St. Kilian's Day with God's help") and Laus Deo (Latin for "Praise the Lord").
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The tower consists of three proportional sections with the total height of 30 m, which makes it the tallest clock tower in Bulgaria. Distinctive features are its baroque elements and frescoes decorating the corrugated cornices. It contains similar architectural elements to those of the Plovdiv and Koprivshtitsa houses of the National Revival period, and a pointed cube reminiscent of the forms of Islamic architecture. It is decorated with blue frescoes.
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The interior was described as: Plaster cornices and archways decorate the main corridors, with light entering through large lunettes which probably contained coloured glass. There are Greek ornaments over the doors and many marbled pilasters. In each spandrel of the arches which cross the corridors over each bay, is one of Brodrick's characteristic stylised rosettes. The building predominantly houses large numbers of single bedrooms, with double-suites in the corner towers.
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The north profile has no projections or additions. Inside, the house has a double-pile central hall plan. The first story retains much of its original finishing, such as carved newels and balusters on the stairs, molded door and window surrounds and decorated plaster cornices and ceilings. The second story also has its original plan and finishings; the attic has been renovated, opening up the space once used as servants' quarters.
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The cladding with ochre-coloured ceramic tiles is complemented with pillars covered with various terracotta reliefs. Plinths and cornices are made of sandstone. Due to its external monumentality, the building does not reflect the townscape, but instead stresses its importance as a railway junction. It contains a Fürstenzimmer ("prince's room"), which was the location of a meeting between Otto von Bismarck and Tsar Alexander III of Russia in 1889.
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The Indian Mission is a one-and-a-half story rectangular frame building with a gabled roof on a low stone foundation. The building has box cornices and two brick chimneys within the walls. The windows are double-hung sash units, six over six. Adjoining the mission is a concrete structure, cast in the shape of a log building, as a replica of the first chapel built in Sebewaing in 1845.
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It has a high gable roof with a large round window in the facade gable, below a pointed-arch tracery pattern at the top of the gable. The side walls have four pointed-arch windows on either side, separated by piers. Cornices, Gothic "tracery" treatment in the front gable, and hood moldings are made of galvanized iron. A vestibule containing the entry, added in 1963, projects from beneath the round window.
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The Saline County Courthouse in Benton, Arkansas is the county courthouse of Saline County. Built in 1901, the courthouse was the third built in the county. Architect Charles L. Thompson designed the building in the Romanesque Revival style, an uncommon design choice in Arkansas. The two-story brick building features a four-story clock tower at one corner, smaller towers at the other three corners, dentillated cornices, and rounded arch entrances.
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The roof-line is defined by a moulded cornice and parapet supported by triglyphs and modillions, and with friezes in panels above the pilasters. The right-side garden elevation is of similar style, and has a full-height canted bay window. The left-side elevation is more plain yellow-brick construction. The interior features a geometrical stone staircase with slender cast-iron balusters and decorated with moulded cornices and wall-niches.
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Ground-floor rooms have plaster cornices and ceiling roses, dado rails, and panelled doors, window shutters and shutter boxes. The hall is sited in a estate, with a walled-garden to the north, and outbuildings including an 1802 coach-house designed by William Fowler. Nikolaus Pevsner, on his visit, noted that the estate has been "deparked", and comments that Mr. Maw's pre-1855 house was a "Georgian box".
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Cornices over the window bays and on the roof are bracketed. The elegant Victorian detailing is continued through the ell and to the carriage barn. The house was built in 1870 for William Cross, a local cattle merchant, and was purchased in 1874 by William F. Perry. The house's styling is probably the result of alterations made by Perry, who was by then already owner of Bridgton's largest textile mills.
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Thomas Marcellus Denning House, also known as the Randall House, is a historic home located at Albemarle, Stanly County, North Carolina. It was designed by architect Louis H. Asbury and built in 1924–1925. It is a two-story, double pile, Spanish Colonial Revival style brick dwelling. It features bracketed, tiled pent cornices; full-façade porch with a parapet roof; and a side/sun porch with a porte cochere.
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The belfry is multilayered and is similar to the one at Merida cathedral; the bell towers have cornices at each level finished at the edges with white quoining. Decorative stucco work embellishes the western porch. The entry door has arched carvings of geometric design and is provided with a scrolled keystone and a Franciscan coat of arms. Floral designs with winding tendrils are also provided on the spandrels and the flanks.
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To the right of the entrance lay a rectangular yard with three orders, doric, ionic and corinthian. On the opposite side lay a smaller square yard, surrounded by a portico with serliana. The reconstructed building is shorter, having only 13 windows along its façade, which shows exposed bricks. The two yards have been rebuilt, while the cornices of the windows and the portal come from the original edifice.
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The door openings have stone surrounds with carved cornices containing stylized floral and leaf patterns. Carved stone medallions containing eagle motifs are located above each entrance. The interior contains several significant spaces that retain their historic finishes and features and continue to convey the grandeur of the building. The entry vestibules have floors covered in contrasting marble that forms a central star design with a diamond-shaped border.
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Only the area's oldest buildings differ from the Reagan Birthplace's metal cornices and flat-headed windows. The building's first-floor interior has been restored as the First National Bank, which occupied the property from 1919–1931. On the second floor the apartment has been restored to the period when Reagan was born. The site offers tours to the public and is listed as a "significant" contributing property to the historic district.
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The main facade, facing the street, is symmetrical, with a double-door entrance at the center, with flanking pilasters and a triangular transom window that has a cornice above. The flanking bays have sash windows, also topped by triangular cornices. In the attic level above the entrance are a pair of pointed-arch windows, again beneath a single triangular cornice. The eave of the roofline is decorated with jigsawn bargeboard trim.
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The south wing behind has a two-storey verandah with cast-iron posts in pairs and lace balustrades and valences. The north wing is sparsely detailed by comparison, with no verandahs. Hipped gable roof is clad in corrugated-iron and moulded cornices are bracketed. The early history of the house has not been researched but it was purchased 1916 by St Aloysius' College and has housed the school since then.
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It was intended as a hippodrome for arena theatre and featured stone cornices, terra-cotta capitals, rosettes and tiled panels. The architect Henry White turned the interior into a movie palace in 1927, creating the effect of an internal Italian garden or piazza. It also featured an internal imitation courtyard which is the only one surviving in Sydney. The building is listed on the Register of the National Estate.
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West 147th–149th Streets Historic District is a national historic district in Harlem, New York, New York. It consists of 60 contributing buildings; 58 tenements, one school, and one stable built between 1894 and 1905. With the exception of the stable, all of the buildings are five or six stories tall, all with brick facades. Most have some form of terra cotta ornament and all have pressed metal cornices.
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Building D is located on the south side of the Pyramid of the Nine Stories. It consists of pyramid like levels of talud-tablero topped with three moldings on the east and two on the west. The levels are rectangles with rounded corners, painted black on three sides with the east side in orange. The murals on the tableros have no figures on them and the cornices are painted black.
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The Maine Supply Company Building stands on the west side of lower Lisbon Street, Lewiston's principal commercial thoroughfare. It is a four-story masonry structure, built out of brick with wooden trim. Its facade is divided into three sections, articulated on the first two levels by quoined brick piers, topped in pairs by elaborate cornices. On the third level a massive round arch caps the central two piers.
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The roof is pierced by dormers with steeply pitched gable roofs with bracketed eaves. On the second floor the Lisbon Street windows are set in rectangular openings with bracketed cornices, while those facing Pine Street are set in segmented- arch openings. Third-floor windows on both facades are set in round-arch openings with stone hoods. Construction on the block was begun in 1868 and completed in 1870.
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View of a side of the square showing the railings to its large public garden which the Victoria County History states are original. The inside of the square is a green with shrubs, trees and historic stone ornaments. Many buildings around the square are five-storey houses with leaded fanlights, pilasters and upper cornices (white ledges) and porticos. The houses have sash windows, ornamental cast-iron balconies, columns and porches.
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Cadillac Tower was the first building outside New York City and Chicago to have 40 floors, including two below ground. The building also houses the city of Detroit's Planning and Development Department, and its Recreation Department. Cadillac Tower's decorative cornices and parapets are of varying heights. The corner spires rise to a height of , and the spires at the middle façade rise to the same height of the mechanical penthouse at .
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"Masons comes down" It has also been known as Evergreen Lodge No. 17 A.F. & A.M.. It is a two-story masonry Classical Revival-style building on a raised basement, with a portico incorporating Ionic columns. Doors and windows are topped by flat brick arches with terra cotta keystones. Terra cotta is also used in cornices and in plaques beside the building's portico. It has a shallow roof being a parapet.
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It was built about 1890, and is a one-story, frame Eastlake Movement- influenced vernacular cottage. It has shiplap siding and a hip and gable roof with bracketed cornices and pedimented gables. It also has projecting polygonal bays with a single window in each face. It was the home of African- American politician Edmund H. Deas, who served as county chairman of the Republican Party in 1884 and 1888.
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The building was completed in 1857 at a total cost of construction of $209,723.32. It was constructed of granite from quarries in Quincy, Massachusetts. It is a three-story building, topped by a hip roof and metal dome, with quoined corners and cornices between the levels. It is three bays wide and seven deep, with the central three bays on each side projecting slightly, with further quoining to emphasize the projection.
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The building, in three sections, was built of frame over an elevated stone basement. The original two-story central portion had a modified gambrel roof and two interior chimneys and was flanked by one-story wings, built on the main axis, with polyangular ends, hipped roofs, and end chimneys. Exterior walls were flushboarded. Quoins marked the corners of the central section, and flat, key-blocked cornices topped the first-story windows.
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The frieze is supported by a stylized Doric crenelated brick pilaster. The second floor facade has verandahs supported by a projection of brick cornices with ornamental ironwork fern design ledge. The doors are topped by corniced rain-stopper. On October 17, 2003, the late Archbishop Legaspi opened the Bishop Domingo Collantes Library with a 30,000-book collection and can sit 100 readers in its 280 sq. m. hall.
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There is also a further entry at the splayed corner which leads to the Public Bar. Although substantially remodelled, the Public Bar retains its pressed metal ceiling with beam surrounds, cornices and roses. From both private entrances, generous corridors lead to a central arched vestibule which features moulded pilasters and archways with keystones. Adjoining is the main stair in polished cedar, with square moulded balusters and carved newels.
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The toilets and garage are the same face brick as the main building. The office consists of a small entry foyer with reception desk, three offices, a kitchen, and a strong room. Rooms have vinyl tile floors, sheet wall linings with timber skirtings, picture rails and architraves, and the ceiling is fibrous plaster sheets with moulded plaster cornices. The strong room has a concrete floor and rendered concrete walls and ceiling.
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The corners are emphasized with slight recess and pilasters. As with the other two buildings, pilasters, here with Corinthian capitals, spring from a stringcourse above the first story to divide the bays of the second and third stories, forming a balustrade. Six-over-six trabeated double-hung sash on the second floor are topped with cap cornices. Above them the third level windows are plainer and shorter trabeated six-over-six.
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The brick walls are 12 to 20 inches thick. The original Federal character that dominated the house's exterior remains in the large fanlights above the front doors and in the delicacy of the front porch that is supported by twelve slender fluted columns (six on each level). The house has corbelled cornices that feature dentils. The exterior of the building at one time displayed penciling, and remnants remain in several spots.
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Since the 1920s, the Municipal Library owns the edifice. The outbuilding on the first floor harbours a collection of antique books from the ancient Bernardine monastery library, which stood in the 16th century in Bernardyńska Street. The building at Długa N°41 has a "L" shape with a side outbuilding and the main entrance on the south elevation. The facades are divided by vertical pilasters and horizontal cornices.
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Noteworthy are the metal and marble staircase and the coffered ceiling in the courtroom. There is also a rotunda with paneled soffits, decorative cornices, screens of piers with decorative caps on the third-floor, globe light fixtures, decorative frieze, and a circular art glass skylight dome. The significance of the courthouse is derived from its association with county government, and the political power and prestige of Pocahontas as the county seat.
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The tower is raised three stories above the western cross arm. The levels are marked by sandstone cornices that become larger with height, and there are round-arched openings on all four sides at each level. The top level is decorated with flat pilasters and from the uppermost cornice has a gilded penetrated clock face centrally on each side. The hands are connected to a clockwork inside the tower.
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Bethune-Powell Buildings are two historic commercial buildings located at Clinton, Sampson County, North Carolina. They were built in 1902, and are two- story, brick buildings with decorative pressed metal sheathing and brick cornices on the front facade. The Bethune Building is six bays wide and the Powell Building three bays wide. The pressed metal sheathing features a robust pattern of colonnaded, arched garland friezes, and modillion cornice.
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The use of bracket figures depicting dancing girls became common on pillars under beams and cornices. Among animal sculptures, the elephant appears more often than the horse: its broad volumes offered fields for ornamentation. Erotic sculptures are rarely seen in Chalukyan temples; the Tripurantakesvara Temple at Balligavi is an exception. Here, erotic sculpture is limited to a narrow band of friezes that run around the exterior of the temple.
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The interior follows a Georgian central hall plan, with parlors on either side in the front, and a library and dining room to the rear. The original kitchen was located in an ell extending to the rear. The interior woodwork is mainly from the late 1820s, and is of high quality. The parlors feature particularly elaborate woodwork, with a pilastered fireplace mantel, and ropework and dentil moulding in the cornices.
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Lower stories The eastern and southern facades are clad in limestone and divided into three horizontal sections: a base and shaft of six stories each, as well as a one-story capital. Small cornices run above the 6th, 8th, 10th, and 12th floors. The northern and western facades are faced in plain brick, with window openings. The building is split vertically into four bays on Broadway and six on Duane Street.
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The front facade is three bays wide, with entrances in each of the outside bays. The entrances are flanked by wide paneled pilasters and topped by narrow projecting cornices. The interior consists of a relatively narrow vestibule area, with classroom spaces on both the first and second floors. Original features include the wide floorboards and simple window trim, while the student desks and other furnishings date to the early 20th century.
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At the edge of the frontispiece, is a diamond frame, at the level of the high-choir, while at the belfry there are three faces with rounded archways. The bell tower is also decorated by cornice and surmounted by a bulbous cupola. Access to the belltower and upper body is made from an exterior staircase. The lateral doorways have cornices are loose from the lintels, while overhead there are complementary windows.
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Houses at 1907-1951 N. 32nd St., also known as Mansion Court, are a set of 12 historic double houses located in the Strawberry Mansion neighborhood of Philadelphia, Pennsylvania. They were built about 1894, and are three-story, Pompeiian brick dwellings in the Late Victorian style. They are characterized by pressed metal cornices, roof crests, and two-story bay windows. The first floors have recessed porches with ornamental ceilings.
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Rathven is a large two-storey house of high Victorian domestic architecture. The roof has an unusual mansard and dormer design with a central tower, which is not part of the perimeter walls, with surrounding 'widow's walk'. In elevation the house is asymmetrical with a rounded projecting bay on the southern end. Rathven's interior details includes cornices, ornate ceilings and fine joinery remaining intact and in good condition.
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About half of the buildings in the district were constructed before 1900. Most of these older buildings were constructed in the Italianate style, while more recent additions were designed in the Chicago School style. The National House and the First National Bank are considered the two finest early examples of Italianate design in the district. The Longcor Block and the Ransom Building reflect later trends in Italianate style, including metal cornices.
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The original plaster walls and double-hung window are in-situ, the last with its ogee architrave. The Post Master's office is divided from the retail space by a modern plasterboard partition. Original details which have been retained include the double hung window. To the first floor, the original rooms retain plaster walls, skirtings, cornices, fire surrounds, walls vents and window and French doors, albeit with some partitions.
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Eastern Michigan Asylum, c. 1876 The campus of the Clinton Valley Center contained 44 structures, many of which were extensions of the original 1878 hospital. The 1878 structure was a 3-1/2 story red brick structure with a center building for offices and staff, and two wings for male and female patients. The building had a steeply pitched slate roof with multiple towers, and wood and metal cornices.
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Windows in the flanking bays are four narrow sash, in two-over-two pairs with bracketed cornices above. In the gable there is a small half-round window. The interior condition (like the exterior) is relatively unaltered, with original pews and pulpit. It is dominated by the trompe-l'œil frescoes on its walls, which depict classical motifs, with a triumphal arch over the pulpit, and Greek floral designs on the ceiling.
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Washington Street Rowhouses is a pair of historic rowhouses located at Rochester in Monroe County, New York. The two-story, three-bay, brick row houses were built about 1840 in the Greek Revival style. They have pitched roofs, interior end chimneys, applied wooden cornices, and side by side entrances that adjoin the party wall. See also: It was listed on the National Register of Historic Places in 1985.
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The rooms throughout the ground floor contain marble chimney breasts and rich plaster work and cornices. The joinery appears to be primarily cedar. Timber stairs with carved newels located at the end of the corridor give access both to upstairs rooms and a sheeted storage area at half-landing level via coloured glass doors. The ceilings throughout the upper level are half-raked and follow the lines of the roofs.
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Its main facade is also relatively simple: the front-facing gable is not fully pedimented, having only short returned. There are corner paneled pilasters as with the church. It has a centered double-door entry, which is topped by a transom window and framed by pilasters and an entablature with cornice. The entrance is flanked by sash windows topped by simple cornices, and there is a similar window in the gable.
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'Giuseppe Polizzi: I monumenti di antichità e d'arte della provincia di Trapani; Trapani, Giovanni Modica Romano, 1879, p. 63 And also: 'The owner, in order to make the interior accessibile to carriages, has already demolished the doorpost and, as he wants to add some protruding balconies, is going to demolish those of the windows and the small cornices; however, he promises he will apply the imposts in some inner spaces.
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The lining materials of the cathedral are hewn sandstone blocks, originating from the stone quarries to the north from the historical core. The masonry is encircled by a plinth around the whole perimeter and ends with a moulding in the upper part. The western frontage was originally established as a two-tower one. The towers were supposed to be supported by vigorous pillars, reaching up to the cornices of both towers.
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John Vowles House are two adjoined historic homes located at Charlottesville, Virginia. It was built in 1824, and consists of two two-story, three-bay, gable-roofed Federal style brick town houses. Both houses feature decorative cornices and original interior woodwork. To the rear of 1113 West Main is a small 1 1/2-story, "L"-shaped, gable-roofed brick outbuilding built as a kitchen and added in the 1920s.
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An eclectic combination of Victorian styles can be seen in the Vassar Institute building: the decorative cornices of Italianate buildings, the heaviness of Victorian Gothic and the mansard roof common on Second Empire buildings. Many features are similar to designs by James Renwick, Jr., for the early buildings of Vassar College in the 1860s. The colorful exterior recalls the polychrome brick buildings of the preceding decades as well.
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It was enlarged in the mid 19th century into a typical Greek Revival style gable and wing building, perhaps incorporating the earlier structure as the west wing.See also: It was listed on the National Register of Historic Places in 2005. The church was covered in vinyl siding in the 1990s. The vinyl covers cornices, sides, eaves, and even two of the main four pillars of the front facade.
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A unique Baroque Church of St. John the Baptist towering over Blatná some to the north. It stands on a place of an older parish church from the 14th century. It was completely rebuilt by renowned architect Kilian Ignaz Dientzenhofer between 1747–1752, on the order of countess Serényi. The church is a single-aisled building ended in a rectangular presbytery with richly decorated cornices in a Rococo style.
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The Joseph Parker House is a historic house at 107 Grove Street in Reading, Massachusetts. The 2.5 story wood frame house was probably built around 1795, when it first appeared on local maps. It is predominantly Federal in its styling, with smaller second-story windows and boxed cornices. Its center entry surround is a Greek Revival feature, with an architrave surround with corner blocks and half-length sidelight windows.
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The observatory was constructed from "painted brick, with wood cornices and entrance porch, brownstone floor and steps" and featured a "small gable roofed Corinthian entrance porch with columns at the front corners, flat pilasters against the wall, entablature, and pediment."McCormick, Richard P., and Howell, George Brokaw. "Daniel S. Schanck Observatory, HABS No. NJ-723" prepared for the Library of Congress's Historic American Buildings Survey. (1960). Retrieved October 4, 2013.
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Ithaca Downtown Historic District is a national historic district located at Ithaca in Tompkins County, New York. The district consists of 64 contributing mostly commercial buildings. It is composed mainly of multi-story buildings with brick exteriors and flat or low-pitched roofs fronted by a variety of parapets set off by decorative cornices. The district includes three separately listed properties: Clinton House, Clinton Hall, and the State Theater.
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The monument stand in the center of a large circular fountain. The Cathedral/Basilica of the Virgin of San Juan de los Lagos faces the main square of the city, and dates to 1732. It has a facade of pink sandstone with two narrow Baroque towers and a portal with three levels and a crest. In this portal, there are Tuscan columns and cornices along with geometric and anthropomorphic reliefs.
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The main entrance is set under a broad modillioned pediment, which is supported by four pilasters, with wide sidelight windows between the outer pairs. First-floor windows are framed by pedimented lintels and bracketed sills, while the second-floor windows have flatter cornices. The main roof line is modillioned, as is the gable above, which has a round window at its center. The interior follows a plan known in Charleston as a "double house".
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The complex roof-line consisted of central pyramid with gabled wings coming off all four sides. Each of the principal gables is ornamented with imbricated shingles. At one time they also featured a large oculus and decorative verge boards, but they were removed in the 1930s. Exterior features included the oculus windows at the basement level, the window and door cornices, and shutters, most of which were original to the 1890 period.
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David L. and Sallie Ann Stoutimore House, also known as the Jenkins House, is a historic home located at Plattsburg, Clinton County, Missouri. It was built in 1892, and is a 1 1/2-story, "L"-shaped, Second Empire style frame dwelling on a brick basement. It has a mansard roof and 2 1/2-story tower nook that projects above the roof. It features wood quoins, bracketed cornices, and a highly ornamented wraparound porch.
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The facade oriented towards the west, of two to three stories, is marked by rectangular doors and simple frames, surmounted by five guillotine windows. The courtyard, also two floors in height, includes a single rectangular door with guillotine windows on the floor superior (one with Roman arch). The interior corridors are covered in vaulted-ceilings built on cornices, illuminated by rectangular windows and rectangular doorways to the various dependencies of the college.
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At the center of the roof is an octagonal cupola with windows providing a 360-degree view. The main entrance is sheltered by a flat-roof portico supported by pairs of fluted and tapered Corinthian columns, with paired paneled pilasters flanking the double door. The windows on the main facade are framed by molded cornices with consoles. Roof lines of the main roof, portico, and cupola have dentil- like consoles and brackets.
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The Imperial Granum building is slightly narrower, sharing a full party wall with the Parker Building. It is three bays wide, with a single storefront on the ground floor. The upper level windows have more elaborate surrounds, with engaged columns between windows set in segmented-arch openings, pilasters at the ends, and shallow dentillated cornices between the floors. and The Parker Building was built in 1875, and the Imperial Granum in 1877.
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The Record Printing and Box Company Building is a three-story brick timber-framed building with a flat roof, typical of manufacturing plants built at the turn of the century. The external brick is brown. Window openings are arched or flat with keystones. The main entrance is through a double door located in an arched brick opening with semicircle glass window above Brick cornices run atop the building along the street facades.
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This addition has a masonry ground floor, chamferboard first floor and gable roof. A narrow timber stair accesses the first floor verandah from the rear re- entrant corner. Internally, the ground floor contains a wide entrance hall, with a cedar staircase with turned balustrade and a tall arched sash window. The building has plastered walls, ornate plaster ceilings and cornices, cedar panelled doors, architraves and skirtings and a variety of marble fireplace surrounds.
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The central courtyard has walls, arches, buttresses, and cornices of quarry stonework, such as in Jantetelco and Oaxtepec. The atrium was built on a higher level than that of the street, indicating that the complex is located on the pre-Hispanic foundation. The fence is at the level of the atrium, but from the street, it is quite high. The haciendas of San Nicolás in Zacualpan, Cuentepec, Chicomocelo were established in the 16th century.
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Ground floor windows are set in segmented-arch openings topped by bracketed and eared cornices. The front facade is three bays wide, with the center entrance sheltered by a porch supported by paired square posts and topped by a bracketed roof. A 1-1/2 story gabled ell joins the house to a matching period carriage barn. with The house was built in 1855 for George Thorndike a prominent local shipbuilder and ship's captain.
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Other walls are whitewashed: the structure underneath is now made of brick, although it was probably made of adobe originally. At the time of Bolívar's birth, the home was opulently furnished with mahogany chests and tables, upholstered chairs, decorated mirrors; damask curtains, gold cornices, and bright chandeliers. Period furniture and artifacts belonging to Bolívar can now be seen in the building. The house has a sequence of courtyards surrounded by corridors and rooms.
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The entire building is rectangular in plan with two to three stories in height, and set on a podium with several steps. At the center of the façade is the entrance with several doors sheltered by a canopy. The exterior has minimum wall surfaces but maximum window openings to bring in cool sea breeze. The entire structure is guarded from the sun and rain by its colonnade and projecting cornices surrounding the buildings.
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The station building is predominantly constructed from sandstone; two varieties of colour being used - brown for all columns, cornices, etc. and white for the plain surfaces. It consists of a long low-roofed pavilion of nine bays converting a single railway track that enters and leaves the building through a wide Gothic arch at either end. A second arch at either end provides access to the raised stone platform that occupies half the sheltered area.
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In March 1914, McKenzie, Voorhees & Gmelin submitted an application to the New York City Department of Buildings for a seven-story addition, which would increase the total height to 24 stories. The addition, completed by 1919, contained a similar facade design to the original building, with cornices above the 23rd and 24th floors. Following the annex's completion, New York Telephone moved two of its Manhattan telephone exchanges into the 18th through 23rd floors.
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Six massive Baroque pillars, girded with ornamental cornices divide the White Hall into three parts. An oval opening in ceiling appears to connect the White Hall with the Small Hall above it, and thereby conveys the Baroque concept of infinite space. A remarkable portrait of King Stanisław August Poniatowski is positioned in the centre of the tympanum. The portrait is surmounted by allegorical figures of the sitting women representing Diana and Urania.
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The design of the façade of the Palazzo Rucellai (1446–51) was one of several commissions for the Rucellai family. The design overlays a grid of shallow pilasters and cornices in the Classical manner onto rusticated masonry, and is surmounted by a heavy cornice. The inner courtyard has Corinthian columns. The palace set a standard in the use of Classical elements that is original in civic buildings in Florence, and greatly influenced later palazzi.
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The floor features a geometric layout which repeats the portals out of polished dark green, black and light grey granite. Lighting is achieved by hidden fluorescent lamps behind the portal cornices which unite every four passages between the central and the platform halls. The vaults of the central (9.5 metre diameter) and the platform halls are covered with white fibreglass to offer extra hydroisolation. Decoration of the station is centered on the 12 wall columns.
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The structure is detailed with prominent cornices at the bases of the arches and incised lines on the spandrel walls of a form similar to the joints that would occur in a stone bridge. The bridge is in a remote location accessible only by rail staff. It commands a vast view over the Toowoomba Range. Located at , marking the end of the Main Range ascent is the Ruthven Street overbridge (Picnic Bridge).
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On the first floor, from the main door, there are graded lateral rectangular windows, separated by larger double windows. On the second floor, are windows broken by a dual window-doors with varanda. The reclined secondary space, also two floors high, with rectangular doors and niches, and second floor that includes four vains broken by a pronounced cornices. To the left, is a small terrace accessible by simple staircase consisting of six columns.
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The ground floor accommodated two fire appliances behind folding timber doors with a recreation room and open timber stairway at the rear. On the interior of this level there was silky oak interior wall panelling to a height of . The upper level had a kitchen, living room, lounge room, three bedrooms, a bathroom and balcony to the street. Fibro sheeting and plaster variously lined the walls of the upper level, with ornamental cornices.
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Along the pentagonal facades are watchtowers resting on triangular corbels of stepped logs. The watchtowers are supported on cornices and formed into molded, round domes addorsed to the corners. The main facade (oriented towards the southeast) includes wall broken by main gate with rounded arch accessed by wooden drawbridge, over corbels. Over the portal, and interrupting the cornice, is the coat-of-arms of Portugal, surmounted by royal crown, under a granite sphere.
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The Wells Block is located in downtown Springfield, on the north side of Worthington Street opposite Stearns Square, a small public park. It is a four-story masonry structure, built out of red brick. The ground floor has two storefronts on either side of a recessed central entrance, with stone piers separating the elements and a pressed metal cornice above. Windows on the upper floors are set in segmented-arch openings, topped by bracketed cornices.
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The former Crawford and Co Building is a good example of Victorian-era commercial offices. The original 1880s structure comprises a foyer, handsome cedar staircase to the first floor rooms, a ground floor office and a basement. The interior contains fine finishes such as plaster walls, decorative plaster cornices, pine ceilings, and handsome original red cedar joinery including windows, fanlights, architraves, skirtings and substantial doors. The place is important because of its aesthetic significance.
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The temple faces east and is located on an axis with the nearby Ram Mandir, which is inside Orccha Fort complex. However, there is not much ornamentation in the interior part of the temple. The ceiling of the central dome, which has several kiosks, is covered with bloomed lotuses. The exterior architectural features include "petaled stone moldings, painted floral and geometric designs, cornices supported on lotus bud pendantive brackets, jewelled stone girdles, false balcony projections".
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The dome was surmounted by a statue of a woman holding a torch, representing female enlightenment. Painted pale yellow and white, the exterior presented a grand stair and ornamental friezes, cornices; and balustrades encircling the roof. Mounted statues on ornamental pedestals "symbolic of woman and her power" adorned the roof. Visitors to the Women's Building entered through a soaring central hall, flanked by a grand double stair, in a natural wood finish.
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Leading from the hallway to the right is another smaller hall which leads to the public bar and two minor rooms. The interior walls are plastered with timber cornices and architraves and the ceilings are vj boards. The public bar has a pressed metal ceiling and retains the original timber panelled entry doors and timber double- hung windows. The bar fitout is not original and the walls have been lined with timber veneer panelling.
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Both have since been modified but retain their original metal cornices and segmental- arched lintels. Further east, another Renaissance Revival building, 127 Main Street, was completed in 1885. Its elaborate detail includes two-story brick pilasters supporting a metal roof cornice, and an intermediate cornice supported by cast iron pillars. That same year the Methodists, who had previously held services in a building on Spring Street, outside the district, finished their new church.
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The lighthouse tower is , the light is located at about altitude and has a range of . The lamp is characterized by a luminous red beacon that flashes at a two-second interval. The rotation of the optical beacon is produced from clock mechanism. The building consists of a rectangular tower of white masonry, with a single- story annex for the residence of the lighthouse-keeper and storage of material, measuring to the cornices.
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The Morrissey House is a one- and-one-half-story balloon frame side-gable hall and parlor house with a lean- to addition in the rear. The house has clapboarded walls, plain corner boards, and raking cornices without returns. The front facade has a center entrance flanked by square-head six-over-six windows with board frames. The original portion of the house measures 24 by 15 feet; the addition nearly doubles the house's depth.
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The architectural quality of Gloucester Building, although still significant and sympathetic, has been reduced by the demolition of the Little Essex Street block. A striking feature about the design of this building is extensive structural use of reinforced concrete, and the use of cement in moulding details such as skirtings and cornices. This would appear to be an early example of the use of this technology. Style: Edwardian / Australian Federation; Storeys: Three; Roof Cladding: Iron.
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Winsted's West End commercial block consists of eight buildings lining the north side of Main Street (United States Route 44) between Union and Elm Streets. All have primarily brick facades and are between two and four stories in height. Architectural elements are generally of commercial Italianate or Romanesque style, and all of the buildings have projecting decorative cornices. The ground floor storefronts have generally been modernized, although some original details are still visible.
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Second-floor windows are set in openings with bracketed cornices and sills. The complex was built between 1917 and 1921 to a design by the prominent local architectural firm Berenson and Moses. The property was until 1912 part of the mansion estate of Pliny Jewell, owner of a local belt manufacturer. When built, its 128 apartments featured all of the latest amenities, including a parking garage for tenant vehicles and a dining hall seating 300.
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Inside, the main entrance leads to an 8-foot–wide (2.4 m) central hallway, the axis of a symmetrical floor plan. The rooms on the west are a double parlor; those on the east are the dining room and library. All have most of their original trim, including baseboards, cornices, molded chair rails and diagonally oriented corner fireplaces that share a chimney with the other room on that side. Paneled doors lead between all spaces.
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A series of wooden hexagon columns painted in a faux marble pattern, support the steel reinforced core while two rows of wooden balustrades decorate the frames and are topped with floral garlands. The center of the ceiling illuminates an intricate pattern of cornices and moldings. Liozzi's signature fresco adorns the wooden ceiling, opening to a blue sky in which stands the goddess Flora. For years the theater was abandoned and almost lost to modernization.
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The buildings mostly have either Italianate or vernacular commercial designs, as was typical for commercial buildings of the period. Several of the buildings feature decorative metal elements such as storefronts, cornices, and window treatments. One notable exception to this design trend is the Masonic Hall at 401 Locust Street, which has a Queen Anne design featuring a large turret. The district was added to the National Register of Historic Places on November 14, 1991.
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Five of the six buildings were built by Johnston; only 1 Clinton Path was built by Newhall. They are built with consistent setbacks, large enough to provide each building with a small front yard, and with sufficient space to allow for the planting of trees. The basic styling of most of the buildings is either Federal or Classical Revival. Typical features include limestone wedges above the windows, and cornices with dentil molding and modillions.
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On the south wall of the great hall toward the vestibule is a false broken pediment that appears above a real entrance arch. A fresco of two female figures, Prudence with the Mirror and Peace with an Olive Branch, can be seen. The North wall at the center of the upper part of the building contains the crest of the Emo Family. It is carved and gilt wood, surrounded by trompe-l'œil cornices and festoons.
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These large buttresses support the lateral facades and are interspersed by cornices. The south facade has a single portico with semi-circular archway, comparable to the principal facade but in a smaller scale (but with four columns on capitals and with bird and flower motifs). Meanwhile, the northern portico has a similar design, but with other motifs on the capitals, and the tympanum is identifiable by a sculpted Agnus Dei.Manuel Luís Real (1974), p.
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Roberson-Everett-Roebuck House is a historic home located at Robersonville, Martin County, North Carolina. It was built about 1900, and is a 1 1/2-story, Queen Anne style frame cottage. It has a steeply pitched hipped roof with central tower, lower cross gables, front porch, and a double-pile center hall plan. The house features decorative woodwork including exterior gable ornaments, bracketed cornices, and the front porch balustrade and spindle frieze.
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The house retains its early form and most of the original fabric, including particularly fine cedar joinery and fireplace surrounds, and early pressed metal cornices above the windows. The place is important because of its aesthetic significance. Both the winery and the residence have considerable aesthetic appeal. The house, with its early form, wide verandahs, red roof and white chimneys, set amid a garden of mature trees and shrubs, is a local landmark.
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Windows, the main portal, cornices of the prayer hall, portico and the parapet of the minaret balcony also have similar adornments as mentioned above. The mosque’s domes have a huge impact on adding dynamics and contrast to the building and giving it an aesthetic appearance. With its proportions, Hadum Mosque has a very powerful view that gives warmth to the building, the complex around it and that it fits perfectly in The Old Bazaar, Gjakova.
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Kudus (Horse-shoe shaped dormer windows) carved on the cornices for the entire length, above the pillars It is built to a rectangular plan which measures , and is in height on the exterior. The interior rectangular chamber measures , and is in height. The ratha is three tiered and studded with images and other architectural features which are found in other South Indian temples. The facade is a columned verandah flanked by sculptures of dwarapalakas (guardians).
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Like their neoclassical predecessors, they took as much inspiration from popular German forms as from the landowners' homes. The farmhouses built during this period are large, square, hipped-roof structures with ponderous cornices and large porches to match. While there are no houses in this style left in the district, some older barns and other farm buildings show it. Church stylings gradually show some difference between those where the landlords worshipped and their tenant counterparts.
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The Red Fox Inn is a two-story, side-gable, white-painted building constructed in a later 19th century vernacular style. It is clad with clapboard with narrow cornerboards, and has projecting eaves with plain raking cornices. A screened-in porch runs the width of the front. The interior has three large dining rooms on the first floor, as well as a series of kitchen rooms added in stages from about 1919 to 1935.
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John McGilvery House stands at the northeast corner of US 1 and Black Road, set back from the road. It is a three-story wood frame structure, with a mansard roof characteristic of the Second Empire style. The house and its associated carriage barn both have bracketed and denticulated cornices, and have roofs studded with pedimented dormers. McGilvery (1829-1904) was a hugely popular ship's captain who is reported to have never lost a vessel.
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Lyskamm (, formerly Lyskamm, literally "comb of the Lys"), also known as Silberbast (literally "silver bast"), is a mountain () in the Pennine Alps lying on the border between Switzerland and Italy. It consists of a five- kilometre-long ridge with two distinct peaks. The mountain has gained a reputation for seriousness because of the many cornices lying on the ridge and the frequent avalanches, thus leading to its nickname the Menschenfresser ("people eater").
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Carter's Tavern is a historic inn and tavern located at Paces, Halifax County, Virginia. It dates to the late-18th and early-19th century and consists of a two-story, double-pile, side-hall-plan main frame section and an earlier 1 1/2-story frame wing on the west end. Both the main part and the wing are covered by gable roofs with simple box cornices. The building was thoroughly restored in 1972.
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Most rooms have boarded ceilings, with the living room and hall having plastered ceilings with decorative cornices. Internal doors have fretwork panels above, with the living room doors from the front and rear halls having leadlight panels. A steep internal stair leads from the front hall to the belvedere. The southwest verandah has been enclosed with chamferboards and casement windows, and a skillion roofed store and covered stair have been added to the southeast.
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The church has buttresses, its brick facades are decorated with friezes and cornices, and it has semicircular window openings or Diocletian windows. At the base of the tower, the porch is richly decorated. Along the arms of the transept and the western side of the nave runs a large gallery. Inside the church, we can find cross-ribbed vaults, with the dome located at the intersection between the Nave and the transept.
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The house viewed at a distance Glorup Manor consists of four low white-washed wings with window frames, cornices and pilasters partly painted yellow. It is topped with a large Mansard roof in glazed black tile. The flèche on the roof was added from 1773 to 1775. A broad flight of steps leads up to the main entrance, and there are similar steps on the north and south sides of the house.
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Inside, the room layout has been altered moderately with the addition of removable partitions and the conversion of the upstairs into residential apartments. Much of the original finishing remains, including wood, plaster, and marblework. The door and windows have fine molded wooden surrounds. There are cornices in the plaster and marble mantelpieces around the fireplaces, those purely decorative as the house was heated by a system based on a furnace, stoves and hot-air piping.
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The Union Church is a wooden Greek Revival structure on a rubble foundation measuring 52 feet by 36 feet. The church is covered with clapboard and has a gabled roof with classical cornices with returns and is topped with a square open plan belfry. A flight of concrete steps leads to the front center entrance, which is a pair of double doors flanked by pilasters. A second entry at grade level is at the rear.
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All windows have black shutters, and are topped by lintels with a keystone. The main entrance is sheltered by an elliptical portico supported by four Corinthian columns. The doorway is framed by sidelight windows and an elliptical fanlight, with pilasters rising to the base of the portico top. The house interior features lavishly-carved woodwork in the public spaces on the first floor, including fireplace mantels, cornices, internal window shutters, and the stairway balustrades.
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New verandah columns were designed in the spirit of the original period to replace the then existing mid-or late-Victorian columns. The graceful valance board was cut from a template of the original valance, still in position, by decayed beyond use. All walls were stripped and re-plastered, ceilings replaced with Gyprock sheets and plaster cornices. 1991 subdivision was to excise some 2/3 of land of prpoerty, to allow for future residential development.
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The center bays on the west and south facades contain projecting windowsills on the fourth through fourteenth floors. Above the 15th and 17th stories are stone cornices. The 16th story also used to have a cornice above it, but the cornice was replaced around 1940 with a fascia of sheet metal. The 16th floor contains panels depicting torches and shields in the spaces between each bay, while the 17th floor facade is unadorned.
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The Curtis Building is a historic commercial building in Brockton, Massachusetts, USA. The three story brick building was built in 1870, and is a fine local example of Romanesque styling. It features panel brick pilasters on the corners, and panel brick decoration in the cornices. Its window bays (three on Main Street, five on High Street), consist of paired windows separated by brick piers; the third floor windows are set in double round-arch openings.
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The Ichabod Bradley House stands in a rural-residential area of northeastern Southington, on the north side of Shuttle Meadow Road just west of the Plainville Reservoir. It is a 2-1/2 story wood frame structure, with a side gable roof, center chimney, and clapboarded exterior. Its main facade faces south, and is five bays wide. The ground-floor windows are topped by shallow cornices, while the second-floor windows butt against the eave.
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Triangular pediments with dentillated cornices top these two facades, and a balustrade encircles the roof of the building. The courthouse's corners, including those on the projecting pavilions, feature limestone quoins. The Italianate style is most prevalent among the district's commercial buildings, as 25 buildings feature the style. The prevalence of the style is a reflection of the district's growth in the late 19th century, the peak of the style's popularity in America.
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The house is constructed in pebbledashed brick with stone dressings and slate roofs. The original block has two storeys and a front of three bays, with a single storey wing to the left. There is a central Tuscan porch and glazed doors. The windows have architraves; in the ground floor the windows, which include French windows, have friezes and cornices, and in the upper floor they are sash windows with glazing bars.
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Constructed of native limestone laid as fieldstone, with quoins at each corner, the building's load-bearing masonry walls are three feet thick in places. All masonry openings have segmental arches with voussoirs (wedge-shaped stones) of matching limestone. After purchasing the building in 1936, the federal government modified the exterior and interior to reflect the popular Colonial Revival style of the period. Dormers and cornices supported by modillions (scroll-shaped brackets) were added.
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Nearly all the original decorative elements on the exterior of the building are cast iron including columns, cornices, balustrades, dentils, entablatures, and window architraves. These elements from the specifications and designs of the original architect Ammi B. Young, were made in New York City and shipped to Galveston. The first-story galleries have Ionic columns set on a granite base. An entablature extends completely around the building separating the first and second floors.
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On the exterior are Doric pilasters that adorn the symmetrical façade, along with classical triglyphs and metopes that alternate in the sandstone frieze. Cornices top the frieze with an egg-and-dart pattern, while a distinct Art Deco floral pattern surrounds the exterior. With an open courtyard in the middle, only the first floor covers the entire block. The building is topped with a flat roof that contains a parapet wall and with decorative gutters.
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The building only has a single door, by the front-west side. The north and south walls were rebuilt as a result of a renovation in 1928; two of the original windows on those walls, however, were maintained, although the original cornices were not preserved and replicas are currently in place. The roof is covered with copper. The initial floor plan of the two- story bank indicated a smaller banking room than what was constructed.
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Historically a one-room school, the rectangular brick building rests on a stone foundation. The gabled roof has corbeled cornices and the double door entry has a four pane slightly rounded transom. The entry is in a two-story projecting bay that was topped with a bell tower with pyramidal roof. A pair of six over six double hung sash windows flank the door with wooden shutters louvered on top and paneled below.
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The Kingfisher Post Office, also known as The Old Post Office, is the historic former post office in Kingfisher, Oklahoma. The post office was built by the Dieter & Wenzil Co. of St. Louis, Missouri; work on the building began on October 1, 1912, and finished on September 1, 1913. The stucco building has a red-tile hipped roof and cornices on each side. The post office operated until a larger post office opened in 1976.
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The exterior of the 1869 church building was described in 2005: "The show is all to the road, where pinnacled piers frame a gabled entrance bay with round-headed arches to the door and windows. On each side bays with stairs to the galleries, with cornices and pinnacles at the angles". A drawing exists of the interior of the church as arranged in 1882. The organ is in an apse at the north end.
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The flat-roofed campanile rises above the tower, and has an entrance at its base with a small round balconette above. The chapel has large arched windows with smaller arched windows above. The bays flanking the chapel and campanile are arcaded up to the second storey. Decorative features to both frontages include gargoyles, twisted columns between arched windows and to principal doorways, and arched cornices to gables, the tower and the campanile.
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The House of the Câmara is integrated into the urban circus, erected over the Gate of the Vila near the town pillory. This building is two-storey rectangular plan decorated with cornices and barrels with tiled roof. The northern facade is marked by an arched wall door surmounted by two windows decorated and framed by stone friezes. The coat-of-arms of Penamacor, armillary spheres and Portuguese shield with the date "1568".
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The window above is Palladian in form, with a projecting bracketed cornice. Ground floor windows on either side of the entrance have projecting cornices, while second-floor windows have moulded surrounds with bracketed sills. A porte- cochere extends to the left side of the house. The house was built in 1858 as a country house for Ransom Taylor, one of the city's largest landowners in the latter half of the 19th century.
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Exterior walls are single skin with externally exposed stud framing lined internally with boards detailed with double beading. Internal partitions are also single skin with stop-chamfered studs and these, together with the ceiling, are lined with single-beaded tongue and groove boards. The rooms are generally without cornices except the 1901 addition which has a timber cove. Some joinery is painted, including four- panelled doors, French doors to the exterior and double hung windows.
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Between the two storeys are valances of timber lattice within broad timber frames. The ground floor is reached by two sets of concrete steps, that to the main entrance leading into the hall. On the ground floor there are two large rooms with deep bay windows accessed from this hallway and from the verandahs. These were the former dining and drawing rooms and have high plaster ceilings, ornate cornices and imported carved mantelpieces.
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The façade was ornamented with marble columns, and the piers and attics with decorative cornices. Sculpted panels depicted victories and achievements, the deeds of the triumphator, the captured weapons of the enemy or the triumphal procession itself. The spandrels usually depicted flying Victories, while the attic was often inscribed with a dedicatory inscription naming and praising the triumphator. The piers and internal passageways were also decorated with reliefs and free-standing sculptures.
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The station building features rendered detailing including cornices, architraves, string-courses and sill, some extant tuck-pointing, timber-framed double-hung sashed windows with the upper sashes retaining coloured glass panes. The building is circled by a concrete box drain with cast iron grate covering. Some of the doorsteps are standard concrete with metal foot scraper inserts. Attached to the southern end of the building is a former signal box with large sliding windows.
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Matthews Hall is a symmetrical, elongated two-story building with telescoping side wings and sleeping porch bays. The building has a concrete foundation with buff brick facing; the interiors feature wood detailing. The building has extensive Prairie School architectural styling, seen in the building's massing and details, such as broad wooden cornices, Union Jack vent covers, and grouped double-hung windows. The original stairway and living room fireplace remain in the interior.
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The church has a triangular pediment. From under the cornices protrude kokoshniks (an architectural feature, peculiar to Russia, of semicircular decorative elements at the end of the outer section of a wall, which takes its name from that of a traditional Russian woman's headdress, Kokoshnik). The church is crowned with five golden domes (originally blue, these were later gold-plated). The Annunciation Church building is officially recognized as an architectural monument of Tolyatti.
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The Knuessl Building and the building adjacent it are the only two in the commercial block that retain much of their front facade details and ornamentation, especially their cornices, arched windows and storefronts. The Knuessl is one of the most intact mid-19th century buildings in Ottawa. It is a locally significant example of a mid-19th century commercial design, Italianate, and was added to the National Register of Historic Places on May 11, 1992.
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The building was altered in 1890, with two additions of Victorian architecture, the first being the main entrance, above the fanlight, is an arched awning with incised consoles. The other addition was the octagonal cupola on the roof over the original bell tower which dates from 1830. The exterior of the school has complementary colors. The walls are painted a cream color while the foundation, doors, window trims, and cornices are a chocolate-brown.
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The building has a ground floor verandah and first floor balcony with iron balustrading and chamfered timber posts and brackets. The timber posts on the ground floor have a recent concrete base. Paired timber doors with breezeway and fanlight assembly with leadlight detail are located in the entrance to the lounge bar area. Internally, on the ground floor, the ceiling in the lounge bar area has plaster cornices with egg and dart motif decorative detail.
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The Stair Hall is lit by a stained glass leadlight window. Beside the Stair Hall is the Dining Room which also retains its pressed metal ceiling with cornices, borders, beam cladding and roses. There is a timber chimney piece and hatch to the Kitchen. Other ground floor rooms formerly the Parlour, the Smoking Room and the Lounge also retain their pressed metal ceilings, but have altered layouts partly because of the addition of toilets.
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Louis Haish portico Rosebank is a two-storey Victorian Italianate villa with a tower, asymmetrical planning and neoclassical details. Constructed of rendered brickwork with string courses, heavily framed windows and doors of semicircular heads with keystones, fluted pilasters, cornices and ornamental eaves brackets. There are also some crenellated walls attached to the tower and the end of the verandah. The property has both front and rear gardens, the latter relatively densely planted.
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On the 42nd Street side above the four-story base, the 5th through 13th floors are articulated with vertical piers and window spandrels. The piers divide the facade into five architectural bays: four bays above the main banking entrance in the center, and one bay above the office-building entrance on the west (right) side. Each bay contains two windows on each floor. Horizontal cornices with corbeling are located above the 14th and 17th floors.
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Burnham died in 1912, two years before the project was announced, and no contemporary record gives any indication that he was involved with the design of the building prior to his death. Statler Hotel, c. 1915 The exterior was originally styled with clean lines in a Neo-Renaissance style faced with terra cotta and glazed brick. The original façade was altered in 1959, when decorative cornices were replaced with a 'modern' top.
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The final design (1603–1604) was by Bernardo Buontalenti, based on models of Alessandro Pieroni and Matteo Nigetti. Above is the Cappella dei Principi (Chapel of the Princes), a great but awkwardly domed octagonal hall where the grand dukes themselves are buried. The style shows Mannerist eccentricities in its unusual shape, broken cornices, and asymmetrically sized windows. In the interior, the ambitious decoration with colored marbles overwhelms the attempts at novel design.
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The turbeh is a simple building with an hexagonal base and a shallow calotte on the top, which rests upon the drum. The structure was built from precisely-hewn stone blocks. The only decorative accents on the exterior are divided, profiled cornices and a profiled portal above which there was a niche which contained the original inscription. Opposite the entrance, on the southeast wall, there is a niche with an ornamented upper part.
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The front door opens onto a semi-internal entrance hall with timber lattice screens. Internally the residence has two principal rooms, a living room beyond the entrance hall and from this a bedroom with ensuite bathroom. Internal finishes include pressed metal ceilings and cornices, rendered walls and chamfered timber skirting boards. The adjacent building, St Brigid's, is of similar detail and houses two classrooms with access provided to the interior via broad concrete steps.
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The tower's square base includes a louvered upper section, and is capped by a cornice and balustrade. The next two stages are octagonal and decreasing in size, with a bellcast roof and spire at the top. There are two entrances in the projecting pavilion, framed by simple corner boards and topped by cornices, with small sash windows directly above. The fully pedimented gable of the projection has a Federal style fan at the center.
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Each of these have cornices surmounted by pinnacles with central rosetta in relief. The nave's portico is protected by a wooden windbreak in the interior, that supports the rectangular high-choir (also in wood) with guardrails and balustrade. Six corbels support the structure along each wall. The wall opposite the epistole, at ground floor, has a door that leads to the baptistry situated under the bell tower, and covered in vaulted ceiling.
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Period detailing is of a high standard throughout with diagonal chimneys, tessellated tiled path and hallway, leadlight front door, bay windows, timber wainscoting, fireplaces and elaborately moulded cornices, ceilings and roses. The resultant design is very distinctive and there is no similar house design within the Municipality of Randwick. The quality of the detailing and design suggest the use of an architect, although no conclusive evidence is available to substantiate this view.
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The mantelpieces upstairs are smaller and vary slightly from their downstairs counterparts. All walls and even some ceilings are papered and reflect a variety of periods; several layers of paper can be discerned on some walls. Ceilings are mostly square-set, with only the hallway and dining room featuring cornices. Floor coverings consist of bare boards and rugs of varying sizes, while some stunning linos with intricate geometric patterns remain in place in several rooms.
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The William Henry and Lucinda McCaslin Farm House is a two-story frame structure built in an L-shaped configuration. The main section of the house is two stories high, and the attached ell is a single story. The front facade of the house has an entry door with a classical surround, symmetrical window openings, and corner pilasters. Both sections of the house have a wide frieze below the eavesline and boxed cornices with returns.
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Bold string courses wrapped above the first and second floors. The second through eighth stories, as built, were composed mostly of Baltimore front brick in black mortar; granite trimming was used around windows, cornices, and towers. The facade also contained geometrical designs in white, black, and red brick. The second through fourth, and the fifth through seventh floors were treated as a single group, with string courses above the fourth and seventh stories.
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Whale Oil Row is located in downtown New London on the east side of Huntington Street between Federal Street and Governor Winthrop Boulevard. All four buildings are 2½ story wood framed structures with gable roofs and mostly clapboarded exterior. All four are distinguished by their two-story gabled Greek Temple porticos, with fluted Ionic columns supporting entablatures with dentillated cornices. The gables above are fully pedimented with a semicircular window at the center.
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Ultimately, this happened only on the realized northern tower. In case of the unfinished southern tower, the pillars are ending right under the cornice carrying the roof, in contrast to the supporting pillars of the walls, which are terminating a little lower. In the floor plan, the pillars are graduated once, in the height of 16 m. On the southern tower are represented the same palatal cornices found on the northern tower.
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The gable end of the commercial section forms the street facade. The original fenestration remains, including the design of the store front, the four-over-four double hung windows with peaked cornices and a fanlight near the top of the gable. The second floor of the commercial section originally served as a meeting hall and has an exterior enclosed staircase. The residential section is divided into three bays which front on the street.
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Dr. Christian Hockman House, also known as Chequers, is a historic home located near Edinburg, Shenandoah County, Virginia. It was built in 1868, and is a two-story three bay square, Italian Villa style brick dwelling. It features a prominent square central tower; wide, bracketed cornices, embellished with decorative scroll-sawn friezes; and an elaborately detailed front verandah. and Accompanying photo It was listed on the National Register of Historic Places in 1984.
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Born in Vedersø near Ringkøbing on the west coast of Jutland, he was the son of parish priest J.F. Plesner. After attending the Copenhagen Technical School (Teknisk Selskabs Skole), he entered the school of architecture at the Royal Danish Academy where he studied under Martin Nyrop, graduating in 1893. He developed a simple style typified by compact structures of red brick with white cornices and trimmings."Ulrik Plesner 15-05-1861 - 21-11-1933" , Skagensiden.dk.
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The drive leads into an inner courtyard flanked by an L-shape structure, composed of two parts, built separately in the 19th and 20th centuries. Behind the 20th- century addition, there is a park next with a belvedere turret rising slightly above the villa's roof. On the exterior, as decoration, there are string course cornices, wainscot and squares. Villa Brivio's Park The park next to Villa Brivio is a prominent green area in the city.
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The Ficke Block is a four-story, brick structure built on a stone foundation. It features many details found in late Victorian architecture: rusticated, semi-circular window arches on the third floor, and flat stone lintels over the paired windows on the fourth floor recall the Romanesque style. A pair of two-story bay windows with embossed garland swags, wrought iron balconies, and ornate cornices reflect the Queen Anne style. The storefronts, however, have been significantly altered.
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A number of smaller pieces were in many of St. Louis' finest homes. She was splendidly remunerated, busts bringing her $1,000 ($ in dollars), and other pieces in proportion. Awakening of Spring by Clara Pfeifer Garrett She acted as assistant to Bringhurst for several years, while studying in the art school, and spent some time in Omaha, assisting him in work on the pediment of the Art Building, under construction for the Fair. This included decorating cornices.
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The Hall-Fowler Memorial Library is an immense two-story Italianate building with a service wing to the rear. The building is constructed of variegated ashlar sandstone, ringing from yellow gray to reddish brown, and has a low hip roof with extended eaves with highly ornate bracketed cornices. An octagonal cupola is located in the center of the roof. The windows are two-over-two double hung units in an elongated with a stilted segmental window arch.
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Formstone is only waterproof as long as it does not deteriorate and separate from the wall. Another preservation issue stems from the application of the Formstone. When it was applied to the exterior façade of a building, historically significant architectural features were often covered up or removed. Features such as cornices, belt courses, lintels, and sills were not only decorative, they were necessary for diverting water away from the building, leading to even more damage from moisture intrusion.
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The Stillman Willis House is an historic house in Cambridge, Massachusetts. This -story house was built in 1839, and was originally located nearby on Massachusetts Avenue. It was moved to its present location in 1883, at which time it was extensively modernized, overlaying its Greek Revival features with Italianate and Colonial Revival styling. Surviving Greek Revival elements include corner pilasters and an entablature, while later features include bracketed window cornices and extensive decorative woodwork on the porches.
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The side windows of the Palladian trio are also flanked by pilasters with entablatures and cornices above. The cornice below the front roofline is styled in a similar fashion to the Palladian window, and carries around to the sides. The interior follows a typical center-chimney plan, with a narrow entry vestibule containing a winding staircase, and parlors to either side of the chimney. The staircase has a distinctively carved rail, and scalloped ornamentation on the outer string.
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The architect and engineer may look for signs of cracking of masonry wall or the settling of basement floors or upper floors which direct them to a problem in the foundation. These signs can also be detected from window sills and cornices. Appropriate survey instruments such as plumb bobs and spirit levels are recommended for use instead of a naked eye inspection. If the problem seems too severe, a test boring may reveal the cause of the problem.
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The original building was designed by the firm of Arthur G. Wilson and David E. Herrald. Although a local duo, their design borrowed heavily from their British roots. It is a simplified English Renaissance Revival Style, common for commonwealth buildings of the Edwardian age. Although grand in appearance, with ionic columns and limestone cornices on the exterior and intricate carved wood on the interior, the design is far more simplified and streamlined than earlier buildings of the Victoria era.
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Windows, architraves and sills were removed where necessary to make inlays and mullions as exact replicas of originals. The wallpaper was not original and not worth preserving so the walls were stripped and made good before being painted. Ceilings are plaster and lath but where they were too far gone to be easily repaired, sheets of plaster or gyprock were put below it. The better rooms have heavy cornices while lesser ones are squared at the wall ceiling junction.
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The front is three bays, with ground floor windows, six over nine, the full height of the front door. The next story is also six over nine, but not as tall, and the top floor windows are the same size as the upper sash of the floor below. The interior is elegant, including acanthus pattern cornices, Italian marble mantels, graceful chandeliers, and a carved mahogany balustrade. The two story addition on the southwest side was built in the 1920s.
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The organ in Noordbroek was Schnitger's first major commission in the Netherlands after the rebuilding the organ the Martinikerk in Groningen in 1691–1692. The Rugpositief case on the gallery parapet is a scaled-down form of Hoofdwerk case and still has its original three-towered shape, characteristic of Schnitger. The elevated polygonal central tower is flanked by two pointed towers. In between the towers are two-storey pipe- flats, which are vertically divided by impost cornices.
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Below the deck, wooden latticework fills the gaps between the piers. The recessed center entrance has a Tudor frontispiece, opening to the main hallway, and is flanked by two smaller openings with French doors, leading to the living and dining rooms. A kitchen and den complete the first floor. The floors in all rooms save the den are sawn-oak parquet, and the ten- foot (3 m) ceilings have cornices, some with detail work in the plaster.
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Most of the buildings use Classical Revival design features with symmetric facades, pilasters, keystones, and dentil and modillion cornices. Other architectural styles popular at the time, such as Gothic Revival and Second Empire are absent. The Blacherne has a few elements of Richardsonian Romanesque design, while a few bay windows show influence of Queen Anne style architecture in the United States. Tudor Revival architecture began its influence in the 1920s, with the Dartmouth and the Wyndham as examples.
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This underground station has four tracks and two side platforms, which are curved. The curves made it impossible for all doors on trains to open at the station, when it was in use, and many accidents occurred at the large gaps between trains and the platforms. The station platforms are lined with white tiled rectangular columns, with alternate tiles having tiles reading "WORTH". The station walls were tiled with white glass tile and glazed terra cotta cornices.
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Aspects of the Mineola post office that most strongly reflect this are its entrance enframements, pediments, roundels and windows. The 1930s also saw the emergence of the Art Deco and associated modernist styles. These made their mark on the Mineola post office in its flat roof, broad limestone decoration and the absence of cornices at the roof line. The abstracted eagle shapes in the roundel grilles are also another touch more in keeping with modernism than Colonial Revival.
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The former station building is constructed in brick-faced masonry, has gable roofs and a central hip roof and is covered with tar paper. The facade is divided by ornamental stonework as well as encircling cornices and lesene projections. In the upper area of the central section of the building, stucco decorations are centred on a round window. On the left and right of the building there are bay-like extensions, which are also partly covered with decorative brickwork.
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The conch of the apse and the vault are separated from the lower vertical walls with simple cornices. The interior walls are faced with hewn blocks of white stone, which had formerly been extensively frescoed. Small fragments of the original paintings of the New Testament scenes—examplifying the Paleologian art of the 14th or 15th century—were uncovered by the Georgian expedition in 1997. The façades are also covered with hewn blocks and the windows are ornated.
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It, and the main roof have cornices with block modillions. A lateral hall runs across the entire front of the house, which is reflected in the side elevations that each have a door and two windows on the first floor below three windows on the second floor. Aberdeen is one of a group of houses in Virginia that have this plan and front elevation. They occur over a long period and are scattered randomly across the state.
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The main roof is gabled with two transverse gables at either end and clad with corrugated iron; the roof extension at one end of the station is a mixture of a hipped form and gable hipped form. Both roofs have eaves supported by paired brackets. There is simple timberwork to the gables, together with finials, and there are round vents with render trim on the gables as well. The station has four chimneys with bracketed cornices.
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The 1900-1904 concrete casemate construction has elements of civil architecture - cornices, window frames, due to its small size, commensurate with a one-story building. For the 1910–1915 construction, arrays are concrete, the facades of which formed large, carefully decorated planes. In May 1913, one of the orders the chief of engineers, General A.P. Shoshin, said: > 1\. Without exception, all construction must be well done, even other than > what affects the primary functions of strength and stability. 2\.
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Elaborate cornices decorated with floral motifs and ram's heads topped the altars. The segments are usually darker than the original, like the steps of the dark sunken staircase. On the left side, an inscription in Oscan recalls Statius Claro, an important figure who built at his expense half of the podium. On the back of the temple, in the containment wall of the ground (north side), a phallic symbol is carved on a block for protection against misfortune.
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The Schinasi mansion is made of various carved materials, on the interior there is a mix of Egyptian carved marble, hand carved wood, and hand painted frescos. Within the wood are intricately carved symbols and décor, and the pineapple, a symbol of hospitality, is repeated throughout all carvings. The exterior is built completely of white Vermont marble, structurally and aesthetically. The roof is a mansard terra cotta and green tile with steel girders and copper cornices.
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The building was constructed using blue basalt, specifically the Kurla stone, in contrast to the Mumbai Police Headquarters that used yellow basalt some two decades later in 1896. Red Mangalore tiles were used for the roof. John Lockwood Kipling (father of the novelist Rudyard Kipling), who was then the principal of Sir Jamsetjee Jeejebhoy School of Art, worked on the capitals and cornices. He supervised the students of the college who also worked on the sculptures.
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The recessed bay is set with eight-over-eight double-hung lower-hopper arched sash in a decorative surround. The third story has a carving of the city of Albany's coat of arms in the center, topped by a broken arch pediment with dentilled cornice. It is flanked by two 12-light windows with sills and dentilled cornices supported by a scroll bracket on the side next to the coat of arms. Recessed panels are above and below both.
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Seen from the front, the middle part of the building is taller, with the two sides spreading symmetrically; the design emphasizes vertical lines with simplicity and modernism. In addition, cornices, doors and windows, canopies and hallway are decorated with simplified traditional Chinese patterns. There are more than 3,400 seats in the hall, which is equipped with automatic voting systems and translation devices. The hall is fully air conditioned, a very modern feature at the time it was built.
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The portions of the facade facing these light courts are faced with brick. Medallions with cornices are located at the corners of the building at the 7th and 31st floors. There is no ornamentation on the 8th through 30th floors, while there are belt courses below the 31st and 32nd floors. The facade between the 32nd and 35th floors is composed of a colonnade with terracotta pilasters between each column of windows, topped by ornamented capitals.
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The joinery throughout is Australian cedar of fine Georgian detailing. Some of the internal ceilings and walls are still of lath and plaster whilst one bedroom still has its original ironbark floor and part of the flooring in two other rooms (Study and Lucas Gallery) is original. Much of the hardwood flooring elsewhere was replaced with cypress pine during previous renovations. Lath and plaster ceilings and cornices have been replaced in a number of rooms by fibrous plaster.
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To the rear of this space are a communications and operations office and a stairway leading from the north- eastern corner to the upper level. The stair has its original timber balustrade and has been enclosed underneath for storage. The office walls are lined with laminated board panelling, revealing only the outline of the original fireplace and chimney. Ceilings are high and feature original timber cover strips over fibro sheeting, with decorative cornices and suspended fluorescent lighting.
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The internal walls on the upper two levels are lined with plaster while ceilings on both levels are lined with double-beaded tongue and groove pine boards with elaborate cornices using plaster to walls and timber to ceilings. The floors on both levels are covered with carpet. Ceiling roses remain in the upper living room (timber) and in the front foyer (plaster). Internal openings are generous in height and consist of timber-paneled doors with glazed pivoting fanlights above.
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Kirkwood Mountain Resort is a year-round resort in Kirkwood, California south of Lake Tahoe that focuses on skiing and snowboarding in winter and hiking and mountain-biking in summer. Kirkwood is one of the region's larger resorts, and is well known for having one of the highest average snowfalls and a broad selection of advanced skiing terrain. The mountain is unique in that it has ridgeline at the top. This makes Kirkwood popular for cliff drops and cornices.
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On both levels of these wings the planning is essentially that of the former Emmanuel College with rows of equal-sized, small rooms located either side of the hallway. Most of these have decorative plaster ceilings and cornices. The far western end of the building departs from this pattern. On the ground floor, a board room is located in the north-western corner, the room has been recently decorated and has padded wall panelling up to picture rail height.
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Thus he came to design the frontal part and the interior of the largest Catholic cathedral in the Balkan peninsula. This time he draws on the Italian neoclassicism. The main facade is very elaborate with six pairs of columns articulating the ground floor and four pairs above them emphasise the main entrance. Two cornices form the base of the frontón which is flanked by the statues of St. Peter and St. Paul and decorated with stylised floral forms.
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Various businesses have occupied the building. Peter A. Reimers and James Larkin occupied the building from 1898–1910, with P.A. Reimers, who manufactured cornices, skylights, slate, and metal roofs, occupying it for a further year. The Benner Tea Co. (1915–1918), Federal System of Bakeries (1920), the Chicago Butchers Market Co. (1925), Safe-Way Markets (1930), and Atlas Cigar (1940) all occupied the building. A nightclub by the name of the Carriage Haus now occupies the building.
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The Strong House is located just west of the commercial center of Amherst, set well back from the north side of Amity Street at Prospect Street. It is a 2-1/2 story wood frame structure, with a gambrel roof and clapboarded exterior. Its main facade is five bays wide, with a center entrance sheltered by a gabled portico. The first-floor windows are capped by projecting cornices, and the steep roof face is pierced by two gabled dormers.
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Windows on the second level are set in round-arch openings, with deeply projecting bracketed cornices above. The entry is recessed deeply within the pavilion, which has an open arch to the left porch. The house was designed by Calvert Vaux in 1857, and construction of the building took place between 1859 and 1861. Final details were incomplete when the American Civil War started, and the missing details (balconies across the rear, and a wine cellar) were never finished.
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The facades are decorated with cornerstones, and encircled by brickwork, painted white and terminated in cornices. The principal facade, oriented towards the east, is marked by a rectangular door flanked by two groups of low windows, interconnected by sill and top frame, consisting of six on the left and four on the right. The lateral facades are dotted by central windows and sills above and below the frames, while a covered awning consisting of reinforced cement pillars.
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The rectangular-on-plan Baroque Revival red brick church with marble trim is composed of a street-facing three-bay front facade, and a five-bay nave. Low-pitched roof concealed to forward bay by painted timber balustraded parapet. Two-stage painted timber square-on-plan tower rises out of center facade bay with octagonal second stages surmounted by a bellcast-needle-like spire: both stage louvred. Red brick walls detailed with marble platband plinths, cornices, and parapet coping.
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The vertical elements were often emphasised by tapering the vertical supports from a square to an octagonal section and by carrying corner supports up above the functionally necessary height; the horizontal elements were often emphasised by simply moulded cornices, by circular caps on the tops of corner supports (a motif borrowed from Arthur Heygate Mackmurdo) and by long strap-hinges made of unpolished bronze. Voysey was a distinguished designer of flat patterns for wallpapers, fabrics, carpets and tiles.
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Bethel Green, also known as the James Bumgardner House, is a historic home located near Greenville, Augusta County, Virginia. The farmhouse was built in 1857, and is a two-story, square brick dwelling with a double-pile, central passage plan, and two-story, rear service ell. It features a one-story Greek Ionic order portico with fancy scrolled lattice, rear porches with Gothic railings, and bracketed cornices. Also on the property are a contributing bank barn, granary, and shed.
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The station was designed by Ivan Taranov, Yu. Vdovin, and I. Petukhova and opened on 5 January 1972. Turgenevskaya has simple white marble pylons which follow the curve of the station tube and a ceiling composed of reinforced plastic panels. Metal cornices run the length of the station along the base of the ceiling. The walls, which are faced with white and black marble, are decorated with chased brass panels by Kh. Rysin and D. Bodniek.
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It was deemed significant for its architecture. Its NRHP nomination, written by the town's mayor, asserted: > The building is an unusual example of Second Renaissance Revival. This > Renaissance Revival style is best identified by its horizontal divisions > defined by belt or string courses and by the use of different treatments in > each division, notably changes in the shapes, sizes, and surrounds of > windows. Arched openings and projecting cornices with dentils are also > characteristic of this style.
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Developers Richardsons tasked architects Hellmuth, Obata and Kassabaum with the challenge of redeveloping the listed building to its former glory by restoring the original Queen Anne style façade. The restoration include repair of the stained glass windows, the stonework, the cornices, the window trims and a turret with a flagpole. The windows of the building are etched as they were in Victorian times, with descriptions of the goods that Grants used to sell, such as 'haberdashery' and 'silks'.
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The John Gilman House is located north of Exeter's commercial and civic downtown area, at the southest corner of Cass and Park streets. It is a -story wood frame structure, with a gambrel roof and clapboarded exterior. Its main facade is five bays wide, with a central entrance flanked by pilasters and topped by a transom and gabled pediment. Windows are topped by shallow projecting cornices on the ground floor, and butt against the eave on the second floor.
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The windows of the three-storey building have moulded stone surrounds. The ground-floor windows have stone sills, arched tops and keystones with decorative motifs, including a lamb's head. The first-floor windows have stone cornices; the central window at this level, above the portico, has three lights. The central bay has a portico with Tuscan columns flanking the main entrance, which is reached by a low flight of stone steps and features an arched head.
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Retrieved April 7, 2014 The location, next to the intersection of O 'Donnell with Menéndez Pelayo, very close to the Montaña Artificial, is pleasant, surrounded by greenery and centenary trees and could have been a ruins to the romantic taste, but the building suffered another forgotten and abandoned. Finally at the beginning of 21st century City Council of Madrid sent to tidy the place recovering stones, capitals, shafts, cornices, etc. that were scattered in the environment.
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3, Beograd 1962; Četvrta jugoslovenska umetnička izložba, Beograd 1912. (Zbornik Narodnog muzeja u Beogradu, XVIII – 2 istorija umetnosti, Beograd 2007. ) Art Nouveau features of this facade are the vertical division with shallow pilasters, asymmetry, horizontal cornices which do not reflect the level of internal division of levels, shallow embossed floral decoration, segmental-arched shapes of window frames, and polychrome. Especially interesting is the square tower on the corner of the building, with a prominent oriel window.
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The buildings was designed by Vilhelm Theodor Walther and is reminiscent of some of his other works such as Holme Church and the adjacent Caftsmen Association building. It's a 3 story building constructed of red brick topped with a hip roof of winged brick. Cornices of masonry rings the top of the building. Windows are primarily white painted grid windows but on the front facade two round windows sits above the entrance doors, illuminating the interior staircases.
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The three-story rectangular bell-tower, whose third-story belfry is limited by cornice and with archways. The tower was decorated by cornices, stonework guard (with crosses in bass relief), surmounted by pinnacles on four corners. The single-nave interior includes angular presbytery while the high-choir, in wood, overhangs the entrance. There are lateral chapels at the front alongside the main altar, marked by Roman arches that lead into the false transept and the two lateral chapels.
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The ranking cornices were surmounted by a painted sima (palmettes and golden lotus flowers). Thus was delimited a long space of 28.35 m and high (in its center) of 3.428 m or 3.47 m to a depth of 0.90 m. All the statues were installed on the horizontal cornice which exceeded in overhanging of 70 cm, placed either on a plinth or on a laying bed. To install the statue is G, the cornice had to be dug out.
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All the cornices are moulded plaster profiles. Decorative cast plaster is featured in the consoles, decorative panels and colonnettes under the arches, and also in the ceiling roses. The ceilings are commonly lath and plaster, but the drawing rooms have a shallow pattern that may be pressed metal. The marble mantelpieces are commonly white, with a dark grey in the dining room, typical of those constructed in Australia using imported stone, coloured tiles and cast iron grates.
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The "heavy Italianate detailing" of the large four- storey bay-fronted houses on the east side identifies them as 1860s buildings. There are prominent cornices and pairs of porches whose style is reminiscent of the work of 18th-century architect James Gibbs, and some houses are also linked by iron balconies on the top floor (a balcony runs along the whole length of the terrace at first-floor level). "Cheery" red-brick Edwardian houses face the terrace.
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The building materials included stones from a quarry near the village of Bozhenitsa and timber from the Vrachesh area. The lower section of the tower is square, reaching a height of 11 m. It has stone masonry with a door, which leads inside for servicing and winding the clock mechanism. The middle section is narrowed and its edges are outlined by half-columns, ending with cornices, and the walls are slightly wave-shaped, which adds elegance to the building.
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All three buildings are built of brick laid in common bond with pressed metal roofs. Metal is also used for many of the decorative touches, such as iron finials, window caps, balustrades, cornices and dormer windows. The mill itself is an L-shaped four story building with two stair towers in the late Second Empire style, with corbeled brickwork and cast iron detailing. The original timber framing has been replaced by reinforced concrete on the lower stories.
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Ground floor windows on the Ashland Street facade are topped by half round fanlight, and the upper floor windows are topped by projecting cornices. The house was built in 1853 as the Rice House. It was significantly altered according to plans by Fuller & Delano in 1897 for William Hogg. Hogg was owner of the Worcester Carpet Company, one of the largest such businesses in the city (located in what are now known as the Whittall Mills).
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The Timothy P. Bailey House is a historic house at 210 Chandler Road in Andover, Massachusetts. It was built by Timothy Palmer Bailey, on land purchased from his father's estate. The Baileys were successful farmers, and the younger one, who was educated at Phillips Academy, built this locally rare example of an Italianate house in 1878. The 2.5 story L-shaped house features bracketed cornices, and a main entrance porch that is elaborately balustraded and also bracketed.
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This 2½-story structure is composed of locally quarried limestone. Its construction is attributed to Caleb Clark, and it is the first mansion built in Madison County. with It features a main entry with a protruding arched, hood mold and a fan-shaped transom, large windows on the south elevation, lintels with cornices, two stone chimneys, a louvred attic window, and icicle-shaped bargeboards. The house was listed on the National Register of Historic Places in 1987.
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The ground floor plan is organised around a central stair hall running front to back with two main rooms on either side. The ground floor has vinyl-covered, timber floors; plaster walls; moulded timber skirtings, architraves and cornices; and v-jointed timber board ceilings with decorative timber fretwork vents. Floor-to-ceiling height on the ground floor is . The main rooms have a fireplace each with a simple moulded plaster surround and mantle, and a decorative cast-iron firebox.
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The five-story Federal Building and U.S. Custom House is a skillfully executed example of Second Renaissance Revival architecture. The arched first floor window and door openings, detailed cornices, emphasis on the horizontal elements, and stately overall appearance of the building are all characteristic of this architectural style. It has a steel frame on poured concrete footings and a flat composite roof. The base is clad in granite, as are the stairs leading to the entry doors.
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The building comprised a four-storey (semi- basement and three upper floors) late Victorian Warehouse of load-bearing polychrome bricks with sandstone string courses, cornices, sills, copings and granite thresholds to doors. The building is divided into five fire separated compartments by vertical cross walls. Within each section are two rows of circular cast iron columns supporting iron girders, timber joists and a 50mm tallowwood floor. The ground floor was paved with Val-de-Travers asphalt 38mm thick.
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Its lowest stage is a three-story masonry tower with wooden cornices separating the stories, topped by three frame ones above a curved cornice. The lower two are octagonal, one featuring a clock and the next louvered round-arched vents. The uppermost stage, the conical steeple, has ribs defining its eight facts and is covered with diamond-shaped wooden shingles. Kingston's city ordinances prohibit the construction of any building taller than its base in the Stockade District.
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Above the doors are a pair of tall sash windows, flanked on the side bays by single tall windows, and there are a pair of normal-height sash windows in the attic level. The windows are all topped by projecting cornices. The downstairs of the interior has an entry vestibule, kitchen, and main hall, the latter now housing museum exhibits that include the old town hearse. The upstairs of the hall is unfinished except for its pine floor.
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The John H. Nichols House is a historic house in downtown Wapakoneta, Ohio, United States. Built in 1865, it is Wapakoneta's oldest example of the Greek Revival style of architecture. Among its leading features are a three-bay facade with a prominent gable, large entablature, and cornices under the roof, several large windows on the front and sides, and a trabeated entryway framed by several sidelights and a transom supported by two brackets.Owen, Lorrie K., ed.
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This section has a hip roof, paired entrances on the north and south facades, and granite window surrounds. It served as the East Worcester Grammar School until 1893. The school was purchased by the Norcross Brothers in 1893, and connected via additions to a planing mill they had built on an adjacent parcel in 1880-81. Both the additions and the planing mill are modest three-story brick structures, with flat roofs, corbelled cornices, and sandstone trim.
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Refurbishment of the buildings at the site into a single palace was commissioned in 1750 by Giovanni Battista Mellori, with designs by Simone Cantoni. The elevated lateral wings with some atlantes at the corner cornices of the wings add some dynamism to the facade. The interior of the piano nobile was decorated with stucco and chiaroscuro frescoes. The central entrance portico has a balcony that rests on doric columns; the balcony has a protruding canopy with corinthian columns.
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This skirts around the cylinder on six columns, above which the coat of arms of the House of Nassau is prominently displayed. The facades are covered in white stucco, with ornate cornices and window frames standing out from the background in grey. Smaller windows are arranged in a row above the upper eaves, behind which were once the rooms for domestic staff. A third diagonal wing, housing the main staircase (), bisects the angle between the two main wings.
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Remnant walls have been retained as lintels to allow original plaster ceilings, cornices and ceiling roses to survive. A marble fireplace is located on the northern wall of the main bar and the floors are of timber covered with later linings. The bar area to the east of the hall has been heavily refurbished and little of its early interior is evident. A kitchen, secondary stair and recently refurbished toilet facilities are housed at the rear of the building.
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The plaster finishes are thought to be original, but have suffered much water damage. All the masonry walls are plastered, and on the first floor the non-masonry walls are lath and plaster. The ceilings are lath and plaster, and all rooms have plaster cornices, with the widths and designs varying in different rooms. Principal rooms have ornate central plaster ceiling roses, with the dining room containing two roses which would have been positioned above a central table.
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The signal box is located at the Down side of Platform 1/2 of Penrith Station and is accessible from the platform side elevation of the tower. Internal: The signal box is relatively intact with its equipment including CTC panel, communication and control desk, and staff instruments. A narrow timber stair with carpet finish provides access to the control room. The internal finishes are of typical 1950s design with plasterboard panelled ceiling and timber cornices for hidden lighting.
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The west (rear) facade has no windows and only an opaque service door on the east side of the pavilion; a chainlink fence on the other side encloses the building's mechanicals. Above it are two windows spaced a bay apart, the only windows on the west. The roofline is marked by a frieze of flat metal plates in strips with small cornices between. At the northern end of the east facade are an irregular set of empty bolt holes.
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The church is a rectangular structure with a projecting front section supporting a two-stage tower, and with an arcaded and pedimented portico at the very front. The portico consists of three high openings with round-arch tops, which frame three entry doors (the central one taller) behind. The arches are separated by pilasters, which rise to an entablature and a fully enclosed gable pediment. The pediment is lined by modillioned cornices, with plain brickwork in the tympanum.
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Edwards Place is a historic house located at 700 North 4th Street in Springfield, Illinois. The house was begun in 1833 in the Greek Revival style, making it one of the oldest houses in Springfield. (The Elijah Iles House, also in Springfield, was built in 1832.) Additions in 1836 and 1843, and a major rebuild/expansion in 1857, created the Italianate house preserved today. The house's Italianate features include bracketed cornices and a cupola with a skylight.
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The building corners are quoined, and the main eaves are studded with heavy brackets and lined by dentil moulding. A two-story gabled section projects at the center of the front facade, housing the main entrance in a slight recess, flanked by sidelights and topped by an eyebrow transom window. The doorway surround matches that of the paired round-arch windows above, with a bracketed segmented-arch top. Windows are rectangular sash, with bracketed cornices and lintels.
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The walls of the conference hall having cornices and dentils bordering the four sides with embossed designs of festoons, urns, and floral forms. A motif of a large arch with an ornamental keystone, resting on pillars is embossed over the main doorway. The Edward Rose garden is another main attraction of the mansion.Flower show does ‘well’ Antique prints in polished wooden frames adorn the walls including one that depicts the battle of Seringapatnam, dating from 1802. Prof.
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Exquisitely wrought cast-iron grilles, in the same intricate floral design as the frieze, were revealed after years of being covered by bland shop signs. The missing pieces were restored by a Malaysian craftsman. Though the walls of Stamford House were in a good condition, 50% of the plasterwork and cornices were damaged. Most of the wooden floor boards in the building were rotten and had to be replaced with chengai (Balanscarpus heimii), a tropical hardwood.
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This facade is oriented towards the north, consisting of a symmetric and subdivided form in five parts, divided by six pilasters. On the extremes of the building are accented doorways, surmounted by coat-of-arms and oculi, broken by granite cornices that run the length of the building. The ground floor consists of rounded window door, repeated above by windows topped with undulating forms. Over the Mansard roof are six pinnacles in masonry aligned by pilasters.
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Half glazed french doors with operable transom windows give access to the verandah from the upper floors. Internally the ground floor of the building is much altered although many original elements survive. Entrance is gained from two doors, one, in the infilled section, leading to the public bar and the other, to the accommodation section and dining room. Where intact, the ground floor is generally of plaster walls and ceiling with modest cornices and skirtings throughout.
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The windows on the ground and first floors feature floating cornices, moulded architraves and sills supported on consoles. Octagon temple designed by William Kent, circa 1735 Early outbuildings and features at Shotover Park included three stables, a coach house, a granary, a barn, dairy, work house, a brewhouse, gardener's cottage, several gardens and nurseries with young trees, and six small fishponds. The formal garden on the site dates to 1718, which includes a Grade I-listed walled kitchen garden.
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To the northern or street elevation, the two-storeyed timber verandah which overhangs the footpath, has a skillion roof and boarded ends. Set on stone plinths, the stop-chamfered posts to the lower level are topped with timber cornices, and have a slatted valance above. The upper level balustrade, now clad in fibrous cement sheet appears to have a dowelled balustrade concealed beneath. The posts of the upper level are finished with scrolled timber brackets below the roof beam.
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The interior features are lath and plaster ceilings with elaborate cornices and ceiling rose, plastered brick walls, large moulded timber skirting, marble fireplaces with cast iron inserts and four panelled doors. The stairs have turned timber balustrades and the floors are covered in carpet tiles. A two-storey brick addition is attached to the west rear side of the building, but is in poor structural condition. It was built mid-20th century and was renovated in 1974.
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The Church-Shotwell House is a two-and-one-half-story structure built with a combination of Classical Revival and Queen Anne features. The house has irregular massing and a multi-gabled roofline, reflecting characteristically Queen Anne styling. Additional ornamentation on the building, including modillioned cornices and a gabled porte cochere with Ionic columns, reflects classical inspiration. Much of the home is brick, but some of the renovated portions are constructed from cement produced by Shotwell's company.
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The John Troupes Three-Decker is a historic triple decker house at 25 Canton Street in Worcester, Massachusetts. When it was listed on the National Register of Historic Places in 1990, this 1918 building was noted for its well preserved Colonial Revival details, included bracketed cornices, wide bands of shingling between clapboarded sections, and porches supported by Doric columns. Subsequent residing and alteration of the exterior has removed or covered over most of these features (see photo).
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The church's main entrance is located on its west side; the three sets of double doors are each topped by a stained glass transom. A pair of four-story towers are located on either side of the entrance. The third and fourth floors of each tower are open with pilasters framing the arched openings; balustrades run along the third-floor apertures, while the fourth-floor openings feature keystones and classical cornices. Triangular pediments are situated atop both towers.
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Facing the Cocijo walls, at the end of the Patio is Tomb 2 with masonry walls forming an antechamber and main chamber. The facade was constructed later; it displays a recessed board with double cornices. The remains of seven adult individuals were discovered inside representing at least four generations. In addition to the remains 144 objects were recovered, containing bat claw vessels, thorn decorated braziers, uncooked vessels, carved bones and five identical molded mud urns representing Cocijo.
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The Old Testament sequence average 12 cm to 24 cm wide and about 9 cm tall, while many of the New Testament plaques average 24 cm tall and 12 cm wide. Cornices and borders average from 21–25 cm long by about 7 cm wide.Kunsthistorisches Institut, Max-Planck-Institut, Iparmüvészeti Múzeum, The Metropolitan Museum, Francesca Dell’Acqua, Foto Scala, Firenze/bpk, Bildagentur für Kunst, Kultur und Geschichte, Museum für Kunst and Gewerbe, pg. 329-38, 339-354.
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The houses were constructed mainly in wood or brick, and rarely in limestone. Most of the commercial buildings from the later decades of the 19th century are brick Italianate structures that feature flat roofs and parapetted fronts. Some of them have metal cornices, which were popular in many Iowa commercial districts of that era. Houses from this period featured styles that were popular in the late Victorian era: Queen Anne, Eastiake, Shingle, as well as the Italianate.
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Interior showing the Gathering Room and fireplace. Standing well back from the road on a knoll overlooking the Whitneyville mill pond, the Whitney Tavern Stand is a vernacular Greek Revival former hotel building. The two-story, side-gable hotel presents an unusually broad eight-bay wide façade to the street. The exterior walls are finished in wooden clapboarding and display broad plain board corner and frieze trim below the projecting eaves with their raking cornices without returns.
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It consists of six pilasters and Doric semi-columns six monolithic bloc. At the time of the emperor Octavian Augustus and his successor Tiberius, there were found inscriptions in their honor on the foreheads of the Doric order entablature cornices of the scene. The First Ancient Theatre of Larissa, which is today a hallmark of the city and the most important tourist monument in the area, is under excavation and ongoing maintenance being conducted by local authorities.
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Early finishes and features include plaster ceilings and cornices, wide cedar skirtings (stained dark brown) and timber picture rails. In 2014, most internal walls are covered by at least one layer of wallpaper which has subsequently been painted over, and the timber floors are covered in carpet. Three former fireplaces have been enclosed. Typical doors are low-waisted, cedar, four panel leaves set in moulded cedar frames with rectangular, centre-pivoting fanlights with a central vertical glazing bar.
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The glass dome above the main staircase in Hawksley House The building was constructed in Penrith red sandstone and ashlar with a Lakeland slate roof. The exterior design is neoclassical and features Ionic porches, Tuscan window bays, architraves and dentilled cornices. The interior features a baroque, open stairwell with a glazed dome and high relief swags. The neoclassical design is repeated in the former board room, which has stucco wall panels and Ionic columns and pilasters.
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In the sacristy, to the left of the door connecting it to the nave is a steep staircase to the pulpit protected by wooden balustrade, with a small storage area below it. In the main altar there a doorway to storage and windows on either wall, while the space is dominated by a gilded and polychromatic retable in an eclectic Revivalist style. The ceiling of the nave is covered in wood formed to imitate a vaulted ceiling over cornices.
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Roman mausoleum of Córdoba. The Roman mausoleum of Córdoba is an ancient structure in the Jardines de la Victoria, Córdoba, Andalusia, southern Spain. It is a funerary monument of cylinder-shaped that corresponded to a group of funerary monuments of the Republican era, built in the 1st century AD. It was discovered in 1993 during archaeological excavations. It includes the chamber tomb that housed the Urn, as well as remains of the basement, cornices, and crenellated parapet.
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The stair is of timber construction with original boarded wall on the ground floor to the old storeroom. The open passage to the east of the stair is a concrete paved access way to the attached brick toilet block, which is reached by a steel stair. The offices on the first floor have timber floors, painted brick walls (which were originally plastered) and a plaster ceiling with the original cornices intact. Each of the rooms has an original fireplace.
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The rest of the facades are broken by a series of rectangular windows, that harmoniously divide the surface in a rhythmic classic pattern, some with semi-circular pediments and framed cornices. Pilasters and architraves define the horizontal and vertical frames of many of the windows, giving the whole composition great sobriety and classicism. The Lady's Garden occupies a comparable space by the residence, consisting of symmetrical patterns interspersed with sculptures of ancient shells and royal cavalry.
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This majestic church, the seventh largest Christian church, was designed in a bold Mannerist style, which prefigured the Baroque style, by two famous architects, Galeazzo Alessi and Vignola. The work progressed slowly, due to constant lack of money, as the building was financed with donations. The noteworthy dome, resting on an octagonal drum with eight windows and cornices, was finished in 1667. Construction of the church was finally completed in 1679. In 1684 a bell tower was added.
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The one storey part has a projection with three axes and a balcony with a cast-iron balustrade. A storey of the building is made distinct by a central arch emphasised by pilasters that support entablature. The windows on the ground floor are square with dimpled frames, whereas the ones on the first floor are closed with triangular pediments on consoles and cornices on the side parts. The side walls of the palace are multi-axis.
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Cornices were treated with a sand-infused paint, in the tradition of the original coatings, and broken panes in the wood windows were replaced with crafted glass that displays the imperfections found in antique glass. SUPERSTRUCTURES Engineers + Architects oversaw the investigation, design and construction project. Concurrently the parish undertook a restoration of its churchyard. The churchyard has long been a pastoral oasis in busy lower Manhattan, but decades of damage and the sharp rise in tourism necessitated a revitalization.
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The house is in a good state of preservation internally. The plasterwork to arches & ceiling cornices is also in good condition. The brass, porcelain-tipped picture rails & several of the large brass curtain rods are still in position. Electric servants bell-pushes are still in position in most main rooms, although the original bell-board has disappeared & some of the gas brackets are still intact from the time when the house had its own gas generating plant.
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The first ascent of Lautaro was made by Peter Skvarca and Luciano Pera, on January 29, 1964. They climbed the southeast ridge, encountering many crevasses, some steep ice walls, cornices, and a snow mushroom at the summit. They found an active crater and strong sulfurous emissions near the summit. The second ascent was made by Eric Jones, Mick Coffey, and Leo Dickinson on March 2, 1973, as part of a crossing of the Southern Patagonian Ice Field.
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Doors in the eastern wall lead to the rear passageway and to the private bar. The shop (operating as a bottle shop in 2012) has also undergone many alterations, with evidence of a central wall having been removed to form one large area from two smaller shops. The ceilings feature circular plaster ceiling roses and decorative cornices. The remaining shop fit-out, furniture, shop-front glazing and entrance doors are recent and not of cultural heritage significance.
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Interior partitions between the shops are of rendered concrete and the partition between the shops at the western end of the building has been removed, to form one larger retail space. Despite this change, the four former shop volumes are apparent and each retains early decorative cornices and ceiling roses. The third shop from the west was a former chemist and retains early timber cupboards and shelving. Alterations and additions have been made at the rear of the shops.
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The stair hall leading to the first floor offices from Mill Street consists of 25 treads in a single flight with timber handrails fixed to the walls. The early office layout has been altered with additional partitions added and openings made in early walls. Some v-jointed tongue and groove partitions and early ceilings and geometric patterned cornices remain under later wall linings and above suspended ceilings. The timber cabinets at the enquiry counter appear to be early.
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The reception area, to the north of the foyer, (which is also accessed via a door in the lobby), includes a strong room which formed part of the original design of the building. The rooms are simple in design and decoration and are connected via two separate, panelled, timber doors with architraves. One doorway is topped by a single-pane fanlight. The rooms have a plastered cornices and a back-to-back fireplace with timber surrounds and mantle.
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The main roof is hipped and gabled with two small gablets (gable on hip) and is punctuated by numerous chimney shafts. The gables have prominent bargeboards, decorative timber fretwork, pendant and finial, and louvered timber ventilators. The front façade has decorative detailing in render in the form of raised mouldings/cornices and label courses. The rear façade is similar in features and detailing and has a series of doors and windows opening on to the platform.
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Town Hall Town Hall is at the heart of the historic town centre relative to the medieval walls. According to plans by civil engineer Antonio Cao Pinna, it was built by the Vincenzo Sulcis company between 1871 and 1872. The façade, set on a base of volcanic-stone ashlar, is divided horizontally by stringcourse cornices. The council meeting room was decorated during the 1920s in a design by Sardinian sculptor Francesco Ciusa and painter and illustrator Remo Branca.
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The earliest section of the house was constructed in 1834 from a design by architect John Verge. In terms of the general quality of his work, Verge is widely recognised as the most accomplished architect practising in Australia before 1850. Several of the architectural details surviving at Rose Bay Lodge (plaster cornices, French door details) are typical of Verge's work. The earliest section of Rose Bay Lodge was a single storey colonial verandahed cottage villa in a suburban situation.
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The timber entrance doors have been replaced with glass doors. The plan is organised about an L-shaped corridor off which studios, workshops, staff offices and storage/service areas open. Some internal spaces have been partitioned but the original internal spatial relations have been maintained though service ducts and lighting fixtures now intrude. Original fabric survives including the roof lights and pressed metal ceilings to the level two former woolclassing area now partitioned as F204 and F201; decorative pressed metal ceilings, concrete columns in a Tuscan order and dentilled plaster cornices with egg and dart mouldings to the ceilings and exposed beams in F101; decorative pressed metal ceilings with moulded "acanthus" pattern cornices to the corridors of level two; decorative pressed metal ceilings to the vestibule to the link across to J Block from level 2; decorative plaster cornice to the ceiling of the stairwell; doors and skirting boards to each floor; tiles to floor and walls of locker rooms on each level; and a polished concrete stair with plain metal balustrading.
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Barge boards are also timber and at the eastern end is highly carved with decorative patterns. The tower is square and originally had a small spire in the centre. This was removed and the tower was extended in the mid nineteenth century with parapet introduced and a pinnacle at each corner with a wrought iron finial in a simple Victorian Ecclesiastical Gothic style. Buttresses were added together with other decoration including projecting cornices, dentil courses, mouldings and attached rendered motifs.
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The Elizabeth and George Street facades are divided vertically, by projecting stone cornices, into three parts. These are a podium level consisting of the double height ground floor and the first level of offices, a five storeyed middle section and the top floor of the building surmounted by a parapet wall. At the corners of the street elevations pavilions, distinguished by banded rustication, extend from the ground floor to the parapet. The podium level is also marked by banded rustication.
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Ground floor windows are topped by entablatures decorated with swags, and topped by projecting cornices. The interior continues the high quality workmanship, with decorative plasterwork and woodwork, and a stained glass window at the landing of the main staircase. The house was designed by Lewiston architect William R. Miller, and was is first residential commission. It is an extraordinarily rich Colonial Revival building for a relatively modest formerly industrial village setting in the state, but also typical of Miller's flamboyant style.
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The bridge is a concrete arch bridge carrying the Mungar to Monto railway over a dry gully some south west of Humphrey Station and west of Gayndah. It has five semicircular arch spans, with solid concrete spandrel walls. Although a simple bridge, it is well detailed with projecting cornices at the bases of the arches, attached pillars above the piers extending above the deck and recessed spandrel walls. The bridge carries a single 3 ft 6 in gauge railway on a ballasted deck.
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Marcotte and Co. supplied heavy velvet gold drapes, and topped each window with carved and gilded cornices of the company's own design. The existing pier tables were removed, and four richly carved and gilded Louis XVI Revival style console tables, also designed by Marcotte & Co., were placed between the pilasters. The existing seating was also removed, and Marcotte & Co. replaced it with 13 Louis XVI Revival gilded banquettes (upholstered benches). Marcotte & Co. also supplied new ornate gilded frames for each over- mantel mirror.
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The ribs supporting the dome were placed on top of iron columns that descended directly to the building's foundation without intersecting with the rest of the superstructure. The exterior of the dome was made of copper and contained cornices above the first and third stories of the dome. The fourth and fifth dome stories were divided by the ribs into twelve sections with small lunette windows on each story. At the top of the dome was a lantern surrounded by an observatory.
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Above each doorway is a sash window. Similar sash windows line the sides, with lintels that have slightly projecting cornices. The front of its lower hall has been divided to provide office space for the town and a kitchen, but has retained its original pine flooring, and there are builtin benches lining the side walls. The upper hall floor has been resurfaced in hardwood, and it has a stage with proscenium arch at the rear, which are of uncertain date.
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The Jonas R. Shurtleff House is located in southern Winslow, on the west side US 201, a short way south of its junction with Maine State Route 137. It is a two-story wood frame structure, with a gabled roof, vertical board siding, and a granite foundation. The main roof gable and side gables are adorned with bargeboard trim. The ground floor windows are topped by extended cornices supported by narrow paired brackets, while second-floor windows are topped by square-headed moulding.
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Cornwall Terrace in 2011, number 1 is on the right No. 1 Cornwall Terrace is in size. It has seven bedrooms, nine bathrooms, a hydraulic elevator, and 11 reception rooms; it is described as a "Trophy Home". The interior consists of hardwood floors and doors, Italian marble, period fireplaces, cornices. No. 1 was the home of the New Zealand High Commissioner from 1955 until the mid-1970s; Sir Clifton Webb was the first New Zealand High Commissioner to live here.
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The Cornices of every building, crowded by attics, had original ornaments and facades were decorated by alabaster relief ornaments and forged details such as balcony grating, flowerpots, shelters, fences, railings etc. In 1894 the Lutsk Orthodox Fellowship granted the construction of the Iverian chapel near the street. A Granite-bronze statue of Alexander III of Russia was built behind the church. At that time, the wealthy Jewish Kronshtein family constructed several buildings with magnificent architecture in Italian Renaissance and Russian styles.
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The first and second floors are very similar configurations, with identical removal of partitions and similar insertion of new partitions. On both levels, the classrooms feature abundant natural light, simple timber joinery, and lofty ceilings. The corridors, cloak rooms, stairwells, and stairwells have smooth concrete ceilings, which is the original condition. The classrooms of the end wings retain the original sheets and battens lined ceilings but those of the centre wing are lined with recent flat sheet material and have modern cornices.
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It has a marble entrance ornamented with vermiculated blocks. LeRoy was an in-law of Peter Stuyvesant, and a South Street merchant, who lived in the house with his wife Elizabeth Fish, of the eminent Fish family. The building was designated a landmark by the New York City Landmarks Preservation Commission in 1969, and was added to the National Register of Historic Places on October 29, 1982. In Spring 1998, restorations were made on the house, including repainting, repointing brickwork and replacing cornices.
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Architecturally the station is a tri-vault wall column design with a monolithic concrete plate on the floor. The theme, work of architects V. Fillipov, S. Petrosyan, A. Ruban, T. Silakadze, T. Petrova and S. Prytkova, is based on Moscow and old Russian cities. The portals, cornices and station walls are faced with warm beige marble. Contrasting with that is the dark green marble used for columns, and for panels between the portals as well as for panels on the station walls.
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On the outside, between the beam over the row and the windows above are ten square panels. The windows are divided into three bays by oak pilasters carved in Jacobean style, and further divided in each bay by two mullions and two transoms making a total of 27. Above the windows is a plaster band and in the attic is a three-light window surrounded by more square panels. The bargeboards have carved cornices with an ornate post between them.
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The main entrance is located in the base of the tower, which is also topped by a mansard-style roof with an iron railing at the top. Above the entrance is a three-part Palladian style window, each section having a rounded top. Ground floor windows are framed by bracketed cornices and sills. In 1866 the town of Stockbridge abolished its district school system, opting instead for a scheme in which graded schools were located in each of the town's villages.
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However, new styles of architecture were not confined to the private developments. In areas further west, St. Louis homes show the influence of the Arts and Crafts Movement and the Prairie style (especially within what is now the West Cabanne Place Historic District). After World War I, many new homes began to reflect the Colonial Revival style, with traditional brick, dormers, cornices and a strict symmetry. A prime example of St. Louis Colonial Revival is located at 47 Portland Place.
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In the eastern part of the main building is a station buffet, with a small raised terrace in front with low stone balustrade. On the west side there is a separate wing with a bicycle facility, behind a free-standing office building. All these parts are attached to the booking hall via the adjacent part of the platforms with each other. The building includes Ravesteyn's characteristic details, like round tilted windows, decorations on the cornices and statues on the facade.
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Over the rear center door is an interesting cantilevered hood carried on boldly projecting carved consoles, plastered inside its arched head and adorned by curious crockets on its raking cornices. It has a carved conventionalized tulip as its finial. This recalls, in a more elaborate form, the plainer town pents used over many doorways in Philadelphia. Windows on both floors of the central block have nine over nine light sashes, but those on the second floor are reduced in height.
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At the end of this traverse is an imposing rock wall, the Hillary Step, at . Hillary and Tenzing were the first climbers to ascend this step, and they did so using primitive ice climbing equipment and ropes. Nowadays, climbers ascend this step using fixed ropes previously set up by Sherpas. Once above the step, it is a comparatively easy climb to the top on moderately angled snow slopes—though the exposure on the ridge is extreme, especially while traversing large cornices of snow.
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The official description of the coat of arms (translation): Split; to the right in black a golden church tower, which comes out of the shield bottom, with two square basements, one octagonal upper floor with abutments, and an octagonal pitched roof, crowned with bowl and cross, the floors separated by cornices, in the lowest floor two rectangular apertures, in the upper floor one lancet arched window; to the left in silver a blue wavy pile. The municipal colours are white and blue.
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The lapidarium section in the Aquincum Museum, Budapest, Hungary A lapidarium is a place where stone (Latin: ) monuments and fragments of archaeological interest are exhibited. They can include stone epigraphs; statues; architectural elements such as columns, cornices, and acroterions; bas reliefs, tombstones; and sarcophagi. Such collections are often displayed in the outdoor courtyards of archaeology museums and history museums. A lapidary museum could either be a lapidarium or – less often – a gem museum (eg the Mineral and Lapidary Museum, North Carolina).
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On the north side of the third story of the tower, there is a small balcony supported by corbels. The transition between the third and fourth and fourth and fifth floors are marked by light-colored stone cornices that circles the entire tower. An additional four-story, horse-shoe-shaped tower rises on the southwest corner of the castle area. Its wall are entirely made up of rough, natural stones, and on every floor, it contains narrow embrasures surrounded by light-colored stone.
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Palace courtyard The large cobblestoned palace courtyard measuring 1300 square metres (4265 square feet) is enclosed by the Hofburg building and represents "the most beautiful inner courtyard in Innsbruck". Since the Baroque reconstruction, the courtyard has been decorated with sculptural elements such as pilaster, frames, cornices and the cartouches with the Austrian striped shield in the gables of the facades. The variations ensue from the varying old structures in the east, south, north and west. Four portals allow access into the courtyard.
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The Barnes House is a historic house at 183 Pine Street, Quincy, Massachusetts. The 2-1/2 story house was built in the 1870s, and is a fine local example of Italianate styling. It is three bays wide, with the first floor left bays taken up by a large projecting bay with four sash windows and a bracketed eave. The windows on the second floor have bracketed cornices, and the front entry is sheltered by a decorated porch with turned posts.
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The rectangular two-story, three-bay, front gable, frame house follows the form of the Greek Revival style. It is a prototype from which a Vernacular house style known as the "McClelland" was most likely derived. While the basic form is the same, the proportions of this house are wider and the roof pitch is lower. The structure also exhibits influence from the Italianate style, which is found in the projecting cornices and tall, narrow front windows on the main floor.
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In 1955, the restoration of the facade of the Palace was completed, and restoration of the interiors began. Fortunately for the restorers, the original plans by Cameron, Brenna, Voronykhin and Rossi still existed. Also, fragments of the original interior molding, cornices, friezes and the frames for the carvings, bas- reliefs, medallions and paintings still remained, and could be copied. In addition, there were 2500 photographic negatives taken in the early century by Benois, and another eleven thousand photographs taken just before the war.
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The pylons, which follow the curve of the station tube, are faced with reddish-brown tile and sandwiched between piers faced with lemon yellow tile and decorated with gold-colored cornices. The ventilation grilles above the pylons are decorated with the coat of arms of the Latvian SSR . The station opened on 1 May 1958. The round vestibule, which was designed by S.M. Kravets, Yu.A. Kolesnikova, and G.E. Golubev, is located on the east side of Prospekt Mira at Rizhskaya Square.
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Temora Post Office is at 173 Hoskins Street, Temora, facing south west on a "wayside" frontage in Hoskins Street (Barmedman Road), 25m south of the Loftus Street corner (Young Road). The adjoining building to its immediate north is imposing: a distinctly American Romanesque-Queen Anne fusion. The building to the immediate south, a branch of the ANZ Bank, is similar in approach, with horseshoe arches, strapwork and mortarboard cornices. This side of Hoskins Street comprises an impressive Federation period streetscape.
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The hallway still features a segmented Federal archway with its keystone supported by a pair of reeded pilasters. The hand-hewn beams, doors, trim and wall finishes are also original to that period and style. Later renovations added interior rooms with Greek Revival features such as architraves, moldings, cornices and medallions. In the Victorian era, a Stick style porch with chamfered posts and an intricate cornice molding was built on the front and an oriel window on the southwest side.
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The entrance is sheltered by a square porch supported by columns, with a low railing above. Atop the doorway is a Palladian window, whose side windows are topped by dentillated cornices. The projecting section is topped by a triangular pediment, whose deeply recessed tympanum is modillioned and filled with a window. The corners of the projecting section, and of the main and side blocks, are all quoined, and the window surrounds on the first two floors also feature quoined and voussoired surrounds.
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The window muntins have a beaded knife blade profile and the plaster ceiling cornices and medallions also have finely carved ornamentation. The garden A circular driveway leads up to the house, set back a mere from the street to allow for outbuildings and the property's garden. It includes elements of all three of its periods of private ownership: a formal boxwood rose parterre garden with tall calla lilies, boxwood specimen garden, cutting garden and Woodland Walk surrounding a 19th-century wooden latticework pergola.
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The first floor contains windows with small stone cornices and a small bugnato ashlar socle while the other two have pilasters along the full length of the facade with tympanum windows, alternatingly triangular and curved. The interiors were then completely renewed. The entrance leads into the courtyard with its monumental Baroque staircase. To complete this part of the palace, the facade of the Church of San Gottardo in Corte had to be demolished while use was also made of the adjoining square.
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The apse, chancel and nave are built of brick in the Late Romanesque style on a double sloping plinth with pilaster strips at the corners and saw-toothed cornices at the top. The apse is divided into three sections with narrow pilaster strips. The bevelled window to the east has been opened up and the two others reconstructed in 1911 when the church was restored. On the south wall, a small, sharply pointed and slightly projecting priest's door can be seen.
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In particular, the restoration revealed the ways in which the stone cornices and the masks were anchored—fixed not only with a joint with the wall but also with forged metal clamps in place. Other metal parts were used to fix the main beams to the mezzanine masonry, thus creating a holistic architectural ensemble. There is a vast garden in the back of the palazzo, still well-preserved, which, together with the garden of Palazzo Priuli Manfrin, has been made a public park.
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The stair to the first floor was lit by leadlight windows which are now blocked by the addition of later bathrooms. The stair hall at the first floor level has similar archways leading to the lounge which in turn opens onto the verandah. Also from the stair hall lead the corridors to the accommodation wings, which both have pressed metal ceilings with roses and cornices, four-panelled doors with glazed fanlights, and tall timber skirtings. All the bedrooms also have pressed metal ceilings.
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Inside the church has been remodeled in the Gothic Revival style; the pews are arranged so that there is no center aisle. Both stages of the tower have corner pilasters topped by molded cornices with broad overhanging eaves; the second stage has louvered vents. Atop are four narrow wooden steeples connected by a balustrade. To the rear and west of the church, filling out most of the remainder of its two-acre () lot, is its cemetery, considered a contributing site to the district.
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Ceilings are plastered or rendered and exhibit a hierarchy of embellishment of the plaster cornices, from nothing or a small cove in halls and bathrooms to elaborate Art Deco treatment in the living and bedrooms. Most rooms retain the carpet, which is in relatively good condition. Where this has been removed the boards have been painted with a gloss finish jade green paint. The bathrooms are highly intact and are a particular feature of the house with their generous layout and unusual decor.
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The building has buttressed walls, pointed arched tracery windows, and rosette windows to the gable ends. The street elevation has a recessed entry with floriated colonnettes surmounted by a large tracery window and small lancet windows. The building is decorated with white cement render to copings, cornices and window surrounds; it also has stone hood mouldings, beige brick voussoirs, a dado with quatrefoil motifs and a rendered plinth. The gables and turrets to the Brookes Street end are topped with small finials.
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The vestibule is the main access to the Palace, the Library and Exhibition Gallery, which by is made through the vestibule, through a monumental staircase and rounded arches. The ample courtyard is paved in Portuguese calçada, and is surrounded by two four-storey tall wings (north and south): the main floor, with central arch and doorway is flanked by rectangular windows surmounted by smaller square windows; and the superior floors, are composed of veranda-windows with simple frames and cornices and balusters/guardrails.
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Ananta Basudeba Temple terra cotta works on the wall of the temple Ananta Basudeba temple is a temple of Lord Krishna in the Hangseshwari temple complex in Banshberia, in the Hooghly District in the Indian state of West Bengal. Built by Raja Rameswar Datta in 1679, this temple is noted for the exquisite terra cotta works on its walls. It is built in the traditional eka-ratna style, with curved cornices. The tower on top of the temple is octagonal.
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Both the entry porch and window bay are topped by turned balustrades, and have bracketed and dentillated cornices, details that are repeated on the main roof line. The porch is supported by panelled posts mounted in wooden piers. Windows on the front and sides are capped by decorated bracketed hoods with mini-gables. Clark Perry, a Machias native who owned a local general store, had this house built in 1868 by Haskell Preble, who may have also played a role in its design.
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The Engine House is a two-story red brick building with trim of red-orange sandstone and salmon colored brick topped with a high double-pitch hip roof in the front and a lower roof in the rear. Dormers feature wooden cornices containing sculpted faces, serpents, and dragonheads. Two engine bays are located on the first floor, along with the station office, kitchen, and dining & recreation room. The sleeping quarters, officer's room, locker room and bathroom are on the second floor.
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The interior features delicately refined woodwork in its fireplace mantels, door and window moulding, and cornices, reflective of the style promoted by Robert Adam, which differentiated the scale of these elements in domestic and civic architecture. The gatehouse standing near the property entrance is an architectural folly. The house was built in 1803 for Joseph Manigault to a design by his brother Gabriel. Gabriel Manigault had studied architecture in London before the American Revolutionary War, and was familiar with Robert Adam's design principles.
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Existing cast-iron columns supporting the roof were encased with marble to give the impression of "massive marble shafts" topped with gilded Greek capitals. The architrave, frieze, and cornices above the columns were covered with platinum leaf. At the opening, the West and North Galleries on the ground floor were devoted to oil paintings, and the first floor balcony around the Central Hall displayed smaller works in oils, watercolours, etchings and drawings. Sculpture was displayed in the Central Hall itself.
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A strongroom is located beneath the ground floor strongroom adjacent to a fireplace. The ceilings are lined with tongue and groove boards and the floor is formed with concrete. The rear wall contains a central door and two full height windows with double hung sashes secured with metal grilles. Original internal walls on the upper two levels are finished with plaster lined to imitate stone ashlar while ceilings on all levels are lined with double beaded tongue and groove boards with timber cornices.
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Tozer's Building is a good example of commercial offices designed by Richard Gailey. The original 1896 structure is important in demonstrating the principal characteristics of Victorian-era commercial offices. It comprises a foyer, handsome cedar staircase to the first floor rooms, a ground floor office, strongroom and a basement with its own strongrooms. The interior contains fine finishes such as plaster walls, decorative plaster cornices, pine ceilings, and handsome original cedar joinery including counter, windows, fanlights, architraves, skirtings and substantial doors.
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The main facade is five bays wide, with a center entrance flanked by sidelight windows and pilasters and sheltered by a gabled portico. First-floor windows are topped by projecting cornices, and the main roof cornice has a line of dentil moulding. The house was built in 1790 to a design by William Sprat, a Connecticut designer whose residential credits include houses in both Connecticut and Vermont. The house was built by Colonel Henry Champion for his son, also named Henry.
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In the 19th century Greek Revival trim details were added, including wide pilasters at the corners, and a portico sheltering the front entry. The first-floor windows are topped by decorative cornices. A single-story ell projects from one side of the rear, giving the house an L shape; this wing was built to house more modern kitchen facilities and servants' facilities. The interior plan of the main house is a typical center-hall plan, with four rooms on each floor.
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At the back of the temple, there is a house with a tile roof that surrounds the apse, and is attached to the rest of the building. It has superimposed rows of windows and windows, with a marked horizontality reinforced by cornices and marcapisos. Its facade is topped by a balustrade and a tympanum, characteristic elements of an architecture of Renaissance influence. In the lower part, there are three stores, in which commercial activities are carried out, independent of the ecclesiastics.
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St Nicholas is nave building with an apse and bell tower at the main facade. The main front in the central part is slightly accentuated, processed by single and doubled pilasters, cornices and attic wavy line on the edges of a classicist vases. Slender tower that emphasize edge pilasters ending baroque arches with the lantern. Vaulted nave of the church is divided into four bays, which are separated by a wide archivolts resting on Ionic capitals, while the semi-dome-vaulted sanctuary.
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Hotel Troy is a historic commercial building located at Troy, Montgomery County, North Carolina. It was built in 1908–1909, and is a three-story, seven bay by eight bay, brick building, rising above a full basement with Classical Revival style design elements. The front facade features cast iron pilasters, columns with foliated capitals and cornices. Originally built for multi- purpose use including a sanitorium, in 1925, rooms in the upper stories were modified for use as hotel rooms and baths.
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Former county clerk's office The Bradley County Courthouse has a two-tone brick exterior with quoin arched windows as well as gauged voussoirs and dentils along the cornices. A tower in one corner of the structure has clocks facing all four directions, an arched cupola, and a hexagonal shaped roof. Also included on the National Register of Historic Places is a one-story brick building built in 1890. Originally the county clerk's office, the building now serves as a library.
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The Little Chief Service Station (built in 1929) is a designated Municipal Heritage Property located in the Riversdale, neighborhood of Saskatoon, Saskatchewan, Canada. It was originally built as a gas service station for Texaco Oil Company of Canada. Cars and farm vehicles were often serviced at the station while owners shopped in the Riversdale area. The restored building design makes use of white stucco walls, rounded roof tiles, decorative brick, heavy tiled cornices, roof parapets, iron windows and copper gutters.
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The 1914 Italianate-Neo-Romanesque original building in 1922 Designed by Toronto architects Frank Darling and John A. Pearson, the architectural style of the original building (now the western wing) is a synthesis of Italianate and Neo- Romanesque. The structure is heavily massed and punctuated by rounded and segmented arched windows with heavy surrounds and hood mouldings. Other features include applied decorative eave brackets, quoins and cornices. The eastern wing facing Queen's Park was designed by Alfred H. Chapman and James Oxley.
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Dictionary of Ohio Historic Places. Vol. 1. St. Clair Shores: Somerset, 1999, 307. The house's floor plan is unusual; its four-bay western facade is divided between two components of two bays each; through the northern component, one may enter the house through a Victorian front door. An Eastlake porch shelters the rear door that opens onto the protruding kitchen, and various eaves elsewhere on the exterior form separate cornices, each of which is composed of brackets and a frieze.
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The 2-1/2 story brick house was built in the 1820s by Seth Davis, a locally prominent teacher and real estate investor, and is one of the finest Greek Revival houses in the city. It is unusual for having brick detailing instead of wood for the cornices. Seth Davis was a major investor in West Newton's Railroad Hotel, and owned much land in the area. Davis Street, Davis Court, and the Davis School are all named in his honor.
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Preston House, also known as the John Cole House and Johns(t)on House, is a historic home located at Salem, Virginia. It was built about 1821, and is a two-story, five bay, Federal style brick I-house dwelling. It features a single pile, central passage plan and original rear ell, its exterior end chimneys and decorative brick cornices. and Accompanying four photos It was added to the National Register of Historic Places in 2005, with a boundary amendment in 2006.
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The Statue of Saint Nicholas of Bari now stands on the site of the temple. The statue is on the National Inventory of the Cultural Property of the Maltese Islands (NICPMI). A chapel dedicated to Saint Nicholas was eventually built near the site of the temple. In 1613, while digging the foundations for a statue of that saint near the chapel, many large blocks of marble from the temple were found, together with pillars, cornices, capitals and carved slabs including the Chrestion inscription.
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The archaeologist Antonio Annetto Caruana examined the site of the temple in 1882, and found no remains except for some holes dug in the rock. He recorded that some capitals, pillars and cornices were piled up in the square in front of the Mdina cathedral, while other remains were found in the private collection of Mr. Sant Fournier. Today, only a few fragments from the temple still exist. These include a fluted marble column shaft and part of a cornice.
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It is constructed on the side of a hill and two of its sides are surrounded by elevations. There are no ornamental facets on the exterior, except for a few windows at the top of each storage room. It has cornices built in a Doric style, constructed with two types of regional stone--reddish and greenish. This gives it a curious appearance, resembling a stronghold or a castle, which it has come to be called by the people of Guanajuato.
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The Fanckboner-Nichols Farmstead consists of approximately three acres, which contains a farmhouse, barn, Workshop/Woodshed, and grain bin, along with trees, a large yard, and a cistern. The farmhouse as originally built was a small Greek Revival I-house with a low second story. The exterior is clad with clapboarded with plain cornerboards, and a broad frieze with classical cornices with returns runs along the top. The front has a center entry flanked with square-head double-hung windows.
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Being one of the tallest buildings in Singapore in the early 20th century, the Great Southern Hotel was an important landmark of Chinatown. Designed by Swan and Maclaren, the architectural style of the Nam Tin Building was that of the Modern Movement. The building was designed to be strictly functional. The grey-coloured façade of the Great Southern Hotel seemed to consist only of the bare essentials, with ordinary designs like strong horizontal lines with angular arches and simple cornices.
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The upper band of the entablature is called the cornice, which is generally ornately decorated on its lower edge. The cornice retains the shape of the beams that would once have supported the wooden roof at each end of the building. At the front and rear of each temple, the entablature supports a triangular structure called the pediment. This triangular space framed by the cornices is the location of the most significant sculptural decoration on the exterior of the building.
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Both of these churches are richly adorned with ornamented stone carvings, including decorative arches, window and door frames, sculpted crosses, and fretwork cornices. Despite the artistic value of individual elements in the architectural sculpture of Mghvimevi, the monastery buildings lack the overall integrity and craftsmanship characteristic for its contemporaneous monuments of medieval Georgia. A bell- tower and monastic dwellings mostly date to the 19th century. There is also a set of buildings, part of the modern nunnery, founded in 2014.
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The facade of 253 Broadway is made of light stone on the first four stories, and of light-gray brick and terracotta on the remaining stories. The design of 253 Broadway emphasizes horizontal layering, with sill courses between each story, three intermediate cornices, and a large bronze cornice at the top. The lowest levels are recessed behind the main facade, while the loggia on the twelfth story is taller than on 256 Broadway. The facade of 256 Broadway is of Tuckahoe marble.
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On the ground floor it is carved into wide horizontal bands while floors two through five are smooth. Corinthian pilasters and columns separate the windows of the public rooms from the second to fifth floors with windows for the second and third floors contained in large arches. Windows on the fourth floor are framed by small balconies. Above the sixth floor, the exterior is beige brick with cornices at floors 7, 16 and 21. Ionic columns frame windows on floors 23 through 25.
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The mountain lies on the border of Gunma and Niigata Prefectures and sits precisely where the weather systems from the Asian continent and the Pacific meet in often furious displays of extreme weather. Cornices on the ridge can reach out over 20 metres and occur at lower levels of the mountain as well as along the summit ridge. When avalanche risk is high, the consequences can be particularly dangerous given the steep terrain and over 1000m of relief to gather force.
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Its Second Empire architecture is reflected in its mansard roof featuring scalloped wooden shingles and bracketed cornices. In 1929, Dr. Herman Fasbender, Sr. purchased the home and transformed it into Saint Raphael Hospital, which had been housed in the VanDyke-Libby House. When the Regina Memorial Hospital opened in 1953, Saint Raphael closed and the house was converted into a tenement building; Fasbender then moved his practice to the Fasbender Clinic building. Today the home is a bed and breakfast inn.
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The night scene Tang Paradise () is a large theme park in the city of Xi'an, in Shaanxi province, People's Republic of China. The park is at or near the site of an earlier garden Furong Garden complex in the city of Chang'an, capital of Tang Dynasty, but consists almost entirely of modern construction. The park features numerous buildings, squares, and gardens, all incorporating features of traditional Tang Chinese architecture, such as eaves and cornices. Some features are named after historical sites or buildings.
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The building has four ventilated and glazed roof lanterns; three in the Stephens Lane wing and one large one in the George Street wing. To either side of the now-disused George Street entrance are offices with partitions of French polished silky oak and maple and clear glazing above. The main doors into these areas also have stained glass panels and the remainder have etched glass panels with lettering designating the office use. Ceilings and cornices in these areas are pressed metal.
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