What we're witnessing might be the finial crisis of swearing.
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Someone donated an original finial from the Woolworth Building in Manhattan.
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Horse chestnuts shade the Blacks' gabled stone mausoleum, crowned in an obelisk finial.
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They also took a Chinese Bronze beaker and a finial flag pole top.
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On the cone's tip, there's a golden eagle with open wings -- a flag's finial.
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Each is topped with a sculptural finial portraying one or several athletic figures in three dimensions.
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The Pier 1 Mercury Glass Finial Tree Topper puts the final exclamation point on your holiday decor.
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The finial slips over the center branch of the tree to catch the twinkle of the tree lights.
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The finial is shaped like a trident gilded with gold, and its iron hilt is also inlaid with gold.
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A separate reward of $100,000 is being offered for the return of Antoine-Denis Chaudet's Napoleonic "Eagle Finial" (1813-1814).
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Man Ray designed this set in 1920 to honor his close friend, with typically fanciful touches (the knight is a violin finial).
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He said the most seriously wounded of the victims was stabbed with a flagpole that had an American eagle finial on at the top.
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If you are looking for an elegant finish to your tree decorations, look no further than the Pier 1 Mercury Glass Finial Tree Topper.
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Like most governments, the Indian government does not appear to be happy with illegal use of cryptocurrencies, but we'll have to wait for an official policy to draw any finial conclusions.
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At the heart of those celebrations is the raising of the jahenda bala banner on a thick 40-foot pole topped by a massive silver and gold finial, at the Blue Mosque.
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Finally, around 1930, perhaps as a result of some new technology making hardware smaller, an anonymous light-fixture designer discovered that the finial could be placed at the center of the dome.
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The Orion capsule, which will sit tiny atop the rocket like the finial on a flagpole, is the place the space-faring humans will live, work, play, and probably also cry and fight.
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So much was taken that when a list of some objects surfaced in 2012 — a tiger's head finial from Tipu's wrecked throne for George III, war dresses for the Duke of York — the list itself was auctioned.
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After another year characterized by an anemic economy, high unemployment and steady discontent with the political class, Romans quickly took a bittersweet laugh at the gangly thing and its attempt to look dignified, holding up its star-shaped finial.
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Size: 4,513 square feet Price per square foot: $155 Indoors: In the reception hall and throughout the main level, the owners replastered the walls and refurbished all the wood: floors, doors, staircase (whose glass newel finial is a lamp) and moldings.
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The Eiffel Tower will never be as dear to me as its produce-aisle facsimile: brassicas at the base, apples in the arches, a soaring midsection of leeks and carrots, topped by a four-layer finial of tomatoes, potatoes, pears, and lemons.
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In one scene she removes a curtain finial lodged deep in a patient's vagina; in another she vomits, in private, after examining a man's feet; and there are plenty of drawings of genital procedures that may make the reader squirm but that Lois treats calmly and clinically.
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In Mr. Sachs's alternate universe, the traditional toro Japanese lantern incorporates a walker as a base and a tennis ball as a finial; Yoda the Jedi master replaces a chrysanthemum on top of a charcoal brazier; and a cast-bronze bonsai is modeled on a construction of hundreds of Q-tips, toothbrushes and tampon tubes.
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Yet they are exquisite; the bits of visual information punctuating the perimeter of "Wires 210" (256 x 217 inches, latex ink on silver vinyl mounted on Dibond; 2016) dance around a drooping scrawl of power lines as casually weighty as any offhand-but-not-really Cy Twombly painting, while an unexpected silver orb just inside the bottom edge — possibly, a finial atop a distant spire — is incongruously volumetric.
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The finial was changed to a knob for other daily usage (including semi-formal ceremonies). The Pickelhaube is a Central European military helmet with a finial topped by a spike.
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The finial is decorated with twisted fluting and leaf molding.
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The cupola is shingled with wood, and has a metal finial.
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On the top is a copper pyramidal roof with a cross finial.
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A distinguishing feature of this pagoda is the base of pagoda finial, which looks like a roof stone. It is designed to support the finial at the top of the pagoda and gives the pagoda a distinct appearance.
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The bargeboard is decorated with carvings and at its peak is a finial.
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Ribbons of the same colors may be placed at the foot of the finial.
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The apse contains a round-headed window, and there are two similar windows on both the north and south sides. Between the windows on the north is a blocked doorway, and on the south side the windows flank the transept. The transept has a gable decorated with urns and a finial, and it contains an oculus. At the west end the porch is also gabled, and this carries an urn finial and a ball finial.
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The finial acts as a stop-end to the cast iron cresting, which embellishes the roof.
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The main entrance is placed asymmetrically profiled covered by a decorative finial portal (including the eagle).
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The crowning element is a square tapering finial which when viewed with the lower square shaft produces the obelisk appearance. This finial also has panelled sides with up to seven or eight on each side. There can be 70 or 80 surfaces in total available for dials.
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Above this is a gable with an ornate bargeboard and a finial. It is a Grade II listed building.
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Some lampshades or light fittings, especially in glass, typically terminate in a finial which also serves to affix the shade to the lamp or fixture. Finials are twisted onto the lamp harp. Typically the finial is externally decorative whilst hiding an internal screw thread. There are several standard thread sizes which are used.
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The circular and octagonal drums of the dome were also reconstructed, and a metal finial was placed atop the dome.
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19 The platform on which the temple stands, the jagati, comprises five plain moldings (without friezes). The outer walls of the shrine are plain but for regularly spaced slender pilasters. The tower of the shrine has a finial called the kalasha (decorative water-pot like structure). Below the finial is a heavy dome like structure.
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Historically, flags were flown at half-mast on the Commemoration Day of Fallen Soldiers which takes place on the third Sunday of May. Originally, flag was raised to the finial in the morning, displayed at half-mast from 10:00 to 14:00, and again raised to the finial for the rest of the day. In 1995, the 50th anniversary of the end of the Second World War, the tradition of flying the flag at half-mast was discontinued and flag is displayed at the finial in a usual manner.
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A comb-like finial decorates the ridge of the central roof mass and wings, with "SANTA FE" signs facing either platform.
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Above the window is a carved tie-beam, and a gable containing herringbone studding. The bargeboards are moulded with a drop finial.
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A finial from Chapelton House or possibly a 'wheat sheaf' from the old Monks' Well is used as a feature in the gardens. Apart from pure ornamentation the finial can also function as a lightning rod, and was once believed to act as a deterrent to witches on broomsticks attempting to land on one's roof. On making her final landing approach to a roof, the witch, spotting the obstructing finial, was forced to sheer off and land elsewhere. An old lintel from a door is recorded in 1939 as being built into a wall in the garden with the inscription 'S.
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Although unrecognizable to the untrained eye, this wooden chair is portrayed several times through Vermeer's artistic career. At the top left hand side of the painting, behind her shoulder, a silhouette of a lion head finial can be found. This finial references chairs designed and crafted by the Spanish. When constructing this chair, the Spanish craftsman used leather and not cloth.
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Beyond this in the south bay, are two sash windows. In the upper storey are nine sash windows; over the pair of windows in the south bay is a cartouche. Over the south bay is a plain gable with coping and a short finial. In the roof facing Foregate Street and in that facing Bath Street is a lucarne with a finial.
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The roof can be of a thatched material or of clay pantiles. The top of the roof may be decorated with a kemuncak finial.
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An elaborate gilt bronze style of Korean wind chime and dragon's head finial became a type of object in later Silla / early Goryeo art.
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The cover with mock latchet and ring finial and the two-stepped, angular handles on the body are popular features on pieces from 1800 onwards.
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The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial which mixes traditional Persian and Hindustani decorative elements. The main finial was originally made of gold but was replaced by a copy made of gilded bronze in the early 19th century. This feature provides a clear example of integration of traditional Persian and Hindu decorative elements.
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The 7-dot glyph was at first six dots surrounding a central dot; later two rows of 3-dots ended with a 7th as the finial.
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The porch is gabled and has single-light windows in its east and west sides. It has moulded eaves, an ornate parapet with a finial, and pinnacles.
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The third stage has four lancet windows and above them two-light belfry openings below the gables. The gable roof has a statue finial flanked by pinnacles.
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The banner is trimmed with gold fringe, has gold and crimson cords and tassels, and is mounted on a pike with the usual British royal crest finial.
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A Balinese kemuncak on top of a thatched roof of a Balinese temple pavilion. In Java and Bali, a rooftop finial is known as mustaka or kemuncak.
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At the top of the gable is a bargeboard and a finial. The front facing Commonhall Street contains a variety of windows including a curved oriel window.
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The reconstructed dome included the addition of a clerestory. The original dome was saucer-shaped, while the replacement dome was more classically domical in its appearance. The other major change was the finial, which prior to the fire consisted of an eagle figure, whereas the replacement feature is a traditional turned finial of wood. This has been the only major change in the overall form of the building during its lifetime.
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The bear and ragged staff symbol of the Beauchamp family forms a gable finial on Apperley Hall at Lower Apperley. The house is late 16th- or early 17th- century, but the finial may have been salvaged from an earlier house. In 1357 Gilbert Despenser sold Wightfield to John of Leigh. In 1382 Thomas of Leigh sold Wightfield to John Cassey, whose descendants held the manor until the 17th century.
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In the William and Mary period chi (from the Greek letter chi - Χ) stretchers were common, connecting the legs diagonally, frequently with a finial where the stretchers crossed.
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The slates on the roof of the east wing are in grey and purple bands. On the apex of the roof of this wing is a cross finial.
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At the top of the column is a cupola with an urn finial. The monument was restored in the 1990s by the John Paul Getty Trust and English Heritage.
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The style is still found on the pressed tin pediment with a sunburst motif and the central finial above, as well as the decorative work on the corner tower.
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There are narrow angle turrets each with their own delicate spire adorned with crockets and a finial at the top. It is the largest entirely stone steeple in Canada.
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It features a square, five-story tower with a steep pyramidal roof and finial. (includes 10 photographs) It was added to the National Register of Historic Places in 2000.
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It has two finial and two small and large domes, over 120 years old, and 770 square meters of mosaic tile is a special feature of this monument. This old mosque has a brick facade. The Mosque has about 1,000 square meters of adobe tiles which the verses of the Quran are written on those. It has two finial with a height of 28 meters from the ground floor and two large and small domes.
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In each storey are four-light windows, similar in type to those in the central bay. At the top of each is a conical roof with a finial. At the summit of this section of the building is a hipped roof containing two small dormers. To the right of the section is a circular stair tower rising higher than the turrets, with stair windows, and three lancet windows under a conical roof with a finial.
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The bell turret is close-studded and has a pyramidal roof with a finial and a weather vane. The church is unique in Douglas' output as being entirely half-timbered.
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Wavertree ;Norfolk Docking, Great Yarmouth, Thetford? ;Northamptonshire Weldon ;Northumberland Stamfordham ;Nottinghamshire Edwinstowe?, Mansfield Woodhouse?, Tuxford ;Oxfordshire Banbury, Bicester, Burford, Filkins, Stonesfield, Wheatley Tall, hexagonal unstepped, stone pyramid with ball finial.
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At the west end of the south aisle are fragments of an early sculpture. On the gable at the east end of the nave is a finial consisting of a wheelcross.
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At the top of the building, a cornice and a plain frieze crown the walls, while a finial and pagoda-shaped roof sit at the peak of the fifty-foot tower.
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The east end also has a triple lancet window, and a cross finial on its gable. The authors of the Buildings of England series describe the west front as being "gauche".
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There is also a smaller octagonal stair tower with an eight-sided roof, topped by another finial. Windows in the stair tower alternate on the five visible sides of the tower.
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Wooden brackets project from the eaves. A flat roofed porch extends across the front of the house, the northern portion of which is supported by wooden posts and a short rail. The portion over the main entrance has a limestone wall on the south end with a terra cotta-framed arched opening with an ornamental hipped roof and finial. A pyramidal roofed porte-cochère with terra cotta ridges and a finial extends from the porch over the semicircular driveway.
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A brick patio surrounds the building. With the exception of some changes to the chimney structure and missing roof crests and finial, the depot's exterior looks exactly like it did when constructed.
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The finial from the roof of the station now resides today at the Henry Ford Museum in Dearborn, Michigan. In 2019, the MBTA listed West Medford as a "Tier I" accessibility priority.
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A Celtic cross finial crowns each gable. The church is elevated on short round timber stumps, colored brown. The external chamferboard walls are painted cream. Double timber doors lead to a simple interior.
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The side gables have round-arch windows, and the building is topped by an octagonal cupola with a belled finial. The house was listed on the National Register of Historic Places in 1989.
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A heraldic panel is located between the second and third windows of the north elevation, as is a decorative ironwork finial and a weather-cock finial. There is a baronial tower house, an angled tower to the northwest, a four-storey basement, and an attic tower to the north. The oldest section of the castle is the northwest which incorporates a balustrade atop a five-storey circular tower that is corbelled to square. This tower was replicated later at the northeast.
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These are frequently seen on top of bed posts or clocks. Decorative finials are also commonly used to fasten lampshades, and as an ornamental element at the end of the handles of souvenir spoons. The charm at the end of a pull chain (such as for a ceiling fan or a lamp) is also known as a finial. During the various dynasties in China, a finial was worn on the top of the hats civil or military officials wore during formal court ceremonies.
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It is common for the phrase to be taken literally and for a flag to be flown only halfway up a flagpole, although some authorities deprecate that practice. When hoisting a flag that is to be displayed at half-mast, it should be raised to the finial of the pole for an instant, then lowered to half-mast. Likewise, when the flag is lowered at the end of the day, it should be hoisted to the finial for an instant, and then lowered.
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A four panel door to the porch has a toplight in a pointed arch opening. A tall window is in the end wall. A cross finial at one end has lost the cross member.
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The temple reflects the Charchala style architecture of Bengal. There is a flat raised platform over which the chamber is build with a single arch entrance. There is a curved roof with a finial.
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Depiction of hti craftsmen. Hti (, ; ; Shan: ), a Burmese language word meaning umbrella, is the name of the finial ornament that tops almost all Burmese pagodas. The umbrella is an auspicious symbol in Buddhism and Hinduism.
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At the east end of the church the aisles terminate in gables, each gable containing a circular opening and surmounted by a cross finial. Each facet of the apse contains a pair of lancet windows.
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The interior of the house has been left as it was in the 1950s. Some of the buildings have carved ball finials on the gable ends as per the architectural fashion of the time. The finial can also function as a lightning rod, and was once believed to act as a deterrent to witches on broomsticks attempting to land on one's roof. On making her final landing approach to a roof, the witch, spotting the obstructing finial, was forced to sheer off and land elsewhere.
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Glentworth is a single-storeyed timber house on stumps, with a central axial corridor and wide verandahs to three sides. It has a pyramid-shaped, corrugated iron roof crowned by a large timber finial. Convex iron-sheeted verandah roofs are separated from the main roof by a small cornice and paired timber console brackets. Verandah decoration is restrained: slender timber posts with capitals and brackets; cross-braced timber balustrading; and a timber fretwork pediment of intricate design crowned by another tall timber finial, above the entrance.
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The chambers inside are also enlivened with varying degrees of decoration, with the topmost (sixth) chamber being especially notable for its ornamental ribbed dome ceiling (similar to the domes of the Great Mosque of Cordoba) with muqarnas squinches and geometric patterns. The minaret is topped by a spire or finial (jamur). The finial includes gilded copper balls, decreasing in size towards the top, a traditional style of Morocco. A popular legend about the orbs, of which there are variations, claims that they are made of pure gold.
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The mill stood over high to the top of the cap finial. It had an ogee cap winded by an eight bladed fantail. There were four Single Patent sails. The mill drove four pairs of millstones.
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Finial of the dome of the Taj Mahal Bronze finial for a nomad's tent-pole, Ordos culture, 6th–5th century, Mongolia A finial or hip-knob is an element marking the top or end of some object, often formed to be a decorative feature. In architecture it is a decorative device, typically carved in stone, employed to emphasize the apex of a dome, spire, tower, roof, or gable or any of various distinctive ornaments at the top, end, or corner of a building or structure. Where there are several such elements they may be called pinnacles. Smaller finials in materials such as metal or wood are used as a decorative ornament on the tops or ends of poles or rods such as tent-poles or curtain rods or any object such as a piece of furniture.
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The finial was from Holman and Sons foundry at St Just. The blacksmith’s work was done by Mr. Richards of Hayle. The stone for the church came from the Tregenhorne quarry. The dressed stone was Breage granite.
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On each side of this door, and above it, are two-light windows containing leaded lights. In the apex of the gable is herringbone timber framing. The bargeboard is carved and has a finial at its peak.
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The destroyed outer wall of the tower was rebuilt and a new slate-covered spire and finial was added in 1981. The tower and the bergfried are the only intact buildings of the Electoral Cologne water castle.
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Edison Laser Player (ELP) Japan is a Japanese audio equipment company started by Sanju Chiba, who manufacture laser turntables. The origin of ELP's turntable came from an American company named Finial Technologies, led by Michael Stoddard, who designed a prototype unit for playing vinyl using laser technology in the mid-1980s. Unfortunately, this coincided with the commercial rise of the CD, so Finial went into receivership and sold the rights to ELP in 1989. The units are custom built to order - a typical price in the mid-2000s was about $11,000 to $15,000.
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Units of the Chilean Army carry one main Colour, known as the estandarte de combate (combat standard). This is the same as the national flag, but with an embroidered star and with the unit designation, honorific title, founding date and place, and, depending on the unit, other historic information and honours embroidered diagonally across the fly in gold. The flag is also trimmed with gold fringe. It is mounted on a staff with a gilt condor finial; below the finial is a cravat in the national colours with decorations attached.
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Vaux-le-Vicomte castel, Maincy (Seine-et-Marne) Eternal Youth, finial figure for the Manitoba Legislative Building, Winnipeg Drama in the Desert, Parc Montsouris Georges Gardet (October 11, 1863 - 6 February 1939) was a French sculptor and animalier.
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On each corner is a small carved circle containing carved sheafs and portcullises. The roof consists of a tiled spire, and at its apex is a lead finial surmounted by a copper fish which acts as a weather vane.
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The brick built dome is complementary to its drum. The dome was covered with turquoise blue tiles. From these, the building gets its name Nila Gumbad which in English translates to "Blue Dome". A kalasa finial crowns the dome.
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A Ming dynasty source states the pagoda at that time had thirteen storeys, but that may be counting the roof and the finial. In 2006 the pagoda was listed as a Major Historical and Cultural Site Protected at the National Level.
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A 2-foot baton was commissioned in 1988 following the move to a more permanent pattern of appointment. It consists of a wooden shaft with a silver finial (decorated with the five Foot Guards regimental badges) topped by a crown.
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The structure is finished in a green plastic paint except for the floorboards which are unpainted and the ceiling and finial which are painted off-white. There is no guttering nor rainwater goods, and the original interior light fitting is missing.
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The entire spoon, including the bowl, handle, and finial may be used to convey the theme. The first souvenir spoons in the United States were made in 1890 by Galt & Bros., Inc. of Washington D.C., featuring the profile of George Washington.
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The front porch has a solid weatherboard balustrade and a decorative timber front gable with a metal finial. The windows now have glass louvres and the timber trim is painted white. Internal walls and ceiling are lined with fibrous cement sheeting.
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It is surmounted by a finial (jamur) with three copper spheres. A once widely reported belief alleged that they were actually made of pure gold; a legend which originated with this mosque but which latter became associated with the Koutoubia minaret.
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The front division's corners are marked by four square turret-like piers with pyramidal roofs, each capped with a single over-scaled ball finial. Projecting from the center of the southwest facade is a circular tower with a ten-sided conical roof and a large ball finial. The front of the building has large display windows and a doorway on each side, comprising the majority of the facade which is topped by a false mansard roof. The rear division is devoid of architectural ornamentation, consisting of a flat metal roof to house the garage of the service station.
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The Finial turntable never went into production. After Finial showed a few hand-built (and finicky) prototypes, tooling delays, component unavailability (in the days before cheap lasers), marketing blunders, and high development costs kept pushing back the release date. The long development of the laser turntable exactly coincided with two major events, the early 1980s recession, and the introduction of the Digital Compact Disc, which soon began flooding the market at prices comparable to LPs (with CD players in the $300 range). Vinyl record sales plummeted, and many established turntable manufacturers went out of business as a result.
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It is built in red brick with panels containing stonework in the upper storey, and has Westmorland green slate roofs. Its plan consists of a main square part with a wing to the north. On the front of the main part of the house are, from the left, a round turret with a conical roof containing a hipped lucarne and surmounted by a finial, a high shaped chimney, and an octagonal turret with an octagonal spire and finial. The upper storeys of the main part of the house and the octagonal turret are jettied on terracotta corbels.
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Niğde Tourism Directory South of the bazaar there is a hamam (Turkish bath) and a mosque. Originally there was a golden finial in the bath. But it was later stolen. The heated water in the hamam was used to heat the complex.
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The porch has an arched doorway over which is a lancet window. Its top is gabled and has a cross finial. The east window has five lights and Perpendicular tracery. Inside the church is a west gallery supported on four slim iron columns.
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The bays of the building at parapet level are divided by pedestals supporting urns. Each bay has a central semi-circular pediment containing the date A.D. 1888 in raised lettering, and is topped by a small finial which completes a striking silhouette.
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The main entrance is at the base of a tower on the northeast corner, topped with a cupola and finial. The north facade, along Clinton Avenue, has paired gables. The east and south have no decoration. Inside the original layout remains mostly intact.
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The altar, choir-stalls and nave seats were carved by Mr. Stanlake of Plymouth. The pulpit was made by James Richard of Hayle. The tower took its inspiration from Lostwithiel church. The slate roof terminated with a wrought iron finial carrying a vane.
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On the west side, which is gabled, carvings seen are of three gates. In the central door the shrine sculpted with a square tower has a finial on top. The uppermost floor is apsidal and has a large kudu with a shrine inside.
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The structure has lost its original stripe-painted iron roof, ball terminations to the pinnacles, and weathervane depicting a ship. Its entry is protected by a recently constructed, galvanised iron-roofed gabled timber portico with decorative bargeboards and a timber roof finial.
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The chancel has a Norman window; the other windows date from 1891. In the chancel is a piscina and aumbry dating possibly from the 12th century. On its east gable is a cross finial and on the west gable is a bellcote.
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A similarly ornate infill panel adorns the other larger gable. It projects approximately from the wall below and is supported by carved timber brackets. A double set is located either side of the triple window below. A finial projects from the gable's ridge.
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The steeple is topped with a wooden finial. The interior has plain plaster walls, its original wooden pews, and wide pine floors. A two-tiered platform is at the rear. A Farrand & Votey pump organ is in front of the rear door.
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Due to the disappearance of the original capstone, a decorated granite finial was added later. The pagoda creates a unique mood through the use of clay slate, the main ingredient of ink-stones, and maintains a gentle and delicate ratio as it ascends.
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The third story has the same nine-over-nine double-hung sash. Above it is a smaller cornice and parapet. In the middle of the roof is the dome, clad in stainless steel, with an oculus and gold leaf finial at the top.
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The church's façade is divided into three sections. The gabled two-story center section is flanked with symmetrical towers. The upper portion of the central gable contains a trefoil motif and finial. It also includes a statue of the Virgin Mary in a bracketed niche.
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There is a cast iron decorative finial at the apex. BOUNDARY: small squared sandstone wall with saddleback coping and modern railings and gate furniture. A Gothic pillar capital A Gothic arch corbel There is a galleried interior, narthex with flanking stairs to gallery. Boarded dado.
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The bays of the nave are divided alternately by buttresses and triangular-headed pilasters between which are paired lancet windows. The spire is a large flèche with wooden louvred bell-openings on each face. Above these are lucarnes, a lead finial and a weathercock.
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The tower has a pyramidal ashlar roof with a finial. The vestry is on the north side and on the south side there is a chapel. The churchyard contains a war grave of an Army Air Corps soldier of World War II. CWGC Casualty Record.
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Its lower stage is "extremely tall". The upper stage contains two-lancet bell openings. Above these is a cornice supported on a corbel table, and an octagonal broach spire. On the spire are two tiers of lucarnes and a finial with a wrought iron cross.
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Lot18 curates, markets and retails fine wine online. Lot18 has offices in New York, New York and Napa, California. Lot18 sells wines from around the globe. Lot18 also creates custom wines and brands, including Axiom, Mythmaker, Finial, Q8, Amukan, Loophole, and Neptune's Trident, among others.
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The collection also includes a number of architectural pieces which are likely to have adorned an early stone church, including a probable label-stop and a gable finial. This collection, not yet fully published, is probably the most extensive to survive from early medieval Scotland.
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The outer walls have flat pilasters but there are no signs of projections or sculptures niche. The roof is an octagon to dome topped by a tiny amalaka finial. It is framed by corner model elements topped by kuta roofs containing miniature nidhis.Michell, George (2014).
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The square tower over the sanctuary has pilastered walls. It is crowned by a large kuta, without finial, the earliest and best preserved example of this type of Dravida styled roof in Early Chalukya architecture.Michell, George (2014). Temple Architecture and Art of the Early Chalukyas.
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Accolade over an arch in Portugal In architecture, an accolade is an embellishment of an arch, found most typically in late Gothic architecture. One kind of accolade forms a pair of reverse ogee curves over a three-centered arch, ending in a vertical finial.
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The tomb avoids any Christian symbolism, the roof has a pine cone finial the symbol in Ancient Egypt for regeneration, below which is carved a serpent swallowing its own tail, symbol of eternity, there are also carvings of boys holding extinguished torches symbols of death.
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The Michigan State Capitol is from the ground to the tip of finial/spire above the dome. The building is long and wide (including approaches). The capitol occupies , has a perimeter of . The structure contains four stories, with public entrances on the ground floor.
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The 12-foot marble obelisk marking Creighton's grave at Green-Wood was originally crowned with a large marble baseball. However, the finial went missing and was presumed stolen in the late 19th or early 20th century. In 2014, after a successful funding campaign to restore the monument, a replica of the original finial was installed and unveiled during a public ceremony.Jaeger, Max, "Dusting Off the Plate: Baseball Great's Restored Burial Monument Unveiled," Brooklyn Paper, April 22, 2014Helsel, Phil, "Historians Restore Grave of a Pioneering Brooklyn Baseball Pitcher," Wall Street Journal, April 16, 2014 Only two photographs of Creighton are known to exist, both posted on this page.
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Four years later in 1981 Robert S. Reis, a graduate student in engineering at Stanford University, wrote his master's thesis on "An Optical Turntable". In 1983 he and fellow Stanford electrical engineer Robert E. Stoddard founded Finial Technology to develop and market a laser turntable, raising $7 million in venture capital. In 1984 servo-control expert Robert N. Stark joined the effort. A non-functioning mock-up of the proposed Finial turntable was shown at the 1984 Consumer Electronics Show (CES), generating much interest and a fair amount of mystery, since the patents had not yet been granted and the details had to be kept secret.
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At the west end of the church is a bellcote. On the gable at the east end of the nave is a cross finial. The interior of the church is painted blue. The font, which was moved here from St. Mary Kirkby Lonsdale, is dated 1686.
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The cross is constructed in red sandstone. It consists of a crown surmounted by a finial with a ball on its top. It stands on a shaft on a plinth below which are three steps. The head is hexagonal, while the shaft, steps and plinth are octagonal.
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The dome reverses curves to rise in the centre to a ball finial, a discreetly Indian feature.Raymond Head, The Indian style (Chicago, 1986). Cockerell's entrance front has been considerably altered. Cockerell also designed Middleton Hall, Carmarthenshire, now the home of the National Botanic Garden of Wales.
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On the east gable is a finial with the appearance of a turret. Inside the church is a gallery at the rear, and oak furniture, which includes the altar, pulpit, reader's desk and communion rail. In the corner of the gallery is a small single-manual organ.
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Each side of the octagon contains an arch with a squared doorway, which opens into the inner chamber. Red sandstone is used to decorate the spandrels of the arches. The external dome rises from an octagonal drum and is crowned by a red sandstone lotus finial.
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The church is built in shale. The roofs are covered in slates, with stone ridge tiles. Its plan consists of a nave and a chancel, with a south porch and a vestry to the north of the chancel. At the east end is a stone cross finial.
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The front and sides of the building are in sandstone, and the rear is in brick. The roof is of slate. The building is almost symmetrical and has an E-shape plan, with two storeys. Each of the five bays has a gable with a finial.
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The verandahs have a recent dowelling balustrade between timber columns, which have decorative timber brackets. The handrail is an angular shape. Flooring to the verandahs is of 4in wide hardwood. Modern replica work includes the fretwork under the gable, the gable finial and the property name sign.
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Until at least 1925 the structure was unpainted. It has been painted in a number of different colours over the years, most commonly in white. In 2005 vandals painted it partly in pink. In March 2009 it was repainted in white with the ball finial in black.
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The walls are thick at ground level. The mill is described from the top down. The pepperpot cap sits on top of the tower, giving the mill an overall height of to the finial. It houses the cast-iron windshaft and diameter wooden brake wheel internally.
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Three small porches lead to other entrances, and the second floor has a balcony on the rear. The three gables on the main facade have decorative trim and a turned finial in the center. There are seventeen rooms in the house, most with oak and walnut flooring.
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The curved pediment ends smoothly into two large volutes which seat beside two, large, urn-like finials. The pediment is surmounted by a huge, knob-like finial. To the right of the façade stands the four-tiered bell tower with its rectangular base and octagonal upper levels.
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The Beaumont Tower is one of the most recognizable and most photographed landmarks on the MSU campus. Its likeness as a line drawing is used on MSU letterhead. Special performances using the carillon are provided for specific occasions. The northeast finial is higher than the other three.
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The clock tower is about high. The sandstone plinth stands on a square base. On the sides of the plinth are rectangular panels, the south panel having an inscription and the date. On top of each side of the plinth is an equilateral pediment with a ball flower finial.
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These probably reflect metalwork, now very rarely surviving, as well as architecture.Terracotta lekanis (dish) with lid and finial, Metropolitan Museum of Art The Morgantina treasure, found nearby and now returned from New York to Italy, includes good examples of comparable raised decoration in metal from the 3rd century.
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There are Tudor arched doorways in both the north and south walls. On the east gable is a finial. The east window has three lights. In the south wall of the chancel is a pair of two-light windows with Decorated tracery, and a round-arched priest's door.
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Its design depicts shards and a triangular cross section. The baton has a length of 400 mm, a width of 44 mm, weighs approximately 600g and made up of materials which are a stave in kempas, a tawny wood native to Southeast Asia, and a satin-finished pewter finial.
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On each side is a low porch. Rising from the gable is a tall bellcote with columns at the corners and louvred bell openings on each side. Above these is a clock face on each side under a gable. On the summit of the bellcote is a finial.
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The pagoda is formed with thin eaves, a straight slope, and upward edges. On the finial, around the long thin, bronze rod are ornaments similar to those in Lama pagoda of Yuan Dynasty (1279-1368) in China. Mostly it follows the rather simple style of the Goryeo pagodas though.
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The Manor House was built in about 1620 and is the remaining part of a much larger mansion. The house contains an original oak staircase which has an open balustrade with finial topped ovals and lozenges, very similar in design to the staircase at Princes Risborough Manor House.
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However, this helmet is considerably taller and of a conical 'pear shape', indeed it bears some similarity in outline to the later bascinet helmets of Western Europe. The helmet has a decorative finial, and a riveted brow-reinforce (possibly originally the base- plate of a nasal).D'Amato, p.
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The headstock commonly ends in two styles, either a head (representing animals or humanoids) or a curve (into a flat finial, carved or undecorated). Less commonly, instead of gears, wooden pegs may be used to tune the strings. Lute guitar headstocks are thinner and more curved than their modern guitar counterparts.
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Above this is small ogee-headed window. The bell openings have two lights. The tower is surmounted by a 19th-century pyramidal spire and a lead finial. The windows on the sides of the church have two or three lights, and the east window has four lights with trefoil heads.
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Brethren Meeting House is a Category C listed building at 26 Gordon Street in Boddam, Aberdeenshire, Scotland.BRETHREN MEETING HOUSE. 26 GORDON STREET - Historic Environment Scotland It was formerly a late Victorian-era Wesleyan church. A bellcote is on the gable, without a bell but with a "spiky" finial in place.
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It was a bell-shaped dome built over diminishing terraces. A finial crowned the dome. The pagoda enshrined Buddha's relics. However, the new Bupaya Pagoda built at the same location in 1976–78, after the earthquake, is a hollow reinforced concrete structure (replacing the traditional brick structure of the past).
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Above the top- storey windows is the gilded date "1883". Over the window in the attic is the sheaf from the Grosvenor arms. The gable is elaborately shaped with four finials, and behind it is a belfry with a pyramidal roof and a finial. Two shaped chimneys rise from the roof.
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The south nave acts as an aisle, with its east end partitioned to act as a vestry. There is a south porch and a bellcote at the west end over the north nave. The porch has a ball finial and sandstone ridge tiles. The bellcote has apertures for two bells.
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The rooftop features an octagonal cupola with a ball finial. Attached to the greenhouse is a one-story brick office structure. See also: The Weirs continued to operate the business until 1971, when they sold to the McGovern family. The building was designated a New York City Landmark in 1982.
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Its Carpenter Gothic elements are mainly decorative and include ornamental wooden trim and a finial. The church is the only remaining 19th-century church in Yorkville and its oldest non-residential building of any sort. The church was added to the National Register of Historic Places on September 6, 2016.
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The structure is believed to be thousand years old. The Sreekovil (sanctum sanctorum) is in a circular shape, covered by copper with a golden finial on the top. "Thidappalli" and temple well are placed in the southeast and northeast cornerns. When crossing the eastern gopuram, a tall golden flagstaff is placed.
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Externally, each bay is divided by buttresses, each of which is capped by a ball-topped obelisk finial. The buttresses at each corner of the church rest diagonally. The roof rises steeply above the aisles to a short course of wall, above which the roof over the nave continues at a shallower pitch.
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Its lower level is a square pedestal with molded cornice. Above it is a section with arched windows and pilasters. The third stage is an octagonal section with louvered vents. The roof of the cupola is a curved cone of lead-covered copper topped by a round finial that supports a weathervane.
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The Ashokan pillar, likely taken from its nearby original location at Agroha Mound, was cut for the ease of transportation and rejoined in four portions here, the remaining bottom portions are at Fatehabad mosque. The four upper portions of the Ashokan pillar here are tapering registers with a finial topped by iron rod.
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At the roofline its facing changes to stained wooden shingles. This middle section is fenestrated with narrow lancet arch louvered vents at 45-degree intervals. The top is the slightly overhanging bell-shaped roof with finial. Inside, the sanctuary has its original oaken pews and oak floors, covered in a body Brussels carpet.
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Above the flat roof with balustrade are two drums supporting a dome. The first drum consists of a colonnade of Corinthian columns; the second, Corinthian pilasters. Large arched windows line the drum walls. The dome is high, and supports a lantern with a smaller dome capped with a gold-leafed orbed finial.
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In the south wall of the chapel is a square three-light window. The west window has six lights, and the east window, five lights; These windows are in Decorated style, with terracotta mullions, and sandstone tracery. The bellcote contains two-light windows, surmounted by a broach spire, with a metal finial.
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The depot, commissioned in 1946 by the Texas and New Orleans Railroad, was built in the Spanish Mission Revival style with light Art Deco detailing. The façade facing the tracks has a projecting center bay with a large window framed by geometric rope detailing. An octagonal cupola with a finial tops the building.
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The smock shows signs of having been dismantled and transported in sections at some point, with the cant posts being newer than the framing. The tower is to the curb, and the domed cap rises above the curb to the underside of the finial, giving the mill an overall height of about .
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The architectural features include two-storey canted bay windows with a castellated parapet and dormers, differently shaped gables, and a projecting porch with a finial in the form of a griffin. Most of the windows have mullions and transoms. Inside the house is much wood panelling and some stained glass in the windows.
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The font has a square base and a 17th-century eggcup-shaped bowl. Its cover dates from about the 18th century, and is domed with a ball finial. The lectern and reading desk date from the 19th century, and the oak benches from about 1900. The monuments date from between 1765 and 1855.
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South Indian temples have a large gopuram, a monumental tower, usually ornate, at the entrance of the temple. This forms a prominent feature of Koils, Hindu temples of the Dravidian style. They are topped by the kalasam, a bulbous stone finial. They function as gateways through the walls that surround the temple complex.
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Its most prominent feature from this period is the turret with elaborate finial. In 1918-20 Henderson significantly modified the house, added the boxy two-story Craftsman-style porch. The house is now on the campus of Henderson State University. The house was listed on the National Register of Historic Places in 1998.
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The plan of the building is that of an apsidal chancel flanked by side chapels with a seven-bay aisled nave, a polygonal tower with spire in the north-west corner and twin porches on the western facade. Its walls are coursed bull- nosed masonry with bath stone dressings and red Dumfries stone in the nave piers and responds. The cathedral has a modern pantile roof and there is a gabled parapet, topped with a finial on the western side of the building above a small arched opening over a four-light Geometric traceried window. The nave has three-light clerestory traceried windows and the east facade has a lower clerestory and a three-light window under a corbelled gable with a finial.
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On the top is a sarcophagus decorated with gadrooning, and with a ball finial. Also in the churchyard is a former 19th-century bier-house. It is built in stone and brick and has a corrugated iron roof. The building is in a single storey, and has a doorway and two ventilation slits, now blocked.
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Its ridges end in jerkin heads with a metallic wave-shaped finial. At the eaves the roof flares into soffits decorated with scroll-sawn rafter ends and brackets. The front entranceway also has decorative bracework. On either side there is, in the middle of the cross-gable, a group of three narrow Gothic-arched windows.
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This contains north and south doors, and the stairs leading up to the gallery. The west face contains three stepped lancet windows. On the summit is an octagonal bell turret with gabled openings, surmounted by a short spire with a finial. Projecting from this bay is a porch with a pointed entrance and gabled buttresses.
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On the northern wall of the chancel is the door to the vestry. This dates from 1896 and has a plain pointed arch. To the right of this, is the Easter sepulchre. This has a large central finial above the inner trefoil-headed arch, with smaller pinnacles at the sides emerging from carved heads.
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The Old Rectory, which is now a private house, dates from 1860. A 19th-century black cast iron pump, with a lion crest, curved handle and fluted finial and its retaining walls, about 10 metres north-west of Mendip Farmhouse, which is marked as a spring on Ordnance Survey maps, is Grade II listed.
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Hajek and later other makers, notably Hermann Zuleger (1885–1949) created a new instrument with changes and improvements especially to the key mechanism. The new Wiener Oboe retained the essence of the classical oboe’s internal bore, as well as elegantly simplified classical external features such as the baluster and finial, but with greatly expanded keywork.
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The imposing masonry church was built in 1874. Cruciform in plan with Gothic Revival pointed arches and buttresses. It features a spired tower surmounted by a stone cross finial. The rectory was built between 1909–1910 and is a three-story, rectangular-in- plan masonry structure that features a half-mansard roof with balcony.
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The first floor features rough rustic blocks. Upper floor details include arched bay windows, Viollet-le-Duc inspired iron balconets and flat column pilasters. Each roof gable is topped with a finial crown. There is a glazed tile clock is located in a 5-story tower at the corner of Bedford and Summer streets.
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The tower is capped with a pyramidal roof and finial. The building's corners are decorated with pilasters, and its side elevations are uniformly three bays with windows. The sanctuary inside has a coved plaster ceiling. The church was apparently built in 1900 on land acquired by the trustees of the local Methodist congregation in 1884.
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The architect was Edmond Guillaume; the sculptor of the finial figure of Nike and the historical and allegorical bronzes was Louis-Léon Cugnot. Several important avenues have radiate out of the plaza, including Alfonso Ugarte, Colmena and Colonial. In the late 20th century a vehicular tunnel was built under the plaza to curb traffic congestions.
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The finial at the top of the pole is usually a cross. More rarely, banners can also be made of metalwork, or carved out of wood. Banners are carried in a religious procession known as Holy Cross Processions (Russian: крестный ход, krestny khod), and when not being carried are usually displayed in the church.
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The house is surrounded on 3 sides by a stepped verandah with a skillion roof. The rear verandah has been enclosed and extended. The front pediment features a decorative timber bargeboard and finial, and the verandah has been enclosed sideways-sliding sashes featuring panelled coloured glass. The original cast iron balustrades have been retained.
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It is tiled in azulejos and crowned by a cross on a pedestal. Both the pediment and towers are decorated with white azulejo tiles. The two towers that flank the central pediment have windows, flame urns, and bulbous spires with a ball finial. A rectangular oculus is located at four sides of the spire.
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The elongated fourth stage has the same windows on the other facets at its bottom and round-arched louvered windows near the top with brownstone in between them. Atop the tower is a slender spire shingled in slate, pierced by four smaller copper-roofed gabled dormer windows. A copper finial and cross tops the spire.
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Its roof is covered in Welsh slates, is pyramidal in shape, and at its apex is an iron finial. At the east end on the chancel gable is a cross. In the south wall of the nave is a round- arched doorway, to the right of which are two round-arched two-light windows.
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The home is the largest within the city of Detroit. The two-story brick residence consists of a large central structure flanked by diagonal wings. There are numerous exterior bays, each topped with a parapet capped with masonry and a finial. Religious themes are included throughout the house, both on the exterior and the interior.
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The roof forms are gabled and clad in corrugated colorbond. The gables are infilled with vertical boarding which has a scalloped bottom edge and supported at the lower end by an exposed collar tie. The apex of the gable is surmounted by a timber finial. French doors open onto the verandah in the original section.
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The Ward House is a 2½ story, frame structure executed in the Queen Anne style. The main block measures and the summer kitchen adds another . The primary decorative feature on the exterior is a wrap-around porch. It is highlighted by a corner turret capped with a finial, and it is enclosed with a balustrade.
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With over US$20 million in venture capital invested, Finial faced a marketing dilemma: forge ahead with a selling price that would be too high for most consumers, or gamble on going into mass production at a much lower price and hope the market would lower costs. Neither seemed viable in a rapidly-shrinking market.
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One specific variety of go-to-bed worthy of mention is 'Prince Albert's Safety Vesta Box'. This was a decorated brass tub with an embossed top. Ribbed under base for striking matches, it had a small finial to take a single match on top, and was marked 'Prince Albert's Safety Box, 150 Patent Vesta Lights'.
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The finial details are repeated at the top of the tower, which is surrounded by a low balustrade. Anglican services have been held in Connecticut since 1702. The Episcopal Diocese of Connecticut was organized in 1785 by Samuel Seabury. This church was designed by New Haven architect Ithiel Town, who designed that city's Trinity Church.
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The lower part of the steeple has two square stages, with buttresses and a stair turret. Above the level of the aisle it becomes octagonal with louvred bell openings. The spire is also octagonal, with two tiers of lucarnes, a finial and an iron cross. A plain parapet runs along the tops of the eaves and gables.
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Logan Tabernacle in 1880 looking east with the Logan Temple on the hill. Logan tabernacle in 1881, note absence of tower finial and original exterior staircases leading directly to the main level assembly hall. These were later enclosed in the renovated west entrance. Logan tabernacle west front from Main Street in 1916 with renovated entrance and completed tower.
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The Old Allamakee County Courthouse is a two-story, brick, vernacular Greek Revival structure. It is a temple form without a portico. On the roof above the main entrance is a two-stage cupola. It features cornice work and paired brackets on both stages, louvers at the bell chamber, and a finial on top of its tin-covered dome.
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Below and to the sides of the windows are panels. Above these windows is a row of eight panels containing shaped saltire braces. Over this is a mullioned and transomed window to the sides of which are panels with shaped braces; in some of these is pargeting. The bargeboard contains ornate carving and at its top is a finial.
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Original fittings from the 19th century include an octagonal stone pulpit, a brass lectern and a font with a central column supported by four marble shafts. The organ was built by Vowles of Bristol. The carved reredos is made up of three panels, each divided by Devon marble columns, and surmounted by a cornice with a carved finial.
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The center section holds the Torah behind sliding wooden doors. It is topped with a round-arched panel with key molding depicting two wooden tablets carved with the Ten Commandments. The bimah is in front of the ark. It has four heavy posts, two with finial carvings on top and wide wooden moldings on its exterior walls.
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The tower is square in cross-section and constructed in hammer-dressed stone with ashlar dressings. On the west face is a round- headed window with a circular window above. At belfry level is inscribed stone taken from an earlier church on the site. At the top of the tower is an octagonal cupola with a ball finial.
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These charges are exactly repeated on both sides. The canopy is of square form, flanked by buttresses pinnacled on their faces, and the groining within shews five fan-traceried pendants. At the east end is a large niche, the west is open. The doorway is surmounted by a rich ogee crocketted canopy with finial, and is panelled above.
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The dome is not visible from the interior of the building. The wooden exterior of the dome was initially painted white, then covered in canvas painted to resemble lead roofing with a gilded pinecone finial. The entire dome was later gilded. Thomas Jefferson's Monticello, begun in the 1770s, had the first dome to be built on an American home.
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There is a bell tower rising above the east end of the south aisle. Under the east end of the church is an undercroft. The undercroft has three two-light east windows, above which is the four-light east window of the chancel. The top of the chancel is gabled and surmounted by a cross finial.
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The house was built in about 1820 by an early settler of Wheatland in the Federal style. It was renovated about 1869 with Greek Revival and Italianate styles. It consists of a two-story Italianate-style main house with a -story east-end addition. The frame dwelling has an overhanging hipped roof topped by a cupola and finial.
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The church is built in stone with slate roofs. Its plan consists of a nave and chancel in a single chamber with a south porch, a north vestry and a timber belfry at the west end. On the end of the east gable is a Celtic cross finial. The east window is the original Perpendicular window.
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St John the Evangelist church around 1900, showing finial on tower Edward Alexander Wyon is credited with the authorship of the posthumous book, A Memorial Volume of Poems (1874). His sister Florence married in 1879 at Marylebone, to Reverend Charles James Goody (born 1835).GRO index: Marriage; Florence Elizabeth Riddel Wyon; Mar 1879; Marylebone; vol.1a; 718.
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There are buttresses on the east and west sides of the tower, and a three-light window on the south side. At the summit is a plain parapet, and a pyramidal roof with a weathervane. Along the wall of the aisle are four two-light windows. The porch contains a pointed doorway under a gable with a cross finial.
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According to Gerard Foekema, this form of treatment is common to Hoysala art.Foekema (1996), pp.28-29 The tower over each shrine (shikhara) comprises the standard three tiers of roofs with each vertically ascending tier diminishing in height. Above this is a structure called the stupi that holds the finial, a decorative water-pot like structure called the Kalasha.
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The first floor of Packard accommodated reading rooms, while the second floor housed stacks. A half-hexagonal turret topped by a finial was added during the library conversion. Middle Hall was renamed Packard Hall in 1908 when the library moved to Eaton. The building was named after Sylvanus Packard, one of the first benefactors of the college.
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On each side of the oriel window are niches with ogee curved heads similar to the tracery. At both ends, the facade culminates in a turret. The turrets are decorated with tracery, bands of floral ornamentation and are surmounted with a finial. The turrets originally extended from the street level, but the lower sections have been removed.
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It has an arched doorway, stepped angle buttresses with crocketted pinnacles and a cross finial. The inner doorway is Norman in style, with a round head, three orders of roll moulding, and a carved tympanum containing a Maltese cross in a circle, a fan-shaped shell to its left, and a knot in a circle to the right.
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On either corner of the front facade is a square brick tourelle with a corbelled base; each tourelle is topped by a pyramid-shaped metal roof with a Star of David finial. The interior design includes a main sanctuary with a balcony for female worshippers, several smaller rooms, and a basement that previously housed a mikveh.
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Over the upapptha, which forms a common platform with the Arjuna Ratha, a stupi has been carved out of the bedrock in the corner and has not been separated from the main shrine. The roof has curvilinear shape and ends as a square of at the top. The finial is missing. The thatched roof, Kutagara, is a Vimana shrine.
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The mill stands to the finial, the tallest surviving mill in Suffolk. The cap is winded by a six-bladed fantail. The four Patent sails of span are carried on a cast-iron windshaft, as is the cast-iron brake wheel with wooden cogs. This drives a cast-iron wallower carried on the cast-iron upright shaft.
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Above the entrance is a granite plaque with a gilded inscription. The clock faces protrude and are supported by corbels. Over each clock face is a gable containing a vent in the tympanum and surmounted by a ball finial. At the top of the tower is a small conical spire with lucarnes and a weather vane.
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At the north end of the terrace is a turret with an octagonal spire surmounted by a lead finial with a weathervane. Rising from the roof are brick decorated chimney stacks. The upper storeys display "an unbroken expanse of gorgeously ornamented half- timber", and include carvings of Norman earls, saints (including St Werburgh), and Queen Victoria.
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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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Carolina Quarterly, Winter 1966, 21–27. Sample Copy, University of North Carolina, Chapel Hill, North Carolina, 1968: "Series", 5 pages. Lillabulero, Chapel Hill, North Carolina, VII, 1969, 86, 96, 100. The Bird (serigraph and original pen and ink drawings), Finial Press, Urbana, Illinois, 1970. Capricci, selection and introduction by Wilfried Skreiner, Neue Galerie am Landesmuseum Joanneum, Graz, 1971.
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Construction was completed about 1776. The shell-pink pavilion is located at the end of an alley leading to the main castle. The square building has five bays wide on each side. The high roof has an ogee profile, capped by an open cupola with a pair of Chinese figures under a parasol as a finial.
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The jettied gable contains quadrant and herring-bone braces and plaster panels. The bargeboards also contain panels and at the summit of the gable is a terracotta finial. Numbers 21 and 23 are similar to each other and smaller than the shops on each side. In the upper storey of these are six-light casement windows.
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There is some remnants of a central axis formed by structures and planting. The trees within the park include figs, jacarandas, eucalypts, tamarinds, palms and silky oaks. The Band Rotunda is located on the central axis of the park towards Mosman Creek. It is octagonal in plan with a corrugated iron pyramid roof and cast iron finial.
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The church is constructed of red sandstone rubble, some of the stone having been obtained from Hadrian's Wall, with slate roofs. It consists of the former chancel and the porch. On the north side is the former sexton's lean-to shed. The porch has iron gates and oak doors, and on its gable is a cross finial.
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The or treasure pagoda is the ancestor of the tahōtō and dates to the introduction to Japan of Shingon and Tendai Buddhism in the ninth century. No wooden hōtō has survived, albeit modern copies do exist, and stone, bronze, or iron specimen are always miniatures comprising a foundation stone, barrel-shaped body, pyramid roof, and a finial.
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Sundial In the churchyard is a tall sandstone sundial over high. It was originally a medieval cross which was made into a sundial in the late 17th century. The remaining parts of the cross consist of an octagonal shaft on three ashlar steps. On top of this has been added a square moulded cap surmounted by a ball finial.
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The central window has tall, narrow, two-over-four double-hung sash. Its face has a half-timbered appearance, although the section on either side of the windows is faced in clapboard rather than stucco. Above it is a two-paned semicircular lunette window. The bay is topped with a steeply pitched gabled roof and finial.
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The church was built in the Neo-Gothic style on designs by Robert Baldie. A centre gable of was built at a height of 18 meters, with a carved finial. A steeple was built at the southwest corner, rising to a height of nearly 55 meters. The tower has a clock face on each of its four sides.
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These elevations are linked with cement banding. The corner tower has large openings at the base with deep lintels with dentils and scrolls. The single windows above have pilasters and single scrolled brackets under the sill, and are surmounted by deep arched hood mouldings with cartouches. The tower roof is topped with an idiosyncratic concave peak and finial.
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Above the third level the building has an open parapet and large ornate urns at the corner of each wing. A classical pediment topped by a finial is located above the entry. The main entry has a large semi-circular fan-light. On the ground floor the windows are double hung sashes and on the first floor French-lights.
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At the northeast corner is an octagonal tower with conical top sheathed in copper and finial. A chimney rises from the south end. Steps lead up to the wide round segmental arch on low imposts, a particularly Richardsonian detail, which shelters the recessed main entrance. Inscribed in the stone above are ornate letters reading "Richmond Memorial Library".
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Belevi Mausoleum The excavators of the tomb restored on each side. Around the edge of the roof, were groups of Lion-Griffins figures facing large stone vases. Pairs of horses were placed at the corners. Little has survived from the mausoleum’s roof. Antiochus II’s mausoleum may have been a step pyramid with a crowning finial on top.
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The structure is circular in plan with its shape described as that of a sugar loaf, and is surmounted with a ball finial. It is built in sandstone rubble which has been rendered and painted. It is about high. Stone paving has been laid around its base which is inscribed with the points of the compass.
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It is topped by an octagonal spire with cross finial. Roman Catholic services began in Lewiston in the late 1840s, provided by traveling priests. St. Joseph's was organized 1857, with services held in a former Baptist church. This church was constructed in 1864-67, and was the third church commissioned by the Diocese of Portland from Patrick C. Keely.
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The street-facing gable projects and is decorated with a finial and cross pieces. Chimneys with double clay pots rise above the roof line. The verandah has a skillion roof. Externally- exposed walls have been painted, while those sheltered by the verandah are unpainted, and show light-coloured splayed brick lintels, stone sills, and darker face brickwork.
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Several croquet greens and a croquet clubhouse occupy the north-east corner of the park. The weatherboard clubhouse of the Stephens Croquet Club is a small rectangular building with a gambrel roof clad with corrugated iron. It stands on concrete stumps. The roof ridge has an orbed finial at each end, above small gablets which ventilate the roof space.
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The Holy Trinity Church is a substantial rendered masonry building sited on a north-south axis. The principal facade of the building faces north to Gordon Street. Front elevation has decorative parapet including dentil course and raked arch motif below the eaves line and crucifix finial. A central rose window is filled with coloured and leaded glass panel.
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In his 18 first-class matches he took only 16 wickets, six of which came in one match against Surrey in 1980. After leaving Middlesex, Kemp developed a finial services career in wealth management, going on to found and manage Stoneford Administration Services, a financial services company.Who we are, Stoneford Administration Services. Retrieved 26 February 2018.
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At the west end of the nave is a two-light window, above which is an ogee-headed niche containing a statue of the Virgin and Child. The bell turret is octagonal and has a stone spire. On each side of the turret are two tiers of openings. The spire contains lucarnes, and is surmounted by a cross finial.
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There was a gallery at the west end and provision was made for galleries on each side if later required. The tower at the south- western angle of the building was surmounted by a spire and metal finial. The walls were of stone and both ashlar and dressings were from local quarries. There were sittings for 550 persons.
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On each corner is a large turret with a conical roof, between which are two gabled bays with windows. The south front has two projecting gabled bays. On the top of every gable and roof is a finial. The original service wing included an arched gateway with a pyramid roof and a turret with a conical roof.
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The 3rd Sussex AVC wore a forage cap badge consisting of an oval surmounted by a crown and inscribed 'S A III V C' at the top and 'H I C' at the bottom in Old English letters, with an oak tree in the centre. From 1878 a standard RA helmet with ball Finial was worn with 'FIRST ('2nd', 'THIRD', 'FOURTH') SUSSEX ARTILLERY VOLUNTEERS' on the scrolls of the helmet plate. The band wore a scarlet plume in place of the ball finial, and a helmet plate of crowned star pattern with sheet music and musical instruments superimposed. The Other Ranks' waist belt clasp ca 1890–1908 was a rectangular plate surrounded by a scroll inscribed '1st SUSSEX VOLUNTEER ARTILLERY' worn with a brown leather belt, pouch and pouch belt.
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New copper coil and sheet often have 75%-100% recycled content. By 1985, more copper was recycled than the total amount of copper that was consumed in 1950. This is due to the relative ease of reusing processing waste and salvaging copper from products after their useful life. Six-sided copper cupola with copper finial and copper rooster weather vane mounted on top.
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A plain parapet runs round the walls of the nave and a cross finial stands on the east gable. At the northeast junction of the nave and chancel is a hexagonal stair turret that leads to a walkway around the parapet; the turret is surmounted by a slate-covered spire. In the south wall of the chancel is an arched priest's doorway.
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In particular, the circumambulation demanded of onlookers of the Column's frieze is evocative of Roman funerary practice, drawing attention toward the center – and consequently, the finial of Trajan. Perhaps the simplest interpretation is provided by the inscription written above the entrance (translated below): that the mere existence of Column was an engineering marvel due to the immense excavation efforts necessary for its construction.
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The font dates from the 13th century and is made in Purbeck marble. It has an octagonal bowl and a 17th-century oak cover with an acorn finial. The pews date from the 15th to the 17th century. Most of them are from the 16th century, although there is a bench from the 15th century with animals carved on its buttresses.
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There is also a moulded cornice which supports a walkway around a circular glass-housed light. The tower is surmounted by a weathervane and finial. The enclosed fresnel lens creates a light with a range of . This lighthouse is considered architecturally important because it forms part of the ambitious Victorian engineering works to create "harbours of refuge" throughout Great Britain.
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An inscription reads Columna et Firmamentum Veritatis. Behind the east front, where the transepts meet the nave, is a large, octagonally faceted copper dome, with oval windows in each face. The dome is made of concrete, covered with sheets of copper, and is topped with a cross finial. The sides and rear of the church are much simpler than the front.
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The Fordyce Home Accident Ins. Co. is a historic building at 300 North Main Street in downtown Fordyce, Arkansas. It was designed by architect Charles L. Thompson in Classical Revival and Romanesque styles and built in 1908. The two-story building occupies a prominent position in Fordyce's downtown area, standing out because of its corner tower, capped by a terra cotta finial.
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In the top stage are two-light bell openings, with round heads and louvres. At the summit of the tower is a projecting embattled parapet. Along both sides of the church are four round-arched three-light windows with straight heads. The south porch is gabled, is surmounted by a ball finial, and leads to a round-headed doorway into the church.
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The freestanding monument contains a burial chamber with three burial sites. The chamber is carved out of the solid lower section of the monument, but can only be accessed from the upper section via a built entrance and a staircase. It has been compared to Petra, given the rock-cut nature of the bottom segment and the style of the finial.
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There is a large west window. On the gable above it is a large tabernacle surmounted by a ball finial with a long stalk. The authors of the Buildings of England series state that the church exhibits "astonishingly free handling of the Gothic precedents", and that "everything is richly and individually treated". Inside the church is a gallery at the east end.
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Renovation began in 1988 with the removal of sections of the Cathedral spire, along with the finial and cross. The year 1989 saw a comprehensive restoration plan adopted. In June 1991, after one hundred years of disuse, the completely restored Cathedral undercroft was reopened. Finally, in February 1993, renovation on the main Cathedral space began and continued for nearly two years.
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Its brick is laid in common bond. Three louvered round-arched openings are on each story of the south face of the tower. Openings that once existed on three sides of the fourth story have been visibly bricked over. A deep cornice supports the square belfry, where paired fluted Doric columns flanking rusticated round-arched openings support a domed roof with tall finial.
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Above the entrance are a Palladian window and a dentillated gable. The building corners have fluted pilasters. A tower rises astride the main block and the vestibule projections, with a square clock-faced stage topped by an open octagonal belfry with paneled pilastered supports. Above the belfry is an octagonal paneled stage which is crowned by a cupola, finial, and cross.
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Steps lead up to a pointed doorway with a hood mould. Above this are three stepped lancet windows, and there is a single lancet window on each side bay. In the gable is a statue of Saint George and the Dragon, which was carved by Thomas Duckett, an employee of Webster. On the apex of the gable is a cross finial.
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The school is constructed in red brick on a sandstone plinth and has a slate roof. Its style is Gothic Revival, and it is built in one storey with five bays. The entrance bay projects forwards and its opening has a Tudor arch, over which is the date 1874 and shields containing inscriptions. Above this is a gable with a finial.
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In the front hall, a lamp hangs from a round decoration on the plaster ceiling with curved decorations and radiating lines. The main stairs, flush with the north wall, have octagonal newel posts with beaded panels and a flattened finial. They are succeeded by turned balusters. Paneled double doors at the east end lead into the parlor, the largest room in the house.
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The church is constructed in red brick with blue brick bands, sandstone dressings, and a slate roof. The original building was in Early English style, and the south aisle is Perpendicular. The plan of the church consists of a six-bay nave, a south aisle, a chancel, and a west narthex. On the west gable is a bellcote surmounted by a finial.
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They may be manned or remotely controlled. A small turret, or sub-turret on a larger one, is called a cupola. The term cupola also describes rotating turrets that carry no weapons but instead are sighting devices, as in the case of tank commanders. A finial is an extremely small sub-turret or sub-sub-turret mounted on a cupola turret.
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Atop is a molded cornice in a Greek fret pattern topped by a broken pediment with carved swan's neck, patera and large acorn finial. The double glass doors open into an enameled vestibule with large windows and original interior doors. The lobby has mottled light brown marble wainscoting. Its plaster walls rise to a deep molded frieze and cornice at the ceiling.
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The square cella has plain walls crowned with an urdhvapadma with dog tongue carvings and a kapota. The shikhara superstructure has five tiers, each having chandrashala carvings in decreasing numbers from five to one. The last tier is flanked by half dormers. It is crowned by an amlasaraka ("corrugated wheel" just below the finial) and a kalasha which may be added later.
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The top two courses were rebuilt with red engineering bricks. The dust floor window had a reinforced concrete lintel cast as the tower was weak at this point and had distorted. The windshaft, the curb segments and fantail gearing were given two coats of red lead paint. A new finial for the cap was made from a piece of oak long by diameter.
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The cap circle was mostly constructed before the first work-in commenced. The work-ins took place over two separate weeks in July and August, with 35 people participating. During the first work-in, the fantail posts and braces were fitted. The oak cap ribs, which had been prefabricated offsite were fitted and the finial was supported by scaffolding ready for final fitting.
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Intermediate noggings of oak were fitted and the finial was pulled into position using a windlass. The cap frame was competed with the fitting of intermediate ribs and noggings. The rear of the cap circle was also completed during this time. Between the two work-ins, the rear dormer was completed and the fitting of noggings to the cap frame completed.
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Construction began in 1841 following permission by Parliament's Monument to Sir Walter Scott Act and ran for nearly four years. It was completed in the autumn of 1844, with Kemp's son placing the finial in August of the year. The total cost was just over £16,154. The monument was inaugurated on 15 August 1846, but George Meikle Kemp was absent.
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A notable folk example is the Australian "lagerphone", made by nailing crown-seal bottle-caps, from beer bottles, onto a wooden broomstick handle, and used to provide a percussive beat for a folk song or bush dance. During its existence, the Soviet Union produced variant forms of the instrument for military bands, with red artificial plumes and the red star finial.
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Fenstanton, Litlington, (Holywell-cum-)Needingworth, Parson Drove, Sawtry ;Cheshire Farndon, Farnworth, Kelsall, Winsford Very square pyramid resembling an oversized modern war memorial base, nine plain stone courses, stone cross on top. ;Cumbria Lower Allithwaite ;Derbyshire Alfreton, Ashbourne?, Curbar, Cromford (Derwent Valley Mills), Sandiacre, With large pound, plaque noting 1660 founding, later reconstruction. Smisby, Octagonal very tall brick roof, two stone courses, ball finial.
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A set of timber stairs lead to the paired, panelled, timber doors. The entrance is centrally located under a gabled roof with a decorative timber finial. A circular ventilator is located high in the southern facade. Narrow windows operating on pivots are located on either side of the entrance door and along the western and eastern sides of the building.
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There are four separate sections to the front facade. At the south corner, the tower's three bays form a porch on the first story. On the two above, each bay has a pair of windows separated by a Corinthian pier. The conical roof has three dormers, each gabled, decorated with marble in a shell motif and topped with a finial.
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On the chancel gable is a finial cross. Internally the 15th-century north arcade with octagonal piers, and the chancel roof of 1496, have been retained. In the church is a monument to Roger Comberbach, who died in 1771, by Benjamin Bromfield. The stained glass in the window at the east end of the north aisle is by Clayton and Bell.
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St John's is built of local coursed and squared rubble stone, with slate roofs. It is made up of a five-bay nave, chancel, south vestry and west porch. The west end gable has a bell-cot designed for a single bell and the east gable is surmounted by a cruciform finial. Since the church's closure, the interior has been altered.
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Lewiston's Grand Trunk station stands in its mill district, at the northwest corner of Lincoln and Beech Streets. It is a rectangular single-story brick building, with a gabled roof. The roof has extended eaves supported by large brackets, and there are finial turrets near its gable ends. Windows and doorways are set in segmented- arch openings, with granite sills.
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For example, in his Breakfast Still Life with Glass and Metalwork (1637–39), in the Museum of Fine Arts, Boston, an owl is incorporated fairly obviously as the decorative finial on a large flagon, but the reflections in the pewter plates are also reminiscent of the face of an owl. He trained Jan Jansz. Treck, whose sister he married in 1619.
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St David's is constructed in stone rubble and has stone tile roofs. Its plan consists of a nave and chancel, with a west porch. On the east gable is a cross finial, and on the west gable is a bellcote. The bellcote has two triangular openings; the bells were dated 1598 and 1688, but only one of these was still present by 1999.
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St Dona's is built of rubble masonry, dressed with freestone. The roof is made from slate, and has a bellcote made from stone at the west end. There is a stone cross finial at the east end of the roof. The church is entered through a porch on the south side which leads to a doorway dating from the 15th century.
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At the Temple entrance there are two square pilasters, each showing two faces. The round 12-sided building architecture is composed by round arches and narrow round inward windows. Its great dome is composed by a cupola crowned by a golden globe with a finial of lights. The inner portal and the Temple's interior is ornamented with alchemical and astrological symbols.
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The water tower is a grade II listed building. It was completed in 1873 and is situated 50 metres to the west of the main school building. It is composed of 4 stages and is in total about 20 metres high. The brickwork of the base stage has banded rustication angle-buttresses at the corners, each displaying an urn finial.
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The turrets are slim and contain open arcading, and an embattled cap over which is a tall pinnacle with a quatrefoil finial. Each side section contains a tall lancet window. Along the side of the church, the bays are divided by buttresses. The first bays contain a doorway with a window above it, and all the other bays have pairs of lancet windows.
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The clerestory has three three-light windows and one five-light window on each side. Along the side of the south aisle are three four-light windows. The south chapel has a four-light south window, and a five-light east window. Between the aisle and the chapel is a rood turret with a polygonal roof and a foliated finial.
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The east face has a shed-roofed bay window with stone brackets below. On the second story the lintels are topped with a wooden course which separates the brick siding from fish-scale wooden shingles above. At the roofline the gables have decorated wooden vergeboards. Brackets support either end of the projecting section, and all gable ends have a small ball finial.
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The north-western side is less articulated and shelters a small back-of-house court, reflecting its service rooms inside. A timber- framed room projects from the northern end. It has walls clad with weatherboards and a pyramidal roof clad with terracotta tiles with a terracotta finial. The windows in this room are also later, timber-framed casements with green lights.
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At the northeast corner is a tower. Six stone steps and a railing lead to its ground-floor entrance, with paired batten doors in a Gothic opening with a similar treatment as the fellowship hall windows. Above it is a stained glass transom and small lozenge-shaped window above. Decorative corbeling marks the roofline and the transition to a pyramidal roof with finial.
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The expanded structure contained a glazed-brick light shaft on the eastern side, which measured square. As completed, the building measured to the finial of the tower. Multiple contractors provided the material for both the original structure and its additions. The granite foundation, masonry, concrete, glass, plastering, tiling and marble work, iron, slate, window shutters, and woodwork were all supplied by different companies.
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Church End Mill is a four storey tower mill with a conical cap with a ball finial. The mill had four single Patent sails carried on a cast iron windshaft and was winded by a six bladed fantail. The tower is high to curb level, diameter at base level and diameter at the curb. The brickwork is thick at base level.
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The gable is topped with a finial. Detail showing upper storeys There is ornamental panelling to all storeys except the ground floor, which has a modern shop front. Motifs include ogee lozenges, similar to the decoration of Churche's Mansion, as well as quatrefoils and herringbone patterns. The first storey is flanked by a pair of fluted pilasters, which are in early Renaissance style.
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The floor is of gravel and there is a concrete perimeter. The north and south walls are sheeted in corrugated iron. On the exterior, the north end has a decorative gable treatment incorporating chambered bargeboards, a collar-tie, a curved member extending from eaves to collar, a central finial post, and a valence of fretwork boarding suspended from the curved member. The spandrels are filled with boarding.
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The top stage is battlemented and contains small bell openings. The east wall of the church has angle buttresses, and a parapet surmounted by a cross finial. The east window has three lights. Towards the east end of the north wall of the church is a two-light window with Y-tracery, and to its west is a lancet window, a three-light window, and a doorway.
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Cherublike angels are sitting on the ledge with the symbols of the tetramorph. The balustrade is decorated with three gilt reliefs (The Good Shepherd, The Sower and Two Sons). An orb of flowers forms a hanging finial under rich garlands. There is sculpted relief above the door with a group of symbols: the Eye of Providence, a horn, a violin, a wreath and a palm branch.
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Charles Grant Heasley House is a historic home located at Franklin Township in Greene County, Pennsylvania. It was built between 1903 and 1905, and is a three-story, square brick building with a slate covered hipped roof. It measures approximately 42 feet by 42 feet, and sits on a stone foundation. The roofline features four chimneys, four spires, a pinnacle with finial, and six dormers.
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The bath house, of timber-framed weatherboards with a corrugated iron roof, is a later structure to the residence. There is an early square tank stand nearby. A two- seater weatherboard outhouse has a square pyramid roof of corrugated iron with a wood finial. To the south of the out house is a small burial ground containing the graves of two children buried in 1877 and 1882.
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In the north wall of the chancel is a single narrow pointed window. At the east end are angle buttresses with pinnacles, and a three-light pointed window. Over this is an ornate parapet with a corbel head and a cross finial. The south wall of the chancel has a single narrow window, and in the south wall of the nave are two two-light pointed windows.
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Also, it uses the traditional post-and- lintel style, as previously explained. It has three-stepped bracket complexes, as previously discussed. It consists of three bays, and a central core that runs the entire height of the structure ending in the finial on top. The central pole is evidence that pagodas are like Indian stupas in that it is a common trait in the architecture.
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In the apse is a large pyramidal reredos with the heads of the Twelve Apostles and Christ in relief. In the Lady Chapel is an altar with a statue by Herbert Tyson Smith of the Virgin Mary with St John Fisher. The baptistry contains a stone font, also by Herbert Tyson Smith, on a marble base. The font has a pyramidal cover with a cross finial.
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The narthex is supported by octagonal piers at the corners and two granite columns between them. On each side of the narthex is a lancet window. Above the narthex is a large rose window, with a lancet window above, and a cross finial on the gable. The church is recorded in the National Heritage List for England as a designated Grade II listed building.
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In the wall of the south chapel is a priest's door with a sundial above it, and a three-light window. The north porch is smaller than the south, and is also gabled. It has a round-headed entrance, above which is a small niche containing a statue, and a large carved stone finial. The inner doorway is also round-headed, and is said to be Norman.
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A corrugated asbestos hipped roof was at some point substituted for the original slate roof. It features a columned rotunda above a timber clock tower, which has a finial and domed copper roof. The pedimented centrepiece of the symmetrical front elevation is a segmental arch and has three panels set back between columns. Each side is bordered by wings of three bays with single-bay pavilions.
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Chavundaraya basadi was erected by Chavundaraya during the rule Ganga King Marasimha II and completed by Chavundaraya's son Jinadeva. The idol of Neminatha, flanked by Chauri bearers, is believed to installed by Hoysala period attributing to the characteristics matching Hoysala art. The temple underwent improvement in the 12th century under the rule of Chola Empire. The pyramidal shikhara crowned with domical finial is example of Chola architecture.
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Washington National Cathedral undergoing repairs in 2017 The cathedral was damaged in August 2011 during the Virginia earthquake. Finial stones on several pinnacles broke off, and several pinnacles twisted out of alignment or collapsed entirely. Some gargoyles and other carvings were damaged, and a hole was punched through the metal-clad roof by falling masonry. Cracks also appeared in the flying buttresses surrounding the apse.
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Most globes were plain glass, but sometimes they were punty cut or etched glass. Some had multiple stoppers, each stopper smaller than the one below, tapering to a small finial at the top. They could be freestanding or wall-mounted. If they were freestanding, they hung from a brass chain; the most elaborate had multiple tiers, each chamber containing a different color of water.
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Bentinck's biographer John Rosselli says that the story arose from Bentinck's fund-raising sale of discarded marble from Agra Fort. Another myth suggests that beating the silhouette of the finial will cause water to come forth. To this day, officials find broken bangles surrounding the silhouette. In 2000, India's Supreme Court dismissed P. N. Oak's petitionWrit Petition (Civil) 336 of 2000, P.N. OAK vs.
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On the south, the gable roof chancel extends at a shallower angle to the east over a vestry addition. Finials decorate the belfry and northern end of the gable; the southern finial has been removed. The gutters have been removed recently. Windows to the nave are lancet-shaped with two rectangular sashes and a pointed fixed sash above, all with a central glazing bar.
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The south (garden) front also has five bays, three of which project forward and two of these are canted. The front again contains mullioned and transomed windows and each bay has a gable with a ball finial. Tall brick chimneys rise from the roofs. Internally, the entrance hall has two fireplaces with panelled overmantels; one of the panels carries a carving of the Molyneux arms.
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The dentils are visible in this image of the cornice that Isaac Ellwood added in 1899. The three-story brick house includes a full elevated basement and a mansard roof with steeply pitched gabled dormers. Projecting from the roofline are plain corbeled chimneys and iron gillwork, the original roofing material was slate. The 1879 version of the Ellwood House featured dormer ornamentation with finial work.
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The church is constructed in stone rubble with ashlar dressings. The roof is tiled, with decorative ridge tiles and a cross finial. The plan consists of a nave and chancel in one unit, a south porch, and a tower that stands at the midpoint of the south side. The church stands on a slope, and the floor of the nave rises from west to east.
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The mansion was listed on the National Register of Historic Places in 1995. The exterior is built of pink Sioux quartzite quarried near Luverne, Minnesota. The roof and turrets are covered with Maine slate. The mansion is generally within the Richardsonian Romanesque form, but it also has French Renaissance design elements, such as steep roofs, and a soaring, slender turret topped with a copper finial.
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He practised from an office in Duke Street, London.Adelphi (KD/L). His only known work is St John the Evangelist Church, Hollington, constructed between 1865 and 1868 by engineer John Howell & Son It is built with Bath Stone dressings; it has one aisle on the south side and a south-east tower. There was a finial on the slimmer, round tower; removed in the 20th century.
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Three windows are placed on the north wall, the fourth serves as the aisle west window. Between the two north wall western windows is a simply moulded and slightly pointed door opening with hood mould and label stops, and a carved finial above. Within is a face-hinged oak door. The north aisle parapet is deeply crenellated to the same style as the tower battlements.
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The pinnacles, faced with gable and finial devices, are crocketed with grotesques. Further pinnacles are placed at the west corner and centre of the south chapel. The chancel and north chapel east wall is supported by three-step buttresses--two defining the edge of the chancel, and one at the north chapel corner which is diagonal. A two-step angled buttress supports the south chapel east corner.
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Over this period some alterations have occurred to the former station building. The front entrance bi-fold doors have been reconstructed. To mark the Gympie Ambulance Service centenary celebrations in 2002, the front awning and finial were reconstructed, replacing the originals that had been removed. In the rooms at the rear of the building, some walls and ceilings have been lined with asbestos cement sheeting.
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The font is octagonal and carved with initials and date "EM 1662". The octagonal wooden font cover with a central finial has hinged panels on four sides. Doorways to the parvis stairs and rood loft stairs are in the south wall of the south aisle and the south wall of the north aisle respectively. The three chancel windows contain stained glass by Patrick Reyntiens installed in 1962.
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Exterior of the Dharmaraja Ratha The Dharmaraja ratha has a square floor plan within a rectangular frame (26.75 ft x 20.67 ft), and is 35.67 feet high. It has an open porch supported by pillars. The temple's pyramidal tower consists of a vimana of shrinking squares, capped by an octagonal shikhara. There is evidence that it had (or was intended to have) a finial.
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The exterior colonnade carries an entablature adorned with a full frieze containing the inscriptions "To the memory of the Brave Soldiers and Sailors Who Saved the Union," A cresting of eagles alternating with cartouches surmounts the cornice. The monument terminates in a low conical roof crowned by a richly decorated marble finial. The Riverside Park Conservancy maintains the plantings in the area surrounding the monument.
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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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Dutch Also known as Flemish, a style of brass chandelier with a bulbous baluster and arms curving down around a low hung ball. Festoon An arrangement of glass drops or beads draped and hung across or down a glass chandelier, or sometimes a piece of solid glass shaped into a swag. Also known as a garland. Finial The final flourish at the very bottom of the stem.
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A "fitter" describes how the lampshade connects to the lamp base. The most common lampshade fitter is a Spider fitter. Spider fitters are set on top of a lamp harp, and secured with a finial. The harp is typically seated below the socket and two arms rise up around the light bulb and join at the top, where it provides resting support for the spider fitter itself.
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In the south wall of the chancel are two three-light windows with Decorated tracery, and a corbel table with carved heads. The chancel roof is gabled with a finial at the apex and pinnacles at the corners. The 19th-century east window has four lights and is flanked by buttresses. The east window in the chapel also dates from the 19th century, and has three lights.
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The two storeyed square shaped sreekovil of temple is very attractive and it is adorned by a golden Finial. The sreekovil includes three separate rooms, one in the west is Garbhagriha which has the Shiva linga idol installed. An idol of Parvathi devi made up of Panchaloha is also installed next to it. This complex has a number of murals depicting the stories of Shiva and Dashavathara.
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On the roof is an octagonal cupola with round-arched openings, attached Ionic columns and a copper cap with a finial. The wings have three storeys; they are eleven bays long and one bay wide. On the ground and first floor the windows are square-headed while those on the top floor are oval. The end elevations have arched windows which match the central block.
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At the front and back, above the spouts, are panels flanked by buttresses, surmounted by crocketted gables and finials. On each side are disused gas mantles. At the top is an octagonal pinnacle over which is a crocketted spire with a wrought iron cross finial. The memorial includes two inscriptions: one refers to the donor, while the other is taken from St John's Gospel.
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The church south porch is 15th-century. It is a gabled structure with a cross finial at the centre, and crocketed pinnacles at each corner of its south face. It is set on a plinth which runs over diagonal buttresses at the south corners. A string course runs into a hood mould surrounding a blocked pointed window opening at both the east and west side.
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Ileigh Roman Catholic Church, Tipperary North It is cruciform, with four- bay elevations to the nave, a single-bay chancel, a single-bay sacristy and two-bay transepts. The pitched roof is covered with artificial slates. The south transept has an ashlar limestone belfry with cross finial. The walls are rendered and the openings have pointed-arches with limestone sills and stained glass windows.
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The J. W. Ulmer House, at 611 5th St. in Menno, South Dakota, was built in 1914. It was listed on the National Register of Historic Places in 1982. It has also been known as the Ulmer-Hertz House. It is a two-story frame clapboarded house, with a broad hipped roof which flares out at the eaves and is crowned by a finial.
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The temple has North Indian style Rekhanagara tower with rotating squares rising in a curvilinear smooth towards the sky. The tower is damaged, the top amalaka finial and kalasha missing. Brahma carving in Hucchappayya gudi, now at a Mumbai Museum. The temple is notable for its intricate pillar carvings both in the portico and inside, as well as the artwork on its inner walls and ceiling.
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The priest's door is in the north wall of the chancel chapel, as the rectory is on this side of the church, and has over it externally a curious little projecting hood. Above the chancel arch is a picturesque stone sanctus bell-turret with panelled sides surmounted by a short broach spirelet with foliated finial. The ceiled wagon roof is tiled in Cotswold stone.
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Royal Banner of the ROC. (The Astral Crown forms the finial). The ROC crest and cap badge depict a 16th- century soldier holding aloft a flaming torch while shielding his eyes with his free hand, as though looking towards a distant place or object. This central figure is encircled by a wreath of gilt laurel and surmounted by the Royal Crown, the motto being Forewarned is Forearmed.
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The octagonal chapel is Romanesque in style with coursed sandstone walls and a hipped slate roof. The walls have ashlar pilasters that rise to a pronounced Lombard cornice with false machicolations. The eaves of the roof project out over the walls and the roof is topped by a bell cupola with a tall finial. There is a small entrance bay with a tiled floor.
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Parts of the facade were remodeled by Khedive Tewfik in 1888. The top of the minaret was remodelled by Abd al-Rahman Katkhuda so as to have a pointed top like the other Ottoman-style minarets he built around the entrances of the mosque, but at some point after 1932 the top was once again refashioned to end with a Mamluk-style finial which we see today.
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Each of the other sides contains a coat of arms in relief, and its associated motto. In clockwise order from the front these are the arms and mottoes of Birkenhead, Cheshire, Wales, Ireland, Scotland, England, and the Royal arms. The middle two stages of the monument are open, with arcades and granite columns, and the top stage consists of a crocketed spire surmounted by a crown finial.
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The courthouse is two stories and constructed of brick, with large, eight-over-eight sash windows on each façade and the sides. The hipped roof is topped with an octagonal cupola with a wooden base and topped with a finial. Two interior chimneys pierce the roof on each side. See also: The courthouse was listed on the National Register of Historic Places in 1972.
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One of the remaining merlons on this stretch of the walls' battlements has a stone finial on top, a design originally used along all of the town walls. The western wall originally extended out to the river Conwy itself, ending in a round tower, but this has since been lost; a similar spur arrangement was seen at Chester and Lincoln.Ashbee, p.57; Creighton and Higham, p.118.
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The spire is divided into five stages by moulded bands; in three of the stages are gabled windows. On its summit is a finial and a weathervane. At the west end of the church is a deeply recessed doorway, over which is a tympanum containing sculpture. The south porch contains an arcade of three arches, each containing a single-light trefoil-headed window, and deeply recessed doorways.
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Beldorney Castle The main block of the castle lies north to south. At the north-west angle is a smaller square tower, which contains the main stair, named the Dog Tower, and having a dog finial. At the south- east angle is a large drum tower, which has a rounded gable. The original entry was in the re-entrant angle with the square tower.
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Decoration on the facades is French Gothic in character. A small projecting main entrance portico has a gabled top with a rosette in the apex topped by a cross. It is flanked by two small miniature versions set on stone pillars. At the corners octagonal stone spires rise, with round smooth columns supporting gables that rise to a conical roof with a folial finial.
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Stone lantern diagram. A. Hōju or hōshu, B. Ukebana, C. Kasa, D. Hibukuro, E. Chūdai, F. Sao The traditional components of a stone (or bronze) lantern are, from top to bottom:Iwanami Japanese dictionary, 6th Edition (2008), DVD version ; : The onion-shaped part at the very top of the finial. ; : The lotus-shaped support of the hōshu. ; : A conical or pyramidal umbrella covering the fire box.
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There is a brick columbarium near this entrance. Facing the road and beside the central entrance is the largest memorial, the Mitchner Shelter-shed. A pedestrian gate and concrete path leads to this structure which is square with solid brick walls of Garden Flemish bond that are approximately high. The corrugated iron roof rises to a square timber steeple capped by a domed mushroom and finial.
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The bell tower is framed and cross-braced in substantial timber members. Its construction is reminiscent of the mining headframes of the area, and similar to the bell tower of St Columba's Catholic Church further along High Street, which is believed to be of later construction. The bell tower has a corrugated iron bellcast pyramid roof, mounted by a finial. It houses two large bells.
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Its height is accentuated because it sits on a cylindrical "drum" about 7 metres high. Because of its shape, the dome is often called an onion dome (also called an amrud or apple dome). The dome is topped by a gilded finial, which mixes traditional Islamic and Hindu decorative elements. The dome shape is emphasised by four smaller domed chhatris placed at its corners.
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At the appropriately named site of Gaunt Street, he maintained a palace, remains of which were found in the late 1960s. A finial window, complete, was found between two walls in the then "West's Garage". This was moved and now adorns the entrance through the east bail of Lincoln Castle. Opposite the Palace site stands St Mary's Guildhall, locally known as John O'Gaunt's stables.
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Inside the church the four-bay north arcade dates from the 15th century. It is carried on octagonal piers, and has 19th-century carved human heads. In the wall of the north aisle is a 14th-century pillar piscina with a crocketted ogee head surmounted by a finial. The plain octagonal font also dates from the 14th century, and the tower screen is from the 15th century.
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The tower penetrates the roof form and continues up to a third storey. On each face it has a recessed arch with a hood mould containing a clock with Roman numerals above two smaller arches of fixed louvers. Plain pilasters run to either side of recesses from a heavily moulded base to a crisp cornice line. The copper dome has a small cast finial.
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The building is a typical Presbyterian rectangular church with a ball finial on the east gable and a birdcage bellcote on the west gable. The B-listed parish manse was built in 1855 by the Scottish architect James Matthews. Following the Disruption of 1843, followers of the Free Church worshipped jointly with parishioners in Cawdor until a dedicated church building and manse opened in Croy in 1852.
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The dome on the central bay has a kalash finial on top. There are also "multiple openings" in the "drum" for ventilation and is decorated with intricate tile work. The internal part of the mosque has five mihrabs, one in each bay, corresponding to the external facade. The mihrabs, with alternate fark and light coloured stones, are similar to that of the Atala Masjid in Jaunpur.
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St Agnes rectory is a single-storeyed weatherboard building with a corrugated iron hipped gable roof. It has timber stumps, with verandahs on the north and east sides. The street entrance porch has a projecting gable to the verandah with decorative timber truss, finial and barge boards. The verandah roof is at a lesser pitch to the main roof and the hipped gables have curved timber bargeboards.
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This is followed by the construction of several temples, including Gangō-ji from which the text takes its title.Sakurai (1975:7-22) The second and third sections reproduce the Asuka period stone inscriptions found on the tower finial as well as those found on a Buddhist statue. The final section is a list of the temple assets. This includes population, rice paddies, and wells.
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This is constructed in red ashlar sandstone with a red tile roof. It is in one storey and its south front has five bays. Each of the central three bays has four-light mullioned and transomed window under a stone-coped gable with a finial. In the left bay is an arched doorway and in the right bay is a four-light mullioned window.
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This Rafter finial in the shape of a dragon's head and wind chime is one of the finest metal works of Goryeo period. In the Korean art and culture, dragon figure holds a significant place. Specially, dragon is considered as the protector of humans as well as warding off evil spirits. This figure, displaying the fierceness of a dragon, shows how advanced metal work Goryeo craftsmen had.
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The terracotta tiled roof, is gabled over the front and two transept entrances and hipped over the chancel. The dominant feature of the church is the copper sheeted dome, which extends about above ground level above the junction of the transepts and nave. Surmounted on the dome is an octagonal lantern, with a Celtic cross finial. The dome rests on an octagonal drum, supported square planned arcade.
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These have timber surrounds and are in quasi-Palladian style. Also above the eaves is a stone-dressed dormer casement window in Baroque style on each face of the building. Over the corner of the building is a lead-roofed cupola with a lantern and a domed roof bearing a tall finial. Beneath the cupola is an arched three-light window on each face of the building.
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The porch has a steep gable and is elaborately decorated with colonnettes, crocketed coping, and a finial. In the middle stage is a triple niche with crocketed trefoils, and in the top stage are pairs of two-light louvred bell openings with hood moulds. Above these are an arcaded frieze, a pierced parapet, and corner pinnacles. On the spire are two tiers of lucarnes.
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The roof contains three tiers and is topped with a mustaka top finial decoration. The roof is supported by four saka guru main posts and twelve supporting posts saka rawa. The saka guru is decorated with Arabic calligraphy at the base. The mosque has a roofed front porch or to the east of the main hall, one of the main feature of a Javanese mosque.
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The wing of the building to the right has a circular lower storey in brick over which, supported by corbels, is an octagonal timber framed upper storey, surmounted by a spire that includes a small dormer. To the left is a wing, entirely in brick, with a polygonal apse-like end, multiple windows in the upper storey, and a finial on the apex of its roof.
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The clock tower rose to , including a pyramidal roof of and a finial of iron. Following its 1907 expansion, the building was nineteen stories tall. The design of the lowest eight stories was kept largely intact, and continued upward with modifications to the sixteenth story, and there was a three-story mansard roof at the top. Granite window trimmings were present only on the first nine stories.
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The roof of the expanded building was encircled by an copper rail at its top. The roof of the clock tower was rebuilt exactly as it had been in the original construction. The flat roof above most of the building was above the sidewalk, while the clock tower was above the sidewalk. The finial of the expanded clock tower rose to , and contained a copper weather vane.
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To celebrate the 1000th year of the grand structure, the state government and the town held many cultural events. It was to recall the 275th day of his 25th regal year (1010 CE) when Raja Raja Chola (985–1014 CE) handed over a gold-plated kalasam (copper pot or finial) for the final consecration to crown the vimana, the 59.82-metre tall tower above the sanctum.
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Both the Old Parish Church dating back to 1620 and the Churchyard Gateway, which is on Inn Brae, are category A listed buildings on the Historic Environment Scotland register. The church was built with rubble and the windows conveyed an unbalanced appearance. The bellcote is thought to date from 1637. The Gateway also dates back to 1620 with the finial at the top added in 1705.
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German Truppenfahne Units of the Bundeswehr have only a single Colour. The Truppenfahne is a square version of the national flag with the Bundesadler (national shield) overall in the centre. The flag is surrounded by a black, red, and gold lacework border and edged on three sides by gold fringe. The finial is a gilt bronze openwork spearhead surrounding a black and silver Iron Cross.
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1885 A tapering octagonal spire sits above the base and is finished with an acanthus leaf finial. In recent years work to repair the water pipes to the fountains has necessitated the concrete being cut into, the pipes exposed, and then the concrete repaired. This appears as a narrow vertical incision down the northern face of the monument, from the fountain to the ground.
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The Little Brick Church, also known as Virginia's Chapel and William Tompkins Church, is a historic church that sits along US Route 60 in Cedar Grove, Kanawha County, West Virginia. It was built in 1853, and is a small brick structure on a stone foundation. The building was nearly square when built, but lengthened within a few years. It features a louvered octagonal cupola, with finial.
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To its north, above the arched window, is a gable decorated with peaked paneling in its lower portion and a decorative pattern in the apex. On its north, separating a similar gable on the neighboring house, is a molded finial-topped square pillar rising from a corbel below the frieze. The roof itself is flat, with some modern membrane and mechanical equipment. At the west (rear) the house narrows to wide.
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The northern end of the building is five storeys high. Rising above the roof level is a hexagonal shaped tower, originally used for the storage of char, with single storey gable roofed structures on either side, clad in corrugated iron. The tower roof has coved eaves and decorative brackets, and has a decorative finial at its peak. The rear of the building has been substantially modified to accommodate new equipment.
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The east window has three lights and contains simple tracery. It is thought that this may have been moved from another church or re-fitted because its top has been truncated. At the west end of the church is a simple open bellcote containing two bells, and on the gable at the east end is a cross finial. On the outside of the north wall is a weathered carving.
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The finial Figure 9 Hogon-ji's Pagoda on top is a symbol of the Buddha, in that it represents an umbrella. An umbrella being significant in that it is a symbol of the historical Buddha's royal lineage and prestige. Pagodas in general are a Japanese adaptation of the Indian stupa. This is also evidenced by the fact that pagodas were for inducing meditation, circumambulation, and supposedly held a relic of Buddha.
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Also during this period four patent double-shuttered sails were installed. These were struck by rack and pinion via a chain pole and drove three pairs of stones. Photographs from that period show that the windmill had one pair of sails had seven bays of three shutters and the other pair had eight bays of three shutters. The top of the mill was capped with a dome with a finial.
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Domes in pre-Mughal India have a standard squat circular shape with a lotus design and bulbous finial at the top, derived from Hindu architecture. Because the Hindu architectural tradition did not include arches, flat corbels were used to transition from the corners of the room to the dome, rather than squinches. In contrast to Persian and Ottoman domes, the domes of Indian tombs tend to be more bulbous.
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The outer dome rests upon drum walls five metes thick. The fusion of Persian and Indian architecture can be seen in the dome's shape: the bulbous shape derives from Persian Timurid domes, and the finial with lotus leaf base is derived from Hindu temples. The inner dome has a decorative triangulated pattern modeled after plaster mold work, but here carved in marble. The entire complex is highly symmetrical.
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Its roof is pyramidal, and on its north side is a stair turret. On the apex of the gable at the east end of the nave is a crucifix finial. The entrance is on the south side of the church through an arched doorway. To the left of the entrance is a two-light, square-headed Perpendicular window and to its right is a two-light Decorated window with Victorian tracery.
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They have slender holes making the tops of the towers light and elegant reminiscent of the conic formation of the chestnut flowers one can find blooming in trees along the walkways in the Vyšehrad complex. The spires (and indeed the triangular gable of the façade between them) are frilled with pedal like finial protrusions along their length and on their tops, further connecting their likeness to the flower.
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The finial is topped by a moon, a typical Islamic motif whose horns point heavenward. The minarets, which are each more than tall, display the designer's penchant for symmetry. They were designed as working minarets— a traditional element of mosques, used by the muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower.
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The gabled roof is painted corrugated iron, with a gabled ridge vent running most of its length, and a lean-to roof to each verandah. At each end of the ridge is a finial-like timber cross. The building is set close to ground level on a concrete slab, with the timber framing mounted on hobs. The walls are lined with chamferboards and the timber framing exposed externally.
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The kingdom, for a period of time, was renamed Yonok Nāga Rāj (lit. Yonok the Nagaraja) The nagas are also highly revered. The Buddhist temples and palaces are often adorned with various nagas. The term naga is also present in various Thai architecture terms including the nak sadung (นาคสะดุ้ง, the outer roof finial component featuring naga-like structure), and the nak than (นาคทันต์, the corbel with naga shape).
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A hood above the entrance is supported by curved brackets while the hood gable features a trefoil design. Above the hood is a rose window topped by a louvered quatrefoil and cruciform finial at the roof. There are four triangular-headed lancet windows on the east and west (liturgical south and north) sides of the nave. The end of the east (liturgical south) transept is similar to the facade.
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Ruff's Chapel is a historic Methodist chapel at U.S. 21 and SC 34 in Ridgeway, Fairfield County, South Carolina. It was built about 1870, and is a single- story, rectangular frame building, sheathed in weatherboard, with a front gabled roof. It has a square open belfry with a metal covered bellcast hip roof and a ball finial. It was added to the National Register of Historic Places in 1980.
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The Calvinistic Congregational Church building stands at the southern end of the Fitchburg Upper Common, adjacent to the city's central business district. It is a rectangular structure, built out of red sandstone and brick. Its gable roof is oriented parallel to Rollstone Street, which runs just north of the building. The front gable is stepped and is topped by a finial; a lower cross gable on the side is also stepped.
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The dome is surmounted by a lookout lantern that may be reached by long and winding stairs, and it terminates in a finial that is above the ground floor. From its opening during 1884 until 1924, it was the tallest building in Des Moines, and likely the entire state. The rotunda beneath the dome is in diameter. Four smaller domes of simple design rise from the four corners of the Capitol.
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The top tier was a pinnacle with the actual cross as a finial. The material was oolitic limestone but, as this was susceptible to frost damage, it was subsequently painted in colours of blue, gold, red and vermilion. The vermilion was the predominant colour of the statues, being used for their dresses, and aged well.The cross is shown at the centre of Robert Ricart's map of Bristol, in the ms.
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The tea house has a cruciform plan. It is a timber-framed building on a red sandstone plinth with a red tiled roof that rises with a concave profile to a point. On the apex is a large lead finial with a small weather vane. At the front is a verandah, the tearoom is in the centre and to the left, and the kitchen is on the right.
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The house features a tower topped by a finial at its northeast corner, a large gable on its rear facade, and a hipped roof with cross gables and a small dormer. The entrance to the house is located within a porch supported by Ionic columns; a pediment tops the porch above the doorway. The houses were added to the National Register of Historic Places on May 11, 2000.
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Above the cornice, the roof forms a steep octagonal pyramid, pierced by four small gabled windows, and topped by a cross-shaped finial. The sides and rear of the building are faced with brick rather than limestone, excepting the lower portion of the tower and its buttresses. The windows and gables on the other faces are similar but simplified versions of the those found on the main facade.
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Trinity United Methodist Church is a historic Methodist church building located near Ellett, Montgomery County, Virginia. It was built between 1908 and 1910, and is a one-story, four-bay, nave plan brick structure. It has a two-stage corner tower, containing a vestibule at the northwest corner. The second stage of the tower takes the form of an open belfry with sawn brackets supporting a conical cap with finial.
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It has three levels. The lowest is square, with a contraption of two columns standing in front of two pilasters protruding from each corner on top of which is an entablature and tiny urns. This is linked to the next stage by corner volutes, with a smaller square stage with more urns, and at the top is a tiny concave stage. The whole is capped with a flag finial.
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The church is constructed in random rubble limestone, with a stone slate roof. Its plan consists of a nave with a south porch and a north transept, a chancel and a west tower. The south doorway dates from the 12th century and is in Norman style with a rounded arch. The porch dates from the following century, and has a pointed arch, a gable, and a sundial finial.
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In the east wall of the porch is a niche with a trefoil head. To the right of the porch is a 13th-century two-light window. In the north wall of the nave is a square-headed blocked doorway, and a blocked window with a pointed arch to its right at a higher level. The tower is in two stages with a hipped roof and a tall weathervane finial.
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The angle represents a stylized peacock—the emblem of royalty—is surmounted by a finial; below the eaves-boards is a pendant turned in the lathe. This same peacock is everywhere found at the points of the gables, forming a hip-knob, with the pendant below. All these carvings, besides being gilt, were also decorated with simple glass mosaic. The details above given apply mostly to all the other apartments.
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On the top, second floor above the left panel is a pair of arched windows similar to the central ones. Above the right panel the wall is blank although a balustrade stretches to the midpoint from the central section. The corner is surmounted by a turret which has a balcony and bell shaped dome with a ball finial. According to Pevsner, the turret is "rather reminiscent of Winstanley's ill- fated lighthouse".
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In cavalry formations, the same pattern prevailed, with the 1st Squadron or Battalion of cavalry (Cuirassier and Hussar since 1744) regiments carrying the King's Standard (Leibstandarte) and a Squadron Standard (Eskadronsstandarte). Dragoon regiments had swallowtailed standards (Leibfahne and Eskadronsfahne) in unit colours. The Garde du Corps had a Roman styled vellixum standard carried solely by the 1st squadron, while the other squadrons carried lances with the eagle finial.
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On either side of the main block, set back from the portico, are 2 four-bay, two-story wings. Windows on the first floor façade are six-over-six sashes, while the second and third floors are nine-over-nine. The roof is covered in red tile with a decorative finial on the gable ends. The cornice is decorated with small dentils on the wings, and larger ones on the architrave.
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Built in 1858, the church is a stone Gothic Revival-style structure consisting of two gabled limestone sections: a one-story rectangular main block and an attached modern side wing. It features a three-stage tower with a limestone base, a wood midsection, and a domed cupola topped by a round finial and simple cross. Note: This includes It was listed on the National Register of Historic Places in 1985.
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There is a similar window in the north wall of the chapel, and a priest's door. The chapel is gabled with a finial at the apex. In the south wall of the nave, from the east, is a three-light arched window, a 17th-century two-light square-headed window, and a 12th-century semicircular-arched doorway. The west window of the aisle contains a 19th-century three-light window.
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The Berryville Post Office is a historic post office building at 101 East Madison Avenue in Berryville, Arkansas. It is a single-story brick Colonial Revival structure, topped by a hip roof and cupola with finial. It was designed by Louis A. Simon and built in 1938–39. Although primarily intended to serve the needs of the United States Postal Service, the basement housed offices of various county agents.
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Centrally at the summit is another spire with a lead finial. To the right of the entrance bay are three mullioned and transomed windows in each storey, plus a two-light window in the gable. Between the lower and middle-storey windows is a frieze containing shields with the arms of the twelve former shires of Wales. Centrally between the middle and top-storey windows is the Grosvenor coat of arms.
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In some sans-serif fonts (i.e., typefaces), the lowercase letter ell may be difficult to distinguish from the uppercase letter eye or the digit one . To avoid such confusion, some newer fonts have a finial, a curve to the right at the bottom of the lowercase letter ell. Another means of reducing such confusion, increasingly common on European road signs and in advertisements, uses a cursive, handwriting-style lowercase letter ell .
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This is topped by a four-sided dome and finial. Each stage of the tower has a decorative balcony railing, shrinking in size, with matching corner posts topped by finials. The interior consists of a large auditorium with gallery, and an entry vestibule with stairs on either side. The gallery is supported by turned posts that rise to an elaborate entablature that forms the base of the gallery's parapet.
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A terracotta and sandstone string course tops the windows on the second story, with corbelling between it and the corniced roofline. Similar, but more intricate decoration graces the flanking towers at the center. The gable field has an eight-pane double casement window, with the brick and terra cotta giving way to fish-scale wood shingles midway up. Above the window is a bell-shaped hood with finial.
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The dome was the most technically advanced built in the Deccan. The last major Islamic tomb built in India was the tomb of Safdar Jang (1753–54). The central dome is reportedly triple-shelled, with two relatively flat inner brick domes and an outer bulbous marble dome, although it may actually be that the marble and second brick domes are joined everywhere but under the lotus leaf finial at the top.
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Daejangjeon Geumsansadaejangjeon (Daejangjeon Hall of Geumsansa Temple). Daejangjeon at Geumsansa was originally an octagonal wooden pagoda erected in the 600s CE during the Baekje period. It was rebuilt in 1635 as a hall, during the Joseon period (July 1392 – August 1910) and in 1922 was moved to its present location. Visible on the roof ridge beam is a portion of the finial that topped the original wooden pagoda.
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The round-arched windows feature limestone keystones on the first story, while the second-story windows have heavy limestone frames culminating in keystones. Limestone belt courses extend along the first story and between the first and second stories. A cornice with an unadorned frieze and dentil molding runs below the roof's edge. Topping the hipped roof is a circular limestone cupola with Tuscan columns and copper roof with a brass finial.
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The church is constructed in sandstone, and has a 20th-century pantile roof. Its plan consists of a four-bay nave, a north aisle, a northwest porch, a chancel, a southeast vestry, and a northeast organ chamber. On the east gable of the nave is a double bellcote. The porch projects from the second bay on the north side, and has a cross finial on the apex of its gable.
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J. C. M. Merrillat House, also known as Hunter House, is a historic house located at Staunton, Virginia. It was built in 1851, and is a two-story, five bay, Gothic Revival style frame cottage with a two-story wing. It has board- and-batten siding and a gable roof interrupted by a large central gable with a finial. The front facade features a one-story porch supported by large brackets.
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There is another hipped roof over the central bay of the narthex that houses the baptistery. Rising above the main roof is a short, square, central tower. Although clad in shingles, it suggests the Richardsonian Romanesque style and appears out of scale to the rest of the building. The tower features pinnacles on its corners and it culminates in a high-peaked roof with a finial on top.
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A simple timber finial is fixed to the apex of the roof on the front face of the building. The church is slightly elevated on concrete stumps. The principal facade of the building, which addresses Lillian Street is symmetrically composed with a central projecting porch flanked by lancet windows. The timber framed porch has a gabled awning which reflects the pitch of the main roof of the structure.
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Horizontal divisions are set by a brick cornice cordons. On Pocztowa street, massive triforium windows are used on the ground floor and biforium ones on the first floor. Corner decorative portal topped with triangular pinnacle gables display a clock on both sides of which are placed original ceramic coats of arms (with mail and telegraph symbols). The roof exposes finial and densely ornate dormers made up of profiled planks.
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The second Bryn Mawr Hotel was designed by Furness, Evans & Company and built in 1890–91. It is a five-story, "L" shaped stone-and-brick building in a Renaissance Revival / châteauesque style. It features a large semi-circular section at the main entrance, topped by a conical roof and finial. It has a steeply pitched red roof with a variety of dormers, chimneys, towers, finials, and skylights.
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The crossing was closed for a total of 17 months before the new bridge opened. The new bridge mimicked the old bridge's shape and scale, although it used box members instead of lattice beams and was of a continuous truss design instead of a cantilever-and-suspended-span design. Finial of the original Sewickley Bridge, preserved in a park in Sewickley. Postcard photo of the original Sewickley Bridge in 1910.
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The Semper Synagogue c. 1860 The Star of David finial from the Semper Synagogue, on display at the New Synagogue The Semper Synagogue, also known as the Dresden Synagogue, designed by Gottfried Semper and built from 1838 to 1840, was dedicated on 8 May 1840.German Jewry and the Allure of the Sephardic, by John M. Efron It was an early example of the Moorish Revival style of synagogue architecture.
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A single- storey brick cottage with attached kitchen and servant's room. It has a hipped and gabled roof sheathed in corrugated iron, which is not the original covering. There are two multi-corbel chimneys, decorative barge boards and a finial, and a front verandah with a skillion roof supported by slender timber columns with decorative timber brackets. The front of the cottage features a large rectangular bay window.
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The finial at the tip of the flagstaff shall be wider than the flagstaff. Where the flag is not displayed continuously, it shall be raised at sunrise and lowered at sunset. If flown for a festival or funeral, it shall be raised before and lowered after the end of the occasion. If the flag is flown from a flagpole in mourning, it shall be raised to half- staff.
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There was a freestanding bell tower behind the church. In 1905 a three-story square belltower with a pyramidal roof surmounted by a decorative finial was added. In 1905-06 a two-story flat- roofed addition was added. A further addition of a one-story flat-roofed brick section for offices was added much later, probably during remodelling in the 1950s, which also covered the original brick building with stucco.
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The portal is constituted by a triangular-shaped pediment upon two round columns. At the centre of the pediment, there is an equilateral triangle, symbol of Trinity, inscribed by "the eye of God." The columns fuse Greek (Ionic, Doric and Corinthian) and Roman (Tuscan and composite) styles, each one with a capital crowned by a finial globe. There are three steps between the columns leading to the Temple entrance.
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The natural contours of the granite are readily visible within the grounds and along the length of the building. The church has a timber floor, corrugated iron roof and a simple rectangular form with a small front entrance porch facing Sturt Street. The porch and church proper have gable ends lined with boards and decorated with timber battens and finial. The northern end of the church roof is hipped.
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Above this is a small square pedestal with crossed flags carved in relief on the front face and capped by a small cornice. This forms the base for a small concrete obelisk with tapered sides and a flat top. The nearby band rotunda is constructed of timber with a corrugated iron pavilion style roof topped by a finial. It is octagonal in shape and is raised on high stumps.
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The Douglas County Courthouse in Lawrence, Kansas is a three-and-a-half-story stone building built in 1903. with It was designed by noted 19th-century architect John G. Haskell in association with another architect, Frederick C. Gunn. It is a Richardsonian Romanesque work. Its "dominant feature" is a six- story-tall square clock tower, with four minarets and a pyramidal roof topped by a metal finial.
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This gable and finial also exists in the centre edge of the roof on the SSW side of the building. The verandah roofs are stepped down from the main roof structure. The steps on the NNE and WNW sides of the building appear to be cement rendered. The School House building features solid timber French doors however the ones on the upper level opening onto the verandah are glass and timber.
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Namjar is depicted wearing a blue riding jacket over a light brown robe, a winter hat topped with a red finial and a single-eyed peacock feather, and a pair of black satin boots. He is facing the viewer while walking right to left, and is looking to his left in an uncomfortable pose, holding his sword. His eyebrows are raised and his forehead furrowed. The artist is unknown.
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They appeared to have given up partway through as not all the screws were removed, and ultimately only took the exposed eagle finial atop the flagpole. They also took five Degas sketches from the room. The last work stolen was Chez Tortoni from the Blue Room on the first floor. The museum's motion detectors did not detect any motion within the Blue Room during the thieves' time in the building.
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The repetitive detail of buttressing, parapeted gable, cross finial and carved skew stones on the small size of the vestry form make this section of the church appear elaborately detailed. The pointed arch entry with hood mould and carved label stops sits below a small equilateral arched window in the gable. An elaborate window on the eastern side of the vestry is of stone tracery within a segmental arch opening.
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The tower, also of brick, was to the west of the church. The steeple, probably designed by Robert Hooke, took the form of an octagonal drum surmounted by a lantern, from which emerged a trumpet shaped cone. On top of this was a ball and finial, now perched on the spire of St Andrew-by-the-Wardrobe. George Godwin described St Michael's as " a plain substantial building without any striking features".
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Its height was not surpassed until 1973, when the Tower at 1301 Gervais was built. In the cyclone of 1885, the steeple fell. Its wrought iron spiral and finial built by Christopher Werner was destroyed, and not replaced due to cost. A fire in 1965 caused the steeple to topple; it fell to the ground, impaling the spire eighteen feet deep, where it remains embedded to this day.
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The William H. Trusty House is a historic home in the Phoebus section of Hampton, Virginia. It was built in 1897, and is a 2 1/2-story, wood frame dwelling in the late Victorian style. It features a two-story, spindle-and- bracket porch, with a tent roof and capped by a finial. It was built by William H. Trusty, a successful black businessman and civic leader.
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The upper portion of the edifice is covered with glittering gold-plated sheets. The lotus dome, damaged in an earthquake (4 April 1905) and subsequently reconstructed, has an ornamental gold pinnacle with an umbrella-shaped gold finial. Exquisitely executed stucco work in intricate designs, inset with reflecting glass pieces, decorate the interior walls and the ceiling. The Guru Granth Sahib is seated on a platform under an elongated dome covered with goldplated metal sheets.
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The pulpit dates from the early 17th century and has an associated reading desk and sounding board. In the southeast of the church is a parclose screen dating from the early 16th century which has a frieze of Perpendicular tracery. The font cover dated 1625 is elaborate. It consists of four columns supporting an arcade with pendants, and has a conical roof with a ball finial on which is a vulning pelican.
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The Mullner Memorial, to the north of the church, is a sandstone pedestal tomb dating from about 1817. It has a moulded plinth with plain pilasters, and a stepped top carrying a fluted urn-shape finial. The parish war memorial, an elegant stone cross with slate plaques listing 13 men who died in the World Wars and bearing a verse from Francis Pott's hymn, The strife is o'er the battle done, is in the churchyard.
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Closeup of the cupola The Arvon Township Hall is a symmetric two-story rectangular building of frame construction on a concrete foundation. The first story is covered with brown-stained shingles and the second with yellow painted horizontal board siding. The hipped roof features a decorative six-sided cupola, dominating the facade, topped with pyramid roof and an iron finial. A central entrance pavilion contains a second story bay over a recessed porch.
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While riding for in 2013, Slagter won the Tour Down Under, his greatest career achievement. Slagter won the third stage after attacking on the finial climb, cresting it alone. He was joined by three riders on the descent, and with the peloton on their heels, Slagter out- sprinted the group. On the fifth stage, he gained the orange jersey; finishing atop Old Willunga Hill in second position, behind Australian Simon Gerrans (), the defending champion.
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The Hinomaru flag has at least two mourning styles. One is to display the flag at , as is common in many countries. The offices of the Ministry of Foreign Affairs also hoist the flag at half-staff when a funeral is performed for a foreign nation's head of state. An alternative mourning style is to wrap the spherical finial with black cloth and place a black ribbon, known as a , above the flag.
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At the top of the steeple is a belfry that houses the church-s original bell, which was cast by the American Bell and Foundry Company of Northville, Michigan. At the peak of the steeple is a tall, ornate finial with decorative globes, fans, and scrollwork. All of the church windows are Gothic arch style. The main sanctuary window is made up of four Gothic arch windows that support a rose window with ornate tracery.
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In the churchyard are two structures that are listed at Grade II. To the south of the church is a monument to the Gale family with dates between 1816 and 1903. It consists of a sarcophagus with an urn finial, in a square enclosure surrounded by railings. Nearer the church is a sundial dated 1729. This consists of an inscribed square pier on a four-stepped base, with a round plate and gnomon.
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The station was opened in 1912 by the Pennsylvania Railroad as part of a project to elevate the right-of-way as it passed through Greensburg. William Holmes Cookman served as architect. The depot is constructed of red brick laid in a Flemish bond pattern with stone trim and quoins on the building's corners; the overall architectural style is Jacobean Revival. A tall square clock tower is topped by a copper ogee dome with finial.
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It was built by Bradshaw Gass & Hope- one of a series of libraries the built on the strength of their design for Bolton Library. The library is of red brick and Portland stone, in the Edwardian Baroque style complete with prominent corner dome with a tall finial. The entrance is offset by one bay along the Wellington Road south elevation. This too is flanked by banded brick pilasters, and surmounted by heavy stone carvings.
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The central panel is broken into two halves vertically by means of rosettes within square frames - the lower depicting a swinging creeper with luxuriant leaf age and the upper two half-arch motifs with a finial in the thick of shrubs and foliage. The flanking panels are similarly disposed and ornamented. All the panels depict multifoil arches with finials. The vegetal motifs betray local influence and speak of the Muslim adaptive spirit.
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It is built out of ashlar-cut red sandstone quarried in Longmeadow, Massachusetts. Its verticality is heightened by corner buttresses, and pinnacles that rise above its roof to finial crosses. There are clock faces on all four sides, above which are lancet-arched louvers around the chamber housing chiming bells that sound every quarter hour. The tower was built in 1898 on land that belonged at the time to the locally prominent Keney family.
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White marble from Sicily was used for the body of the memorial. It sits on a plinth of grey stone which stands over three blocks of granite which cover the slabs used during the cremations. The Chattri takes the form of a tall, domed pavilion, rising to to the finial at its apex. The base is square, and the eight columns carrying the dome start with square bases before becoming octagonal halfway up.
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The school itself is faced in brick laid in Flemish bond trimmed with cast stone sills, keystones, and water table on a high basement. Both wings are topped with slate hipped roofs, with overhanging wooden eaves at the roofline. The two-and-a-half-story classroom wing, running east-west to the south, has an octagonal wooden cupola topped with bell roof and finial. Two small hip-roofed dormer windows pierce either end.
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A colonnade is located outside the top three stories on each side. The tower is topped by a ziggurat-style pyramid that was inspired by the Mausoleum at Halicarnassus. The pyramid was added when the building was expanded in the 1920s, and its top finial is above ground level. The pyramid contains a cauldron that initially was lit by kerosene, the material with which Standard Oil's founders, the Rockefeller family, made their first profits.
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The windows are all mullioned, those in the middle storey also having two transoms, and that in the upper storey has a transom. Between the windows is brick diapering. At the summit of this bay is a spire with a lead finial. To the left of the entrance bay is a wing containing two mullioned and transomed windows in each storey; the left-hand window in the middle storey is a canted oriel window.
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On the summit of the truncated spire is a lead ogee cap with ball finial. On the south side of the tower, between the bottom and middle stages is a clock carried on a bracket. The two-storey south porch is gabled and has an arched entrance containing iron gates. Inside the porch is a 12th-century arched doorway over which is a tympanum containing a carving depicting the Agnus Dei and foliage.
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The decorative bargeboard and finial have been removed and covered with chamferboards, however, the circular, ventilated opening remains. The porch ceiling is of tongue and groove boards, the remainder is unlined. Leading onto the veranda are two doors either side, which lead to storage areas, and a central, panelled timber door. Internally, in the storage room located at the southern end of the building is a set of stairs which lead to the projection room.
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National American Bank Building is a 23-story -tall skyscraper in the Central Business District of New Orleans, Louisiana, It was completed in 1929 and listed on the National Register of Historic Places in 1986. It is topped with a distinctive 6-story octagonal tower with a golden Art Deco finial. Its address is 200 Carondelet Street. Originally a commercial building it was renovated for use as a residential building after Hurricane Katrina.
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The present 13th-century font has an octagonal limestone marble bowl with two pointed arched panels in each face. The font's base has a cylindrical central pier with 19th-century peripheral shafts. The font's sub-base possibly incorporates the bowl of the earlier font which may well have been in use in the earliest church on this site. The restored octagonal ogee font cover with crocketed ribs and finial is probably 16th-century.
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The upper storey contains two casement windows; that to the left has four lights and the other has three. Above each window is a dormer gable, each with a richly carved bargeboard. On the corner, above the doorway, is a nine-light casement window, with three lights on each front and the other three lights across the corner. Over this is a short octagonal spire, topped by a finial and a weather vane.
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To date the Order is extremely rarely awarded and only for excellent bravery in battle. The unit's Regimental Colour are decorated with the badge of the 4th Class itself, which hangs from the finial of the pike. The version of the Military William Order for unit members is known as the Orange Lanyard. Only those who served in a military unit at the particular time of action are entitled to wear the Orange Lanyard.
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The second shaft, a 12-sided polygon separated from the first by fretted balconies supported by muqarnas, is decorated with blue faience. A balcony separates the third level from the second shaft. The third level is made up of two rectangular shafts with horseshoe arches on each side of both shafts. Atop each of these two shafts rests a finial atop two identical onion shaped bulbs, with a balcony separating the finials from the shafts.
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The edge of a pagoda's eaves forms a straight line, with each following edge being shorter than the other. The more difference in length (a parameter called in Japanese) between stories, the more solid and secure the pagoda seems to be. Both teigen and the finial are greater in older pagodas, giving them a sense of solidity. Vice versa, recent pagodas tend to be steeper and have shorter finials, creating svelter silhouettes.
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The chapel was designed by Frederick Fraser and Warburton, with input by the headmaster of the school, A. G. Grenfell. It is built in red Ruabon brick with terracotta dressings, and has a red tiled roof with a finial at the east end. The chapel consists of a nave and chancel in a single range, an apsidal east end, and a west bellcote. The furnishings are in collegiate style, designed by Frederick Fraser.
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The building is clad in timber weatherboards, has timber framed windows and a painted corrugated steel roof with decorative finial. One chapel building (formerly the Chapel of Hope, 1961) remains of the three chapels originally erected around a ring road about east of the Administration Building. It is a simple, box-like structure with a low-pitched roof and wide eaves. It is of portal frame construction and is clad in corrugated Colorbond steel sheeting.
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Shotwick Park is built in brick with a tiled roof in neo-Elizabethan style. The main front has seven bays with each external bay forming a turret; the turret on the left is larger and higher than that on the right. Both turrets are polygonal in shape, each with a pyramidal roof having a lead finial and a weather vane. The front has two storeys, other than the left turret that has three storeys.
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Facade of the theater in 2014 The white facade of the theater contains both elements of Art Deco and neoclassical architecture due to the building's streamlining and scaled round columns, each adorned with a conical finial. The theater was also adorned with aluminum buffles, consistent with its Art Deco design. Along with the Times Theater, the theater is found along Quezon Boulevard in Quiapo. It has since been converted to a shopping center.
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The columns continue upward, terminating at the top of the building in a projecting finial. On the north side of the first floor is a story-and-a-half study hall enclosed in glass panels, with a mezzanine to the north. The southern side of the first floor houses administrative offices, and the off-center walkway separating the two sections houses planters and a bench. The second and third floors are used for office space.
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Above it is a two-light window dating from 1858. On the west gable is a bellcote of 1871. In the south wall of the nave is a doorway with a plain arch, and to its east is a two-light early 14th-century window. The south wall of the chancel contains a two-light window, a priest's door over which is a finial, and a three-light 19th-century square-headed window.
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The small finial ornament atop the tabernacle took some 58 hours to complete. The main altar is built of Verde Issoire, a green marble quarried in the French Alps. Green marble serves as decorative wainscoting along the walls and comprises the interior columns along the nave. The nave and transepts are capped by a ceiling of gothic vaulting and ribs of carved wood with the areas between the ribs painted in various scenes.
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The time is indicated by hour, minute, and second hands made of iron, with black capital Roman numerals (hour), black squares (minutes), triangles (hour divisions), and diamonds (three hour intervals). The north and south faces feature black lettering reading "BAXTER THE JEWELER" while the east and west faces include the lettering "DR. J. O. BAXTER EYESIGHT SPECIALIST". The top portion of the clock includes Arabesque crockets above each face and a three-tiered finial.
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At the east end of the chancel is another cross finial, and three lancet windows. On the south wall of the chancel are a two-light window and a lancet window, separated by a buttress. In the east and south walls of the south aisles are two-light windows, and the window in the west wall is a lancet. The south wall has three windows, similar to those in the north wall.
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St Kenelm is constructed of squared and coursed rubble stone, with nave and south transept of ashlar. The church has a Cotswold stone- slate roof with coped gables surmounted with cross saddle stones and additional cross finial to chancel gable only. It has a cruciform plan with tower to east of transepts. The tower has 2 stages with off-sets, double belfry openings with trefoil head on top stage, broach spire and weathercock.
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Exterior The Tower with its spire is a commanding feature rising to a height of 170 feet. Coupled buttresses at its angles rise boldly in five stages to the rich parapet and are capped with crocketted pinnacles. These flank the spire whose eight angles are ornamented with crockets carved in Bath stone bands, the general facing being of Pennant stone in courses. A large metal cross surmounts the finial of the spire.
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The building has a tall square, wood-shingled bell-cot at the western end with double louvred-windows to either side. It has a pyramidal roof over the bellcote topped by a ball and a weathervane finial. Buttressing supports the west end with a quatrefoil roundel window over two lancet windows below, all with linked hood moulds. One 'decorated style' two-light window and one plate tracery window to south side also has mouldings above.
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The tower is covered with a pyramid-shaped roof, based on a cornice with dentils and topped with a delicate iron finial, while the roofs for the rest of the house are typical gables. Its overall floor plan is that of the letter "L"; the porch and tower are placed within the angle formed by the two ells. These elements combine to make it one of Wyoming's best Italianate houses.Owen, Lorrie K., ed.
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The corner of the building between the streets is angled with an arched doorway in the ground floor. The upper storey is jettied and carried on consoles over pilasters flanking the door. This storey contains a mullioned three-light sash window over which is a cornice and a carving of the Chester City coat of arms. Above this a Baroque-shaped gable containing a two-light window and at its summit is an obelisk finial.
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Below the finial, a streamer is attached with the unit badge at the top and its designation embroidered in gold at the end. These streamers are red for army (Heer) units, blue for the navy (Marine), and white for the air force (Luftwaffe). The streamer is the same length as the hoist of the flag. The tradition was also observed by the National People's Army of East Germany, whose unit colours mirrored the national flag.
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6 inches by 21 ft. It is in the Decorative style and has at the south west corner a tower and spire raising to a height of 120 ft. to the top of the iron Finial. : “The structure was erected by Mr. John Nolan of Dublin from the design of Mr. A Jones, Architect.” The consecration of the church was postponed until Sunday July 8, 1868 as the building had yet to be completed.
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Each clock face has a small pyramidal finial. The roof is clad in slate tile with galvanised iron ridge capping, and supported by a weighty bracketed timber cornice above tuckpointed salmon- coloured face brick walls. The east elevation, facing Franklin Street, is marked by a breakfront with a finialled pediment above it. The tympanum is vigorously ornamented in a floral pattern with a central circular vent and surmounted by a continuing line of cornice brackets.
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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 body of the church is constructed in sandstone blocks, and the tower is in limestone with sandstone quoins; the roof is covered in green slates. It has coped gables and on the east gable is a cross finial. Its plan consists of a six-bay nave with north and south aisles, a clerestory and a south porch, a two-bay chancel with a south vestry and a square west tower. The vestry was originally the chantry chapel.
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External: A large two-storey face-brick and timber signal box with a corrugated iron gabled roof featuring simple bargeboards, turned timber finial and boxed eaves. The gable end is clad with rusticated weatherboards and has a timber vent. The signal box is located on the Platform 2 (Down side) with the floor level raised above platform level. It has 6-pane horizontal sliding band windows on the upper floor some with internal steel security mesh.
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The eight wooden finial spires were replaced in 1981. At the time of its nomination to the National Register of Historic Places in 1972, it retained virtually all of its interior 19th century fixtures, but had not been used as a church in some time, the congregation having relocated to a Shingle-style wood frame church built in the town center in 1898. The building is still maintained by the parish, and is used for occasional summer services.
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At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The chattris all share the same decorative elements of a lotus design topped by a gilded finial. The minarets were constructed slightly outside of the plinth so that in the event of collapse, a typical occurrence with many tall constructions of the period, the material from the towers would tend to fall away from the tomb.
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Kanbo, a Mughal historian, said the gold shield which covered the finial at the top of the main dome was also removed during the Jat despoliation. By the late 19th century, parts of the buildings had fallen into disrepair. At the end of the 19th century, British viceroy Lord Curzon ordered a sweeping restoration project, which was completed in 1908. He also commissioned the large lamp in the interior chamber, modelled after one in a Cairo mosque.
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Buffalo Presbyterian Church and Cemeteries is a historic Presbyterian church and cemeteries located at 1333 Carthage Street in Sanford, Lee County, North Carolina. It was built in 1879, and is a two-story, gable-fronted, Gothic Revival style frame building. The front facade features lancet-arched double- leaf entries, lancet-arched windows, and a three-stage projecting entry tower with a flared, pyramidal roof and finial. Associated with the church is the manse built in 1926.
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Bricks used in the kitchen house and internal walls were probably manufactured locally, Lutwyche-Windsor being an early brickmaking centre. The front features twin projecting gables, each with a circular louvred vent in the gable end, plain bargeboards, timber console brackets, fretwork infill, finial and pendant. It is unified by a full-length verandah resting on brick piers. This is shaded by a convex corrugated iron roof supported by timber posts with capitals and fretwork brackets.
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Ionic capitals feature a pair of volutes, or scrolls, while Corinthian capitals are decorated with reliefs in the form of acanthus leaves. Either type of capital could be accompanied by the same moldings as the base. In the case of free-standing columns, the decorative elements atop the shaft are known as a finial. Modern columns may be constructed out of steel, poured or precast concrete, or brick, left bare or clad in an architectural covering, or veneer.
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It underwent an important restoration in 1670 and a clock was installed in 1681. This bell-tower was probably square and roughly long on each side. It was capped by an octagonal pointed spire, topped by a big finial cross and a weathercock reaching to high. In 1710, the state of the church again called for serious repairs, and Jumet's bailiff, Jean de Vigneron, asked the abbot of Lobbes, a big tithe collector, to build a new church.
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A well-known work of Werner's was the spiral and finial of St. Matthew's Lutheran church on King Street. He also made all the wrought ironwork for the Abbeville, South Carolina, county courthouse. He was known for his manufacture in 1853 of the wrought iron Palmetto Monument, located on the Capitol grounds in Columbia. Made of iron, brass and copper, it represented the palmetto tree and commemorated the Palmetto Regiment that had fought in the Mexican–American War.
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In the middle is a silver tower with one box window in each of visible walls, its blue roof is topped with a golden finial and simple cross and three silver wallflowers. On a forefront of the church, there is a double-wing window topped with frill. In the side wall of the church, there is an open box-shaped door, rounded at the top. The window views are black and white, the door’s one is all black.
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It is a Victorian house sitting among a row of Greek Revival mansions. It has a series of gables and chimneys, and a round tower topped with a wrought iron finial and skirted with a porch. It features stained glass and terra cotta trim typical of Queen Ann style architecture, and has been called "one of the finest Queen Anne type houses anywhere in the country." There is a carriage house to the rear of the main house.
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The station building was converted into a house by the artist Peter Blake and his then wife Jann Haworth, in the mid-1970s, during their Brotherhood of Ruralists period. The signalbox at the northern end of the down platform has also been converted for residential use. The station's canopy is still visible from nearby green space where the rail track ran south of the station. The house sports a weather vane with a steam engine finial.
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On the gable at the west end is a bellcote with a cross finial. At the west end are three stepped lancet windows over a double doorway. The bays of the aisles are separated by stepped buttresses, and each bay contains a pair of lancet windows. On the north side of the church is an arched doorway under a gable, the tympanum of the arch containing a mosaic with the inscription "I am the Immaculate Conception".
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The Charles H. Lockhardt House is a historic house at 88 College Avenue in Somerville, Massachusetts, United States. Charles H. Lockhardt, a prosperous undertaker in Somerville, built this 2.5 story wood frame Queen Anne style house in c. 1890. Its most prominent feature is its turret, a three-story polygonal projection from the southeast corner of the building, which is capped by a finial-topped roof. The property includes a period carriage house, which features a cupola.
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The games baton was designed by Royal Selangor which sold the baton to the public at MYR 1480 and its design was inspired by the games' theme, rising together. Its design depicts shards and a triangular cross section. The baton has a length of 400 mm, a width of 44 mm, weighs approximately 600g and made up of materials which are a stave in kempas, a tawny wood native to Southeast Asia, and a satin-finished pewter finial.
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The gable has a half-round light at its center, and is surmounted by an open square belfry capped by a pyramidal roof and finial. The main portion of the school was built in 1890, due to residential growth in the surrounding Piscataquog Village neighborhood, with the expansion wing added in 1914-15. It was designed by Frederick Stickney of Lowell, Massachusetts, whose work made provision for its eventual expansion. When first opened, it housed six classrooms.
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There is a stair turret on the north-east corner with a weathervane finial, and a clock face on the east side. It contains five bells dated 1582, 1621, 1623, 1664 and 1666, all by the Purdue family of nearby Closworth. The tower was rebuilt in 1309 and again in the early 20th century following a lightning strike. The parish is part of the benefice of Chilton Cantelo, Ashington, Marston Magna, Mudford and Rimpton within the Yeovil deanery.
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The W.E. White Building is an example of late 19th century Queen Anne commercial architecture. The red brick building is 25 feet wide by 90 feet long and sits on the northwest corner of Front and Main Street in downtown Stockton. Its main entrance sits diagonally on the building's southeast corner. Multiple elements of Queen Anne style are present on the White Building they include: a projecting cone shaped turret, metal wrapped oriel bay, decorative pediments, a cannonball finial.
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After Cope's death, Albions were manufactured by his heirs and members of the Hopkinson family (trading initially as 'Jonathan and Jeremiah Barrett' and later as 'Hopkinson and Cope'), who are said to have improved the design. From the 1850s onwards Albion presses were manufactured under licence by other firms, notably Harrild & Sons, Miller and Richard, and Frederick Ullmer Ltd. The toggle-action, and the distinctive shape and 'crown' finial of the Albion, make it instantly recognizable.
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They are richly carved and noteworthy in that they display only secular motifs: unusual given their setting and purpose. They are oak in construction and carry a distinctive poppy head finial, fashionable in the 16th century, atop their ends which each display a single letter of the alphabet in Gaelic script. The pulpit is Jacobean carved wood and dates to 1635. It retains its backplate and sounding-board, and is richly covered in intricately carved Arabesque decoration.
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The dome itself is a rather irregular mixed masonry construction of tuff blocks, bricks and mortar, covered with lead sheets. There is a thin inner shell made of bricks which can be a later addition to create a suitable surface for the frescoes. The dome is capped with an elegant globe and cross finial. The high brick tambour is punctuated with eight arched windows which originally had stone mullions like all the other openings of the church.
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The chancel south arcade is 15th-century. Its piers are Perpendicular, with polygonal piers and capitals and chamfered arches. The furthest east south arcade contains within it a supplementary Decorative arch springing from the piers, this of ogee form with multi-rounded moulding, topped with a twin run of decorative battlements leading to a flat topped finial; this arch was rebuilt in the 19th century. At each side within the westernmost chancel bays are 19th-century wooden choir stalls.
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The temple has been hit by two major earthquakes, in 1975 and 2006. The 1975 earthquake left the temple with heavy damage. The top finial of the sikhara, the main Buddha statue on the 3rd floor, and the corner stupas were all damaged. Vertical cracks measuring up to in width appeared on the exterior walls of the third floor.Myo Nyunt Aung 2017: 33 The damages were repaired by 1979, and the structure was further strengthened in the early 1990s.
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In the apex of the front gable is a round-arched window with a Star of David. This is complemented by a similar metal finial atop the roof of the single-story front vestibule, added later on a concrete base scored to look like the stone on the main building. It is above the front entrance, a broken-parapeted roofline supported by four piers. Double wooden doors open into the vestibule, which gives onto the sanctuary.
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On the main > facade, monumental steps lead to three arched door openings, the center one > decorated with carved stonework and a triangular pediment. Large rose window > above is flanked by an arched window, each contained in a division separated > by brick pilasters which rise above the parapet and terminate with a finial. > The tower was originally almost twice as tall as it is now and overpowered > the composition. Its upper part was removed between 1925 and 1956.
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A decorative finial end is commonly attached or integrated into the ends of the bar or attached to the outside of the brackets to give a more decorative and less industrial look. Materials used in stair rods can be steel, iron, wood, aluminum, or brass. Today brass and brass-plated stair rods are generally considered to strike a perfect balance between strength, appearance, and value. It is sometimes used as a metaphor for heavy rain, e.g.
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It was restored in 1853, and again by Elizabeth Mirehouse in 1862, and rededicated in 1929. Originally a receiving place, or charnel-house, for the corpses of drowned sailors, it became a chapel of rest in the 20th century.The Benefice, Rev. Jones, accessed 30 August 2008 Constructed of coarse masonry under a modern tiled roof with a Celtic cross finial, the chapel has Victorian stained glass windows, one of which depicts the miracle of Christ walking upon the sea.
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The memorial is surrounded by concrete paths with garden borders which lead from the north and east entrances. Two mature pencil pines border the east entrance with one at the north. A metal flagpole and two small pencil pines are situated on the west side and the perimeter has a low metal framed wire mesh fence. The octagonal timber bandstand sits on timber stumps and has a corrugated iron pitched roof with a central metal finial.
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An octagonal bedroom, wide, projects from the northeast corner. It has a segmental low-pitched sheet metal roof with central finial. Within each face is a large window with four-paned upper, and two-paned lower sash, and a smaller twin-paned window above. Open verandahs with consistent cast iron balustrade follow the southeast facing corners of the house, and remain in place along the tree-screened north, between an enclosed bathroom section and the octagon.
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A golden eagle was often used on the banner of the Achaemenid Empire of Persia. Eagle (or the related royal bird vareghna) symbolized khvarenah (the God-given glory), and the Achaemenid family was associated with eagle (according to legend, Achaemenes was raised by an eagle). The local rulers of Persis in the Seleucid and Parthian eras (3rd-2nd centuries BC) sometimes used an eagle as the finial of their banner. Parthians and Armenians used eagle banners, too.
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J. L. Hemphill House, also known as the Lowe House or Woodie House, is a historic home located at Wilkesboro, Wilkes County, North Carolina. It was built in 1899, and is a two-story, Queen Anne style frame dwelling. It has a central hip-roofed block with slightly projecting gabled "wings" on all four sides. It features a 2 1/2-story polygonal corner tower with bell-cast roof and finial and one-story wraparound porch with sawnwork decoration.
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With the erection of a wing to the west in 1899, the building was completed according to the original plan. In 1911 an annex was added to the rear of the entrance pavilion. Further additions and renovations were made to the north elevation in 1936. Its most distinctive features is the central entrance tower with a front portico and topped by a parapet wall and capped by a classically inspired wooden cupola, crowned by a finial.
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In May 2016 it was returned to its traditional all white with a black finial. In May 2017, by request of the mayor of Bollington, a bee symbol was painted onto the monument to express solidarity with the people of Manchester after the Manchester Arena bombing. In March 2018 the face of Mark E. Smith of post-punk band the Fall was painted on White Nancy, together with the text “This Nation’s Saving Grace”. A Facebook group claimed responsibility.
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It enshrines an image of Dainichi Nyorai with attendants. The interior walls are painted with images of the Eight Patriarchs of Shingon Buddhism. During reconstruction works in 1936, many sutra scrolls and other items were discovered in the roof's finial (sōrin). Unlike the Main Hall and the Amida Hall which are aligned in east-westerly direction, the treasure pagoda is moved a bit south into the plaza, positioning it to the south-east of the Amida Hall.
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The original bridge was capped by four decorative finial spires; these were saved and put on public display. One sits in a park in downtown Sewickley, along with the keystone-shaped builder's plaque from the original bridge. Another is near the old Sewickley train station between Route 65 and the river, near the north end of the current bridge; the third spire is at Station Square in Pittsburgh. The fourth is on display across the river in Coraopolis.
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The wall on the southeast (Datchet Road) side of the station forms a long curve, parallel with the platform, containing a series of arches with depressed heads. This wall links the station proper with the former Royal Waiting Room built for Queen Victoria. This is a small building of main room and ante rooms crowned by a turret with spirelet, and has Tudor arched windows. The interior of the main room has a ribbed ceiling with a pendant finial.
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Across the base of the attic storey is a row of quatrefoil braces, with a four-pane window in the centre. At the sides and above the window is more timber framing with panels similar to those on the third storey. At the top of the gable is an elaborately carved bargeboard and, at its summit, a finial. Internally in the undercroft at street level, some 13th century sandstone fabric is still present in the east party wall.
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The Merryall Chapel stands in a rural setting about north of the center of New Milford, on the west side of Chapel Hill Road. It is a single- story wood frame structure, with a steeply pitched gabled roof and clapboarded exterior. A square tower projects from the center of the street-facing front facade, rising to a pyramidal roof and fleur-du-lis finial. The entrance is in the base of the tower, topped by a lancet-arched panel.
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The north wall of the north aisle contains two two-light windows and buttresses, and in its west wall is a lancet window. The north wall of the clerestory also contains two windows. Its parapet is battlemented, it is decorated with carved shields, there are two gargoyles, and the bases of pinnacles which are no longer present. The east wall of the nave is also battlemented and has a cross finial at the apex of its gable.
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In the 1086 Domesday Survey Epperstone was recorded as having had a church and a priest. Evidence has been found of a church even in the Anglo-Saxon period. The only relics left of any date earlier than that of the existing church are pieces of the font, a finial in the churchyard, and the lower part of the wall of the nave. The common was enclosed in 1768, when were allotted in lieu of tithes.
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The Goddess is served by traditional Brahmin priests. The temple is considered to be one of the 51 Shakti Peethas; legend says that the little finger of the left leg of Sati fell here. Here, Shakti is worshipped as Tripurasundarī and the accompanying Bhairava is Tripuresh. The main shrine, a cubical edifice with a three-tier roof with a finial, erected by Maharaja of Tripura Dhanya Manikya in 1501 AD, is constructed in the Bengali Ek-ratna style.
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All featured a small hole or finial, sometimes in ivory and always part of the design, into which the lighted match could be placed, rather like a miniature candle. The idea was that, rather than risk taking a lighted candle near to the voluminous fabric of a four poster bed, the lighted match on the mantelpiece would burn for some 30 seconds — just long enough for the person to snuff out the candle and get into bed.
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The T. B. Downing House is a historic house located at 706 Cowper St. in Palo Alto, California. The Queen Anne style house was built in 1894 for T. B. Downing, who served on Palo Alto's first city council. A conical tower tops the house's northern corner; the tower features a finial, a dentillated and bracketed cornice, and decorative shinglework. The porch features a decorated gable and gingerbread-style ornamentation along the roof, columns, and balustrade.
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The lancet windows at each location are positioned under an equilateral pointed stone arch, with simple hood mould complete with a cube form label stop.Heritas Architecture CMP 2014, pp.14-16 The parapeted gable roof, covered in compressed fibrous cement shingles, has small gabled roof vents - one for each bay - near the ridge line. The eastern parapet is topped with a cross finial, and the skew stones of the parapet are detailed with a trefoil carving.
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Shiloh House is a two-and-a-half story Queen Anne building constructed of cement blocks. It is composed of a main section in the front and two equally sized sections to the rear, connected to the main section with covered archways. It has a hip roof, round turrets, and a center porch able topped with a dome and finial. Balconies on the second and third floor have curved archways between the columns and decorative wooden railings.
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It was restored in 1853, again by Elizabeth Mirehouse in 1862, and rededicated in 1929. Originally a receiving place, or charnel-house, for the corpses of drowned sailors, it became a chapel of rest in the 20th century. Constructed of coarse masonry under a modern tiled roof with a Celtic cross finial, the chapel has Victorian stained glass windows, one of which depicts the miracle of Christ walking upon the sea. There is a stone altar.
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Shenandoah County Courthouse is a historic courthouse building located at Woodstock, Shenandoah County, Virginia. It was built about 1790, as a single pile, two-story, seven bay, structure with a facade of rough-hewn coursed limestone ashlar. A projecting tetrastyle Tuscan portico was added in 1929 to the central three bays. Atop the gable roof is a handsome hexagonal cupola with ogee-shaped roof above the belfry and surmounted by a short spire topped by a ball finial.
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Bethel A.M.E. Church, now known as the Central Pennsylvania African American Museum, is a historic African Methodist Episcopal church at 119 North 10th Street in Reading, Berks County, Pennsylvania. It was originally built in 1837, and is a 2 1/2-story brick and stucco building with a gable roof. It was rebuilt about 1867-1869, and remodeled in 1889. It features a three-story, brick tower with a pyramidal roof and topped by a finial.
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The National Color is never dipped in salute, but remains vertical at all times, while the organizational colors and any guidons are dipped as necessary. When the National Color is not cased, all persons salute the Colors. The finial is a nickel or chrome-plated spearhead, though the Navy uses different finials on occasion. Each service attaches campaign/battle streamers, sometimes known as battle honors, for actions in which the service as a whole has taken part.
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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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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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It contains "panels of elaborate pierced flamboyant tracery". Also in the church are two pairs of oak stalls which were moved here from the parish church of Blackburn, which was demolished in 1820. One pair has a stall with a good poppyhead finial, and the other has two misericords, one of which has foliated carving, and the other depicts a mermaid with a mirror and has fish supporters. Some of the panelling in the church is in linenfold style with a vine-trail.
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The main building is an outstanding example of a first class station building. The single storey rendered brick building is Victorian Tudor in style with two gabled wings projecting forward towards the forecourt with stuccoed quoins and a facetted bay window. The gabled bays feature curvilinear shaped parapets with the 1876 construction date prominently displayed on each of the gables, on top of which is a finial. The roof is clad in slate with gablet vents and octagonal coupled chimneys.
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The spire, which was originally topped by an ornate finial, rises to above the ground. The portion between the columns and below the arches is of sandstone ashlar, and this is where the plaques are located. Three lions heads above ornate basins, all of white Sicilian marble are located between the base of the piers on three sides of the fountain. The water supply through the heads was regulated by a system easily accessible by the removal of a single stone.
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There are two structures in the churchyard that are listed Grade II. One is a red sandstone sundial dating from the 18th century consisting of a square base, a square shaft, and a cubic block containing a wrought iron gnomon and a globe finial. (The sundial was taken as part of a theft at the church a number of years ago and has never been recovered.) The other is a mounting block dating from 1774 consisting of four sandstone steps.
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The blue and silver-white of the guidon represent the Air Force's colors---blue for the sky and silver-white for clouds and striking power in the medium of the air. The eagle represents the American eagle while the words "USAF Honor Guard" are self-explanatory. The emblem of the Colors element, created in 2000, incorporates the spade-shaped finial (commonly called the warhead) as well as other symbols associated with the Colors element. Their motto is "Leading the Charge".
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The flag is fixed to one lower end of the cord, and is then raised by pulling on the other end. The cord is then tightened and tied to the pole at the bottom. The pole is usually topped by a flat plate or ball called a "truck" (originally meant to keep a wooden pole from splitting) or a finial in a more complex shape. Very high flagpoles may require more complex support structures than a simple pole, such as a guyed mast.
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Above each window is a keystone, and between the windows are triangular pilasters which act as buttresses. St Mary's windows on the North facing wall The apse has a similar window on each side, leaving the east end blank. Running down the east end is a rain drain pipe, its head being decorated with the arms of Banastre of Bank, and the date 1719. On the top of each corner and on the east gable end is a flaming-urn finial.
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The Old Beacon In 1809, with the construction of other nearby lighthouses, it was decided that the North Ronaldsay light was no longer required, and it was extinguished. The round stone tower was retained as a sea-mark, however, and the original beacon chamber at the top replaced by a vaulted roof, capped by a remarkable ball finial. The stone spiral staircase which once led to the beacon was demolished. The original keepers' houses, roofless but largely complete, survive below the tower.
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The Flying Services Memorial is adjacent to the Arras Memorial. It is an obelisk with a globe which forms a finial on the top. The four sides of the obelisk are inscribed with the names of 990 airmen who were killed on the Western Front and have no known grave. Renowned Scottish sculptor Sir William Reid Dick (1879–1961) sculpted the globe with stars on top of the Arras Flying Services Memorial, as well as the badges on the monument.
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In Guhyeshwari Temple, the Shakti is Mahashira and the Bhairava is Kapali. The goddess is worshiped at the centre of the temple in a kalasha (water jar) that is covered with a layer of silver and gold. The kalasha rests on a stone base which covers an underground natural water spring, from which water oozes out from the edges of the base. The temple stands at the centre of a courtyard and is topped with four gilded snakes that support the finial roof.
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Above it is a mansard roof with gabled dormer windows shingled in fish-scale polychrome slate, pierced by two brick chimneys on the eastern side. The tower has a similarly treated pyramidal roof whose flat top is crowned with a finial. The south (front) facade has a small wooden hood on its centrally located main entrance, reached via a small set of stone steps. Ivy climbs up the southeast corner almost to the roofline and on the west side of the main entrance.
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It is single storey, high-set on timber stumps, and has wide verandahs with dowel balusters on the southern, eastern and western sides of the building, and a service wing to the north. The verandah to the west has been semi-enclosed with fixed vertical timber shutters. Some of the external walls are painted, horizontal pine chamferboards, whilst others are single- skin with exposed bracing and studs. The building has a multi-gabled, hipped roof, three brick chimneys and a decorative finial.
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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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The elevated timber signal cabin and adjacent turntable are situated close together to the east of the bridge across the Bremer River and are faced on three sides by the exterior walls of a large shopping centre. The elevated signal cabin is a rectangular timber structure three storeys high. It has a gabled roof clad in corrugated iron sheeting with a timber finial at each end. The cabin houses a 55-lever T-bar interlocking machine by MacKenzie and Holland.
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Starting in the 1980s three separate owners have worked to return the house to its original floor plan. with The Cedar Rapids, Iowa architectural firm of Dieman and Fiske designed the Hughes' house, and it was constructed by local builder Will Long. The -story frame structure is a free classic Queen Anne house built on a limestone foundation. It features a wraparound porch, a hipped roof with a front dormer and cross gables, and a corner tower with a finial.
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Eaves are unlined and eaves gutters are quad-profile. Wide entry doors consisting of two pairs of hinged ledged doors with strap hinges open out from the main volume to the street which is accessed via a wide driveway. The front opening is sheltered by a timber-framed footpath awning which is supported on timber posts and clad in corrugated metal sheeting. Decorative elements in the main elevation include a circular vent and a simple finial on the gable end.
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At the center of the roof an octagonal cupola with louvered sides rises to a bellcast pyramidal roof and finial. Set behind this original building, at a lower elevation due to the sloping lot, is a modern addition, joined to this building's basement by a narrow hyphen. The basic form of the original building is echoed in the addition. Library services in Calais began with a private subscription service in the 1830s, whose collection was significantly damaged by a fire in 1870.
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The rounded turret-like roof end is crowned by a finial, with a band of sash windows below. The interior retains many original features, include oak bookcases, furnitures, flooring, and trim. The library was built in 1895 to a design by Charles F. Wilcox of Providence, Rhode Island, and is a prominent local example of Queen Anne Victorian architecture. It was funded in part by a bequest of David Aldrich, a local mill owner, and his business partner, Edwin Milner.
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Most commonly seen are teapots, often with a miniature-teapot shape as a finial. Earliest known production was in 1870 by William Mason of Church Gresley (later Mason Cash); this list refers to pieces as Motto Ware, later also Barge Ware due to canal associations. Measham Ware was popular with canal people. On passing through Measham on the Ashby Canal, they would place their order for a personalised teapot as they passed through and collect it on their next visit.
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The infant's room also being by , and a sewing room . The library and principal porch of the school are grouped, being a small semi-octagonal wing forming a pleasing feature on the Nelson Road frontage. Minister and choir vestries, with separate external entrances are provided, and appurtances throughout for the complete carrying out of all functions of a public and social nature. The roofs externally are covered with slates except the turret, which is one of Muntz metal, finished with a finial.
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The Tower, over the carriage porch, has a square form up to the gallery at the top of the first level which is at a height of 68 feet (20.7 m) from the ground. The form changes from a square to an octagon and the height from this gallery to the top of the tower is 118 feet (36 m) and the third stage to the top of the finial is 94 feet (28.7 m), thus making a total height of .
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The minaret was added later by the Mamluk amir Yalbugha al-Salimi as part of his restorations in 1393 or 1397. Only the lower part of al-Salimi's minaret survives, which is built of brick covered in stucco, topped with stone muqarnas, convex molding below, and a band of carved arabesques interrupted by openwork bosses in the middle. The upper part of the minaret by al-Salimi fell in 1412 and was replaced by a cylindrical finial most likely during the Ottoman period.
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Alton's Second Free Baptist Church is located in the center of its main village, on the west side of Main Street just south of Church Street. It is a wood frame structure, with a gabled roof, flushboarded front facade, and clapboarded sides and rear. A square tower projects slightly at the center of the front facade, rising to a square pyramidal spire with a finial at the top. It has the main entrance at its base, set under a peaked and bracketed cornice.
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Two passages delimit the central cube, with the four sides of the cube; each face is decorated with a massive image of the Buddha. The four entrances are provided with teak wood carved doors in the interior and these entrances form a perfect cross or cruciform. A stupa finial crowns each entrance. Jataka scenes (life story of the Buddha – said to be sourced from Mon texts) are embossed over 554 terra cotta tiles that decorate the base, sides and terraces.
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A brick patio surrounds the building. With the exception of some changes to the chimney structure and missing roof crests and finial, the depot's exterior looks exactly like it did when constructed. The station was built in 1880, when the railroad decided to establish passenger service in Chelsea. The railroad commissioned Detroit architects Mason and Rice to design the new station, and it served as a Michigan Central Railroad passenger station until 1975, when the company went out of business.
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The structure consists of a combined clock tower, horse trough and drinking fountain that incorporates Jacobean motifs. It is built in three stages, each stage being narrower than the one below. The whole structure is in stone; the lowest stage is in grey stone with red sandstone bands, and the two upper stages are in yellow sandstone with red sandstone bands. At each corner is a buttress which includes a panel, and is surmounted by a pinnacle with a finial.
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The drawing room has a five-lighted bay window which runs up as a tower at the angle of the building. Indeed, each room has its own peculiar charm. In connection with the work of erecting the house, an interesting ceremony was performed on Saturday last by the daughter of Mrs Howarth, who placed on the turret the finial stone of the tower. When entirely completed the house will form one of the most beautiful of residences in the Lake District.
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Usually made in stone and occasionally metal or wood, hōkyōintō started to be made in their present form during the Kamakura period. Like a gorintō, they are divided in five main sections called (from the bottom up) , or "inverted flower seat", , or base, , or body, , or umbrella, and , or pagoda finial. The tōshin is the most important part of the hōkyōintō and is carved with a Sanskrit letter. The 'sōrin has the same shape as the tip of a five-storied pagoda.
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On the ground floor enclosed verandahs flank the main entrance. Double-hung sash windows shaded by timber awnings punctuate the side elevations. The ground floor elevation is asymmetrical with an off- centre main entrance sheltered by a projecting gable roof crowned at the apex by a metal scroll finial. A set of low tiled concrete stairs rises to the timber floored entrance porch which is framed by oversized decorative brackets matching the pattern of the brackets to first floor verandah posts.
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Facing the entrance at the first landing are three original curved stained glass windows with heraldic monograms (the initial N). The two fireplaces, which face one another, are high, wide, and deep. The construction is wood, marbleized to match the color of the walls. The two marbleized staircases curve slightly and extend from the lobby to the first floor. Each is headed by a finial in the form of an obelisk tall, containing six marble steps, and six unusually shaped balusters.
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The apex of the steeply pitched corrugated iron roof is decorated with a timber finial and a single dormer style window projects from the roof towards the street. A skylight has been fitted to the rear slope of the main roof. Half-round guttering, fixed by metal brackets, has been used for the main roof. The external walls of the original house are sheathed in twelve inch chamferboards and most of the original four-paned sash windows remain substantially intact.
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Other elements were either revealed or rediscovered by the removal of introduced cladding, including original timber ceiling roses and stairs of brick rendered in stucco, left in situ under the extended front verandah. The ornate fretwork under the gable was restored as well as the gable finial and painted property sign. A new verandah balustrade was installed and the curved brick wall at the front of the property was reconstructed. In 1996 The Rocks was reopened as up-market Bed & Breakfast accommodation.
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The Hill Center Church is located in central Hill, a rural community north of Concord, New Hampshire, on the north side of Murray Hill Road between Currier and Dearborn Roads. It is a 1-1/2 story wood frame structure, with a gabled roof and clapboarded exterior. Its main facade is three bays wide, with a pair of sash windows on either side of the main entrance. The entrance is flanked by pilasters, which rise to blocks topped by finial-like moulding.
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Japan's oldest three-storeyed pagoda at 160 pxThe stupa was originally a simple mound containing the Buddha's ashes which in time became more elaborate, while its finial grew proportionally larger.Jaanus, Tou After reaching China, the stupa met the Chinese watchtower and evolved into the pagoda, a tower with an odd number of storeys.Odd numbers are strongly favoured by Chinese numerology and Buddhism. They are supposed to represent yang, that is, the male and positive principle, and are therefore considered lucky.
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From the structural point of view, old pagodas had a over which stood the . Around it would be erected the first storey's supporting pillars, then the beams supporting the eaves and so on. The other stories would be built over the completed one, and on top of the main pillar would at last be inserted the finial. In later eras, all of the supporting structures would be erected at once, and later to them were fixed parts of more cosmetic function.
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The tower has buttresses on the north and south sides only which are in line with the east and west faces, and there are similar buttresses at the east end of the church. The clock face is on the east wall of the tower and on the other sides of the tower are three-light louvred bell openings. The top of the tower is crenellated with a pinnacle surmounted by a crocketted finial at each corner. The windows have Perpendicular tracery.
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Illustration of main shrine architecture The honden is built in the Sumiyoshi-zukuri style and has been designated a national treasure on the grounds that it is the oldest example of this style of architecture. There is an a forked finial, on the roof of the main shrine, as well as 5 square , billets placed horizontally along the length of the roof. There are no corridors around the sanctuary. It is surrounded by a plank , which is further surrounded by an .
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The central chamber contains the cenotaph which houses the graves of Nawab Shuja- ud-daula and his mother. The tomb proper stands in the centre of a Charbagh Garden accompanied by fountains and shallow water channels. The square double- storeyed structure of the mausoleum has an arched verandah on each side, while its upper storey has a three arched façade adorned by minarets on the corners. The dome of the central chamber is crowned by inverted lotus and metal finial.
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It is also called the Rakabwala Gumbad because dacoits had stolen the finial on the roof of the tomb by climbing up over the iron rungs (called 'Rakab') on its western wall. Apart from these structures, the four walls of a mosque also are within the compound wall of the tomb. The Sadhana Enclave are features Baradari an arched hall. Thought to have been built in the 14th century or 15th century, it is in a fairly well-preserved condition.
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The northeast and southwest verandahs have been enclosed with multi-paned windows and hardboard panelling. Hatherton is frontally symmetrical, with a slightly projecting gabled porch accessed by a short flight of steps with an arched valance above. The gable has a fretwork panel, decorative bargeboard and finial, and the main entry consists of an arched fanlight and sidelight assembly of etched glass with carved timber mouldings and panelled timber door. Step out sashes, with incised architraves, open to the verandahs on both levels.
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William Tinley's early English Gothic-style design for Christ Church included a modified cruciform plan with the sanctuary in the east end and a main facade facing west. Its original red brick face was replaced with limestone. An octagonal spire capping the single tower on the southwest corner was added in 1869, ten years after the building's construction. The spire is crowned with a finial that included the letters Chi and Rho, the first two letters of the Greek word for Christ.
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The exterior of the hotel was punctuated with numerous Cambridge finial topped turrets, dormers, gables of varying sizes and red brick chimneys capped with classic Victorian cowls. The exterior walls were clad primarily in scalloped gingerbread wood siding with an almost castle-like brick foundation wall that stood over six feet high. Hundreds of double hung windows ensured that every room was “touched by the Sun” at some point in the day. Windows throughout the third floor level were 15-over-1 style.
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There is a dormer window in the north face of the main roof which has a projecting gabled roof supported by timber brackets and surmounted by a short finial. The gable is infilled with a decorated timber bracket. A decorated cylindrical vent survives on the western face of the main roof. Built hard up against the west verandah is a two storeyed brick building with a rectangular floor plan and hipped roof, which now serves as accommodation, bottle store and kitchen.
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The banjo style of wooden case usually features a round opening for a painted dial, a long-waisted throat, and a rectangular pendulum box with hinged door. Both the throat and door are ornamented with reverse- painted (verre églomisé) glass panels, and the case is usually flanked by curved and pierced brass frets. A finial mounted atop the case usually takes the form of a cast-brass eagle or a turned, giltwood acorn. Only 4,000 authentic Simon Willard banjo clocks were made.
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Constructed of timber posts with arched batten infilling to each facet, the structure is capped by a steeply pitched asbestos tile roof, with terracotta ridging and centre finial. The rotunda was renovated in the 1980s. The cemetery furnishes a unique record of the families who developed Nundah and surrounding districts from 1838. Included amongst the graves are those of many of the early German missionaries and their families, and that of Sir James Robert Dickson (Queensland Premier from 1898 1899).
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The appendages of the crown are placed equidistant from each other on the circular headband. These appendages look similar to fleur de lis symbol but are more often described as grass-shaped or floral-shaped. Each appendage is identical and has three sets of prongs flowing downward at a right angle and is topped with a jewel-shaped finial. These appendages resemble a crown of Baekje which also had flowing floral-like patterns instead of the stylistic crowns of Silla.
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All external original joinery is still extant, including double hung sash windows. The eastern end of the building features an attached brick toilet block with gabled roof (slightly lower than the station building), also with bargeboards and finial. The toilet block wall presents three recessed lower bays and six sets of air vents to the platform side, and is entered by an arched brick opening. ;Toilet Block A small brick toilet block exists at the eastern end of Platform 1.
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"Old Bell Regains Its Voice and a Community Resounds" The New York Times (April 11, 1997) There are annual tours of the tower, typically during Open House New York weekend in October. By 2012 the building's exterior was once again in need of restoration, deteriorated ornaments were re-sculpted from the original Ohio sandstone. The tower's railings and finial were repaired and resecured. Missing and broken slates were replaced at the slate roof and a new copper drainage system installed.
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The Union Church stands on the east side of SR 32 in the village of Round Pond, a short way south of its junction with Back Shore Road. It is a single-story wood frame structure, with a gabled roof, vertical board siding, and a granite foundation. The roof is topped by a two- stage square tower, whose upper stage houses a belfry with pointed-arch louvered openings. The tower is capped by a pyramidal roof with a finial at its peak.
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Inside, there are fourteen foot ceilings in all rooms. An elaborately carved cedar staircase, very wide and generous was created by Richard Albon of Sydney with barley sugar balusters dominates the central hall. A large stained glass window on its first landing was presented to James Dalton when he was invested as a papal knight in 1877. The stair finishes at the top with a stained glass skylight in the form of a small tower with finial on the roof.
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Archaeological research and restoration have indicated that Buddhist monuments of the Dvaravati style exhibited contemporary art of Gupta temple-architecture with many constructed with open-air structures. Chief among the architecture is the stupa style architecture. There are four major categories: #chedi with terrace in each story # stupa with a square base ::The central part of this is pointed in a finial way. #stupa with a square base and a central part ::This form is shaped in an inverted alms-bowl.
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Interior The presbytery is sectionalized by linear pear-shaped beam supports continuously merging into a baldachin vault. The entrance into the presbytery is provided with an arch of triumph, taller than the presbytery itself. The difference of heights is solved with a plane with representation of Jesus Christ as the judge at the Last Judgement. Into the sacristy and chapel lead two neo-gothic portals with linings shaped into pointed arch with crockets on the outer part and finial on the top.
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Guillaume added several details to enhance the Luciferian iconography and the theme of punishment: at the angel's feet, the dropped "forbidden fruit", an apple with bite marks, along with the broken-off tip of the sceptre, the stellar finial of which marks Lucifer as the Morning Star of classical tradition. The nails are narrow and elongated, like talons.Geuzaine and Creusen, Vers la modernité. A pair of horns may be intended to further dehumanize the figure, while introducing another note of ambiguity.
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His Russalka Memorial, dedicated to the 177 lost sailors of the Ironclad warship Rusalka, features a bronze angel on a slender column. The other work is architectural. His four allegorical bronzes for the Elisseeff department store in St. Petersburg (for architect Gavriil Baranovsky), and the French-style caryatids and finial figures for the Singer House (for architect Pavel Suzor) are major components of the "Russian Art Nouveau" visible along Nevsky Prospekt. He was named an academician of the Imperial Academy in 1907.
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Height of the tower is to curb and the mill stands to the base of the finial on the cap, which was latterly winded by a fantail carried over the rear extension which housed the hand winding apparatus. The brickwork is thick at base level and thick at curb level. The diameter wooden Brake Wheel is of clasp arm construction, converted from compass arm. It has 72 cogs and is carried on a cast iron windshaft which formerly carried four double Patent sails.
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The Charles Wells House is a historic house in Reading, Massachusetts. The two-story Queen Anne Victorian wood-frame house was built in 1894 by Charles Wells, a New Brunswick blacksmith who married a Reading woman. The house is clad in clapboards and has a gable roof, and features a turret with an ornamented copper finial and a front porch supported by turned posts, with a turned balustrade between. A small triangular dormer gives visual interest to the roof above the porch.
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Plaque The former court house, (the earliest section of what is now an extended restaurant), is a single-storeyed painted brick building. It is a compact rectangular form, low set and abutting the footpath line, where Paxton Street leads down to Moreton Bay. The hipped corrugated iron roof is bell-cast over the front and former verandah spaces along the rear and eastern side. On the western end, the hip incorporates a timber louvred ridge gable, with curved metal finial.
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One of the most historic buildings at the ground, whose pattern-book design and brick construction give it a unique distinctiveness on this site. The romantic silhouette is created by a vertically-oriented form, accompanied by modest polychrome brickwork. The floor plan is essentially a T-shape, two storeys with load bearing walls, timber joinery with sheet metal tiles simulating a Marseilles pattern. The main, south, wing is facetted as a semi- octagon, with a hipped and facetted roof, terminating with a prominent wrought iron finial.
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The portal symbolises Heaven's gate, reached by obeying the Commandments and the teachings of Jesus. The portal is surrounded by columns and crowned by a wimperg, the gable spire of which is formed as a finial. The wimperg is decorated with a relief ornament, in the centre of which is a golden monogram "VMIC" (Virgo Maria Immaculata Concepta, Latin for "Virgin Mary, conceived unblemished"). The original architectural design provided a Star of David instead of the monogram, a reference to the Jewish faith of the Virgin Mary.
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Steps lead up to a plinth bearing bronze inscription plaques fixed to the obelisk's base bearing the names of the lost. Each corner projects as a buttress, surmounted by a statue of a reclining lion, beneath a stepped base to the obelisk. The four-sided obelisk tapers slightly to a stepped top with an elaborate finial with corner ships prows and bronze supports to a verdigris copper ball. The memorial was unveiled on 15 October 1924 by Albert, Duke of York (later King George VI).
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The tomb is the central focus of the entire complex of the Taj Mahal. It is a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan (an arch-shaped doorway) topped by a large dome and finial. Like most Mughal tombs, the basic elements are Persian in origin. The base structure is a large multi-chambered cube with chamfered corners forming an unequal eight-sided structure that is approximately on each of the four long sides.
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While it appears to possess the correct structural components typical of Silla stone pagodas, the overall style of the four lion pagoda does not conform with its contemporaries from the period. There are neither roof stones nor a finial. It is also difficult to say for certain how many stories there are, and the fact that there appears to be only one is problematic. And as the pagoda is also elusively known as the "Hwaeomsa Pillar",Hwaeomsanoju (露柱華嚴寺)An et al.
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The Berry Museum is a single storey brick building in the Scottish Baronial style with a stepped gable facade. The gable parapet is capped with stone and surmounted by a spherical finial. The parapet at is supported at the corners of the building by a stone corbel and a circular louvre windows placed in the centre of the gable. The lintels over the windows and entrance are constructed in light coloured brickwork while the fanlight and upper half of the windows feature painted lattice work.
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There is a similar doorway between the first and second windows, above which is an inscribed plaque. On the north side of the church is a small window between the second and third larger windows. To the east of these is a small gabled vestry, with a pointed doorway on its west side and a three-light east window. The east window of the chancel consists of five stepped lights, above which is a round-headed window, and a ball finial on the apex of the gable.
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The present octagonal chapel was built circa 1509. The design was commonly ascribed to the architect Bramante although it is now thought to have been the work either of Antonio da Sangallo the Younger or Baldassare Peruzzi. in 1658, it was remodeled by Borromini who added the frieze and the elaborate finial (the original of which is now preserved in the portico of the church nearby). On the door is the coat of arms of the French prelate Benoît Adam, with the motto "Au plaisir de Dieu".
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The Islanders winning streak ended at ten games in a narrow 8-7 loss to Coos Bay-North Bend. Powered by the bats of third baseman Dean Joost and shortstop Jim Van Wyek, both name league all-stars, the team entered the finial week of the season on top of the division standings. With eight games left to play, Walla Walla trailed north division leading Lewiston by seven games. The Islanders dropped seven of the final eight games to finish with a record of 41-39.
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The first row of railings is provided above the cornice, in front of the portico roof, over the Pradakshina path. At the four corners of the railings small shrines called "Salas" are built. Above the sanctum, the walls rise to the terrace and are then formed into two arched domes. The arched formation of the dome terminates in to a crown where an Amalaka Sila (a circular stone disc with ridges on the rim) is topped by a Kalasa (finial) on each of the domes.
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Additionally (and this applies to both Jewish and Hermetic Kabbalah), each sefirah is seen as male in relation to the following sefirah in succession on the tree, and female in relation to the foregoing sefirah. Alternative traditions consider the grammatical genders of the words involved. Thus, Gevurah is feminine because it has an atonal finial Heh. Thus, Severity or Justice becomes a feminine attribute while Chesed (Mercy or Loving-kindness) becomes a masculine one, despite the modern Western tendency to genderize these terms in reverse manner.
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There is a tower rising over the sanctuary, above which rises the octagon-to-dome roof, exactly like that of upper Shivalaya, but without amalaka finial. The mandapa interior has a central east-west aisle, defined by raised floor strips linking the free-standing and engaged columns. Two additional columns define a small bay in front of the sanctuary doorway. Transverse beams carried on open-mouthed makara brackets carry the raised and horizontal roof slabs, with vishnu on flying Garuda carved onto the central bay.
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Its lower finial is called a hang hong, which usually takes the form of a Nāga's head turned up and facing away from the roof. The Nāga head may be styled in flame-like kranok motifs and may have multiple heads. A roof with multiple breaks or tiers has identical hang hong finials at the bottom of each section. Perched on the peak of the lamyong is the large curving ornament called a Chofah, which resembles the beak of a bird, perhaps representing Garuda.
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The Fife Lake Schoolhouse is a one-story Late Victorian balloon-frame rectangular structure with a gable roof and clapboard siding. The exterior is generally plain, but the appearance is enhanced by a distinctive triple-bay entry porch with a barrel-vault-top center, and by an open well-house-like belfry. Both the porch and the belfry have stickwork brackets, and the belfry has a gable roof and a central finial. Two entrances lead from the porch into coat rooms, which open onto the main schoolroom.
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The first stage of the towers has a slightly projecting central section, topped by a pediment, on each of its two outward faces, with a large clock in the center. Above it is a metal section with two smooth Ionic columns in the corners and a round-arched louvered vent with a keystone. Broad overhanging eaves set off the next section, the base of the cupola, with a shingled face and oculus. Above another set of eaves is a small domed top with an acorn-shaped finial.
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The clerestory is topped by an embattled parapet with a diamond frieze below which, at the south-east end, meets an octagonal turret with castelations, faceted spire and finial. This turret houses stairs from the south aisle to the roof. The east end of the nave roof rises to a gable end on which sits a gabled bell-cot, originally for a sanctus bell. South porch, with south aisle cutting through the earlier blind arch The chancel is of the 1856 rebuild and restoration.
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Chatris, the domed kiosks on pillars characteristic of Mughal roofs, were adopted from their Hindu use as cenotaphs. The fusion of Persian and Indian architecture can be seen in the dome shape of the Taj Mahal: the bulbous shape derives from Persian Timurid domes, and the finial with lotus leaf base is derived from Hindu temples. The Gol Gumbaz, or Round Dome, is one of the largest masonry domes in the world. It has an internal diameter of 41.15 meters and a height of 54.25 meters.
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The pommel and the quillons are very beautiful as each of them ends with a carved Iconic finial. The hilts are often encrusted with gemstones as in the eyes of Ruby stones and inlaid with silver or made entirely of silver or gold. The scabbards of the Kastane swords are made of wood or Rhino horn and are decorated with brass, silver and/or gold. It is a testament to the skill of the traditional craftsmen operating in Sri Lankas ancient Royal Sword Workshops.
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The Church Hall (Parish Institute) is located close to the Douglas Street frontage at the eastern end of the site. It is a substantial timber-framed building, rectangular in form, with verandahs to front and sides, resting on concrete stumps no more than high at the front, and almost at ground level at the rear. It has a high gabled roof, clad in corrugated iron, which extends in bungalow fashion over the side verandahs. The front gabled end has chamferboards and is decorated with a tall finial.
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The building has a T-shaped plan, with the court room forming the southwest wing surrounded on three sides by verandahs, and offices form the northeast wing with a verandah on the northeast side. The building has weatherboard cladding to the exposed gable ends, and single-skin exposed framing to the verandah walls. Verandahs have a timber rail balustrade, with timber posts and capitals. French doors open to northeast verandah, with the southwest wing having sash windows and a central projecting gabled entrance porch with finial.
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This forms a prominent feature of koils, Hindu temples of the Dravidian style. They are topped by the kalasam, a spherical stone finial, and function as gateways through the walls that surround the temple complex. The origins of the gopuram can be traced back to early structures of the Pallavas and by the twelfth century, under the Pandya rulers, these gateways became a dominant feature of a temple's outer appearance, eventually overshadowing the inner sanctuary which became obscured from view by the colossal size of the gopuram.
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Internal modifications reflected in the external reconstruction work can still be seen on the south facade. The reconstruction of the entrance hall on the ground floor of Volflin house terminated in the construction of a new portal in the Late Gothic style, the predominant style of urban architecture in the Czech Lands for over 100 years. The Gothic arch of the portal has archivolts rich in stone ornaments. Decorated brackets support the outer arch which is a typical late-Gothic ogee arch crowned by an imposing finial.
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The hemispherical dome is covered in hexagonal tiles and sits on a drum having six rectangular recesses containing porthole windows. The lantern is a cylinder with fourteen rectangular slits, capped with a conical finial crowned by a statue of Our Lady. The entrance is in the eastern pylon, and in the enormous rectangular recess above the doors is a relief of the resurrected Christ with the apostles. Immediately above the door is the Confession of Peter in Latin, and above the recess is a dedicatory inscription.
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Miller's Store, also known as Trent House and General Store and Trenthouse Inn and Country Store, is a historic commercial building located at Trent in Middlecreek Township, Somerset County, Pennsylvania. It was built in 1885, and expanded about 1895. It is a large, 2 1/2-story, "U"-shaped, Queen Anne style building designed to house a general store, post office, and hotel. On the corner of the front facade is a two-story, hexagonal tower with a faceted conical roof and copper finial.
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The tower was square in plan. Above the belfry window was a broken pediment, containing a small window. The tower was surmounted by a lead covered dome, decorated with cartouches. On top of the dome was a square entablature, comprising four arches with pediments, from which rose a tall spire, with a flag finial at the top, the whole structure being in total high. The interior was long and wide: “much smaller than would be expected from the external appearance”, according to George Godwin.
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A round molding can also be referred to as a torus. in architecture it refers to a round or corniced molding below the abacus in a Tuscan or Roman Doric capital; the word is a variant of boltel, which is probably the diminutive of bolt, the shaft of an arrow or javelin. A roving bowtell is one which passes up the side of a bench end and round a finial, the term roving being applied to that which follows the line of a curve.
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Sunlight House is a 14 storey steel and concrete structure, clad in Portland stone. The building is almost square in plan, with three street frontages, and a large central light-well. There is a basement swimming pool below a leadlight domed skylight at first floor in the centre of the lightwell. Each of the three street facades are seven bays, with the two street corners expressed as three sided towers, which each rise to a four level octagonal turret, topped by a domed lantern and finial.
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The heavily pierced bargeboard and tower cresting (now removed) are indicative of the architect's delicacy, as the rest of the exterior initially appeared rather plain. Other ornamental features included finial-capped bargeboards on the dormer windows and edges of rooflines. Decorative brick once lined the edges of front windows, visible in the frontispiece sketch for the house.Borgeson, 41-43 The foundation consists of Hudson bluestone, traditionally quarried in Kingston, but the remainder of the house is done in brick, overtime painted with several schemes.
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The mansard roof has a flared lower section, and is crowned by a band of wooden squares with recessed panels. Its dormers have steeply pitched gabled roofs, with elaborate Stick style decoration, and whose windows are framed by Italianate moulding. A large gabled section projects on the left side also with Stick decoration and a finial at the top of the ridge. The main facade is three bays wide, with bands of paneled woodwork below the groundfloor windows and between the first and second-floor windows.
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Finishes include plaster walls, vinyl-asbestos floor tiles and varnished wood trim throughout. A steel plate chimney rises through the roof at the southwest corner of the light. The fourth level has a lantern/watch deck and is surmounted by a conical roof with ball finial. On June 1, 2006, the light station was declared surplus, and the application for transfer under the National Historic Lighthouse Preservation Act of 2000 is complete and it has been recommended for transfer to the City of Oswego.
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The balustrading on the upper storey of the front of the building is vertical dowel elaborated by the addition of a second horizontal rail just below the top handrail with dowels finishing at either top or lower rail to create a regular pattern. The roof is of corrugated iron. The roof of the front wing is a hipped roof with a small gable introduced into the centre edge of each end and on the centre front edge. A finial projects through each of these.
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Presbyterian Church of McGraw is a historic Presbyterian church located at McGraw in Cortland County, New York. It was built in 1901 and is a one-story structure, irregular in plan and massing, built of "Canandaigua gold brick". It features a tower that is square in plan at the base, but above the roofline rises in two octagonal stages built of wood with round arched louvered belfry openings and elliptical windows. It is topped by an octagonal spire crowned by a cast metal finial.
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The outer two are identical, with flanking pilasters and entablature above, while the central one is a taller double-leaf door with a similar surround. A tower rises astride the main facade and gable, beginning with a square section housing large clock faces. Above this is an open octagonal belfry housing a Revere bell, with Doric columns supporting the next octagonal stage, which supports the cupola and finial. The lower two stages have low balustrades framing their tops, with urn-topped posts at the corners.
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Its two gables feature the same fenestration scheme used on the southern facade. Also, a bell tower-like finial projection with notched parapet cap features on this facade. Through a pointed archway, further entry can be gained to the rear of the Great Hall and the west-facing courtyard. The first storey windows on the remaining sections of this facade are square-headed, and sit at such a height in relation to the wall and steeply pitched roof that they have their own dormer roofs.
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The David Lyman II House stands in a rural setting of Middlefield, on the west side of Lyman Road just south of its junction with Connecticut Route 147. It is a 2-1/2 story wood-frame structure, with a gabled roof and clapboarded exterior. The roof is crowned by a square cupola with paired round-arch windows on each side, and a flared pyramidal roof. A gabled wall dormer rises in front of the cupola, adorned with vergeboard and crowned by a finial.
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The building is constructed of load-bearing, red face brick walls laid in a Flemish bond; and features contrasting bands and voussoirs of a lighter, cream-coloured face brick. The Dutch-gable roofs of each wing are clad in corrugated metal sheeting and have ventilated gablets. Two sets of dormer windows are located in the north-facing roof plane of the northeast wing. The central wing features a prominent roof fleche in the centre of the roof, in the form of an octagonal ogee roof supported by miniature columns and topped by a finial.
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Architect Post planned an elaborate sculpture program for the building. Initially the commission for the statue of Wisconsin on the top of the dome was promised to Helen Farnsworth Mears but when Daniel Chester French agreed to produce the finial figure, the commission was switched to him. This work, often referred to as the "Golden Lady", consists of an allegorical figure reminiscent of Athena, dressed in Greek garb, and wearing a helmet topped by a badger, the Wisconsin state totem. In the left hand it holds a globe with an eagle perched on top.
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Brick infants school building (Block L), 2016 Block L is a symmetrical, masonry structure of one storey above an undercroft level. The building is orientated east-west and faces School Road; set back behind an open playing field with perimeter trees. The building is rectangular in plan and a projecting entrance bay, flanked by twin stairs to a first-floor landing, is centred on the southern (front) elevation. A tall fleche with decorative finial prominently projects above the Dutch-gabled roof, which has been clad with modern corrugated-metal sheeting.
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The roof was decorated with fancy butt shingles and capped with a finial. A large swept dormer was placed in the southern part of the main structure above the freight section, Cast iron cresting and fancy butt shingles decorated the roof of both the main body and the transverse dormer. The freight dock, was wider originally and ran the length of the entire rear third of the station, is now a small porch in front of a single sliding freight door. The Snoqualmie Depot is listed on the National Register of Historic Places, ID #74001963.
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Curtain rod A curtain rod, curtain rail, curtain pole, or traverse rod is an device used to suspend curtains, usually above windows or along the edges of showers or bathtubs, though also wherever curtains might be used. When found in bathrooms, curtain rods tend to be telescopic and self-fixing, while curtain rods in other areas of the home are often affixed with decorative brackets or finial. Special poles can be made for bay windows or made by joining a number of straight and corner bends to fit the shape of a bay window.
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Mudford is served by the church of St Mary The Virgin, which dates back to the 12th century and is a Grade I listed building. It has a three- stage tower divided by string courses with clasping corner buttresses, a battlemented parapet with small corner and intermediate pinnacles, and corner gargoyles. There is a stair turret on the north-east corner with a weathervane finial, and a clock face on the east side. It contains five bells dated 1582, 1621, 1623, 1664 and 1666, all by the Purdue family of nearby Closworth.
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A 1912 postcard of the station Forestville station is located in the heart of Forestville village, on the west side of Central Street, between the former railroad right-of-way it served and the Pequabuck River. It is a small single-story wood frame structure, with a bracketed cornice and a hipped roof topped by a louvered cupola with finial. A platform shelter extends east from the station, supported by square posts with angle brackets. The building originally had a two-story tower, which was lost to fire in 1900.
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Aerial video of the tower The tower is high and built from red sandstone with cream Bath Stone for ornamentation and emphasis. It consists of a spiral staircase and two viewing platforms where balconies with wrought iron railings overlook the city, the higher of which is approximately above sea level. The tower is supported by diagonal buttresses and its top by flying buttresses; it is surmounted by an octagonal spirelet topped with a ball finial and a carved winged figure representing commerce. On three sides of the base of the tower are commemorative plaques.
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Identical memorials at all three sites were designed by Sir Robert Lorimer, with sculpture by Henry Poole. A separate memorial in Lowestoft commemorates the lost from the Royal Naval Patrol Service; the Fleet Air Arm is commemorated in Lee-on-the-Solent; and merchant seamen are commemorated at the Liverpool Naval Memorial and the Tower Hill Memorial in London. The Royal Naval Division War Memorial is on Horseguards Parade in London. The memorial is made of Portland stone, with a prominent central obelisk topped by a metal finial.
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It could be used as a staff to block and parry attacks, and the metal rings at the tip could be slammed into an opponent's face to momentarily blind him. At the very tip of the metal finial is a sharp point which can be used to attack weak points of the body. The bottom end of the khakkhara has a metal butt which can be used to thrust and hit an opponent. Shorinji Kempo also contains methods of self- defense using the khakkhara, but these methods are rarely practiced today.
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Over 270,000 people visit the structure annually. The Protestant Episcopal Cathedral Foundation, under the first seven Bishops of Washington, erected the cathedral under a charter passed by the United States Congress on January 6, 1893. Construction began on September 29, 1907, when the foundation stone was laid in the presence of President Theodore Roosevelt and a crowd of more than 20,000, and ended 83 years later when the "final finial" was placed in the presence of President George H. W. Bush in 1990. Decorative work, such as carvings and statuary, is ongoing .
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It is a brick structure clad in sandstone and marble stripped from the earlier tomb of Khan-i-Khanan (d. 1627). Shallow brick domes cover the perimeter chambers of the building, and the central dome is reportedly triple-shelled, with two relatively flat inner brick domes and an outer bulbous marble dome, although it may actually be that the marble and second brick domes are joined everywhere but under the lotus leaf finial at the top. The Gol Gumbaz in Bijapur, India. The tomb of Mohammed Adil Shah (d.
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A two-story ell, six bays wide, extends to the right. The tower features rich Romanesque detailing, including round-arch windows set in recesses, and is topped by a steeply pitched slate roof capped by a finial in the shape of a knife.NRHP nomination for F.W. Smith Silver Company; available by requested from the Massachusetts Historical Commission Frank W. Smith was trained as a silversmith by his uncle, William Durgin, and opened is own shop in 1886, making sterling silver flatware. His business grew rapidly, and the present factory was completed in 1892.
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The central pediment rests on an arch supported by Corinthian columns. The corners of the building thrust out and support a pediment, on top of each rests a tower crowned with an urn-shaped finial. A central tower rises from the middle of the building supporting the clock tower and dome, a statue of justice stand at the very top. On May 30, 1975, the courthouse along with the power station to the north were added to the National Register of Historic Places as the Miami County Courthouse and Power Station.
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A fleuron is a flower-shaped ornament,"Fleuron" Oxford English Dictionary Second Edition on CD-ROM (v. 4.0) © Oxford University Press 2009 and in architecture may have a number of meanings: # It is a collective noun for the ornamental termination at the ridge of a roof, such as a crop, finial or épi. # It is also a form of stylised Late Gothic decoration in the form of a four- leafed square, often seen on crockets and cavetto mouldings. # It can be the ornament in the middle of each concave face of a Corinthian abacus.
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The school consists of one storey and is constructed in the Gothic Revival style from coursed squared stone with ashlars dressings and a slate roof, with diagonal nogging over the windows. The three symmetrical blocks which front onto Parkside Road are linked by corridors constructed in the mid 1900s. The closest of these blocks to the junction with Middlewood Road has on its roof a square wooden bell turret with swept pyramidal spire and finial. The stone boundary wall which runs round the perimeter of the school is also a listed structure.
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On a red ground of the shield, on green grass soil, there stand two silver towers built from cut foursquare stones with a box window and cross frame inside. They have four block merlons and a blue pyramid roof with a gold finial. Between both towers, there is a church with a small tower, depicted abeam to the right side of the shield. It is built of cut silver foursquare stones, blue roof and two simple golden crosses erected on both ends of the roof on golden finials.
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The barrel vaulted main hall rose to a height of 8.80 meters. The wooden, barrel vaulted ceiling was paneled in wood in an intricate lunette and star motif that gave something of the impression of an intricate, curved lattice work. An elaborate, octagonal, Baroque Bimah rose in three tiers almost to the ceiling, but ended in a decorative finial topped by an eagle with wings outspread, and did not touch or support the roof. The Baroque Torah Ark was elaborately carved with lions rampant, floral decorations, and animals.
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The church is constructed in sandstone rubble, and it has a roof of red tiles. Its plan consists of a nave with a clerestory on the north side only, a north aisle, a south porch, a tower at the crossing with a north transept and vestry, and a chancel. In the south wall of the nave are three windows of three and two lights under segmental heads containing Perpendicular tracery. To the west of the windows is a porch with a doorway under a pointed arch, and a gable surmounted by a cross finial.
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The top stage contains two-light bell openings on each side, with an inserted clock on the south side. The spire is octagonal, contains three tiers of gabled lucarnes, and is surmounted by a finial and a cross. At the east end of the church is a three-light window containing tracery, and each bay of the nave contains a double lancet window. The transepts have two-light windows on their east and west sides and, in the gables, a three-light window with a trefoil window above.
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St. George Academy is a historic school building located in St. George, Tucker County, West Virginia. Construction started in 1885 and finished in 1886, and is a two-story clapboard building with a projecting bay. It features a square tower with a peaked vent on each side and topped by a pyramidal roof with a spiked finial. In 1975–76, a new school was erected behind the old academy structure, and in 1982, the old school building was condemned by the state fire marshal and ordered to be razed or removed.
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The rectangular church comprises a nave and presbytery flanked by lateral corridors, with a sacristy to the left of the altar. The main facade faces west, defined by Tuscan pilasters crowned with pyramidal pinnacles over parallel-elliptical plinths. The central wall along the nave is decorated in blue and white azulejo tiles. This two-storey high facade and azulejo wall are broken by a frieze and cornices over finial cut-breaks, forming lateral volutes, which are topped by a vegetal-shaped frontispiece crowned by a rectangular Latin cross.
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Like most Moroccan minarets, it has a square shaft and is topped by a small secondary tower topped with a cupola and a metal finial with spheres. The four facades of the minaret are covered by slightly different variations of the darj wa ktaf motif (vaguely similar to a fleur-de-lys or palmette shape) common to Moroccan architecture. The empty spaces inside the motif are filled with zellij mosaic tiles. Above these motifs is a more extensive band of zellij running around the top of the minaret.
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The Emperor was pleased with Tulsidas and presented the Hanuman temple with an Islamic crescent Moon finial which adorns the temple spire. It is also claimed that because of the crescent moon symbol on the spire, the temple was not destroyed by the Muslim rulers who invaded India at various times. Reportedly, it was built originally by Maharaja Man Singh I of Amber (1540–1614) during Emperor Akbar’s (1542-1605) reign. It was reconstructed by Maharaja Jai Singh (1688-1743) in 1724, around the same time as the Jantar Mantar.
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At the square's center is the Fontaine du Palmier, designed in 1806 by architect and engineer François-Jean Bralle (1750-1832) to celebrate French victories in battle. It has a circular basin, in diameter, from which a column rises in the form of a palm tree's trunk tall. The palm trunk is surmounted by a gilded figure of the goddess, Victory, holding a laurel wreath in each upraised hand; the goddess figure stands on a base ornamented with bas-relief eagles. The gilded finial is by sculptor Louis-Simon Boizot.
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The façade is topped with an asymmetrically placed, three-story campanile enclosed by a copper dome and a finial cross. Inside this campanile, a new carillon was installed in 1988. It was Del Gaudio's intention to draw from the Romanesque style common to parishioners' homes and churches in Italy. For this reason he included shallow front steps, a flat façade that was close to the street, the domed sanctuary, and a campanile on the church, modeled after that of the Shrine of Our Lady of the Rosary of Pompei.
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Pine cone finial from the pillar grave monument, Vicus Wareswald, Saarland In the course of constructing a parking lot adjacent to the settlement area, hewn sandstone blocks were discovered. The excavation of the relief fragments, and especially of a pine cone, revealed them to be parts of a grave monument, called a pillar monument. Numerous fragments of the relief decoration showed nude figures from mythology, clothed figures – probably depictions of the family that erected the monument – and ocean and vinyard scenes. The inscription survives only as two large letters.
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When the Shelburne Museum relocated the Schoolhouse to its present site in 1947, the structure had been in disuse for many years. In preparation for the building’s restoration, the Museum created architectural drawings of the building’s exterior before removing the belfry and dismantling the brickwork piece-by- piece. The Museum replaced the original tinwork of the belfry’s dome with stronger copper, repaired its acorn finial, replaced missing windows, resurfaced the plastered interior walls, and re-hung the bell. The inclusion of desks, benches, and maps reflect the modest furnishings of a 19th-century rural school.
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Sharon Lutheran Church and Cemetery is a historic Lutheran church and cemetery located near Ceres, Bland County, Virginia. The church was built in 1883, and is a one-story, frame church, four bays long, with round-arched, stained-glass windows and a gable roof. It features a projecting square tower with a bell- cast pyramidal roof and cross finial on the entrance facade. The adjacent cemetery was established in 1817, and includes a collection of rare Germanic gravestones which are stylistically related to those found in the outlying churches of the Wythe County German settlements.
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The house's southern corners feature round turrets, each with a conical roof and a finial. While the turrets were originally a story taller than the house to provide views of the surrounding area, Larson later had them lowered for aesthetic reasons. The main entrance to the house, located between the turrets, features a portico with Doric columns and a balustrade along the second-story porch roof. The second story of the house is sided with scalloped wooden shingles, a Queen Anne-inspired element which contrasts with the roof shingles.
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The Desha County Courthouse, on Robert S. Moore Avenue in Arkansas City, Arkansas, is the county seat of Desha County. The -story Romanesque Revival brick building was built in 1900 to a design by Little Rock architect Rome Harding. Its most distinctive feature is its four-story square tower, which features doubled rectangular windows on the first level, a round-arch window on the second, an open round arch on the third, and clock faces on the fourth level. The tower is topped by a pyramidal roof with finial.
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The left−hand or western addition to the south−facing main block, with the ball finial on the parapet (see image), is 18th-century or earlier and possibly a former barn. The set of early-19th- century outbuildings to the north of the Hall was once a house with stabling and is now a garage and storage building. It has pantiled roofs with stone−flagged eaves, squared limestone walls and brickwork chimneys, and it is listed. The early-19th-century garden walls to the left or west of the Hall are also listed.
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The building consists of six joined houses, each of which is different, with a turret at each end; the left turret is surmounted by a ball finial and that on the right has a weathervane. The terrace is built in Ruabon red brick with terracotta dressings, and plaster panels on the top floor. Each house has three storeys, the top storey of which consists either of a gabled projection from the roof, or in the case of the right hand house, a dormer. The roofs are steeply sloping and made of red-brown clay tiles.
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The roof was converted to a transverse gable form with the breakfront across it, balanced asymmetrically by a gabled dormer vent. The largest roof feature, though, was the new lantern, an octagonal, heavily layered design with an ogival metal-clad roof and weather-vane finial. A gabled parapet terminated the roof at the west end, and below that was a bay repeating the central bays on the breakfront and counterbalancing the mass concentrated at the other end of the elevation. The early chimneys appear to have been removed.
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Buderim House, located on a northern slope of Buderim Mountain, sits amongst established gardens which include a section of the original scrub, to the west of the building, which covered the mountain. The building is a high set timber residence with corrugated iron roof and verandahs to three sides. The corrugated iron roof has a central square belvedere and projecting gables with timber batten panels. The verandah roofs are at a lesser pitch and the belvedere has a ribbed metal, hipped concave roof with finial, curved timber eave brackets and casement windows.
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The panel on the front contains the bust of a man, and in the panel on the rear is an inscription commemorating Joseph Peers. On the east and west sides of this stage are buttresses supporting statues. The top stage has clock faces under shaped gables at the front and the rear, while on the other sides there are lancet windows, also under gables. There are ball finials at each corner at the top of the memorial, and on the apex is another ball finial surmounted by a weather vane.
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The main entrance is in the base of the projecting steeple, in the form of a Gothic arch with a stained-glass transom window above paneled wood double doors. The second level of the tower features a stained-glass lancet window and is topped by a cornice. Above the cornice, a hipped roof narrows the tower to an octagonal Carpenter Gothic cupola and belfry, topped by a conical roof terminating in a cross-shaped finial. The north and south faces of the building each display five parallel stained-glass lancet windows separated by brick buttresses.
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One building still in good condition is the Tig House, a small square pavilion overlooking the river, an early example of a building in the Chinoiserie style. It is constructed in red brick and partly clad in black and white timber framing. It has a stone-slate pyramidal roof with a wooden finial, and is listed Grade II. Near to this is a bridge known as the Chinese Bridge crossing the river, but the summerhouse which once stood on the bridge is no longer present. Another structure in the Wilderness is the Temple of Diana.
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The structure is very simple but the brackets, plinth base and finial of the dome are elaborately carved with floral and geometrical patterns. The shrine of Khon pir, a saint, a colourful tomb, was a place of worship of the weaver community (Muslims known as Tais) of Champaner. The tomb near Panch Mahuda-Ki Masjid has a rectangular layout. There are four arched entrances with two small ones on the flanks built facing in the cardinal directions and the tomb has two corner minarets built over a high plinth.
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The synthesis of styles created by this introduction of new forms to the Hindu tradition of trabeate construction created a distinctive architecture. Domes in pre-Mughal India have a standard squat circular shape with a lotus design and bulbous finial at the top, derived from Hindu architecture. Because the Hindu architectural tradition did not include arches, flat corbels were used to transition from the corners of the room to the dome, rather than squinches. In contrast to Persian and Ottoman domes, the domes of Indian tombs tend to be more bulbous.
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In the beliefs and rites of the nomads, first, the horse itself, second, its separate parts — the skull, cervical vertebrae, skin, hair, and third, objects associated with it — bridle, clamp, sweat, reins, whip, fallen horseshoe, image, etc., act as the patroness and protector of people. The horse is seen to have the ability to drive out evil forces from the human body. Heavenly horse 天马. A Chinese ancient ceremonial bronze finial with a standing horse, 4th-1st century BC, which was used in rituals dedicated to the cult of Heavenly Horses.
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In the centre is a chamfered doorway with a moulded arched head and carved spandrels above which is a canted oriel window with a steep roof against a gable with pinnacles and a finial at the top. The building is Grade II listed. The 1897 extension designed by Joseph Gibbon Sankey, at the rear of the building, was built in red brick and terracotta with Art Nouveau decoration. In 2014 the 1960s Chatham Tower was refurbished and the Benzie Building was built, to provide additional studio and exhibition space for the art school.
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The painting was executed in organic pigments on walls when the plaster was still wet – in soft subdued colours, making them into a class designated as Kerala murals. The theme of these paintings is invariably mythological and the epic stories unfold as one circumambulates around the temple. The moulding, sculpture and painting are also taken in vertical compositions to emphasise the different storey heights, projecting dormer windows which break the sloping roof and the crowning finial. But in all cases the decoration is secondary to the structural form.
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Mayhurst is a frame two-story structure set on an exposed brick basement with an attic level lighted by small windows in the eaves and circular windows placed in each of the four cross-gables of the hipped roof. The roof is surmounted by two large chimneys and a central belvedere. This belvedere reflects the roof shape which surrounds it and completes the total pyramidal massing with an elaborate finial. The entire exterior wall surface above the brick basement is covered by wooden drop siding cut to resemble ashlar stonework.
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The Samuel Gompers House is one of a series of row houses on the west side of 1st Street NW between V and W Streets in the Bloomingdale neighborhood in Northwest Washington. It is a narrow brick building, three stories in height and two bays wide. The left bay has a projecting hexagonal bay, which rises the full height to a polygonal roof capped by a finial. The entrance, in the right bay, is approached by stone steps with a low stone railing, and is topped by a carved stone lintel.
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The towers are composed of two complementary elements, a central cylinder rising through the tiers in a series of stacked drums, and paired Corinthian columns at the corners, with buttresses above them, which serve to unify the drum shape with the square plinth on which it stands. The entablature above the columns breaks forward over them to express both elements, tying them together in a single horizontal band. The cap, an ogee- shaped dome, supports a gilded pine cone-shaped finial. It is unclear whether the final is pine cone or a pineapple.
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The clock tower was seriously damaged in the 22 February 2011 Christchurch earthquake, with the time (12:51) stopped on the clock's face. Repairs in excess of NZ$700,000 were agreed to by Christchurch City Councillors in July 2012, with most of the cost to be reimbursed by insurance. Stones in the buttress columns and arches were loose or dislodged, and the finial spike needed to be repaired. The clock itself needed to be restored, but it was considered to leave one of the clock faces at 12:51 as a reminder of the earthquake.
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Lamp harp with fluorescent bulb A lamp harp is the component of a lamp to which the lamp shade is attached. It typically comes in two separate parts, a saddle which is fastened under the lamp socket, and the harp itself which consist of a lightweight frame attached to the saddle at its lower end and extending upwards to a point above the bulb. At the top of the harp is a threaded rod. The shade's internal frame (known as a spider) mounts on this rod and is secured in place by a lamp finial.
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The new third tier was only about a fourth of the height of the new second tier, and it served primarily as a base for the most dramatic change in the tower: the addition of an octagonal, shuttered belfry. The new element was designed to the make the overall height of the tower greater. Surmounting the belfry was a New England- style octagonal, copper spire that was topped by a spear-shaped copper finial and simple weathervane. Both the new belfry and the new spire included Dameron's guilloche-patterned carving.
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The former Murdock School building is located in the town center of Winchendon, on flanking the west side of Monument Park, west of the commercial downtown area. It is 2-1/2 story masonry structure, built out of red brick and covered by a slate roof. It is richly detailed in the Romanesque style, with a gabled pavilion projecting from its front facade. Prominent features of the projecting section are a tall square tower at the right side, with a pyramidal roof topped by a copper finial and cross.
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The Martel House is set east of downtown Lewiston, at the northeast corner of Bartlett and Walnut Streets. The neighborhood it is in is now, as it was when built, predominantly multiunit working-class housing. It is a 2-1/2 story brick building, with a hip roof broken by gabled projections and a three-story corner turret, which is capped by an octagonal roof and finial. At the center of the front facade is a two-story porch, supported by slender paneled columns, and topped by a gable with a dentillated cornice.
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The roof is slightly bell-cast, clad with cypress shingles, and topped with a wood finial; a board decorated with large serrated dentils runs around the building below the eaves. A short distance from these two buildings, near the site of the original Bleak Hall house, is another tabby building, thought to have been used as a barn during the Colonial period and subsequently used as an equipment shed. The building's high gable roof, oriented north-south, is clad in cypress shingles. A wooden spire topped with a pendant rises from each gable end.
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The Sargent House stands at the southwest corner of South Main Street (Maine State Route 15) and Town Landing Road in far southwestern Brewer. It is a large 2-1/2 story wood frame structure, with a main roof line running east-west and cruciform gables (two south, one north) projecting from each side. The gable ends are all decorated with a distinctive vine-like vergeboard. A square tower rises at the northeast corner of the eastern and northern gables, capped by a steeply-pitched pyramidal roof with a finial at the top.
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In the coming decades, this transformation was to lead Vesara architecture toward increased ornamentation and articulation. Cousens categorizes the tower over the shrine as Dravidian (south Indian) but historian Kamath feels it is more Vesara because each tier are encrusted with motifs that make the tower more "curvilinear". According to Cousens, the overall structure with its well proportioned tiers and finial (amalaka, kalasha) give the superstructure a "majestic" look. Above the cornice are circular niches, each of which holds the image of a Jain saint (Jaina) in relief, with a kirtimukha decoration above.
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In Roman Catholic Marian veneration, it is associated with the Virgin Mary. From its use as roof finial in Ottoman era mosques, it has also become associated with Islam, and the crescent was introduced as chaplain badge for Muslim chaplains in the US military in 1993.On December 14, 1992, the Army Chief of Chaplains requested that an insignia be created for future Muslim chaplains, and the design (a crescent) was completed January 8, 1993. Emerson, William K., Encyclopedia of United States Army Insignia and Uniforms (1996), p. 269f.
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This portion of the building is also painted white with green accents, rather than the red with unpainted stone accents of the remainder of the building, providing additional visual separation. The corner and first bay of either side are adorned with stone pilasters with capitals supporting a stone course that wraps around the building. The tower has a single one-over-one sash window on each face of the second floor, with a pair of small arched windows on the third. It is topped with a pyramidal roof and ball finial.
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The Chisum House is a historic house at 1320 South Cumberland Street in Little Rock, Arkansas. It is a two-story frame structure, with a hip roof and an exterior sheathed in clapboards and decorative cut shingles. The roof is capped by a pair of finials, and there is a three-story square tower angled at one corner, topped by a bellcast roof and finial. The design is varied in the Queen Anne style, with multiple sizes and configurations of windows and porches, the latter featuring turned woodwork.
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The former Beth El Synagogue stands in a mainly residential area north of downtown Waterbury, on the west side of Cooke Street at its junction with Sterling Street. It is a domed Byzantine Revival- style building, with broad steps leading to a triple entrance on the front facade, which is topped by a carved representation of the Decalogue. The dome is finished in gold, and is topped by a ring of acanthus cresting and a finial. The interior sanctuary space is open to the dome, and has wooden pews divided by three aisles.
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The Sceptre of Scotland was a gift made in Italy from Pope Alexander VI to James IV in either 1491 or 1494 and was remodelled and lengthened in 1536. It is made of silver gilt and topped by a finial of polished rock. The sceptre includes grotesques and Christian symbols: stylised dolphins – symbols of the Church – appear on the head of the rod, as do images of the Virgin Mary holding a baby Christ, of Saint James the Great, and of Saint Andrew holding a saltire.Burnett and Tabraham, pp.
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West Riding fingerpost with the parish name and grid reference on the roundel. Whilst some elements of fingerpost design were prescribed during the period when their introduction became most widespread, there was plenty of scope for distinctive spread of designs which remains to today. The inclusion of the highway authority name took the form of raised or recessed lettering written down the poles or as part of a finial or roundel (when the centre is hollow, called an annulus) design, either in full or as initials (e.g. K.C.C. for Kesteven County Council).
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In Finland, the official term for flying a flag at half-mast is known as suruliputus (mourning by flag(ging)). It is performed by raising the flag briefly to the top of the mast and lowering it approximately one-third of the length of the flagpole, placing the lower hoist corner at half-mast. On wall-mounted and roof-top flagpoles the middle of the flag should fly at the middle of the flagpole. When removing the flag from half-mast, it is briefly hoisted to the finial before lowering.
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The church is constructed in red sandstone ashlar with a green slate roof. From the west its plan consists of a narthex, a two-bay baptistry with narrow aisles, which leads to a three-bay nave with wider aisles, then a two-bay chancel with an organ chamber on the north and a vestry on the south. Each bay of the wider aisles is gabled, the gables containing Perpendicular-style windows interspersed with lancet windows containing stained glass. On the west gable is a double bellcote surmounted by a cross finial.
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In the upper storey, above the porch, is a panel containing a triple lancet window. To the right of this is another lancet window and the voussoirs of a blocked arch. In the east end of the building is a segmental-arched window in the ground floor, a three-light mullioned window with intersecting tracery in the upper floor, and a coped gable. At the west end is a high-level segmental-arched window in the ground floor, a buttress at the southwest corner, and a coped gable with a gabled finial.
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St Paul's is built of local red sandstone sourced from Stoke Knapp, near Beaminster, with Hamstone used for the quoins and dressings, and slate on the roof. It was designed in the Early English style to accommodate 120 persons, and is made up of a nave and chancel. The west end contains the entrance, an oak door with ornamental ironwork, and a bell turret with a decorated cross finial. The arched braces of the open roof rest on corbels of Hamstone, and the chancel arch is also of the same material.
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The nave of the church is framed on this elevation by attached buttressing which projects above the roofline and terminates in pinnacles decorated with crockets. On the face of the side aisles, flanking this central bay of the church, are traceried window openings, comprising two trefoiled lancets and quatrefoils above. Over the central entrance of this facade is a large traceried window comprising four lancets and three foiled windows above. Surmounting the apex of the gable on this elevation is a stone finial-like element which comprises a circular disc with a quatrefoil cutout.
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All buildings, with the exception of the hay loft, are single-storeyed and sit on timber stumps. The main house comprises two chamferboard buildings which have corrugated iron hipped roofs and are joined by an enclosed verandah breezeway. The older main farmhouse has a projecting gable porch to the southwest and northeast entrances with a decorative timber barge board, truss and finial, and timber shingles are visible under the corrugated iron sheeting. The plan consists of three bedrooms and a drawing room or parlour with a central hall.
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The towers (shikaras) on these are pyramidal granite structures consisting of eleven stacked, shrinking squares and a top in the Deccan-style square kalasha finial. Both sets are Shiva temples with triple linga; early sources misidentified these as Jain temples because of their simple exterior and interior walls. One of these groups has a historically important inscription that records that Kampila built the monument in the early 14th century. This inscription links Hampi with the Kampili kingdom and suggests an association of the Kampili history with that of Vijayanagara Empire that followed it.
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In the eastern wall is a bay window overlooking the garden, and glass doors opening onto the southern verandah of the house core. Opening off the southern end of this extension is an idiosyncratic timber "tower", about one and a half storeys in height, with a steeply pitched pyramid roof of galvanized iron with a top finial and acroteria to the corners of the guttering. It is square in form, and has narrow windows at the top, just below the eaves. These are separated on the exterior by decorative timber brackets.
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The Burbank–Livingston–Griggs House is built of grey limestone and features arched windows, a bracketed cornice with carved pendants, and a cupola topped with a finial. Other architectural elements include polygonal bay windows and Corinthian order columns supporting an entablature. The floor plan was open and spacious, with the first parquet floor in Minnesota as well as steam heat, hot and cold running water, and gas lighting. The rat-proof interior walls are lined with a layer of brick, providing an air chamber to insulate the house from the harsh winter cold.
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Mercat Cross on Edinburgh's Royal Mile. An 1885 replacement of the original cross removed in 1756. Royal unicorn finial on the cross at Prestonpans the cross-house at Prestonpans, built some time after 1617 when the right to hold a fair was granted The cross of Old Scone in the grounds of Scone Palace Original shaft of the Dunfermline Cross in the garden of the Abbot House Dunbar's 16th-century cross is surmounted by three grotesque human heads, believed to have been taken from the town's old parish church. Kincardine, Fife.
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The roof is predominantly hipped, of corrugated steel, with a pyramidal roof on the corner tower and belfry, and a steel finial and lightning conductor at the apex. There is a skillion roof on the south-eastern single-storey additions. Four chimneys punctuate the roofline of the two-storey section, one at the southernmost end of the south-western wing, one either side of the southern edge of the main roof section and one at the north-western corner. Each chimney is rendered, with moulded tops and terracotta chimney pots.
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The stolen works were originally procured by art collector Isabella Stewart Gardner (1840–1924) and intended for permanent display at the museum with the rest of her collection. Among them was The Concert, one of only 34 known paintings by Johannes Vermeer and thought to be the most valuable unrecovered painting in the world. Also missing is The Storm on the Sea of Galilee, Rembrandt's only seascape. Other paintings and sketches by Rembrandt, Degas, Manet, and Flinck were stolen, along with a relatively valueless eagle finial and Chinese gu.
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Bobby Donati in an undated photo Criminal Bobby Donati was murdered in 1991 in the midst of a gang war within the Patriarca crime family. His involvement in the Gardner theft was suspected after notorious New England art thief Myles J. Connor Jr. spoke with authorities. Connor was in jail at the time of the heist, but he believed Donati and criminal David Houghton were the masterminds. Connor had worked with Donati in past art heists, and claimed the two cased the Gardner Museum where Donati took interest in the finial.
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The main gable and a cross gable on the long south facade are both decorated with carved vergeboard trim with drop pendants at the ends, and there are finial protrusions at the peak of each gable. Windows on the west-facing front facade are framed by drip moulding, and the entrance is flanked by sidelight windows and decorative wood panels. The interior retains many of its original decorative elements, including wall paneling and distinctively cut doors. The house was built in 1850 by William F. Grant, a Scottish immigrant.
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Grahams Forge Mill Graham's Forge Mill is a historic grist mill located in the community of Grahams Forge, Wythe County, Virginia. The mill was built about 1890, and is a five-story, rectangular, wood frame building on a limestone foundation. Atop the cross-gable standing seam metal roof is a cupola with a finial, decorative cresting on the ridges, and a late-Victorian-styled lightning rod. Also on the property are the contributing smokehouse with oven / kettle used for hog scalding, corn crib, grain storage facility, oven / kettle remains, and mill dam.
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The ground windows are pointed and windows in the upper floors are rectangular. The windows next to the bell stool are again pointed. Above them, the clock is located. In the middle part of the western frontage is located a Gothic spiky portal with a glass tympanum, the outer archivolt of the portal is encircled by crockets, culminating in a finial. The linings of the portal were used for placing the statues of Virgin Mary and John the Evangelist, who together with Christ on the cross created the group “Crucifixion”.
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The staff is topped by a nickel-plated lance-head finial, 32 cm high. Below the lance-head, there is a cravat (laço militar) divided lengthwise, sky blue and red, with a gold fringe at the end, tied in a bow and fastened with a cockade of blue with the Southern Cross in white stars, red, and blue. Ten red streamers with campaign honours inscribed in sky blue letters are also attached below the lance-head. The staff is 212 cm long, not including the lance-head, and 3.5 cm in diameter.
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Entry to the church was through a door under the western window on the south front. The roof was balustraded. The tower was erected next to the north western wall of the church and stood 86 ft. high. This had a stone spire, consisting of an octagonal pyramid of five steps on which sat an open octagonal lantern from which emerged a concave steeple. The finial was in the form an urn, in allusion to St. Mary Magdalen’s pot of balm. The inspiration for the spire’s design was the Mausoleum of Halicarnassus .
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The northern elevation features an attached circular tower at the eastern end, protruding over the roof line. The tower, which is a feature element of the exterior of the house, is roofed with an onion shaped copper tiled dome, surmounted by a simple finial. A large crest carved into the face of the granite and partially painted red, is featured on the tower, directly below the dome. At the western end of the northern facade, is a full length projecting circular bay, similar in size and scale to the tower at the other end.
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Amity is built fronting the Bulimba Reach of the Brisbane River to the northeast, with access from Welsby Street to the northwest. It is a single-storeyed chamferboard residence with timber stumps and a hipped corrugated iron roof with cast iron ridge cresting. The building has verandahs to three sides fronting the river, and a later addition at the rear which has sub-floor laundry and car accommodation. The building is symmetrical to the river frontage, with a central entry which has a slightly projecting gable with a decorative timber fretwork panel, timber finial and paired timber posts.
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The hammer beam roof trusses with their carved tracery and mullioned windows with their stone tracery were authentic English decorated style detailing that were new to the Colony at the time. The spire and its features, engaged buttresses, correct moulding, and finial, were correct to new Victorian Gothic Revival and likewise new features to the Colony. At the time of its completion the building was of a superior quality with a high standard of craftsmanship in its fittings. Its font communion rail, windows, and the enormous stone flagged floor of the nave are all of particularly fine craftsmanship.
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It is topped by a gabled roof shingled in fish- scale slate. A tower with an octagonal peaked roof and finial rises from the south end, and a brick chimney from the north (the tower has a small brick chimney as well). Most of the house is sided in clapboard, except for the gable of a projecting extension on the south end of the west (front) facade, done in cedar shake and the front and side, shingled in asbestos. The front facade has a porch, with a shallow pitched hipped roof supported by turned columns running all the way to the addition.
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There are two sash windows above the door, with hooded moulding and cornices, and there is a decorative truss in the gable above, whose vertical member extends above the roof to form a sort of finial. The rake edge of the gable is adorned with modillions. The interior of barn, although utilitarian in nature, features turned posts and tongue-and-groove paneling in some of the stalls. with The land on which the barn was built was purchased by Davis Tillson in the late 1870s, and the barn is first listed on the tax rolls in 1886.
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He brought some newer architectural styles to the district, such as the Italianate row at 46–68 Elm Street, with slightly gabled projecting pavilions on each building giving the impression of a separate tower, more typical of detached Italianate villas of the time. He also built the Gothic Revival 78–92 Grand Street, with a roof finial dividing its symmetrical combined facades. During this era the district became home to a large population of German immigrants, many of them Jews fleeing the collapse of the Revolution of 1848. They developed South Pearl into a local retail center.
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At the basement level of the central bay are the names of the authors of the Reformed Church Catechism, "Ursinus", the theologian, and "Olevianus", the court preacher at Heidelberg. Small rectangular openings are located at the gable above the Chi-Rho sculpture, a symbol associated with the Roman Emperor Constantine and his becoming a Christian in the fourth century. A highly ornate finial tops the apex of the gable. Piers decorated with pointed arch niches, as found on the front facade of the church, buttress the edges of the central portion and ends of the wings of this east gable.
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Obverse. The obverse of the badge consists of a five-point star (point upwards) surmounted with a small loop ring, to fasten the ribbon, each point ending in a ball finial. Upon the center of the star is attached a disc comprising a circlet surrounding a central disc. The circlet is inscribed with the text LEGION DE MERITO DE CHILE. The central disc consists of a sky blue enamel background upon which is depicted a column crowned with a globe, the whole resting on a ground compartment (the central design is taken from the then Chilean coat of arms).
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The flag has a ratio of 5 by 4, which has a white sleeve measuring of the flag's length. For ceremonies, a PLA flag with golden fringe is placed on a pole with gold and red spiral stripes and topped with a golden finial and red tassel. The branches of the PLA, the Ground Forces, Navy, Air Force and Rocket Force, also have their own individual flags. In a 1992 order, the flags of the three branches were defined: the top of the flags is the same as the PLA flag; the bottom are occupied by the colors of the branches.
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The spire is topped by a finial with weathercock, and at its lower part contains a single run of twin-light pointed arch lucarnes, these on each alternate face, each set in gables with a globed device attached above. The tower is drained by one gargoyle centrally placed on each side below the battlements. Each corner is buttressed to the full height of the tower on the west side and from the nave and aisles upwards on the east. Clasping buttresses run to the top of the third (belfry) stage, and angled buttresses run over the fourth.
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The fleches are open timber-framed elements and appear like bellcotes sheltering plain metal ventilators under bellcast spire roofs decoratively clad with patterned pressed metal sheets. The central fleche and is topped by a metal weather vane finial. The building has large banks of timber-framed windows, many of which face south, allowing a high level of natural light and ventilation into the classrooms. The window banks comprise a row of casements below a row of horizontal pivot sashes below a row of fanlights, which were originally inwardly opening hopper sashes but have mostly been fixed closed.
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Niviatsinaq ("Shoofly Comer"), Aivillik Inuit from Cape Fullerton, Nunavut, Canada, son of George Comer, models traditional clothing, 1903–4 Alaskan Inupiat woven baleen basket with a walrus ivory finial, depicting a polar bear, c. early 20th century In the 16th century the Inuit began to barter with European whalers, missionaries and other visitors to the North for tea, weapons or alcohol. Items previously produced as decorative tools or shamanic amulets, such as carvings of animals and hunting or camping scenes, became trade commodities. Inuit artists also began producing ivory miniatures specifically as trade goods, to decorate European rifles, tools, boats, and musical instruments.
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Walling has reddish-yellow-brick over rusticated stone splayed plinth/basement walling and a corbelled-stone-over-round-headed-arcade-band of brick. Openings all are round-headed with moulded stone architraves and reveals, some with stop-block-labeled hoodmoulds, except basement openings are openings, which are pointed-arched. Gabled center of main façade has blind stone arcade to mid-height; entrance openings flanked with moulded responds and continuous imposts continued through entrance opening as transoms, with double-leaf timber paneled doors. Stained-glass tympanum overlights to entrances; gable apex features stained-glass rose window; copper cross finial above.
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From the center of the base, a tower rises , crowned by a gold-tiled dome. The finial—The Sower and its pedestal—add an additional to the building's height. Common measurements list the capitol at , making it the second-tallest U.S. statehouse, surpassed only by the Louisiana State Capitol (then-Governor of Louisiana Huey Pierce Long insisted the new Louisiana capitol be built taller than Nebraska's.). Goodhue originally envisioned much of the tower to house the collections of the Nebraska State Library, and he planned for each of the tower floors to include glass-floored stacks for book storage.
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Inset is a Gothic-style arch with trefoils and wooden railing; the iron railing on the steps was added later. The double doorway which serves as a church entrance retains its original doors, patterned with a herringbone design and set with quatrefoils of stained glass, set inside a pointed arch. The porch is flanked by more stained glass windows on either side, quite narrow, and a rose window, also of stained glass, is set in the gable. At the very top of the roof is a cross; a finial and pendants make up the decoration of the gable.
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Above these is a large Flemish gable with a carved and shaped pediment with finial and a pair of statues of Spanish soldiers standing on brackets either side of the central window. In the centre of the pediment is a shield bearing the coat of arms of Plymouth, with the Cross of St. Andrew and the four turrets which overlooked the Barbican. Originally, a large two-sided clock was situated outside the present day window. Below this was a sign at right-angles to the building bearing the legend "New Palace Theatre", as shown in the 1905 illustration.
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The standout features of a Dawoodi Bohra mausoleum is the plush white colour of its exterior, accompanied by a golden finial at the apex of the dome. The interior of the mausoleum is usually lit up in incandescent light with numerous Quranic inscriptions running through its walls. Harbouring both austere and aesthetic beauty, a mausoleum also embodies several meanings in the form of its structure and build. Raudat Tahera in Mumbai stands out as a befitting example, where though looking like a simple, elegant structure on the outset, it has a range of intricacies deliberated into its making.
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In August 1861 the local waywardens decided that the village cross was a hindrance to the public way and endeavoured to remove it. The villagers were much against this and when masons from a neighbouring city began the act of despoiling it, the villagers gathered around the cross in its defence and a melee ensued involving both men and women inhabitants. The demolishing party were eventually driven off but not before the shaft had been broken and its finial broken in two. A flag was hoisted by the villagers bearing upon it the legend "Be Faithful" .
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Like other elements of this temple, the capping roof and finial is missing. The archaeological significance of the Ambigergudi temple is from the results of limited excavation near the rear wall of the sanctum foundation. This yielded red-ware bowls dated to the 1st and 3rd century CE, as well as an outline of a single cell more ancient brick temple, which probably the stone temple replaced. According to the hypothesis of Rao, the excavating archaeologist, the 3rd century CE brick temple served as a model and sanctum ground on which a more lasting stone was built.
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On top of the 23rd floor is a 6-story octagonal tower, covered by an ornamental finial. The building was the first in New Orleans to utilize indoor air-conditioning within a public space. In the late 1980s, when the building was assessed for National Register listing, the interior lobby area was marble clad, and the ceiling was described as, "gold and silver leaf pressed metal with a repeating chevron and diamond point pattern". with three photos and a map The banking hall roof was supported by columns, and bronze was used for elevator doors, panels, and check stations.
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Unbekanntes Bild von Hisgen entdeckt, Gießener Zeitung, December 4, 2015. It's unknown where Hisgen learnt the craft of painting, perhaps he was self-taught. In the years 1762/1763 he worked for 126 days on new surfaces for the pulpit and the princes gallery in St. Mary's collegiate church in Lich, for which he received 292 Guilder. In the church in Albach Hisgen decorated the cheeks of the church pews with floral pattern and the corners of the ceiling with angel medallions. In 1778 he gilded the finial, the weathervane and the star of the church in the Ober-Hörgern.
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Paired columns at each corner are infilled with frieze panels above and balustrading below, with curved corner brackets at each junction to form an egg-shaped opening in the screen. Columns are set on a base of rendered brickwork, set one metre above the surrounding garden beds with rendered steps and curved strings. Within the bandstand is a recent hardwood boarded floor, and a flat VJ lined ceiling extending beyond the screen of the walls to form boxed eaves stopped at a deep timber fascia. The roof is sheeted in corrugated galvanised iron, and has a turned timber finial.
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Its National Register nomination asserted it is one of few remaining examples of Queen Anne architecture in Wyoming. In this example, the "foremost architectural components are visible at the front elevations and include a projecting, gabled bay, a pedimented, hip-roofed veranda, and a substantial square tower with a pyramidal roof and ornate finial. These main parts are massed in an asymmetrical, but balanced, composition." The listing included three other contributing buildings: a carriage house (1885) with chutes in place from a grain bin in its second story, a coal storage house, and a former chicken house that is now a covered patio.
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In the tower arch is a 15th-century rood screen. The nave contains the Scrope family pew with a 17th-century front and, at the back is a carved parclose screen from the early 16th century, that was moved from Easby Abbey at the Dissolution. The nave also contains 17th-century benches and box pews from the 18th century, an 18th-century double-decker pulpit, and an octagonal font dated 1662 with a cover wooden cover surmounted by a pineapple finial. On the walls are memorials, and on the north wall are fragments of (14th Century) medieval wall paintings discovered during 1927-1928.
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Victorian font The font is Victorian, but the wooden cover incorporates a 15th-century carved poppy head as a finial and parts of a screen around the edges. Near to the font is a 13th-century stone coffin lid, with a raised cross, that was found in the churchyard. The reredos to the War Memorial Chapel in the south aisle, is by Eleanor Gribble of Ipswich, in a pre-Raphaelite style using medieval gesso techniques. The centre panel shows the Adoration of the Magi, on the outer panels are the angels of Self- Sacrifice, Fortitude, Victory and Peace.
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Built in the Western Indian and Indo-Saracenic style of architecture, the building accommodates a central entrance porch, above which rises a dome, tilled and modified well "tiled in white and blue flecks, supported on a lotus - petal base". A cluster of pinnacles, topped with miniature domes surround the central dome. The building incorporates features like Islamic dome with a finial along with protruding balconies and inlaid floors, inspired by Mughal palace architecture. The architect, George Wittet, modeled the dome on that of Golconda Fort and the inner vaulting arches on those at the Gol Gumbaz in Bijapur.
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Lubotsky acknowledges that this aspect of the Sarvatobhadra design cannot be fully established by existing evidence. However, the supporting features of copings and amalakas (a bulbous stone finial) have been found in the ruins, which supports the theory that more shikaras existed on eight mandapas, as part of the temple. Four stairways outside the platform provide access to the temple. However, as per excavation details, combined with the two small shrines with the central shrine seen now, the layout of the temple has been interpreted to represent a typical Panchayatana style of the temples of North India.
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A double door framed by a similar treatment to the main entrance below gives access. French doors in the other two bays round out the fenestration on the first story, with eight-over-one double-hung sash windows above in projecting moldings. Quoins interrupt the clapboard at the corners, with the whole facade topped by a frieze with egg-and-dart and dentil molding running continuously around the house, as does the modillioned block cornice at the roofline. The roof, topped by a balustrade of stick balusters and topped finial posts, is pierced by three brick chimneys and three gabled dormer windows.
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It was made of cork or wicker, and was intended to protect soldiers from tropical heat or sun. The following year, the Home Service helmet was adopted for troops in Britain. In form it resembled the Foreign Service helmet, and was made of cloth-covered cork, topped with a finial spike, reflecting similar continental fashions. Highland regiments continued to wear the feather bonnet. For campaign purposes, British troops have often been portrayed in films as toiling in hot climates in heavy scarlet serge uniforms, and this was certainly the case in the Anglo-Zulu War and the Anglo-Egyptian War (1882) for example.
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All the bays are covered with domes on octagonal drums and crowned with lotus and kalasa finials. The device adopted for the support of the domes is the same as in the Lalbagh Fort mosque and the Satgumbad Mosque. The four octagonal corner towers, all rising above the horizontal parapets and having kalasa bases, are topped by renovated solid kiosks with cupolas and crowned with lotus and kalasa finials. Each of these towers is flanked to right and left by a slender turret, which rises above the parapet and ends in a small cupola and kalasa finial.
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The house has four windows, arcades and a richly ornamented finial in the form of a cartouche, which reputedly enclosed Szczebrzeszyn's coat of arms. Built, the Turobin House was built in the 1600s in line with Bernardo Morando's design for the town of Turobin which used to be part of Zamość Entail. It is embellished with many Renaissance decorations based on Italian models taken from Sebastian Serlia's books. Its façade has a frieze featuring a system of geometrical figures. The Cathedral (a former collegiate church until 1992) was founded by Jan Zamoyski and dedicated to the Lord's Resurrection and St. Thomas the Apostle.
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The first and second tiers (which were of equal width) are cubic in shape, with large, Georgian-style painted shutters covering a false window opening. The third stage is octagonal, with Palladian-shaped, closed, Georgian-style painted shutters covering false openings. At the bottom of the cupola, the guilloche-patterned cornice molding was repeated with the octagonal bell cupola surmounted by a lightning-rod spire with a large, copper ball finial. Further Georgian influence can be detected in the original design's twin chimneys, which featured cornice-like molding that matched the dentils elsewhere on the structure.
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All horns are undecorated with very slight tapering towards the finial. All lion heads are quite large (up to three times as big as the VBC exemplar), and show the same stylistic features, chiselled details, and rings on the point of their junction with the horn. None of them is a rhyton stricto sensu, since they are not supplied with a secondary orifice. Consequently, they are supposed to have been made in the same pre-Achaemenid western Iranian workshop, possibly in the second half of the 7th century BC.Although their authenticity is not questioned by Ebbinghaus 1998, or nor by Manassero 2008 (p.
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As typical of a Japanese pagoda, above the uppermost roof is the sōrin finial, consisting of a nine-ringed bronze spire (kurin) topped by a golden flaming head (hoshu), which is in turn topped by a ball. The kurin was cast locally in Berkeley. The interior of the first story was intended to be lined with mother-of-pearl, and also was to include a symbolic image of Peace encrusted with cultured pearls from Japan. Finishes and decorative materials were sourced from Japan, and the reinforced concrete structure would be cast at the site in San Francisco.
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It contains a row of six plain panels, above which is a small three-light casement window with two panels on each side, and a queen post gable with patterned bargeboards and a finial. The interior has retained part of a 17th-century moulded ceiling, the form of the galleried former great hall, and an 18th-century staircase. In also contains four panels depicting the Stations of the Cross. These appear to be medieval, but are in fact plaster panels painted to resemble wood that were installed by Crawford when the rectory was converted into a shop.
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At the time the building was destroyed it was described as: > The axis of the building is north-south, with the main entry at the northern > end facing Cleveland Terrace. The north facade has a two- storeyed verandah > with crossed timber balustrades and curved boarded valances to both levels, > and a central projecting portico with paired timber posts topped with a > pediment and a flagpole as finial. The double entry doors have an arched > fanlight, and large single pane double-hung windows with arched heads to > either side. Behind are two levels of offices and chambers each side of a > central corridor.
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Inside the church porch is a simple Norman doorway with a tympanum. The porch contains ten small arches, which are filled with crude carvings that perhaps tell the story of John the Baptist, as evidenced by the block and the head of the figure lying on the floor. There is a modern carving of St John the Baptist with Christ as a finial for the domed cover of the Norman baptismal font. The 650-year-old tower has a tiny spire, and the 15th-century chancel arch opens into a massive arcade in the Transitional style from Norman to Early English.
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The main entry is from the northwest via a gabled entry with fretwork panel, paired posts and timber louvred doors, and a panelled timber entry door with original hardware. French doors with fanlights and timber shutters open from each room. The central transverse section consists of two large projecting bays, to the northwest and southeast, surmounted by a timber finial with bracketed eaves, sash windows and shutters. The southern section has two parallel hipped sections, with a flat roofed section between, surrounded by a recent verandah with a curved corrugated iron awning and timber details to match the earlier section.
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It has a complex hipped, skillion slate and corrugated steel roof, and the clock tower has a domed zinc roof with small dormers and a finial at the apex over an open sided bell room. Four rendered and moulded chimneys can be seen to punctuate the roof line behind the moulded parapet that extends along both street facades. North Sydney Post Office is a rendered brick building painted cream and tan, with classically styled detailing and reddish brown trim. Detailing comprises moulded string courses, imitation blockwork, central pediment, arched windows, columns to the bell room and arched bays to the adjacent building.
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Despite the name, the typical mercat cross is not usually cruciform, or at least has not been since the iconoclasm of the Scottish Reformation. The cross atop the shaft may have been replaced with a small statue, such as a royal unicorn or lion, symbols of the Scottish monarchy, or a carved stone displaying the arms of the royal burgh, or, in the cases of ecclesiastical burghs or burghs of barony, the bishop's or feudal superior's coat-of-arms. These are often painted. Another finial commonly seen is a stone ball as at Clackmannan and Newton Stewart.
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The Smith Homestead is set back from the east side of Main Street (United States Route 2) in the village center of Mattawamkeag, a rural community at the confluence of the Mattawamkeag and Penobscot Rivers. It is a two-story wood frame structure, with a hip roof, two interior chimneys, clapboard siding, and a granite foundation. Its main facade, facing west, is three bays wide, with a central entrance sheltered by a single-story porch supported by square posts. The roof is topped by a cupola with arched windows and finial, and has a bracketed cornice.
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Orange County Courthouse is a historic courthouse complex located at Orange, Orange County, Virginia. It was built in 1858–1859, and is a 1 1/2-story, Italian Villa style brick structure. The front facade features a three-part arcade consisting of a semi-elliptical arch flanked by small semicircular arches. Above the arcade is a three-stage tower consisting of the main entrance as the first stage; a clock, installed within existing round windows in 1949, as the second stage; and arched openings with louvres covered by a shallow hip roof and topped by a finial complete the tower.
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The southern elevation is highly decorative, with a central bay window flanked by non-original casement windows (with a corner window unit to the southwest corner) and surmounted by timber detailing to the gable. The bay has narrow sash windows with etched and coloured glass panes and timber shutters. The bay is crowned by a timber valance consisting of triple curved sections, and paired lancet windows with leadlight panels are located in the gable above. The gable has a metal finial, and a battened timber screen with an arched central section and curved timber trim supported by curved timber brackets.
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This is in the dimensions 90 × 128 cm. It is mounted on the same size staff and with the same finial as the Army standard, but the cravat is divided lengthwise yellow and green, with a gold fringe at the end, tied in a bow and fastened with a cockade of blue with the Cruzeiro do Sul in white stars, yellow, and green. The staff is covered in green velvet with a yellow spiral strip. The colour belt is 10 cm in width, covered with green velvet with yellow velvet stripes of width and number varying with the rank of the organization's commander.
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The Doocot and the Ball finial A typical dovecot or doocot is located above the door of the cart shed building. The doocot is a typical feature of country estates, as the right to build one was strictly limited to the major landowners initially, and only later were small freeholders permitted to build them; at a more recent date tenants could sometimes gain permission from their landlord to build doocots to provide food or to add a picturesque feature to their properties. (Peters 2003). In the Middle Ages doocots or pigeon-houses were a badge of manorial privilege and distinctive, often very ornate buildings were constructed (Buxbaum 1987).
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From above, the mosque is distinguished by its rows of sloped green-tiled roofs, as well as by its large and prominent minaret. The current minaret dates from the reign of the Alaouite sultan Moulay Mohammed ben Abdallah (ruled 1757-1790). Like other Moroccan minarets it has a long square shaft which is crowned by stylized merlons and topped by a much smaller and shorter tower, which in turn is topped by an iron finial holding up four golden copper balls. The four facades of the minaret are covered in a surface of gleaming green faience tiles, which are a distinctive trait of minarets in Meknes.
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The original stupa canopies and finials had all been lost by the time the stupas were restored in 1987, but as part of the restoration each stupa is now capped by a lead canopy of several designs (round or octagonal, with one or two balls on the finial). In 1987 the large stupa was high, with a diameter of , but after renovation it is now somewhat taller. Unlike the small stupas, which are all solid, the large stupa has a small opening on the east side, with a small room in the centre. This is currently occupied by a Buddhist statue and an offering box.
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The egrets from the Roosevelt dining table reappeared, this time supporting the dining room mantel, but the house is best remembered for the nightmarish chimneypiece in its library. The tall and massive walnut chimneypiece featured compressed columns supporting oversized piers incised with stylized sunflowers, twin "hounds of hell" grotesques snarling from behind shields, a diapered and gold-leafed tympanum bisected by a center column, a crocketed pediment rising to a finial, and twin owls staring down from the roof. The Moore house was demolished in the 1950s, but much of the chimneypiece, stripped of its grotesques and thus about 3 feet (0.91 m) shorter, survives.Bloomfield Moore chimneypiece in 2009, nos.
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Located at 177 South Tulpehocken Street, it features a period door with transom, Queen Anne-style decorative glass windows, a large, column-flanked, side porch with decorative balustrade, and a three-story tower topped by a pointed slate roof and cast iron finial. Note: This includes Also included in the district are seven commercial buildings, four churches, and a school. The sole factory located in this historic district, the Summit Station Manufacturing Company, a two-story, wood-frame vernacular, is located at 194-196 South Tulpehocken Street. Located nearby at 213 South Tulpehocken, the brick, 2-1/2 story Pine Theater was designed in the Beaux-Arts style.
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" This flag however, is generally flown only on specified days and whenever instructed by National Defence headquarters. Others symbolise royal and viceroyal figures or royal honours bestowed on a unit or regiment. The finial capping the tip of a flag pole carrying the Queen's Canadian standard, governor general's standard, Queen's Colours, or other royal banners must be in the form of the crest of the Royal Arms of Canada. Unique Regimental Colours and Queen's Colours are presented to various regiments, units, and commands, consisting mostly of national and royal symbols combined; they today act as "visible symbols of pride, honour and devotion to Sovereign and country.
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This former church has an exceptionally good interior with all its fittings and galleries. It has a conventional rectangular plan with shallow canted apse, faced in Bath stone which is enlivened by spirelet pinnacled buttresses diving the windows and with octagonal pinnacled turrets holding the corners whilst a larger pair flank the effectively recessed full height entrance bay under the parapeted gable. The soffit has a lrerne pattern of ribs over the large decorated west window, the tracery of cast iron. The porch proper is shallow and contained within the recess, a tripartite composition with an ogee arch to the central doorway with an ornate finial.
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The Vogt House, also known as the Vogt-Unash House, is a historic building located in Iowa City, Iowa, United States. The two-story, brick structure is a fine example of vernacular Queen Anne architecture. with It follows an asymmetrical plan and features a high-pitched hipped roof, a gabled and a round dormer on the south elevation, a two-story gabled-roof pavilion on the east, a two-story polygonal bay with a hipped roof on the west, and a single- story addition on the back. Of particular merit is the wrap-around, latticework porch that has a round pavilion with a conical roof and finial on its southwest corner.
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The north aisle houses a collection of sixteenth- and seventeenth-century tombstones, including that of Alexander Leslie of Kininvie, dated to around 1549, and Alexander Duff of Keithmore, and his wife Helen Grant, dated 1694. There is also a large stone finial with a sundial in one face, which is presumed to have been mounted on one of the gables at some point in the building's history. At the east end of the nave is a raised chancel, which features a marble font, and wooden pulpit and communion table dating from the 1930s. There are wooden pews throughout the nave and the north aisle, also from the 1930s.
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Located at 26 Prescott Avenue is "Oak Ridge Cottage", built in 1895 and designed by another important architect of the period, William Winthrop Kent. The former residence of William T. Smedley, a highly successful portrait painter who vied with John Singer Sargeant for commissions, the house is often referred to as "Owl House" because of the carved owl finial perched on the peak of the roof. Built on an east-west axis, all windows receive the sun. The huge pieces of stone in the lower part of the structure are said to have been quarried by men who were paid by the cubic foot.
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Wonoboyo hoard is the treasures originated from 9th century Hindu Mataram Kingdom discovered in Wonoboyo, Klaten, Central Java, near Prambanan. The treasures are golden bowl with scene of Ramayana, purse, water dipper, umbrella finial, and spoon or ladle, all were made of gold. Also discovered ancient Java gold coins with shape similar to a corn seed. Golden, silver and bronze Hindu-Buddhist relics were also in display, such as the Hindu gods images made from gold leaf, bronze statue of Shiva Mahadeva with gold applied on his lips and third eye, the bronze statue of Avalokiteshvara and also the silver statue of youthful Manjusri.
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Entering the Palace grounds from the east, on the right or north sits the Clock Tower, or Bahozin (). It is a simple building, consisting of a high square plinth; on the top of this four columns sustain a wooden platform surmounted by a double-roof; the whole is crowned by a small finial and a hti or umbrella. It is from this platform that the passing of time was made known to the city by sounding regularly a gong and a very large drum at each watch, that is, every third hour; the day and the night were each divided into four watches. The time was marked by a water-clock.
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The top of 26 Broadway's tower section contains a finial and kerosene cauldron. The building has a complex massing: its lower portion occupies the entire pentagonal lot, following the curving contour of Broadway at that point, while its tower is aligned with the grid to which Lower Manhattan's other skyscrapers conform. A deep light court cuts through the center of the Beaver Street facade, which was the last section to be constructed due to the presence of a holdout lot occupied by Childs Restaurants. The original Standard Oil Building, a 15- or 16-story building initially faced in brick, still exists at the base of the modern skyscraper.
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The vestry window at the south is of a single light with panes of glear glazing set in square muntins, within a double chamfered arched surround with hood mould. At the west side of the vestry is a plank door within an ogee-headed moulded doorway. North chapel from north-west The 1448 south chapel sits on a moulded plinth which runs over two twin- stepped buttresses, one angled and central to the south wall, the other diagonal on the south-east corner. The buttresses are topped by square-based pinnacles with blind cusped panels, crocketed above gables at each side, the pinnacle at the south-east finished with a finial.
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The Altus Well Shed-Gazebo is a gazebo located adjacent to the central city park of Altus, Arkansas, near the junction of Franklin and Main Streets. It is an octagonal structure, set on a foundation of cast concrete blocks, with eight stepped columns (also of concrete blocks) supporting a wooden roof frame with a metal shingle roof and finial. The gazebo was built about 1920 covering a well that is believed to have been built in 1888, around the time a branch railroad line was built from Altus to a nearby coal mining area. The gazebo was listed on the National Register of Historic Places in 1996.
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The W J Castling memorial drinking fountain is an exercise in the use of classical elements, based on a simple square form plan with an attic storey raised on Ionic columns. The structure derives from the Roman triumphal arch, with its four columns standing on pedestals and rising to an entablature, above which is the attic storey with a semicircular decorative motif. The arches have been displaced by the capitals, and occur within the structure as a shallow dome above the central urn on its octagonal base. The curves of a basilica roof are reduced to a convex pyramidal form, topped with a decorative carved finial.
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Rosebank is a substantial, single-storeyed, timber house resting on low brick piers, with a short-ridge roof of corrugated-iron, wide surrounding verandahs and a detached kitchen wing at the rear, accessed from the back verandah. The single-skinned external walls have deep chamferboards with exposed stud-framing. Decorative details include cast-iron cresting and finials on the roof, cross-braced timber balustrading and ornate timber brackets on the verandahs, and a finial and fretwork bargeboards to the small gabled entrance portico at the front. The interior has some fine pressed metal ceilings, which have been restored, and early 20th century light fittings.
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In the Queen Anne Victorian style, it took the form of a wooden turret with an octagonal base with steeply pitched slopes rising to a peak, usually topped with a finial."Tent roof", Illustrated Architecture Dictionary, online at the Buffalo Architecture and History site. A distinctive local adaptation of this roof style was widely used in 16th- and 17th-century Russian architecture for churches, although there are examples of this style also in other parts of Europe. It took the form of a polygonal spire but differed in purpose in that it was typically used to roof the main internal space of a church, rather than as an auxiliary structure.
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Based on the general plan of the Amrtesvara Temple at Annigeri, the Mahadeva Temple was built in 1112 CE and has the same architectural components as its predecessor. There are however differences in their articulation; the sala roof (roof under the finial of the superstructure) and the miniature towers on pilasters are chiseled instead of moulded.Foekema (2003), p 57 9th century old Kannada inscription at Navalinga temple in Kuknur, Karnataka The difference between the two temples, built fifty years apart, is the more rigid modelling and decoration found in many components of the Mahadeva Temple. The voluptuous carvings of the 11th century were replaced with a more severe chiselling.
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Opposite the entrance piers, and deliberately complementing them, is a three-story farmhouse built in about 1845; this has been given heavy Grecian detailing, a blind pediment and a classical balustrade to its precincts. The southwest entrance is also through high gate piers, but these are cylindrical and of a simpler, chaste design than those of the northeast entrance. The mostly 19th- century rear facade; the finial of the belvedere tower can be seen above the roof-line. Tracy Park gives its name to the Grade II listed mansion situated within its grounds. The house has a 17th-century nucleus, but has been remodelled externally.
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Tracy Park's tower has an upper- most floor, completely surrounded by a slightly projecting Italiante balcony, supported by corbels, appears as a rectangular cupola and has Ionic pilasters at each corner; this structure is surmounted with a large finial. Much of the rear facade of the house was remodeled in the 19th century in a Tudor Gothic style. However, the haphazard fenestration suggesting mezzanine floors, and stonework and the need for a low buttress suggest that the lower floors, at least, may belong to the 16th and 17th-centuries. Facing the rear are a number of outbuildings, including the former stables, which date from 1849 to 1860.
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The southwest gable has a finial and paired timber brackets, and the exposed gable ends have a casement window with timber and iron hood. Internally, the building contains early court room furniture and fittings including timber gallery seating, witness stand, dock, and Judge's bench, with horizontal timber boarding to walls and a raked ceiling. The barracks, located to the north of the court house, is a single-storeyed, single-skin timber building with a corrugated iron gable roof and concrete stumps. The building has a verandah on the southeast, the wall of which is clad with fibrous cement sheeting, with two french doors and a sash window and timber door.
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Triangular parapet walls present dormer-like projections from the gable roof, the left one topped by a brick chimney, the right one by an open belfry, which has a pair of chamfered posts supporting the crosspiece from which the bell is suspended. The belfry is topped by a cross-shaped finial. The church was built in 1882 through the efforts of Dr. Peter Henry Steenstra, a minister from Cambridge, Massachusetts, who was a summer resident of Robbinston, and who had for several summers led religious services in less formal settings. Services ended in 1993, and the church was sold to the historical society in 2000, which uses it as its museum.
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Here, the canopies are formed by intertwined branches, which in turn are crowned by an architectural finial. This artistic approach deliberately broke with the expected order and with the comprehensibility of the architectural system. Similarly, the monumental north portal of the Benedictine monastery church in Chemnitz, which was built in 1525 by the wood carver and stone sculpture Franz Maidburg, combines pre-Gothic (Romanesque) forms like rounded arches with branchwork. Both the style and the figurative program with the founders of the 12th century emperor Lothair II refer here to the distant foundation of the monastery and emphasize the age and venerability of the complex.
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The church is built in red sandstone rubble with ashlar dressings and a tile roof; it is in 13th century style. Its plan is cruciform, consisting of a six-bay nave with a clerestory, north and south aisles, north and south porches, transepts with a tower at the crossing, a chancel with a north organ loft and a south chapel, and an octagonal vestry. The tower has angle buttresses, a stair turret on the northeast, and four two-light windows on the north and south sides. There are clock faces on three sides, two-light bell openings, a parapet with pinnacles and a pyramidal roof with a finial.
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Specifically, the quality masonry work, lancet windows, label moulds adorned with bosses over the windows and doors, and circular stained- glass window. An unusual creative innovation in the design and construction of the church is the clever use of diagonal buttresses to support the corner belfry. St Stephen's Presbyterian Manse is of state aesthetic significance as it displays aesthetic characteristics of a high order for a domestic structure that is of relatively modest scale. The unaltered characteristics since construction include the hipped and gabled roof, multi-corbel chimneys, decorative barge boards, finial, bay window and skillion-roofed front verandah supported by timber posts with ornate timber brackets.
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Based on the general plan of the Amrtesvara Temple at Annigeri, the Mahadeva Temple was built in 1112 CE and has the same architectural components as its predecessor. There are however differences in their articulation; the sala roof (roof under the finial of the superstructure) and the miniature towers on pilasters are chiseled instead of moulded.Foekema (2003), p 57 9th century old Kannada inscription at Navalinga temple in Kuknur, Karnataka The difference between the two temples, built fifty years apart, is the more rigid modelling and decoration found in many components of the Mahadeva Temple. The voluptuous carvings of the 11th century were replaced with a more severe chiselling.
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The legend was originally associated with the minaret of the Kasbah Mosque further south (which has a similar finial), but is nowadays often associated with the Kutubiyya instead. One version of the legend claims that there were at one time only three of them and that the fourth was donated by the wife of Yaqub al-Mansur as penance for breaking her fast for three hours one day during Ramadan. She had her golden jewelry melted down to form the fourth globe. Another version of the legend is that the balls were originally made entirely of gold fashioned from the jewellery of the wife of Saadian Sultan Ahmad al- Mansur.
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There are two similar near-complete examples, at the Metropolitan Museum of Art in New York City, and at Leeum, Samsung Museum of Art in Seoul, which is designated National Treasure No. 781. Belonging to the 10th century AD, this work would originally have been attached to a corner rafter of a royal palace building or a Buddhist temple hall. The artifact, made of guilt bronze consists of two major parts: the lower wind chime and upper rafter finial with the shape of a dragon head. The dragon head contains various intricate designs and its eyes, closed mouth, horns, ears and elaborate scales convey the fierceness of the mythical creature.
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The Tamworth Post Office is a two-storey Victorian Italianate building constructed in ashlar pattern rendered brickwork, with a four-storey corner clock tower. The building is painted an apricot colour with off-white detailing and dark green window and door frames. It has a predominantly hipped corrugated iron roof behind a balustraded parapet wall that encloses the building and it is punctuated at the centre of the front-hipped roof by a rendered and painted chimney. The tower is capped by a cast concrete cupola with iron finial at the apex, housing the striking hour bell, and it retains four clock faces to the level below.
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The church is a rare example, important for the group details and composition, including pinnacles and triumphal arch, different from the vernacular characteristics of other temples of the same size in the region. The church is located in the centre of a large square (Largo Marquês de Pombal), aligned with trees and a central garden. It has a longitudinal plan, formed of a nave and a narrower presbytery, with lateral sacristy and tiled articulated spaces. The principal facade is oriented towards the north, defined by accented corners, a finial gable crowned by a cross (resting on a plinth in masonry) and stone urns on plinths crowning the corners.
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The symmetrically-arranged single- storey building, above an undercroft, had a face brick exterior with rendered decorative elements, and featured a central projecting entrance bay to the front (south) elevation that had a stepped, rendered parapet. The Dutch-gable roof was clad with Tuscan tiles and featured a decorative central fleche with finial. On the first floor there were eight classrooms accessed by a central corridor that aligned east-west: four classrooms on the north side, , separated by panelled folding partitions; and four on the south side, wide, separated by fixed partitions with central doorways. Hat / cloak rooms were situated adjacent to the two internal stairwells.DPW plans R5-20-10-4-1 and R5-20-10-4-2.
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The place is important because of its aesthetic significance. The place has aesthetic significance and is a dominant landmark both from New Farm, and from the river and the eastern suburbs. Its landmark qualities are a result of a number of contributing factors, including the massing of the buildings and their relationship and orientation to the river and each other, individual sections of buildings such as the highly visible char tower with its decorative brackets and finial, the substantial amount of vegetation on the site and the lineal qualities from the east, as defined by the buildings, grassed banks, fence, wharf and river. The buildings and the spaces between them contribute to the industrial aesthetic of the place.
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Each relief is bracketed by winged finial lights. Above all this is the high soaring dome of the ceiling covered with 120,000 stars, one for every man and woman in NSW who served in the Great War, made of plaster of paris and painted gold leaf. The height of the room is accentuated with the four grand cathedral windows of etched amber glass, designed by Dellit with Hoff. To the west of Hall of Memory are the internal stairs from the ground floor vestibule. To the east is the Remembrance Flame Room, originally the Archives Room and intended to list the names of those 21,000 NSW men and women who died serving their county in the Great War.
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It features a simple frame cupola sheltering a farm bell. A separate two-story brick building with 14 rooms houses the original summer kitchen, wash room, and baking room, and may have once housed farm and domestic help. Also on the property is a brick, one-story dairy with a pyramidal roof dominated by a pointed finial of exaggerated height with Victorian Gothic "icing" decorating the eaves; a large frame and dressed stone bank barn; and a blacksmith's shop, spring house, smokehouse, ice house, and numerous other sheds and dependencies all used as a part of the working farm museum activities. The original Carroll County Almshouse was founded in 1852 and the Farm Museum was established in 1965.
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The arcades are supported by piers, some of which are circular, others octagonal. On the north side of the chancel is a double aumbry; on the south side is a single aumbry and a damaged piscina. In the south aisle is a recess dating from the middle of the 14th century with a crocketed canopy, a finial at the apex and pinnacles at the sides; it had possibly been an Easter Sepulchre. The monuments include a 13th-century effigy of a knight with chain mail, a sword and a shield; a grave cover carved with a foliated cross, a man's head, and hands in prayer; and two Anglo-Saxon cross shafts dating from about 800.
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Other more decorative features which have been recorded on the castle since the 18th century include a cut stone fireplace, pointed cut stone arch windows and a number of carved features including a bold chamfer with a defaced floral finial on the North East edge of the main tower and a rude human face on a projecting stone on the East side. Archaeological testing in the area immediately surrounding the tower has recorded evidence of habitation as far back as the 13th and 14th century. Today the tower is well preserved and protected by virtue of its specific status. It now sits in a gated apartment complex with no new building permitted in the vicinity.
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Silver chocolate pot with hinged finial to insert a moulinet or swizzle stick, London 1714–15 (Victoria and Albert Museum) Dutch chemist Coenraad Johannes van Houten invented "Dutch cocoa" by treating cocoa mass with alkaline salts to reduce the natural bitterness without adding sugar or milk to get usable cocoa powder. The new craze for chocolate brought with it a thriving slave market, as between the early 1600s and late 1800s, the laborious and slow processing of the cacao bean was manual. Cacao plantations spread, as the English, Dutch, and French colonized and planted. With the depletion of Mesoamerican workers, largely to disease, cacao production was often the work of poor wage laborers and African slaves.
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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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The exterior of the house exhibits a plain style of Neoclassicism, based on Palladio, with some fussy French details. The house has an "H" plan, with a central block of three stories, and wings of two stories, constructed from yellowish Stanway limestone ashlars. The south front was originally the main entrance, with canted bays at either end, reached by a drive that swept past the main west front. The main front was originally to the west, at the centre of which is a projecting semicircular bay, with four Ionic pillars and French Neoclassical garland swags around the architrave, topped by a shallow dome with pointed Coade stone finial, and wings projecting to either side.
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Many were large and impressive structures and are included in the list below. In the UK the legal definition of a conservatory is a building that has at least 50% of its side wall area glazed and at least 75% of its roof glazed with translucent materials, either polycarbonate sheeting or glass. Today, the terms sunroom, solarium and conservatory are used interchangeably by the public, but in general the term conservatory and particularly English conservatory evoke the image of an ornate structure, echoing the traditions of that Victorian era of conservatory building. Modern conservatories tend also to be graced with a traditional cresting and finial, along with single, double patio or even bi-folding doors.
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The Charles Palmer House is a two-story Queen Anne house framed and sheathed in wood. It is laden with wood detailing, including a variety of window shapes and sizes, a complex roofline of hipped and gabled shapes, and a rich overlay of shingled, carved, incised, turned, and jig-sawed wood ornamentation. The house is asymmetrical, with the front facade continuing a recessed central bay capped with a pediment and flanked by a projecting bay capped by the end of a gabled roof, and a further recessed bay that is actually a three-story tower topped with a hipped roof and finial. The house is clad with narrow clapboard siding, with a bandcourse of fishscale shingles.
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The Tower (with now lost finial surmounted De Salis tomb nearby), Harlington Church, Middlesex. photograph published 1909. He married at St. Antholin, 17 November 1775, Miss Julia Henrietta "Harriet" Blosset from a well connected huguenot family (d. 18 January 1819, at Hanwell), second daughter and co-heir of Solomon Stephen Blosset of Dublin & Meath (grandson of Salomon Blosset de Loche), by his wife Elizabeth Dorothy Le Coq St. Leger, from Trunkwell House at Shinfield (now Beech Hill) in Berkshire. Harriet Blosset was the girl who in 1768 had been led to believe by Sir Joseph Banks (1743–1820) that he would marry her on his return from his journey with Cook on the Endeavour.
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A number of mandala show the Iron Stupa in southern India, where the patriarch Nāgārjuna received the Esoteric scriptures, as a single-storey pagoda with a cylindrical body, a pyramidal roof, and a spire. The forms used in the tahōtō, namely the square, circle, triangle, semi-circle, and circle, may represent the Five Elements or the Five Virtues. The egg-shaped stupa mound or aṇḍa may represent Mount Sumeru, with the finial as the axis of the world; or, by a folk interpretation, the square base may represents a folded robe, the dome an overturned begging bowl, and the spire a walking staff. The tahōtō served not as a reliquary tower but often as an icon hall.
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Bhutanese thangka of Mount Meru and the Buddhist universe, 19th century, Trongsa Dzong, Trongsa, Bhutan Painting of Mount Meru from Jain cosmology from the Samghayanarayana Mount Meru (Sanskrit: मेरु), also recognized as Sumeru, Sineru or Mahāmeru, is the sacred five-peaked mountain of Hindu, Jain, and Buddhist cosmology and is considered to be the center of all the physical, metaphysical and spiritual universes. Many famous Buddhist and similar Jain as well as Hindu temples have been built as symbolic representations of this mountain. The "Sumeru Throne" 須彌座 xūmízuò style base is a common feature of Chinese pagodas. The highest point (the finial bud) on the pyatthat, a Burmese-style multi-tiered roof, represents Mount Meru.
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Both transepts are separated from the nave by c. 20th-century panels and doors rising part way to the top of the arches. The north transept is solid panelling; the south with clear glazed doors to its full width. The north transept is today used as the church vestry room, and the south transept a meeting room with modern furniture. On the south wall of the south transept is a 14th-century piscina with a recessed trefoiled head, a re-cut quatrefoil drain, a head of a woman in a wimple carved at its apex, and a finial above. The nave is 13th century in origin, but was rebuilt in the 14th.
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Frieze displaying the terminal's original logo Many parts of the terminal are adorned with sculpted oak leaves and acorns, nuts of the oak tree. Cornelius Vanderbilt chose the acorn as the symbol of the Vanderbilt family, and adopted the saying "Great oaks from little acorns grow" as the family motto. Among these decorations is a brass acorn finial atop the four-sided clock in the center of the Main Concourse. Other acorn or oak leaf decorations include carved wreaths under the Main Concourse's west stairs; sculptures above the lunettes in the Main Concourse; metalwork above the elevators; reliefs above the train gates; and the electric chandeliers in the Main Waiting Room and Main Concourse.
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The verandahs also have unusual lattice screens which consist of scalloped timber lattice which gives a star-like pattern. A brick chimney stack is located mid- way above an internal wall on the western side of the building, and the rear kitchen wing shows evidence of alterations to windows and an early addition to the northern end. The western elevation has decorative window hoods consisting of cast iron brackets with corrugated iron hood and timber sides, and the central window hood has a gable with finial. The building has sash windows, French doors with patterned glass panels and fanlights opening onto verandahs, and decorative leadlight sash windows to the projecting southwest and southeast corner bays.
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The globus cruciger (made up of a monde and cross) was generally featured as the finial of European royal crowns, whether on physical crowns or merely in royal heraldry, for example, in Denmark, the Holy Roman Empire, Hungary, Italy, The Netherlands, Portugal, Romania, Spain, Sweden, and Yugoslavia. It is still depicted not only in the arms of European polities for which a monarchy survives, yet also, since the end of communism in 1991, in the arms of some eastern European polities, despite the termination of their historical monarchies. Even in the modern era in the United Kingdom, the Sovereign's Orb symbolizes both the state and Church of England under the protection and domain of the monarchy.
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To the north front of the house is a terrace, created by Peddie & Kinnear, which is accessed from the lawn below by a stone staircase. Further to the north is a Tuscan column, created by Robertson and nearly in height; this originally had a spherical granite finial, but now supports a heraldic unicorn bearing the letter 'F', representing the Findlay family. About 250 metres to the south-east of the building is a caravan park. This was originally a walled garden, laid out by Robertson; its pedimented north gate, built in 1858, comprises a round arch, whose keystone bears the initials MG, in reference to Margaret Macpherson Grant who was the owner of the property at the time.
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The Taj Mahal, a World Heritage Site was built between 1630–49 by the emperor Shah Jahan in memory of his wife Mumtaz Mahal. Its construction took 22 years and required 22,000 laborers and 1,000 elephants, at a cost of 32 million rupees. (corresponding to US$ 827 million in 2015) It is a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan (an arch-shaped doorway) topped by a large dome and finial. The building's longest plane of symmetry runs through the entire complex except for the sarcophagus of Shah Jahan, which is placed off centre in the crypt room below the main floor.
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Later Chinese chronicles describe Nepal's king's palace as an immense structure with many roofs, suggesting that Chinese were not yet familiar with the pagoda architecture, which has now become one of the chief characteristic of Chinese architecture. A typical pagoda temple is built with wood, every piece of it finely carved with geometrical patterns or images of gods, goddesses, mythical beings and beasts. The roofs usually tiled with clay, and sometimes gold plated, diminish in proportion successively until the topmost roof is reached which is itself ensigned by a golden finial. The base is usually composed of rectangular terraces of finely carved stone; the entrance is usually guarded by stone sculptures of conventional figures.
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St Mary's is an Anglican church built by the Normans in 1296 on the site of a turret on Hadrian's Wall. Visible from the church are the Solway Firth and Scotland to the north; the Lake District, Carlisle and the Pennines to the east. St Mary's Church The building is constructed from squared and coursed sandstone from the nearby wall, the line of which runs directly beneath the church, with a graduated roof made from greenslate, coped gables and a cross finial. Little remains of the original church although the single chamber interior is still mostly of the earlier period, notably the south doorway and three east windows, but the church underwent restorations in 1784, 1872 and 1888.
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Traditional construction uses animal glue, and internal joints are often reinforced with strips of either linen or vellum soaked in hot animal glue—a practice also employed in early plucked vihuela construction. The peg boxes of viols (which hold the tuning pegs) were typically decorated either with elaborate carved heads of animals or people or with the now familiar spiral scroll finial. The earliest vihuelas and viols, both plucked and bowed, all had sharp cuts to their waists, similar to the profile of a modern violin. This is a key and new feature—first appearing in the mid-15th century—and from then on, it was employed on many different types of string instruments.
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Over and outside these the façade of the great arch projects, with ribs in imitation of wooden rafters under it. On each side the finial is a male figure: that on the left holds a chauri and has wings, and some animal's head above his jaunty turban; the other holds some object in his right hand, and behind each shoulder are two snake-heads with their tongues hanging out. Right and left of these are dagobas in high relief, but roughly formed; and on the right of the arch is a tree with objects hanging in it, but it has never been quite finished, parts being only outlined. Inside of the Chaitya.
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The leader of the opposition saw Abbas gaining ground and ordered for more army men to attack the flag bearer, stating, "If water is brought back to their tent, there is no stopping them." Archers then started bombarding Abbas with arrows which pierced the water skin, bringing him down from his horse with the alam falling to the ground. Alams are a reminder of Abbas' martyrdom, and act as a symbol of affection and salutation towards the followers of Husayn ibn Ali who lost their lives in Karbala. Alams all vary in size but usually consist of a wood pole base, with a metal finial and cross-bar that is fixated at the top of the pole.
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The first working model, the Finial LT-1 (Laser Turntable-1), was completed in time for the 1986 CES. The prototype revealed an interesting flaw of laser turntables: they are so accurate that they play every particle of dirt and dust on the record, instead of pushing them aside as a conventional stylus would. The non-contact laser pickup does have the advantages of eliminating record wear, tracking noise, turntable rumble and feedback from the speakers, but the sound is still that of an LP turntable rather than a Compact Disc. The projected $2,500 street price (later raised to $3,786 in 1988) limited the potential market to professionals (libraries, radio stations and archivists) and a few well-heeled audiophiles.
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Foekema (2003), p 57 The difference between the two temples, built fifty years apart, is the more rigid modelling and decoration found in many components of the Mahadeva Temple. The voluptuous carvings of the 11th century were replaced with a more severe chiselling.Foekema (2003), p 56 Square floorplan with five projections per side of the shrine As developments progressed, the Chalukyan builders modified the pure dravida tower by reducing the height of each stepped storey and multiplying their number. From base to top, the succeeding storeys get smaller in circumference and the topmost storey is capped with a crown holding the kalasa, a finial in the shape of a decorative water pot.
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This is a single-storeyed timber residence with verandahs to the southern, eastern and northern sides. It is set on concrete stumps on gently sloping ground. The house is clad in painted weatherboards and features French doors with fanlights, which provide access from the rooms in the main residence to the verandahs, and a mixture of 6:6, 4:4 and 1:1 vertical sliding sash windows to the kitchen and later rear extensions. A concave iron window hood returning at each end protects the triple sash window with louvered shutters on the front projecting gable, which also features bargeboards with supporting brackets along the eaves and a finial at the apex.
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A non original door is located on the eastern side of the bay and is accessed via a timber stair. The rear elevation of the "museum" wing has a metal finial and a battened timber screen to the gable, similar to the front elevation however without any of the decorative timber detailing and trim. Paired lancet windows with leadlight panels are located in the gable above a lean-to addition, which consists of an early section at the western end (possibly part of the original "museum" wing), and later enclosures at the eastern end. The lean-to has louvred glass windows as well as a row of fixed glass high level windows.
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The chancel continues the parapeted gable form of the nave, with cross finial and skew stones, however the eastern end is where the Gothic decoration of the exterior is most notable. The large stained glass window sits within an elaborate stone tracery frame housing five windows at its base, surmounted by a carved rose window motif and incorporating numerous modulated trefoil and several sexfoil motifs (six leaves radiating from a common centre). The large window is framed over the top with a hood mould, but here has carved label stops.CMP 2014, pp.14-16 The small vestry to the southern side sits snugly in the internal corner junction of the nave and chancel.
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The shield and lions are surrounded by a wreath of green palm and oak leaves tied together with an orange and blue ribbon, and there is another wavy gold laurel wreath around the four edges. Battle honours are added in the corners of the obverse and sometimes also on the left and right of the Royal cypher; if additional honours are awarded, they are placed on streamers that are attached to the pike until the presentation of a new Colour. The Military Order of William or other decorations are attached to the pike when awarded. The pike has a finial of a lion on a block holding a sword and a bunch of seven arrows.
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As per Kerala rituals, only the main priest called Thantri and the second priest called Melshanthi alone can enter the Sree Kovil. The central shrine has a circular plan with the base built of granite, superstructure built of laterite and conical roof made of terracotta tile supported from inside by a wooden structure. The lower half of Sree Kovil consists of the basement, the pillar or the wall, called stambha or bhithi and the entablature called prasthara in the ratio 1:2:1, in height. Similarly the upper half is divided into the neck called griva, the roof tower called shikhara and the finial kalasam (made of copper) in the same ratio.
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Dome The stature of Holy Name of Jesus Cathedral is architecturally conveyed by the inclusion of a prominent dome, the significance of which was described by the architect: The 162-ton copper-clad ribbed dome was constructed on the ground and lifted into place via crane in a remarkable feat by the contractor. A decorative finial and a cross embellish the top of the dome, which reaches to a total height of 173 feet above the ground. The drum of the dome, adorned with a range of paired Corinthian columns and entablature and sixteen arched windows, is located directly above the sanctuary platform below it. The dome is composed of an inner and outer shell, with a cavity between them.
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Image of Saint Michael enshrined at the main retablo with the relic from his 492 Apparition in Italy The church façade is reminiscent of a typical Philippine Barn-Style Baroque church architecture, with its two levels and triangular pediment. The main portal, now with an attached concrete canopy, is flanked by niches of Saint Peter and Paul. The second level has three openings and is devoid of any intricate embellishment save for the pilasters rising to the bottom of the pediment, panels with embossed eye-shaped details and reliefs of heart sand the Franciscan seal. The four pilasters that rise from the first level to the base of the pediment are topped not by finial caps but by four statues that of the four evangelists.
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The majority of designers of Victorian terraces in Melbourne made a deliberate effort to hide roof elements with the use of a decorative parapet, often combined with the use balustrades above a subtle but clearly defined eave cornice and a frieze, which was either plain or decorated with a row of brackets (and sometimes additional patterned bas-relief). Chimneys were often tall, visible above the parapet and elaborately Italianate in style. Individual terraces were designed to be appreciated on their own as much as part of a row. Symmetry was achieved through a central classical inspired pediment or similar architectural feature, balanced by a pair of architectural finial or urns on either side (though these details were subsequently removed on many terraces).
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Maes Mawr Hall The largest and most impressive of these houses was Lymore, Montgomery, built by Edward, third Lord Herbert of Chirbury, c. 1675 (date on a gable finial but not finished until 1677, a year before Lord Herbert's death) The house had a close-studded frontage, with an open three-bay Renaissance loggia on the ground floor, six gables (later reduced to three), and, rising from the centre, a pyramid-roofed look-out tower or Belvedere. While the main house was built in timber, there was extensive use of brick for the inner courtyard and service wings. The hall was not used as the family seat for long, and for most of its existence it was either unoccupied or used by agents of the estate.
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David J. McCutchion says that the pre-dominant traditional architectural style for temples in the western areas of Bengal in the pre-Muslim period is the tall curvilinear rekha deul and it went on developing from the late 7th century or early 8th century to around the 12th century, increasing its complexity and height but retaining its basic features. Such temples had “curvilinear shikhara with chaitya mesh decoration, surmounted by a large amalaka and kalasa finial. Examples of such dilapidated are still standing at Satdeula (in Bardhaman), Bahulara and Sonatapal (in Bankura) and Deulghat (in Purulia). On the brick already mentioned here, plus Jatar (in 24 Parganas) and Para (in Purulia), “we find extensive and remarkably fine stucco work on carved brick”.
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The Relic Tower, circa 1903. To the south of the Clock Tower, nearly facing it across the road is Swedawzin () or the Tooth-Relic Tower. A good example of traditional Burmese architecture, the Relic Tower has three parts — first a low basement; second a rectangular block or terrace rising from the first and third a relic-chamber surmounted by a three-tiered roof (pyatthat); the whole is crowned by the usual finial and the hti. Along the four sides of both basement and terrace runs a battlemented parapet formed of lozenge ornaments; at the four corners of each are small square pillars each surmounted by a marble manussiha or winged leogryph; the monster has a human head and two bodies.
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Roof finial or chofah (colorized) as depicted on the bas relief of Angkor Wat temple in 12th century. The representation of cho fah is unclear and believed to represent garuda, however, the present research indicates that the original chofah upon which most subsequent chofah have been based is the gajashimha of Suryavarman II, the Khmer king who built Angkor Wat. Temple finials representing gajashimha was presumably appeared in Cambodia during or shortly after his reign (1113 AD to 1150 AD). These finials (chofah) symbolized the unification of the northern and southern Khmer kingdoms and the reign of King Suryavarman II. This symbolism spread extensively throughout the region including part of today Laos, Lanna, and Isan which were once the Khmer empire.
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Often the foliage contained a face (St Margaret's, Cley, Norfolk), or the poppyhead consisted of figures or birds only (Thurston, Suffolk) or a figure standing on a dragon (Great Brincton, Northampton); occasionally the traditional form was departed from and the finial carved like a lemon in outline (Bury St Edmuncis) or a diamond (Tirley, Glos.). In Denmark an ornament in the form of a large circle sometimes takes the place of the English poppy-head. In the Copenhagen Museum there is a set of bench ends of the 15th century with such a decoration carved with coats of arms, interlacing strap-work, etc. But the old 15th-century bench end did not depend entirely on the poppy-head for its embellishment.
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Details of a Vietnamese wooden ceiling In these countries the carver is unrivaled for deftness of hand. Grotesque and imitative work of the utmost perfection is produced, and many of the carvings of these countries, Japan in particular, are beautiful works of art, especially when the carver copies the lotus, lily or other aquatic plant. A favorite form of decoration consists of breaking up the architectural surfaces, such as ceilings, friezes, and columns, into framed squares and filling each panel with a circle, or diamond of conventional treatment with a spandrels in each corner. A very Chinese feature is the finial of the newel post, so constantly left more or less straight in profile and deeply carved with monsters and scrolls.
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David J. McCutchion says that the pre- dominant traditional architectural style for temples in the western areas of Bengal in the pre-Muslim period is the tall curvilinear rekha deul and it went on developing from the late 7th century or early 8th century to around the 12th century, increasing its complexity and height but retaining its basic features. Such temples had “curvilinear shikhara with chaitya mesh decoration, surmounted by a large amalaka and kalasa finial. Examples of such dilapidated deuls are still standing at Satdeula (in Bardhaman), Bahulara and Sonatapal (in Bankura) and Deulghat (in Purulia). On the brick deuls already mentioned here, plus Jatar (in 24 Parganas) and Para (in Purulia), “we find extensive and remarkably fine stucco work on carved brick”.
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On each of its faces is an entrance through a pointed arch, ornamented with crockets and a finial. Above this, on four of its sides, is a tablet, to commemorate its reparation in the reign of Charles II. Above each tablet is a dial, exhibiting the hour to each of the three principal streets; the fourth being excluded from this advantage by standing at an angle. In the centre is a large circular column, the basement of which forms a seat: into this column is inserted a number of groinings, which, spreading from the centre, form the roof beautifully moulded. The central column appears to continue through the roof, and is supported without by eight flying buttresses, which rest on the several corners of the building.
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David J. McCutchion says that the predominant traditional architectural style for temples in the western areas of Bengal in the pre-Muslim period is the tall curvilinear rekha deul and it went on developing from the late 7th century or early 8th century to around the 12th century, increasing its complexity and height but retaining its basic features. Such temples had “curvilinear shikhara with chaitya mesh decoration, surmounted by a large amalaka and kalasa finial. Examples of such dilapidated are still standing at Satdeula (in Bardhaman), Bahulara and Sonatapal (in Bankura) and Deulghat (in Purulia). On the brick already mentioned here, plus Jatar (in 24 Parganas) and Para (in Purulia), “we find extensive and remarkably fine stucco work on carved brick”.
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David J. McCutchion says that the pre-dominant traditional architectural style for temples in the western areas of Bengal in the pre-Muslim period is the tall curvilinear rekha deul and it went on developing from the late 7th century or early 8th century to around the 12th century, increasing its complexity and height but retaining its basic features. Such temples had “curvilinear shikhara with chaitya mesh decoration, surmounted by a large amalaka and kalasa finial. Examples of such dilapidated deuls are still standing at Satdeula (in Bardhaman), Bahulara and Sonatapal (in Bankura) and Deulghat (in Purulia). On the brick deuls already mentioned here, plus Jatar (in 24 Parganas) and Para (in Purulia), “we find extensive and remarkably fine stucco work on carved brick”.
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Prior to the outbreak of World War I in 1914 detachable black or white plumes were worn with the Pickelhaube in full dress by German generals, staff officers, dragoon regiments, infantry of the Prussian Guard and a number of line infantry regiments as a special distinction. This was achieved by unscrewing the spike (a feature of all Pickelhauben regardless of whether they bore a plume) and replacing it with a tall metal plume-holder known as a trichter. For musicians of these units, and also for Bavarian Artillery and an entire cavalry regiment of the Saxon Guard, this plume was red. Aside from the spike finial, perhaps the most recognizable feature of the Pickelhaube was the ornamental front plate, which denoted the regiment's province or state.
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The church is a bi-chrome brick building with a seven bay nave, chancel and a very steeply pitched gabled roof clad with diamond patterned fibrous cement shingles and terracotta ridge capping. A small decorative timber framed fleche at the southern, entrance, end of the church surmounts the apex of the gabled roof, and has a steeply pitched pyramidal roof with an iron cruciform finial. Generally the church is constructed from a dark brown brick and has cream brick detailing, in the form of window surrounds, arched window heads, quoining and string coursing. The church sits on a two course sandstone plinth, the lower course comprises rockfaced blocks and the blocks in the upper course are sparrow picked and margined.
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The main house entrance comprises a set of wide stairs with steel railings (not original) and a projecting gabled porch, which has metal acroterions and a decorative finial at its apex. The porch has a decorative pediment with a name board below, and is supported by double timber columns with decorative timber brackets. The ground to the south-west of the house steps up via two stone retaining walls, and there is also a derelict chicken shed on the southern boundary of the property, with the remains of a possible pond circled by stones nearby. At the rear of the main house, in the angle formed by the kitchen wing, there is a fernery made of rough bush timber framing, covered over the top with wire mesh.
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Detailing includes two lancet arched windows at the eastern end, and a lancet arched doorway with decorative hood moulding and a cross finial at the western end of the building. The chapel also features a marble altar (now damaged) between the windows. Five other Parramatta priests are buried under the chapel floor: the Franciscan Dean Nicholas Coffey (died 1857) who built the third St Patrick's Church; Dean John Rigney, pioneer of the Illawarrra; Monsignor Thomas O'Reilly (died 1919), parish priest of Parramatta, and Monsignor Joseph McGovern, founder of the Catholic Historical Society.Coulburn, pers comm 2011; National Trust Cemeteries Committee, 2004 The Mortuary Chapel was placed in the centre of the cemetery with access on an axis almost 60 degrees to the Church Street boundary.
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The Biddenham dovecote was a structure located in Biddenham, a village in Bedfordshire, England. Built on the order of Elizabeth Boteler in 1706, in a field to the west of the carp pond now known as the village pond, the dovecote provided meat and eggs for the Biddenham Manor table.Dorothy Richards, Biddenham: A Parish History and Guide (New Moon, 1991) Katherine Fricker, Mary McKeown, Diana Toyn, The Village Of Biddenham Through The Ages (Biddenham Historical Trust, 2012) ISBN No 978-0-9551356-2-0 The dovecote was a square timber framed building with brick in between and plastered over. It had a hipped tiled roof with four gabled dormers, whose ridges met at the apex which was crowned with an ornamental finial.
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The interior of the building was also somewhat modified, often featuring three central pillars rather than one and occasionally a wooden platform bed raised high off the ground. After Andrianampoinimerina's edicts regarding construction materials in the capital were revoked in the late 1860s, wooden construction was all but abandoned in Imerina and older wooden houses were rapidly replaced with new brick homes inspired by LMS missionaries' British-style dwellings. The tandrotrano horns were gradually replaced by a simple decorative finial installed at the two ends of the roof peak. Other architectural norms such as the north-south orientation, central pillar and interior layout of homes were abandoned, and the presence of finials on roof peaks is no longer indicative of a particular social class.
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At the west end a projecting portico with arched entrances, was erected above which Corinthian columns were placed; above these, caryatids supported an octagonal clock turret and a gilded angel finial. The town hall became the headquarters of the new borough of Burslem in 1878 but it ceased to be the local seat of government when the Federation of Stoke-on-Trent was formed in March 1910. The old town hall was used as a public library for much of the 20th century. It was used for scenes in the film The Card starring Alec Guinness in 1952, and although there were proposals to demolish it in the 1960s, it survived and had become a recreation centre by the 1990s.
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Lantern clocks were made almost entirely of brass, whereas most earlier clocks had been constructed from iron and wood. Typical lantern clocks comprised a square case on ball or urn feet, a large circular dial (with a chapter ring extending beyond the width of the case on early examples), a single hour hand, and a large bell and finial. The clocks usually had ornate pierced fretwork on top of the frame. The main style characteristics of English lantern clocks are similar to its Continental relatives: a wall clock with square bottom and top plates surmounted by a large bell, four corner pillars, a series of vertical plates positioned behind each other and a 30-hour movement with one or more weights.
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The side verandahs have been enclosed to expand the rooms through large archways, the northwest being enclosed with very wide cedar chamferboards. Some rooms are in the process of restoration and show different layers of the building's fabric, including pit sawn framing with mortice and tenon joints and hand-finished lining boards. Decorative features include painted woodgrain in the hall, hand painted wall paper, pressed metal ceilings in the drawing room, carved timber fireplace surrounds, casement windows, some of which have coloured glass inserts, step out bays and pressed metal window hoods. The attached guest house (a 1903-1904 extension) has a projecting gable porch to the northeast with decorative timber arch brackets, barge board, finial and diagonally boarded gable.
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They identified specific works they believed could sell well if stolen; Donati was particularly interested in one of the lesser items in the museum's collection, a Napoleonic Era finial, while Connor had his eye on Titian's The Rape of Europa; he also tried to interest Donati in a bronze Shang Dynasty gu. Connor and Donati went as far as to climb nearby trees and time the guards' movements through the various galleries during the night hours when the museum was closed. They agreed the most effective way to enter was to pose as police officers, which they had done on some other jobs.Boser, 141 In the 1980s Donati's stature within the Patriarca family increased as a result of leadership changes.
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Boston mobsters of the time believed him to have been the most capable of pulling the burglary off with his experience. The least valuable of all the stolen items was the Napoleonic finial he had expressed interest in; it was taken after the thieves went to great lengths attempting to take the banner it was attached to, directly opposite a Michelangelo sketch which was much more valuable and easier to remove.Kurkjian, 51. The use of police uniforms as a ruse to gain entry was part of a plan he and Connor had come up with years earlier; shortly before the crime Donati was seen by an acquaintance at a Revere bar frequented by many mobsters holding a package which contained police uniforms.
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The following year the saints recruited heavily especially with the marquee signing of Shane Cox, who signed on for a box of socos and hit the winning runs in the 2018 grand final win. 2019/2020 saw a disappointing end to the cricket season with Corey Gilmore and Patrick Ring failing with the bat at a crucial point in the game to gift the Colbo ducks the win in the semi finial. On a positive note Ben Connelly the club's 5th best leg spinner registered his first wicket with the club in 5 seasons.. Golf: Golfers play at the Heathcote Golf Course, a quality 18 hole championship course. Motor Racing/Athletics & Horse Racing: Heathcote has a harness track (2040m) that also acts as a speedway.
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Plas Fynnon, Nercwys, 1877 Wigfair 1882-4 Fronfraith Hall, 1863 The work of John Douglas the Chester architect, extended into Wales. Plas Fynnon, Nercwys, built as the vicarage to St. Mary's Parish Church in Tudorbethan style has been attributed to him. Built of brown brick with red brick and sandstone detailing under a steeply-pitched tiled roof with over sailing eaves and plain ridge. Asymmetrical facade with advanced, 2-storey gabled porch with moulded purlin-ends, brackets and plain finial. Tudor-arched entrance of tooled ashlar, stopped and moulded and with date 1877 carved in the spandrels. Another example of Douglas working in the Tudorbethan style was Wigfair Hall, a large country house of 1882–1884 standing in an elevated position above the River Elwy near the village of Cefn Meiriadog, Denbighshire, Wales.
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Braco's Banking House, at 7 High Street in Elgin, is a south-facing three-storey town house of three symmetrical bays, with crowstepped gables on each side, and fronted by an arcade of three round-headed arches on the ground floor. It has a harled exterior, with ashlar detailing. Each bay on the first floor has a small, twelve-pane sash window, and the two outer bays on the second floor each have a window, raised through the eaves of the roof, with carved stone pediments, the western one dated 1694 with initials I D and a thistle finial, the eastern one decorated with a star and a fleur-de-lys and initialled M I. The roof is of stone slabs, and there is a two-storey wing at the rear.
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It was officially opened by the Duke and Duchess of York on 18 March 1896. The design involved an asymmetrical main frontage with twelve bays facing onto High Road; the right-hand section of three bays featured a portico with Ionic order columns and finial above on the ground floor; there were three stone- lined niches flanked by pilasters extending from the first floor up to the second floor with a single decorative gable above; a timber and lead spire was erected at roof level. The design for the side elevation of the building, which consisted of six bays along Adelaide Street, was similar but with windows where the niches had been. Further along Adelaide Street, a two-storey technical institute block was erected as part of the complex.
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Sixtus V spoiled the unity of the Cortile (1585–90) by erecting a wing of the Vatican Library, which occupies the former middle terrace and bisects the space. James Ackerman has suggested that the move was a conscious one, designed to screen the secular, even pagan nature of the Cortile and the collection of sculptures that Pope Adrian VI had referred to as "idols". Today the lowest terrace is still called the Cortile del Belvedere, but the separated upper terrace is called the Cortile della Pigna after the Pigna, a large bronze pinecone, mounted in the niccione, likely to have been the finial of Hadrian's tomb or, as supposed in the Middle Ages, to mark the turning point for chariots in the hippodrome where many Christians were martyred.Kenneth Clark, Civilization, Harper & Row, 1969. p. 117.
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Dining Room, The Kirna (2018) Staircase, The Kirna (2018) Staircase finial, The Kirna (2018) The Kirna retains all of its original 1867 Scots Baronial and Venetian Romanesque design features including an idiosyncratic tower in Ruskinian Gothic style. The heavy oak main staircase features distinctive turned and carved balusters also found in F T Pilkington's own house, Egremont, 38 Dick Place, Edinburgh, and grotesque finials holding shields sporting the initials of George Ballantyne and his wife Marion White Aitken (1841-1914). The dining room ceiling incorporates the initials of Colin Ballantyne and his wife Isabella Milne Welsh (1881-1969), respectively. Of special architectural note is the main entrance and heavily decorated (sculpted) elevation featuring a central flight of ashlar steps leading to a polygonal, arcaded loggia entrance area which is supported by two rope-moulded arches.
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The ornamentation of the northern bay wall is in ruins, but surviving traces show its dissimilarity from the southern. The composition here shows two small vertical panels each containing a multifoil arch with a finial from which hangs a chain ending in a round pendant. What is significant about these bay walls is that they are completely incongruous with the mosque interior but their ornamentation resembles that in the Bagha mosque (1524) in Rajshahi district. The western chamber of Zafar Khan Ghazi Dargah, Tribeni Only yards away to the east of the mosque, beyond an open courtyard, stand two square rooms aligned east-west side by side, the western housing two graves - those of Zafar Khan Ghazi and his wife and the eastern showing four graves on a masonry platform.
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The vertical flanges projecting at regular intervals from its head could fracture plate armor and smash into underlying body tissue—yet it was a much cheaper weapon to make than a sword, whose blade was inclined in any case to glance harmlessly off the smooth, curved plates of a well-designed suit of armor if used in a chopping manner. A sharp, sometimes curved pick was often fitted to the rear of the battle axe's blade to provide the user with a secondary weapon of penetration. A stabbing spike could be added, too, as a finial. Similarly, the war hammer evolved in late-medieval times with fluted or spiked heads, which would help a strike to "bite" into the armour and deliver its energy through to the wearer, rather than glance off the armor's surface.
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The first stone of the Tower was laid by Queen Victoria on 22 December 1843, and construction was completed in 1860. The tower was originally named "The King's Tower" because the fire of 1834 which destroyed the old Palace of Westminster occurred during the reign of King William IV. The Victoria Tower incorporates a cast-iron framework which, rather than the visible stonework, provides the main strength supporting the structure. When the wrought-iron flagstaff was erected, the tower became the tallest square tower in the world, at to the base of the flagstaff, and a further to the top of the crown finial at its summit. In 1897, the King's Tower was officially renamed as the "Victoria Tower" in tribute to Queen Victoria in her Diamond Jubilee year.
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The kamancheh has a long neck including fingerboard which kamancheh maker shapes it as a truncated inverse cone for easy bow moving in down section, pegbox in both side of which four pegs are placed, and finial Traditionally kamanchehs had three silk strings, but modern instruments have four metal strings. Kamanchehs may have highly ornate inlays and elaborately carved ivory tuning pegs. The body has a long upper neck and a lower bowl-shaped resonating chamber made from a gourd or wood, usually covered with a membrane made from the skin of a lamb, goat or sometimes a fish, on which the bridge is set. From the bottom protrudes a spike to support the kamancheh while it is being played, hence in English, the instrument is sometimes called the spiked fiddle.
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SISD was founded by Omar Danial, co-owner of Swiss hotel group Manotel and President and major shareholder of investment company Finial Capital SA. Danial had moved to Dubai in 2010 with his family, and originally intended to found a school for the hospitality industry. However, upon arrival, Danial found that the overall educational presence of the International Baccalaureate programme in the area was lacking. As many European expatriates were starting to arrive and work in the region, he consulted contacts in the Swiss education field for advice in how to create an educational institution based on the Swiss educational system. Danial founded the school in 2012 through personal investments, a local bank, and the backing of the prominent Seddiqi family, who are among the co-founders of the school.
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Above this is the third balcony, crowned by the finial top of the minaret. The minaret is believed to have been built in the area of an earlier, Fatimid-era brick minaret that had itself been rebuilt several times. Contemporary accounts suggest that the Fatimid minaret had defects in its construction and needed to be rebuilt several times, including once under the direction of Sadr al-Din al-Adhra'i al-Dimashqi al-Hanafi, the qadi al-qudat (Chief Justice of the Highest Court) during the rule of Sultan Baibars. Recorded to have been rebuilt again under Barquq in 1397, the minaret began to lean at a dangerous angle and was rebuilt in 1414 by Taj al-Din al-Shawbaki, the walī and muhtasib of Cairo, and again in 1432.
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A possible finial from the entrance porch at old Chapelton House or a 'wheat sheaf' from the Monks' Well.Davis, Page 207 In the woodland policies of Chapeltoun House is the Monks' Well (OS 1974), fountain or spring as indicated on the OS maps going back as far as 1858. Its present appearance is probably as a Victorian or Edwardian 'whimsy' or 'folly' with a large, thick sandstone 'tombstone appearance' with a slightly damaged cross carved in relief upon it and a spout through which the spring water once passed into a cast iron 'bowl'. The Kilmarnock Glenfield Rambler's visited Chapeltoun in 1939 and recorded that a gargoyle had once been present as a spout and that the 'cross' was actually a 'wheat sheaf' that had stood on top of the stone.
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Among the various types of rhyta and horns, the one with an animal head termination on a long horn seems the least popular in the Near and Middle Eastern cultural domains. The horns are usually provided with an animal forepart, while the simple heads of rather large dimensions are typically combined with a straight or flaring calyx-like neck. Manassero, who collected the evidence in all materials and reviewed the earlier literature, counts four metal exemplars of the Archaic period, of which only two are made of silver, or silver and gold, both with a lion head finial. The type enjoys a revival in Scythia during the Classical period, often with animal heads of precious metal mounted on real horns; it continues in a pipe-like version well into the Hellenistic times.
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Traditionally, private residences and apartment houses fly the national flag at half-mast on the day of the death of a resident, when the flag is displayed at half-mast until sunset or 21:00, whichever comes first. Flags are also flown at half- mast on the day of the burial, with the exception that the flag is to be hoisted to the finial after the inhumation takes place. Flags are also to be flown at half-mast on the days of national mourning. Such days are the deaths of former or current Finnish presidents, as well as significant catastrophic events such as the aftermath of 2004 Indian Ocean earthquake and tsunami, 2011 Norway attacks and significant national events such as the 2004 Konginkangas bus disaster and school shootings of Jokela and Kauhajoki.
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The main building which now houses the Museum of Ancient Art was built as the Palais des Beaux-Arts, designed by Belgian architect Alphonse Balat and funded by King Leopold II. Balat was the king's principal architect, and the building was one part of the king's vast construction projects for Belgium. The building was completed in 1887, and stands as an example of the Beaux-Arts architecture use of themed statuary to assert the identity and meaning of the building.Fine-arts-museum.be accessed 9/1/10alt=The extensive program of architectural sculpture includes the four figures of Music, Architecture, Sculpture, and Painting atop the four main piers, the work of sculptors , Joseph Geefs, Louis Samain, and Guillaume de Groot respectively. The finial, gilded Genius of Art was also designed by de Groot.
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The name of the unit, its heraldic symbol and their battle honours are embroidered in a gravat attached to the base of the finial, the colour of the gravate varying accordingly with the branch of service. Naval units were allowed to keep the traditional Order of Christ Cross embroidered in the canton of the cloth of their national colours. The several commands, units, forces and establishments of the Armed Forces will have to replace their old national colours by the new model within 10 years. The national colours of the National Republican Guard and of the Public Security Police follow the 1911 model and continue to keep the traditional practice of having the names of the units inside white scrolls which are inserted on the field of the flag itself.
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Examples in Orthodox manuscripts mostly show rounded dome roofs, but surviving early examples in the West often placed a circular canopy over four columns, with tiers of little columns supporting two or more stages rising to a central finial, giving a very open appearance, and allowing candles to be placed along the beams between the columns.Bock, 298 The example by the Cosmati in the gallery is similar to another 12th-century Italian ciborium now in the Metropolitan Museum of Art in New York,Metropolitan Museum and that in the Basilica di San Nicola in Bari. By the Romanesque, gabled forms, as at Sant'Ambrogio, or ones with a flat top, as at the Euphrasian Basilica (illustrated) or St Mark's, Venice, are more typical. In Gothic architecture the gabled form already used at Sant'Ambrogio returns, now with an elaborate spire-like pinnacle.
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Together, Moore and Foster created Brisbane's most beautiful and popular parks and gardens of the early twentieth century. HRH Edward, Prince of Wales at the bandstand, 3 August 1920 Foster's design was for a timber- framed bandstand resting on brick piers set on a concrete base. The structure had a pyramid roof clad with fibrous-cement tiles (a very new product in Australia at that time) and was simply but effectively decorative with gablets to each side of the roof (these had shaped timber in-fills); a finial at the roof peak and at the end of each gablet; timber balustrades and valances with fretwork panels around the pavilion sides; and honeycomb brick infill between the piers. The contract was let in September 1919 to Mr TJ Dale of Gympie, who tendered with a price of .
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The flanking doors in the west wall of the church, though featuring similar arched heads and tied pilasters, have simple hood mouldings instead of the elaborate frieze. Each of these doors is accessed by two to three stone steps - the central door having been fitted with quite discrete modern steel handrails and the north door having a removable timber ramp with attached handrail to facilitate disabled access. The bays of the north and south walls of the nave are punctuated by pairs of lead-light, stained glass windows set in gothic stone tracery with variety given by the changes in the detailing of the quatrefoil in the spandrel above the main lights. The rear vestry wing has smaller pairs of gothic arch-headed windows without tracery, buttressed corners and a stone finial surmounting the apex of the stone coping on the end gable.
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Buddha The pagoda, a prototype of Burmese stupas, is like a bell- shaped stupa in traditional Mon people, which became the prototype architectural feature for many stupas built in the then Burma (now Myanmar). It has features of staircases, gates, and a richly ornamented spire fitted with a large golden umbrella type finial embedded with gems. The relics that are believed to be enshrined in the pagoda are Buddha's collar-bone and his frontal bone from Prome, and his tooth from Ceylon. On the outer limits of the pagoda there is a shrine where 37 nats are deified along with an intricately carved wooden sculpture of Thagyamin, Buddhist deva Śakra, king of the nats, which is believed to be 900 years old; it is the Burmese version of the Indian god Indra holding his weapon, the thunderbolt.
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" It was built in 1883 and was operated by the local fire brigade until 1916. It was also deemed architecturally significant for demonstrating "original design qualities of a Victorian style. These qualities include the single storey hipped roof that traverses the site (the residence), together with a gable roof form that projects towards the street frontage (the fire brigade station). Other intact qualities include the originally unpainted brick wall construction, rendered and scored side wall construction, unpainted and lapped galvanised corrugated iron roof cladding, unpainted brick chimney with a corbelled top, narrow eaves, timber framed, double hung and two paned windows, four panelled timber door, arched vertically boarded double doors, timber verandah columns, cast iron verandah valances and brackets, timber flag pole finial, timber bargeboards, three courses of brick voussoirs forming the arched double door opening and the oculus ventilator.
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A simple concrete parapet, with ribbed detail and four simple corner pinnacles, surmounts the tower and partially conceals the pyramidal roof that has a concrete apex surmounted by a fine wrought iron finial. The asymmetrically composed western facade of the building, addressing Ann Street, comprises the gabled ends of the western transept and, at the northern end, an entrance porch abutting the smaller gabled end of the Session House. Between the entrance porch and transept is a recessed wall, forming part of the wall of the nave of the church, which is externally buttressed with two tapered brick projections, extending to the sub floor level. The buttresses extend out from the building to be aligned with the transept face and have semicircular arched openings at their bases, forming a cloister-like external court adjacent to the hall in the basement of the church.
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Although there is no provision for the presentation of a crosier in the liturgy associated with the blessing of an abbess, by long-standing custom an abbess may bear one when leading her community of nuns. The traditional explanation of the crosier's form is that, as a shepherd's staff, it includes a hook at one end to pull back to the flock any straying sheep, a pointed finial at the other tip to goad the reluctant and the lazy, and a rod in between as a strong support. The crosier is used in ecclesiastical heraldry to represent pastoral authority in the coats of arms of cardinals, bishops, abbots and abbesses. It was suppressed in most personal arms in the Catholic Church in 1969, and is since found on arms of abbots and abbesses, diocesan coats of arms and other corporate arms.
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Archaeological excavations at Trellech had taken place for some years, but in Wilson's view the previous digs had been concentrated on the wrong areaBBC News: "'Lost city' ruins uncovered", 13 August 2004 and he bought a field in which his subsequent excavations have been conducted. During successful and well supported excavations, Wilson's team identified, among other significant objects, a unique medieval flower, a Legion of Honour medal, a pottery finial, a post-medieval wall enclosed mummified cat, large amounts of medieval pottery and other finds in amongst several medieval stone buildings."Conversations: Field of Dreams", including interview with Stuart Wilson, Archaeology, Volume 59 Number 5, September/October 2006 He established an organisation called "The Lost City of Trellech Project" to further explore this area of significant historical importance. In 2006 his work was featured in a BBC Radio 4 documentary.
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Other wooden objects include war clubs carved from the strongest wood, made in the form of a phallic head (casse-tete), a lethal bird's beak club (bec d'oiseau), and spears made from niaouli trees used to burn enemy houses. Fragment of a roof finial of a large clan house, sculpture of the Kanak people made of Houp wood, New Caledonia, late 14th century—early 15th century Wooden carvings in the shape of hawks, ancient gods, serpents and turtles are also popular. The Grand Huts, also known as grande case (chef's hut), are decorated with the filial of fleche faitiere representing the ancestral spirits, symbolic of transition between the world of the dead and the world of the living. The wood carving is shaped like the spear-like carving that adorns the top of the grande case.
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Colonial-era street sign at Market Cross Armenian Street (Lebuh Armenian) New bilingual street sign at Victoria Street (Lebuh Victoria) New multilingual street sign at China Street Ghaut (Gat Lebuh China) The oldest street signs in the centre of George Town are rectangular and made of painted metal plate (blue with white lettering), usually affixed to corner shop-houses at the top of the ground floor, and many can still be seen. In the suburbs, rectangular cast-iron signs with indented corners (white with black lettering and edging) in English and sometimes Jawi script, fixed at head- height to a black iron pole surmounted with a finial, could also be seen. Almost all of these have been replaced by the modern road signs. By 2007, rectangular reflective road signs (green with white lettering) in the Malay Rumi script had largely replaced the older signs.
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The basic Pickelhaube was made of hardened (boiled) leather, given a glossy-black finish, and reinforced with metal trim (usually plated with gold or silver for officers) that included a metal spike at the crown. Early versions had a high crown, but the height gradually was reduced and the helmet became more fitted in form, in a continuing process of weight- reduction and cost-saving. In 1867 a further attempt at weight reduction by removing the metal binding of the front peak, and the metal reinforcing band on the rear of the crown (which also concealed the stitched rear seam of the leather crown), did not prove successful. The version of the Pickelhaube worn by Prussian artillery units employed a ball-shaped finial rather than the pointed spike, a modification ordered in 1844 because of injuries to horses and damage to equipment caused by the latter.
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The term comes from the ancient Greek tropaion and Roman equivalent tropaeum, military victories which were commemorated with a display of actual captured arms, armour and standards. The use of trophies as an ornament in decoration became popular in the Italian Renaissance, and as an architectural element in relief or free-standing sculpture during the Baroque era, where they are often used as a kind of finial to decorate rooflines, gate columns and other elements of buildings with military associations, which included most royal palaces. The Triumphs of Caesar by Andrea Mantegna (1482–94, now Royal Collection) are a series of paintings of the Roman triumph of Julius Caesar that soon became enormously influential in print form. They showed trophies carried on carts and on poles, and probably gave a big impetus to the trend for ornament prints of trophies, which were then copied into a range of media.
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Built in the Italianate style, the Palace was a five-story stone building topped with a finial at the center of a bracketed cornice. The facade was divided into five bays: on the first two stories, the middle bay comprised a wide arch around the main entrance and marquee, and the other bays included one large window each, while stories three through five comprised all smaller windows, with four in the middle and two in each of the others. Inside, the building was carefully constructed to minimize structural interference and to maximize visibility: although the theater was built to hold an audience of 2,600, none of the seats came near to being placed behind structural members. Instead, the ceiling was supported by a set of arches and vaults, covered with elaborate plaster details; the result was an exceptionally high-quality acoustic structure, important in the days of vaudeville.
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Birtchnell P, A History of Berkhamsted, 1972, Clunberry Press The Bridgewater Monument was designed by Wyattville in a Neoclassical style, consisting of a giant -tall fluted Greek Doric column, surmounted by a giant copper funerary urn finial. There are 172 steps inside, and the abacus provides a viewing platform. At the base, the large pedestal is inscribed with the words: Inside the entrance passage leading up to the staircase, there is a brass plate which records the instruction of the 8th Earl to erect the monument with the inscription: Although the waterway most closely associated with the deceased was the Bridgewater Canal, it is thought that the monument was erected to celebrate the construction of the Grand Junction Canal, which passes around south-west of the site. The Bridgewater Monument stands on Moneybury Hill, a protruding part of the Ashridge plateau, and overlooks the village of Aldbury.
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The mosque also normally included, close to entrance, a sahn (courtyard) which often had fountains or water basins to assist with ablutions. In early periods this courtyard was relatively minor in proportion to the rest of the mosque, but in later periods it became a progressively larger until it was equal in size to the prayer hall and sometimes larger. Lastly, mosque buildings were distinguished by their minarets: towers from which the muezzin issues the call to prayer to the surrounding city. (This was historically done by the muezzin climbing to the top and projecting his voice over the rooftops, but nowadays the call is issued over modern megaphones installed on the tower.) Moroccan minarets traditionally have a square shaft and are arranged in two tiers: the main shaft, which makes up most of its height, and a much smaller secondary tower above this which is in turn topped by a finial of copper or brass spheres.
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On the society's annual feast day or walking day, usually in spring, the members would hold a parade around the village, with the officers or sometimes all the members carrying poles or staves between four and eight feet (1.2 to 2.4 meters) in length and usually painted. Some poles (also known as rods, wands or 'club sticks') were headed by garlands of flowers, while in the West Country, the poles were commonly headed by a brass finial with a distinctive shape and decorated with ribbons. It is thought that the use of brass was due to the proximity of the brass industries in Bristol and Bridgwater, and the two separate manufacturing centres may account for there being two principal forms of brass pole-head. Those used north and east of a line drawn between Bridgwater and Yeovil were generally flat and cut from sheet brass, while those south and west of the line were more three-dimensional.
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Col. Joseph Synex (center, hand on monument) with former members of the 91st Pennsylvania at the regiment's new monument at the highest point on Little Round Top, Gettysburg National Military Park, c. 1889. One of the more frequently visited sites at the Gettysburg National Military Park is the castellated granite tower which commemorates the service of the 91st Pennsylvania Volunteers during the Battle of Gettysburg. Erected on September 12, 1889 at the highest point of Little Round Top, "this monument appears to hang over the western edge of the hillside, just off the asphalt path that winds throughout the summit," according to park officials, and documents the exact position defended by the regiment from July 2–3, 1863. Created by the Ryegate Granite Works in Ryegate, Vermont, the monument is composed of a series of five-foot-square blocks topped by a finial emblazoned with the 5th U.S. Army Corps' Maltese cross.
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In 1847 Barkham Street, a 'London-style' terrace, was commissioned by Bethlem Hospital and built to the design of Sydney Smirke and to specifications similar to other Bethlem terraces in Southwark, London. The Market Place has two Grade II listed structures: a clock tower erected in 1899, and a 15th-century limestone Buttercross (set on three steps and topped with a 19th-century finial and weathervane), from which John Wesley preached.Wainfleet All Saints Lincolnshire Parish Councils; retrieved 30 April 2011Wainfleet Conservation Area Appraisal East Lindsey District Council; retrieved 30 April 2011 The town is notable for Batemans Brewery; the brewery building incorporates the Georgian Salem House"George Bateman and Son: Lincolnshire's last brewery" Brewery History (online journal); retrieved 30 April 2011 and a former corn mill, Salem Bridge Mill."Wainfleet All Saints windmill" Windmill World; retrieved 30 April 2011 Public houses in Wainfleet are the Woolpack Hotel, Royal Oak, and the Red Lion on High Street.
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Anansi stories were part of an exclusively oral tradition, and Anansi himself was seen as synonymous with skill and wisdom in speech.See for instance Ashanti linguist staff finial in the Metropolitan Museum of Art, which relates to the saying "No one goes to the house of the spider Ananse to teach him wisdom." Stories of Anansi became such a prominent and familiar part of Ashanti oral culture that they eventually encompassed many kinds of fables, evidenced by the work of R.S. Rattray, who recorded many of these tales in both the English and Twi languages, as well as the work of scholar Peggy Appiah: "So well known is he that he has given his name to the whole rich tradition of tales on which so many Ghanaian children are brought up – anansesem – or spider tales." In similar fashion, oral tradition is what introduced Anansi tales to the rest of the world, especially the Caribbean, via the people that were enslaved during the Atlantic slave trade.
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The whole memorial is set on a stone base with three shallow steps. Between the pillars of the triptych are stone panels on the front and rear of which are engraved the names of those commemorated; the central panel is topped with a finial in the form of a lighted torch, below which is the inscription "THIS MONUMENT IS ERECTED IN MEMORY OF THOSE PATIENTS WHO HAVE DIED IN THE STAR AND GARTER HOME FOR DISABLED SAILORS SOLDIERS AND AIRMEN WHO ARE NOT OTHERWISE COMMEMORATED AND WHOSE NAMES ARE INSCRIBED HEREON AND IN THE BOOK AT THE HOME". The spine wall is also inscribed with names. The memorial lists a total of 307 names, laid out in chronological order from 1928 to 1977, starting from the front of the left-hand panel of the triptych and proceeding right across the front of the triptych, then to the spine wall (starting on the left-hand side), and concluding on the rear of the triptych.
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The current building replaced an earlier sessions house for the county thought to have been designed by Thomas Moore in the Georgian style and built on the south side of St Paul's Square in 1753. After the justices talked of "the foetid and unwholesome state of the courts", officials decided to erect a new shire hall on the same site. The new building, which was designed by Alfred Waterhouse in the Gothic revival style, was built in brick with red terracotta facings by John Wood & Son of Leeds and completed in 1881. The design involved a main frontage with five bays facing onto St Paul's Square; the central section of three bays, which was symetrical, featured an arched porch on the ground floor with a coat of arms in the gable and a finial above; there were transom windows on the ground floor and the first floor and mullion windows on the second floor with turrets at roof level.
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The Colour (bandiera di guerra) for army units (other than cavalry) is a square version of the national tricolour in silk, 99 cm × 99 cm. It is mounted on a pike 2.2 m long, made of wood covered with green velvet and decorated with ornate brass nails arranged in a spiral. The pike is topped by a 35 cm high finial consisting of an ornate gilt brass spearhead chased with a five pointed star and the monogram RI (for Repubblica Italiana), which is in turn mounted atop a gilt brass ball on which is the name and date of establishment of the unit. The pike is adorned with two silver cords 67 cm long, each with a 10 cm long silver tassel and a blue silk cravat 8 cm × 66 cm with an 8 cm silver fringe at each end, to which the unit's decorations are pinned, the ribbons of the decorations overlapping so that the medals hang down the cravat.
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Within this level is set a worn sculpted medieval monument, supposed the early 14th-century memorial to John de Neville and his wife, with two recumbent figures—the man in chain armour, the woman with a wimple—draped from elbow to ankle and set within a sunken field. A dog lies at the feet of each figure, and a shield with three Fleur-de-lis lies partly over the man. Set into the raised floor against the north wall is a recessed table tomb with inset panels with angels holding shields, above which is a curved and moulded canopy arch with embedded fleuron repeats and a crocketed top running to a cross-shaped floriate finial. The origin of the monument is unknown. Next to the de Neville monument and set into a marble tile is a lozenge-shaped metal plaque to Florence Amy Laura Neville (died 1934 aged 85 years), daughter of Henry Martin Turnor who was the son of antiquarian Edmund Turnor (1755–1829) and brother of Christopher Turnor (1809–1886).
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Another indication that the woman is not pregnant is that Giovanna Cenami (the identification of the woman according to most earlier scholars) died childless,Harbison 1990, 267 as did Costanza Trenta (a possible identification according to recent archival evidence); whether a hypothetical unsuccessful pregnancy would have been left recorded in a portrait is questionable, although if it is indeed Constanza Trenta, as Koster proposed, and she died in childbirth, then the oblique reference to pregnancy gains strength. Moreover, the beauty ideal embodied in contemporary female portraits and clothing rest in the first place on the high valuation on the ability of women to bear children. Harbison maintains her gesture is merely an indication of the extreme desire of the couple shown for fertility and progeny.Harbison 1990, 265 There is a carved figure as a finial on the bedpost, probably of Saint Margaret, patron saint of pregnancy and childbirth, who was invoked to assist women in labor and to cure infertility, or possibly representing Saint Martha, the patroness of housewives.
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Latham, p. 63–67 Much of the remainder of the church dates from the 15th century, although the chantry was endowed in 1398 and the north aisle windows are 14th century.Latham, p. 20 In 1757, the top of the tower collapsed during a storm and was rebuilt 4 metres (13 ft) shorter in Early Gothic Revival style. The interior features carvings thought to date from the late 10th century, a Norman font, a stone bench around the walls, monuments to Sir William Mainwaring and Sir Richard Wilbraham and his wife, as well as Victorian stained glass by Charles Kempe. Sundial A sundial dating from the late 17th century stands in the churchyard; it is mentioned in records of 1704 and is known to have been moved sometime after 1774.Latham, p. 39–40 Of an unusual construction, with a long octagonal shaft capped with a ball finial, the sundial is believed to have originated as a medieval cross, perhaps destroyed under the Puritan government.Images of England: Sundial in St. Mary's Churchyard north-east of the Church .
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The necessities of the medieval castle were abandoned shortly after the sixteenth century and was subsequently adapted into a rectory. Between 1940 and 1946, the DGEMN completed many repairs and recuperation of the castle, including: the central pillar of the tower was reconstructed, including the construction of foundation and installation of new masonry; reconstruction of double windows, including the exchange of damaged masonry (general repairs and shoring-up masonry); covering openings in masonry and stonework; repointing and cleaning; placing two rods and a square iron hanger in the roof frame including the finial iron plate; execution of the roof covering with double national tile; execution and settlement of thick elm beams in two floors; demolition of masonry walls; general consolidation of the tower battlements including the replacement of damage stones; execution of mortared masonry walls; and regularization of the surrounding land. On 27 April 1942, the castle was ceded to the Casa do Povo de Santo Estêvão. It was classified as a Monumento Nacional (National Monument) by decree published on 16 May 1939.
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External: Constructed of face brick with corrugated metal gabled roof extending as an awning to both platforms, Lawson station building is a single storey early phase "type 11" island platform building in standard Federation style design. It is an 8-bay long building featuring 7 bays to the original face brick section and 1 long bay to the signal box extension and has a linear arrangement along the platform with tuckpointed red brickwork and engaged piers between the bays. The extended bay at the southwest end has painted fibrocement wall panels on rendered brick base with 6-pane horizontal sliding windows and a timber door with decorative fanlight. Other features include rendered splay course to plinth, moulded cornice, two horizontal moulded rendered string courses at corbel height, timber framed double-hung windows with multi-paned coloured glass upper sashes, timber framed and panelled doors with multi-paned coloured glass fanlights, contrasting decorative trims and sills around windows and doors, standard iron brackets over decorative corbels supporting ample platform awnings, fretted timber work at the end of awnings and gable ends, timber cross finial to gable end, two tall face brick corbelled chimneys with rendered tops.
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