It still boasts original Victorian woodwork, including stunning carved wood stair railings and mantelpieces.
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Inside homes, paint peels off the walls and shattered photo frames are strewn across mantelpieces.
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One marble mantel still adorns one of the three fireplaces; the other mantelpieces have been sold.
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The artifacts were given to museums, or sold at auction, or kept by soldiers for their mantelpieces.
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And I see the same Jell‑O mold that my grandmother served, and they've got the same, you know, little stuff on their mantelpieces.
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Porcelain is meant for delicate perching on mantelpieces, to be admired but not touched, as children were once to be seen and not heard.
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But there is a broader market for such relatively commonplace items as antique tile floors, wood paneling, mantelpieces and chimneys, and sometimes even for staircases.
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"There's a whole history of guys who were nowhere near as good as John John Florence who have titles on their mantelpieces," Matt Warshaw, author of The Encyclopedia of Surfing, said.
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However, what it really boils down to is whether or not you believe that the joy some people get from having old guns on their mantelpieces justifies the odd person getting shot.
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In the newly established Yellowstone National Park, the city slickers of the 1870s washed their socks in hot springs, carved their names on fragile volcanic rocks and chipped off fragments for their mantelpieces.
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Inside are rich parquet wood floors, gracefully curving molding, mirrors built into the space above the marble mantelpieces and pictures seemingly painted directly onto the wall above the carved double doors between rooms.
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Begin trolling at the vast warehouse where Architectural Artifacts trades in decorative building castoffs from wrought iron railings and wooden mantelpieces to terra cotta gargoyles as well as more portable art tiles and juggling pins.
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Vanessa James's set suggests a hybrid of Deco luxury (clear mantelpieces with crystalline swans inside) and New England homeyness (the little desk at which Emily writes), with what look like outsized handwritten poems embedded in the floor.
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The woodwork for the six-panelled doors, windows and original mantelpieces is (red) cedar. Certain alterations have been made to the mantelpieces: one was removed to accommodate the Canova mantelpiece and one removed to make way for a wooden one in the taste of the 1920s. However, there are numerous typically Georgian mantelpieces throughout the homestead. This suggests that the addition of the single storied wings might have taken place within a short period of time after the two storied section.
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Some houses will also have Arts and Crafts-style architraves, covings, skirtings and mantelpieces, while others will feature decorative ceiling beams and attic storage areas.
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Internally the house is substantially intact, although friezes and a dado decoration in the hallway have been painted over. Cedar has been used for the hallway flooring, and much of the joinery, including the fixed seating in the bay windows and some of the mantelpieces. The remainder of the internal flooring is of pine. There are pressed metal ceilings and some cast iron mantelpieces - part of the 1880s renovations.
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The walls were covered with wallpaper. Crystal chandeliers, stone mantelpieces and typical turn-of-the-century furniture gave the rooms a homey ambiance. The great parlour was decorated with large paintings.
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Handsome marble mantelpieces have fetched nearly £50 each. > Messrs. Atkins and Taylor, on Wednesday, blew up the front of the house with > dynamite. A large number of people were present, including several > photographers.
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Martin restored it, adding Chippendale furniture, wallpaper by Zuber & Cie, and Egyptian marble mantelpieces. The garden spans 23 acres. It has been added to the National Register of Historic Places since December 11, 1974.
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The columns and beams are stop chamfered in a traditional Victorian manner. The balustrading is also timber in an "X" pattern. The chimney and many openings appear to be original. The interior contains original mantelpieces and timber architraves.
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The upstairs rooms have raked ceilings, and contain fireplaces with timber and marble mantelpieces. The gardens contain a circular drive, a timber flagpole and several of the mature trees on the property, which include mangoes, camphor laurels and jacarandas.
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The roof cornice exhibits shallow brick corbelling. The "best" rooms of the interior feature delicate Federal period wainscoting, and have mantelpieces supported by six engaged columns. The house was built c. 1815 by Captain Reuben Shapley, a ship's captain and merchant.
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160 He served as the President of the Bank of Mississippi. Duncan purchased Auburn plantation from Lyman Harding in 1827.William P. Baldwin, Elizabeth Turk, Mantelpieces of the Old South: Lost Architecture in Southern Culture, The History Press, 2005, p.
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London: Allen Lane, p. 399. and mantelpieces assembled from several large sections.Such a mantelpiece may be seen at Caramoor Center for Music and the Arts, near Katonah, New York. Antique ironstone wares are collectable, and in particular items made by Mason's.
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He and his brother Albert established a drapery business which became Grace Brothers Ltd. During this period leadlight panels were fitted in Yasmar's doorways and "Federation" style mantelpieces were installed reflecting contemporary taste. Joseph Grace died at Yasmar on 5 July 1931.
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The library's small alcoves contain wooden benches and fireplaces present when the library opened. A series of frescoes and panels with phrases such as and were inlaid on the mantelpieces above the fireplaces, but the panels with their verbiages are no longer present.
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Overlooking each courtroom is a marble balcony, reached by staircases in the respective courtrooms. There are also ornately carved fireplaces, which contain marble mantelpieces lined with bronze surrounds made by Tiffany & Co.. The seventh floor and the attic housed the city's records on steel shelves until 2017.
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Doors and window frames, floorboards, mantelpieces and skirting boards were prepared on site. Shingles were split from she-oak at bush sites. Offcuts were burnt to produce charcoal for the blacksmith. The road from Jimperding was badly eroded by the carting of timber to the depot.
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Kester Solomon, a professional gambler, took over the hotel in 2009 and transformed the interior, creating a European style coffee bar and a New York style cocktail bar. The hotel, now known as Liberte, has been refurbished with timber floors, regal wallpaper, mantelpieces and gilded mirrors.
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The east wing extension containing the conservatory and kitchen The second floor of the Bayne–Fowle House has a similar layout to that of the first, with three bedrooms and a bathroom to the south end of the hall and a laundry and bathroom at the north end. All bedrooms have wood flooring, plaster walls and plaster ceilings and fireplaces, two of which have marble mantelpieces with the third being metal and stone. The third floor contains three bedrooms, on the same plan as the second floor; all have diminutive marble mantelpieces. A small room at the north end of the hall serves as a kitchenette with the bathroom at the south end of the hallway.
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Internally the building has been largely altered with later office partitioning and modern ceilings. However, a number of original features remain including the central timber staircase, marble mantelpieces, decorative plaster cornices and archways, tiled bathrooms, tessellated tiles to entry and bathrooms, timber panelled doors, "mini-orb" and "lath and plaster" ceilings.
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Appointments: The middle table has a top with lapis- lazuli, amethyst and chalcedony inlay work and shows the Bavarian coat of arms in glass mosaic. A carpet made of ostrich plumes. An ivory candelabra in the alcove with 16 branches. Two mantelpieces clad with lapis-lazuli and decorated with gilded bronze ornaments.
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Two tall rendered masonry chimneys and a metal ventilator rise above the ridge of the roof. The house has a simple square plan with four rooms around a central corridor. It has timber boarded ceilings throughout, some with metal ceiling roses. The north-east and south-west rooms have fireplaces with timber mantelpieces.
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The look of the Academy changed in the first half of the 19th century, when the decorative mantelpieces, portals, window framings, decorative panels were removed and the arcades on the Town Hall were walled up. However, the characteristic forms of almost identical sizes on each side and the internal yard were preserved.
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During these years, the exterior was altered somewhat by the removal of the porte-cochère and verandas. Inside, the mantelpieces were removed. The front door's transom was taken out so that a stuffed elephant from the Barnum & Bailey Circus could be brought in. The rooms were used as exhibit halls and their finishings neglected.
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The interior joinery was finely moulded cedar and the interior walls plastered and painted. Each vestry had a fireplace but the chimneys and mantelpieces have now been removed. The floors are timber. The chancel floor, originally one step above the main floor, has been raised further and a rectangular projecting dais into the main hall added.
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Thus all windows, doors and mantelpieces had to be curved, and the difficulty of properly carrying out such accurate work with the labour available must have been very great. Yet it was done, and stood for over 100 years, testimony to the skill involved. Campbell's temporary residence was enlarged in 1825 and incorporated into his grand new home.
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Above it is a rare English-style trompe-l'œil ceiling. An Italian-style coffered ceiling is in the music room, complementing its imported 15th-century Italian stone fireplace. The dining room has French-style coffering; both it and the library have oak paneling and classically inspired carved white marble mantelpieces. The stairwell is three stories high.
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These had been boarded up, using cardboard and plywood. Similar precautions had been taken to protect the marble mantelpieces and stained glass windows.Dundee Courier dated 10 December 1947, Page 2 Seventy-five Nissen huts were removed from the castle grounds.The Dundee Courier dated 10 December 1947, Page 2 However, their foundations can still be seen today.
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Scrolls, shells, ribbon, ears of corn, etc., in very fine relief, were, however, used in the embellishment of chairs, etc., and the claw and ball foot was employed as a termination to the cabriole legs of cabinets and other furniture. The mantelpieces of the 18th century were, as a rule, carved in pine and painted white.
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Joinery throughout is of cedar, and all fireplaces retain their mantelpieces of marble, grates and hearths. Floors in each room are edged in cedar. Original lath and plaster ceilings have been replaced, though plaster cornices remain in all rooms. In the sub-floor at the rear are five small rooms which were used as servants' quarters and a laundry.
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There are doorways at both levels, including french doors from the first floor, indicating the original veranda. The side and rear walls are constructed of uncoursed rubble granite. The roofing is recent galvanised corrugated steel, with a box gutter behind the street parapet. The interior retains several fine timber Georgian mantelpieces, skirtings, shellac cedar architraves and deep window sills.
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The hall, 12 feet wide, ran the length of the house and a steep narrow staircase led up to the attics which comprised 2 large bedrooms and one smaller. There were 5 rooms on the ground floor; the parlour, dining room and Janet's bedroom were large and their mantelpieces had flat, fluted supports. There were also 2 minor bedrooms'.
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This forms a shallow courtyard, the remnant of a much deeper one which once existed. Timber ceilings are found in most rooms, the dining room featuring a coffered example with moulded beams. The drawing room has a carrara marble fireplace and two fluted columns which mark the beginning of the projecting bay. Substantial cedar joinery, including mantelpieces, is found throughout.
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All window and door openings have wide architraves with rounded molding, a typical feature of Picturesque buildings. The living room wall has wainscot and a bay window with corbeled plaster arch. The decor includes two fireplaces with Italianate marble mantelpieces and period coal grates. Under the keystone of the den mantel is carved "ASD" for Algernon S. Dodge, first owner of the house.
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The interior of the house follows a traditional Georgian plan, with a central hallway flanked by two rooms on either side. The hall is particularly grand, with engaged columns supporting architectural busts and a two-stage stairwell with an ornate twisting banister. Richly detailed woodwork is evident in all of the public rooms. Eleven of the building's twelve mantelpieces are original.
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The building, constructed in 1905, occupies most of its small village lot less than in size. It is situated on a slight knoll facing west. The library is a one-story brick civic building designed in the Colonial Revival style. Throughout its interior, restrained oak wordwork is preserved in a variety of features including wainscoting, trim around windows and doors, and mantelpieces.
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August Aimé Balkema opened a bookstore in the building in 1936. During the Second World War, the bookstore was used to clandestinely print and publish works of poetry and other literature. A hidden compartment over one of the mantelpieces was uncovered during the renovations in 2005. This compartment was found to contain an archive of wartime documents, including manuscripts and correspondence.
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In 1930, it was converted into a guesthouse. In the early 2000s it became a backpackers' hostel. Despite the property being used as a guest house and then used for backpackers, much of the grand interior of the building has survived, including sandstone, marble and timber mantelpieces, ceiling roses, bay windows and large basement quarters for servants and a cellar. John Currie died on March 11, 1898.
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Facing these windows is a low dais on which musicians once performed. This room in later years became a chapel. The joinery includes carved cedar mantelpieces, the one in the dining room having a carved panel bearing a crest and the motto "Semper Fidelis" (always faithful), and some rooms have pressed metal ceilings.Earnshaw & Hallibone, 2007, 138-9 Internally and externally virtually all the original joinery remains.
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The top floor housed four bedrooms and a dressing room, which now serve as wards and a kitchen. The principal rooms feature carved timber mantelpieces, and the southern rooms have excellent views of the inner north-western suburbs and city centre. The grounds retain remnants of the former garden, terracing and fernery and established trees are located around the boundary. Low masonry fences with cast-iron balustrading define the front terraces.
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The > mantelpieces are very rich and were specially imported. In fact, its as fine > a terrace as any in Australia". Addison published a drawing of The Mansions in 1890 in the Building and Engineering Journal of Australia, describing them as: > "convenient and roomy having three reception rooms and ten bedrooms, > exclusive of servants" quarters. The front is of brick, relieved with > Oomaroo [sic] stone, the total cost £11,700...".
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Instead of turning door knobs, these wooden doors were equipped with "iron lever-like" devices that unlatched the doors when pushed down. HABS supplementary documentation described "coffee grinder"-style locks. Its doorways were reported to have maintained their original decorative molding trim, and the fireplace mantelpieces as being "delicately done". The Wirgman Building also featured old wooden floors, which the Cumberland Evening Times said emitted "aged groans" when walked upon.
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From the entry porch, the front door opens into a wide hallway. The hallway, located in the stone section of the building, contains a staircase that leads to the upper level. In addition to the hallway space, the stone core has two rooms on each level, all containing fireplaces with timber mantelpieces and opening onto the enclosed verandahs. Openings in the thick masonry walls have deep timber reveals and timber architraves.
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A small wooden porch frames the entrance, a wooden paneled door with transom and sidelights. It opens into a large central hall leading to equally sized rooms on either side. Most of the mantelpieces are in the Federal style but one, in the northwest parlor, is Greek Revival in style. The double Dutch door, once the original rear entrance, now connects the house and the kitchen wing added later.
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One of her first acquisitions was The Concert by Vermeer (c. 1664), purchased at a Paris auction house in 1892. She also collected from other places abroad such as Egypt, Turkey, and the Far East. The Gardners began to collect in earnest in the late 1890s, rapidly building a world-class collection primarily of paintings and statues, but also tapestries, photographs, silver, ceramics and manuscripts, and architectural elements such as doors, stained glass, and mantelpieces.
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The center-hall main house retains its original woodwork, with hand-carved door frames and mantelpieces imported from England. Interior partitions are brick covered with plaster. Elisha Boyd left the house to his daughter Mary at his death in 1841. Mary was married to Charles J. Faulkner I (1806-1884), was a member of the Virginia House of Delegates who advocated a gradual abolition of slavery and the forcible annexation of Texas from Mexico.
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Datchet Bridge, 1750, by William Oram Thomas James Mulvany's opinion was that Oram painted in the style of John Wootton, and had probably been his pupil. He also produced watercolour drawings, in the manner of Richard Wilson. Oram's works were often applied to decorative purposes and inserted over doors and mantelpieces. He designed and painted the staircase at Buckingham House, and was employed to repair the paintings on the staircase at Hampton Court.
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The paneled door opens into a grand central hall with ceilings, encircled by a sculpted plaster cornice. The interior doorways have a post-and-beam surround similar to the exterior ones, and a stairway to the second floor has a mahogany spindled balustrade and finely detailed turned newel post. On the west are two large parlors. They are similarly decorated to the hall, adding ceiling medallions, silver-plated door hardware and black marble mantelpieces.
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Inside, the room layout has been altered moderately with the addition of removable partitions and the conversion of the upstairs into residential apartments. Much of the original finishing remains, including wood, plaster, and marblework. The door and windows have fine molded wooden surrounds. There are cornices in the plaster and marble mantelpieces around the fireplaces, those purely decorative as the house was heated by a system based on a furnace, stoves and hot-air piping.
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A one-story, shed roofed porch runs across the whole façade. The house has beaded weatherboard siding and a tall gable roof with a metal roof. The hewn timbers, pegged mortise-and-tenon joints, Carpenter brand locks, and sash sawn timbers reflect the state of construction practices in the region at the time. The details of the woodwork, especially the reeded pilasters and sunburst motifs on the mantelpieces, reflect the Federal style.
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Between the two storeys are valances of timber lattice within broad timber frames. The ground floor is reached by two sets of concrete steps, that to the main entrance leading into the hall. On the ground floor there are two large rooms with deep bay windows accessed from this hallway and from the verandahs. These were the former dining and drawing rooms and have high plaster ceilings, ornate cornices and imported carved mantelpieces.
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Close attention to detail characterizes the decorative treatment throughout the interior. Trompe l'oeil wall paintings simulate panelling on the walls of the north main rooms, entrance hall, and stairwell. Similarly elaborate decoration is seen in the marble fireplaces, with Ionic columns supporting the mantelpieces, and in the recessed panelling of the doors and folding window shutters. A wide frieze and deep cornice of decorative plaster define the high ceilings of the interior.
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After many changes in ownership the house and 22 acres came into possession of a British-based company who proposed development of the site for a caravan park. Demolition had already started when a preservation order was placed over the property, but not before vandals stripped its internal fittings including cedar doors, windows and shutters, a cedar staircase and all the marble mantelpieces. The owners erected a new roof and boarded up windows and doors.
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The mantelpieces upstairs are smaller and vary slightly from their downstairs counterparts. All walls and even some ceilings are papered and reflect a variety of periods; several layers of paper can be discerned on some walls. Ceilings are mostly square-set, with only the hallway and dining room featuring cornices. Floor coverings consist of bare boards and rugs of varying sizes, while some stunning linos with intricate geometric patterns remain in place in several rooms.
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This commercial agreement was arranged through banker Jean-Frédéric Perrégaux in April 1787. In 1789, Daguerre opened a shop in London, while Lignereux took direction of the Parisian boutique located at 85, rue St- Honoré. The London store played a key role in the furnishing and decoration of Carlton House and the Royal Pavilion of the Prince of Wales.Original invoices confirm the importation of richly decorated mantelpieces from Paris, which were then adjusted by artisans in London.
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There are large rooms on each side, both with an original carved mantelpieces, moldings and ornamental plaster ceilings and walls. This floor plan is duplicated on the second floor, which has had more modifications to its interior but retains the same original wide-plank wooden flooring found on the first story. Most of the rear kitchen wing has been modernized. An original cooking fireplace and baking oven remains in the frame portion, which also has other older finishes.
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All the cornices are moulded plaster profiles. Decorative cast plaster is featured in the consoles, decorative panels and colonnettes under the arches, and also in the ceiling roses. The ceilings are commonly lath and plaster, but the drawing rooms have a shallow pattern that may be pressed metal. The marble mantelpieces are commonly white, with a dark grey in the dining room, typical of those constructed in Australia using imported stone, coloured tiles and cast iron grates.
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The upper levels of 12 Logan Road retain original lathe and plaster walls, ceiling roses, timber stairs and fireplaces with timber mantelpieces. Much of the internal fabric in this part of the building is decayed and plasterwork has fallen off walls and ceilings. The first floor is a single open space with metal storage racks suspended from the framing of the floor above. The second floor is similar in layout to the office levels of 10 Logan Road.
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4d, and then bought it for £2,000. Spencer was popularly known as "Rich Spencer" and he amassed one of the greatest private fortunes of his day. He rose to become Sir John Spencer, Knight, Lord Mayor of London in 1594. Spencer took up regular occupation of Canonbury House in 1599, and modernised the tower to make it inhabitable and added the main embellishments such as plaster ceilings, panelling and ornamental mantelpieces, which all date from that period.
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Cedar Grove is a historic plantation house located near Edgefield, Edgefield County, South Carolina. It was built between 1790 and 1805, and is a large two-story, Federal style house with a white clapboard exterior and high gable roof. It features a double-tiered portico with delicate Adamesque detail. This home has many unusual architectural features including a barrel-vaulted hallway, elaborately carved mantelpieces, and the right front parlor retains an early hand-painted French wallpaper.
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The 6 bedrooms on the second floor have been reduced to 4 bedrooms, with a new master bedroom made by combining 3 of the original bedrooms with. Walls have been removed from servants' quarters in the attic to create one large ballroom space. Many original finishes survive, including the plaster, flooring, marble and wood mantelpieces and woodwork such as the walnut balustrade and newel on the main stair. The carriage barn is sided in clapboard and topped with a slate mansard roof.
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The central hall has elegant woodwork, with an arch supported by large consoles, paneled wainscoting, and a dentillated cornice, details which are echoed in the second floor hall. The public downstairs rooms feature similar woodwork, with elaborate mantelpieces. The plasterwork in the northwest room feature a period mural, depicting the Chinese court punishments and the Buddhist cycle of hell. The second-story room was documented in 1879 to have artwork depicting the West Indies on its walls, but this work has been lost.
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In the north-western elevation an allegorical group representing Queensland mining and agriculture was carved by New South Wales sculptor William Priestly MacIntosh to a design by Thomas Pye. The mantelpieces were constructed of a variety of Queensland timbers (maple, cedar, black bean and silky oak) representing the state's timber resources. Allegorical stained glass highlighted the rural nature of the Queensland economy. From 1901, the Queensland National Art Gallery occupied a purpose-designed room the length of the third floor above George Street.
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The rooms surrounding the central hall to the north, west and east have timber-lined ceilings, and french doors with arched upper panels opening onto the verandah and fanlights. Brick fireplaces with timber mantelpieces serve six of these rooms. The verandah has chamfered timber posts with cross-braced timber balustrades, and a timber- lined ceiling with exposed rafters. Wylarah Bathhouse and windmill, 1992 The grounds include lawns and gardens to the east and north, and remnants of the original orchard to the west.
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Other architectural salvage included furniture, doorways and mantelpieces which were relocated to Chatsworth. Some of these stored items were auctioned by Sotheby's on 5–7 October 2010,Sotheby's catalog including five William Kent chimneypieces from Devonshire House described by the auctioneer Lord Dalmeny as being of special interest and value: "You can't buy them because they are all in listed buildings now. It's like being able to commission Rubens to paint your ceiling." The Times, 29 Sep 2010; Ben Hoyle, p. 55.
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In 1895 at the Belfast Art and Industrial Exhibition, Robinson exhibited a decorated oak settle. It is most likely the same piece that she later exhibits at the Arts and Crafts Society of Ireland exhibition in Dublin in the same year. It has been concluded that a settle which is now in the collections of the Ulster Folk and Transport Museum is probably this piece. Over time the school's scope broadened, with members showing chairs, panels, mantelpieces, music stands and friezes.
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The derelict site of the Wherry mine was bought by three Penzance businessmen; John Bromley, Richard Millet and John Organ, and a large building erected. Serpentine was brought from the Lizard, across Mount's Bay to Penzance, and the finished goods were shipped out of Penzance harbour. A tour of the works, in 1846, by Prince Albert and the royal family, resulted in an order for mantelpieces and pedestals for Osborne House on the Isle of Wight. By 1848 the company employed thirty-seven men.
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The walls and ceilings in the cottage are plaster and lath, with modestly detailed timber trim throughout (much of it cedar). The timber work includes deep window reveals, mantelpieces to the two northern ground floor rooms, a louvred timber door to the north-west room, steep stairs to the attic rooms and cupboards in the eastern attic room. The rear wing contains an early stove, and steep stairs with a shutter door above. William Grigor's House is a rare example of an 1860s inner city residence.
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Lucy Faulkner Orrinsmith was mostly known for her tile paintings of women, particularly from fairytales and legends. Many of her tiles were themed after the Legende of Goode Wimmen, in which there are many depictions of women of classical antiquity. Along with this, she painted stories such as Sleeping Beauty, Cinderella, and Beauty and the Beast, which were painted in sequence to be hung as mantelpieces over the fireplace. Her paintings of the story of Sleeping Beauty are the more popular of the three stories.
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The open colonnaded verandahs and halls features sandstone flagging and the building boasted a substantial cellar.Austral Archaeology: June 2000 The main portion of the house was circular, with one room on the ground floor and one above, both a full circle in shape. Thus all windows, doors and mantelpieces had to be curved, and the difficulty of properly carrying out such accurate work with the labour available must have been very great..., testimony to the skill involved. The main ground floor living rooms featured glazed French doors, opening onto the verandah.
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When servants were no longer needed, the rooms were converted to living space for the property owners. The mansion is important because it contains most of its lavish original interiors and furnishings with many items having been imported from Europe.Lansdowne, Spring Pilgrimage 2013 - a special publication of The Natchez Democtat, North Canal Street, Natchez, MS The front parlor contains one of the most complete and well preserved Rococo Revival style interiors in Mississipp from the mid 1800s. The home contains rare Zuber & Cie wallpaper, rosewood and mahogany furniture, and Egyptian marble mantelpieces.
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Pair of spaniels, 1830-50; these have gold lustreware Staffordshire dog figurines are matching pairs of pottery spaniel dogs, standing guard, which were habitually placed on mantelpieces in 19th-century homes. Mainly manufactured in Staffordshire pottery, these earthenware figures were also made in other English counties and in Scotland. They are also known as hearth spaniels or fireplace dogs as they were positioned on top of the mantelpiece. Many other breeds were produced, particularly the greyhound, though the spaniels were especially popular and this is attributed to royalty favouring the King Charles Spaniel breed.
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Fireplaces, mantelpieces and mirrors were removed, as were wall paintings and mouldings, and smaller rooms were combined to create larger exhibitions spaces. The dance hall and large theatre were completely reworked, with windows being filled in and replaced with skylights. Few of Rossi's interiors were retained, though the reconstruction was carried out in the neoclassic style to fit with the original designs. Concrete ceilings were also fitted to protect against attic fires, and the central heating system was overhauled, as well as measures to improve the ventilation and water supply.
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On one house near the river, that celebrated subject, the fox preaching to geese, is carved in graphic allusion to the dissemination of false doctrine. Of mantelpieces, there is a good example in the Rouen Museum. The overhanging corners are supported by dragons and the plain mouldings have little bunches of foliage carved at either end, a custom as common in France during the 15th century as it was in England a century earlier; the screen. beam at Eastbourne parish church, for example. As a rule, cabinets of the 15th century were rectangular in plan.
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The drawing and dining rooms had back-to-back fireplaces, with marble mantelpieces. Side wings ran back from each end of the front section, creating a small U-shaped courtyard in which a grove of mandarine trees had been established. The east wing contained an attic room with gabled windows, which was accessed via a small lobby and staircase at the southern end of the wing. The grounds contained a number of mature pine trees of different varieties, and roses and creeping plants climbed the ornamental iron verandah posts.
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The most significant aspect of the architecture is the house's two-story interior: aside from plumbing updates in the bathroom and kitchen, it has not been modified in more than a century. Among the leading pieces of the interior are the gold-colored oak wood panelling, which has never been painted, the artistic tiling, and the five original mantelpieces. In 1982, West View was listed on the National Register of Historic Places, qualifying because of its historically significant architecture. It is one of two National Register- listed properties in the neighborhood, along with the Capt.
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The galvanised steel verandah roofs have a distinctive ogee shape and the wide verandahs possess deep pointed timber valence boards with cast iron columns, panels and frieze which impart an air of lightness contrasting with the solid massing of the bays. The house interior is lined with horizontal beaded timber boards throughout which were originally stained. The major rooms are grand in scale (up to 10m by 9m) with the generous ceiling height of 4.8m throughout. All these rooms contain rich Victorian marble mantelpieces to the fireplaces with pattern inlays to sides and hearth.
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The verandah is now gauzed in and there is a modern flat roofed addition to the east with large glass sliding doors. The first stage has plastered walls (the construction is not known) and beaded edge boarded ceilings with simple timber mouldings at the wall junction. The main rooms have black stone mantelpieces, the material is not clear as some of the marbled pattern appears to be painted. There is a rear addition to the first stage with the external walls in face brick laid in English common bond and with a hipped corrugated iron roof.
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The building was of three storeys, and constructed of stone from Petrie's Quarry (probably the nearby Petrie's Quarry, on the northern side of Crosby Road). The rooms were all generously proportioned, with elaborate French-polished joinery and highly decorative cornices and ceiling roses in the principal rooms. The main hallway was decorated with an arch supported by fluted columns with corinthian capitals, and had tessellated Minton tiles on the floor. Sicilian marble was used for the steps at the front door and at the porch entrance, and for most of the mantelpieces, which also had Minton tiles in the hearths.
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Called "one of the best-designed of the city's Meridian Street mansions" by the Indianapolis Historic Preservation Commission, the house is also an outstanding example of the architecture of Bernard Vonnegut, a German-trained architect and the first licensed architect in Indiana, who designed many other Indianapolis landmarks. He took a special interest in the house, as he was personally designing it for his brother- and sister-in-law. He also designed the china cabinets, mantelpieces, and carved wood sideboards. The house is architecturally distinctive for its castle keep-inspired tower, thick brick walls, red tile roof, and large stone porch entrance.
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The home's wooden sill plates and joists were sawed by hand and the "rot nails" used for their construction were manufactured in the blacksmith shop on the Wappocomo plantation. The residence at Wappocomo also features unusually high fireplace mantelpieces, wide grooved window moldings and casings with base panels, solid paneled doors, and interior woodworking throughout, all of which were handmade. Every room of the main structure originally contained a corner fireplace. Both of the mansion's two floors consist of four large rooms with high ceilings, and each of these rooms is exactly the same size and shape.
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Stephen Pattison (born 1953) is a British scholar and former H. G. Wood Professor of Theology at the University of Birmingham. He is best known for his research on practical theology, ethics, and public service management. He attended Bootham School, York and Selwyn College, Cambridge, before going on to train for ministry in the Anglican Church at Edinburgh Theological College and Edinburgh University, where he gained a PhD in Theology. He delivered a series of Gifford Lectures in 2007 entitled "Seeing Things: From Mantelpieces to Masterpieces", later published as Seeing Things: Deepening Relations with Visual Artefacts by SCM Press.
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The interior of the house contains a small entry foyer opening onto a large central stair hall containing a large, double-run ornamented central staircase with Eastlake newels and railings leading to the second floor. Off the central hall are six main rooms: two connected parlors, a bedroom with attached bath, a dining room, a second bathroom, and a rear hallway leading to the kitchen located in the rear wing. The parlors feature fireplaces with highly ornamental mantelpieces. The second story contains four bedrooms in the main wing, and two bathroom and a fifth bedroom over the rear wing.
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She became one of his first Newport clients for her home there, Land's End. In her autobiography, A Backward Glance, Wharton wrote: > We asked him to alter and decorate the house—a somewhat new departure, since > the architects of that day looked down on house-decoration as a branch of > dress-making, and left the field up to the upholsterers, who crammed every > room with curtains, lambrequins, jardinières of artificial plants, wobbly > velvet-covered tables littered with silver gew-gaws, and festoons of lace on > mantelpieces and dressing tables. Codman viewed interior design as "a branch of architecture".
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The roofline, chimneys, bay window, verandah, unrendered brickwork, awning over the windows on the eastern side and even the bargeboards remain today exactly as they were when the manse was erected. The interior of the building also remains largely intact. It retains original fireplaces, architraves, some pressed metal ceilings, and mantelpieces donated by Hudson Brothers Timber Merchants of Sydney in 1883. While the original roof has been replaced by a new CGI roof, the principal change to the manse has been the building of an extension onto the eastern side of the structure at its rear.
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He designed and helped build a large, two-family house, hoping that his youngest son, Edmund, would possibly move into it if he married. The house was a great improvement on the original, featuring such improvements as an inside well, a laundry, storeroom and ell, magnificent fireplaces with huge mantelpieces, a great staircase and airy, small private bedchambers on the second floor, with a large, useful garrett extending on top of the entire house. Timothy Jackson had built what is now known today as the Jackson Homestead. After Timothy Jr's death, his estate was divided among his sons.
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At this time, the 1865-66 dining and drawing rooms were redecorated by the Sydney firm Beard Watsons with ornate timber mantelpieces (replacing earlier white marble) and new wallpapers and carpets. Duckett White also subdivided the estate, with land sales starting from 1911, and the grounds surrounding Lota House were reduced to just under . The pine trees lining the driveway from Oceana Terrace to the front of the house were most likely planted at this time. Graham Ernest Mylne, son of Captain Graham Douglas Mylne and Helena White, purchased Lota House from his cousin Duckett White in 1913.
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The building was of three storeys, and constructed of stone from Petrie's Quarry (probably the nearby Petrie's Quarry, on the northern side of Crosby Road). The rooms were all generously proportioned, with elaborate French-polished joinery and highly decorative cornices and ceiling roses in the principal rooms. The main hallway was decorated with an arch supported by fluted columns with corinthian capitals, and had tessellated Minton tiles on the floor. Sicilian marble was used for the steps at the front door and at the porch entrance, and for most of the mantelpieces, which also had Minton tiles in the hearths.
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Of the four rooms upstairs, the bedroom in the eastern corner, over the living room, is the largest room in the house and was originally the upstairs parlour. With windows facing the south-east and north-east, this room is well lit and has expansive views. Bruce and Mabel Lester created a small lobby on the south-western end of this room by erecting a partition wall, so as to give greater privacy to the two front rooms. The joinery throughout is lacquered cedar but regrettably all five of the classical yet sober mantelpieces have been painted.
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The East Room was finally completed and decorated in 1829 by Andrew Jackson. New plaster work in the form of a cornice-line frieze of anthemion (a flowerlike, traditional Greek decorative pattern) was installed, three Neoclassical plasterwork medallions affixed to the ceiling, and the demi-lune over the east wall's Venetian window removed and turned into a wall. Decorative wooden beams were added to the ceiling, and two of the east-facing windows were blocked off and fireplaces with black Italian marble mantelpieces installed in their place. The Jackson administration turned to French-born American importer Louis Véron of Philadelphia for assistance in furnishing the executive mansion.
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At its maximum, Grasse Mount had five fireplaces installed on the first floor and four on the second (some have since been covered over). Unimpressed with the Marvins' intricate interior artwork, referring to it as "them naked images", Barnes's wife, Lucinda painted over or wallpapered all of the frescos and paintings, except those within the belvedere. Considered to be a modernization practice of interior design of the era, much of the artwork was replaced with stenciled geometric motifs of leaves and vines. Mrs. Barnes also replaced the interior pine woodwork with stronger black walnut, and the carved wooden mantelpieces with marble pieces imported from Spain.
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The L. D. M. Sweat Memorial Galleries, designed by John Calvin Stevens, were added in 1911 behind the house, to which they connected by corridor. In 1957, two mantelpieces salvaged from the 1805 Commodore Edward Preble House, designed by Alexander Parris, replaced originals lost during a Greek Revival remodeling of the drawing and dining rooms. In 1970, the house was added to the National Register of Historic Places and was designated a National Historic Landmark. The Charles Shipman Payson Building by Henry N. Cobb of Pei, Cobb, Freed & Partners opened in 1983, extending the length of the museum to its new entrance on Congress Square Plaza.
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Peter Adriance, one of the descendants of Dutch settlers who moved from Long Island to Dutchess County in the late 18th century, gave the newly built house to his daughter Mary Ann and her husband, James Wilkinson, himself the scion of a wealthy Quaker family in the area, in 1841. From his farm, he partitioned to them. The house was in the highest of contemporary style, its dimension and decor less restrained than other Greek Revival farmhouses of the time. Finishings like the door hardware and marble mantelpieces would have been made in the city and brought to the house, testifying to the affluence of the Adriance family.
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But types such as Tanagra figurines included many purely decorative subjects, such as fashionable ladies. There are many early examples from China, mainly religious figures in Dehua porcelain, which drove the experimentation in Europe to replicate the process. The first European porcelain figurines, were produced in Meissen porcelain, initially in a plain glazed white, but soon brightly painted in overglaze "enamels", and were soon produced by neally all European porcelain factories. The initial function of these seems to have been as permanent versions of sugar sculptures which were used to decorate tables on special occasions by European elites, but they soon found a place on mantelpieces and side tables.
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Front view of Hanworth, 1930 A description of the house in 1930 suggested that the conversion to a hospice and nursing home in the early 20th century did not substantially alter the 1860s core. Most of the rooms in the long brick front wing remained intact, although one of the large bedrooms had been partitioned into two. A hallway ran from the front entrance (facing north/northeast) to the rear verandah. To the left were the bedrooms (some with marble mantelpieces); to the right was the drawing room, and beyond that a large bow- windowed dining room, with doors opening onto side and rear verandahs.
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The rear ell has an attached porch that spans its length. A single story bay hexagonal bay window protrudes from the facade. The distinguishing feature of the Payne house is the wood trim exterior, consisting of hood mould on the paired windows on the south, four kinds of bargeboards and bracketed cornices on the rear ell's east side. The interior of the Charles Payne House is not covered in detail by any survey, but has three mantelpieces on the first floor, two displaying Gothic Revival influence in their wooden designs and the third, located in the rear ell, made of grey marble with a round-head opening.
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Hardimé was a painter of still lives with flowers. These works were often chimney and doorway pieces which were placed over mantelpieces or door mantels as decoration.Ken Hall, Still life with flowers in a basket by Pieter Hardimé at Christchurch Art Gallery Flemish still life painting at the end of the 17th century showed a preference for decorative effect over naturalistic representation.Sam Segal, A Flowery Past: A Survey of Dutch and Flemish Flower Painting from 1600 Until the Present : Gallery P. de Boer, Amsterdam, March 13 – April 11, 1982, Noordbrabants Museum, 's-Hertogenbosch, April 29 – May 30, 1982, Gallery P. de Boer, 198, pp.
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"Ogee clocks" were a common type of weight-driven 19th-century pendulum clock presented in a simplified Gothic style, with the original design attributed to Chauncey Jerome. Ogee clocks were typically made in the United States, as mantelpieces or to mount to a wall bracket, and are one of the most commonly encountered varieties of American antique clocks. The overall design was rectangular, with framing by moulding with an ogee-profile surrounding a central glass door with a painted scene below the clock face, a door that protected the clock face and pendulum. Weights supported by pulleys fell inside the ogee moulding and so were hidden from view.
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Like many women of her time and class, Lizzie's life revolved around the kitchen, where she continued to assemble books of recipes, cutting them out of newspapers and magazines before trying them out on Chifley or friends and relatives. There was also the back parlour, or on sunny days the verandah, where she would do the intricate needlework that still decorates the mantelpieces and dressers of their compact home. On the whole hers was largely an indoor world that seems to have become progressively more so as her ill- health increasingly restricted her mobility" (155). Chifley "was a man of some means whose abstemious style of living helped to stave off any financial problems.
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Household gods were represented by the Slavs as statuettes, made of clay or stone, which were placed in niches near the house's door, and later on the mantelpieces above the ovens. They were attired in the distinct costume of the tribe to which the kin belonged. Sacrifices in honour of the Domovoy are practised to make him participate in the life of the kin, and to appease and reconcile him in the case of anger. These include the offering of what is left of the evening meal, or, in cases of great anger, the sacrifice of a cock at midnight and the sprinkling of the nooks and corners of the common hall or the courtyard with the animal's blood.
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Clad with chamferboards, the belvedere is defined by projecting pilasters to the corners which carry a moulded timber cornice continuous around all elevations below sets of decorative paired eaves brackets. Narrow round sash windows punctuate the east and west elevations matching a pair of round sash windows to the north. The bullnosed roof is crowned by a small open viewing platform screened with a low decorative cast iron surround & this is all that remains of the decorative cast iron that earlier embellished the building. The interior is characterised by an elegant austerity with commodious rooms, decorative metal fireplace grates within marble or timber mantelpieces and quality moulded panel doors and etched glass fanlights.
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The paper also noted with approval that apart from two mantelpieces brought from England, most of the materials used in the building itself were made in North Queensland. The two storeyed home, located on Plant's Ridge, was not only large, handsome and tastefully decorated, but incorporated some innovative ideas. These included an inner roof of Willesden paper intended to allow air drawn through mesh under the roof to circulate between it and the roof proper thus cooling the building. An unlimited supply of water piped through the house was provided by means of an elevated tank supplied by steam pump from the dam of the Bonnie Dundee Mine which Plant owned and which the house overlooked.
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The Grand Hotel, at 9 Princes Street, was the leading hotel of Auckland, New Zealand, from 1889 until 1966. With its vaulted ceilings, ornate mantelpieces, and red carpet, the Grand Hotel was a plush and social rendezvous from its opening. The Grand Hotel reopened in 1967/8 as the 'Grand Building' fitted out as offices. The leading hotels of Auckland were in the following order: The Grand Hotel, Princes St (closed 1966), the Central Hotel, Victoria St (closed 1972), the Star Hotel, Albert St (closed 1973), the Royal Hotel, Elliot St (closed 1980s) and the Albert Hotel, Queen St. Consequently, the Grand Hotel facade is the last surviving of the main Victorian/Edwardian era hotels in Auckland.
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With his acquisition of Japanese prints and Chinese porcelain, Alfred Pope was following a fashionable trend of the last decades of the nineteenth century when Asian objects became popular adornments in American homes. Because of their sympathetic arrangement with paintings and decorative objects on mantelpieces, or their isolated placement on occasional tables, Chinese porcelains played a prominent role in the decoration of the family's home. In addition, Pope acquired mainstream paintings in the officially sanctioned academic style of Pierre Puvis de Chavannes and Eugène Carrière as well as numerous decorative arts objects including bronze sculpture, Asian and European porcelains, and Asian, American and European prints - etchings, mezzotints and woodblocks. Alfred Pope's interest in Impressionist paintings distinguished him within a select group of connoisseurs at the turn of the twentieth century, making a radical departure from the traditional tastes of many of his peers who acquired only Old Master paintings and drawings.
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Ren & Stimpy's Crock O' Christmas is the second album and only Christmas album featuring characters from the Nickelodeon animated series, The Ren and Stimpy Show. The album, originally released September 21, 1993 through Nickelodeon, Sony Wonder and Columbia Records, is a concept album that follows the title characters as they prepare for the holidays; in their case, the holiday is "Yaksmas Eve," a reference to the second episode of the original 1991 season in which they prepare for Yak Shaving Day and a visit from the Gilded Yak via his flying "enchanted canoe." Soiled diapers are hung from mantelpieces in lieu of Christmas stockings while another tradition calls for filling of one's uncle's boots with coleslaw. It is hoped that the Gilded Yak, who lives at the "West Pole" and who appears via the drain of the bathtub, will leave shaving cream scum in the bathroom sink.
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Bric-à-brac for sale at a street market in Cambridge Bric-à-brac () or bric-a- brac (from French),Online Etymology Dictionary first used in the Victorian era,OED first reference in English: 1840. refers to lesser objets d'art forming collections of curios, such as elaborately decorated teacups and small vases, compositions of feathers or wax flowers under glass domes, decorated eggshells, porcelain figurines, painted miniatures or photographs in stand-up frames, and so on. In middle-class homes bric-à-brac was used as ornament on mantelpieces, tables, and shelves, or was displayed in curio cabinets: sometimes these cabinets have glass doors to display the items within while protecting them from dust. Today, bric-à-brac refers to a selection of items of modest value, often sold in street markets and charity shops, and may be more commonly known in colloquial English as "knick knacks".
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He designed furniture, mantelpieces, ceilings, chandeliers, doors and mural ornament with equal felicity, and as an artist in plaster work in low relief he was unapproached in his day. He delighted in urns and sphinxes and interlaced gryphons, in amorini with bows and torches, in trophies of musical instruments and martial weapons, and in flowering arabesques which were always graceful if sometimes rather thin. The centre panels of his walls and ceilings were often occupied by classical and pastoral subjects painted by Cipriani, Angelica Kauffman or her husband Antonio Zucchi, and sometimes by himself. These nymphs and amorini, with their disengaged and riant air and classic grace, were not infrequently used as copies for painting upon that satinwood furniture of the last quarter of the 18th century which has never been surpassed for dainty elegance, and for the popularity of which Pergolesi was in large measure responsible; they were even reproduced in marquetry.
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That could only lead to assassinations; better by far to arm openly, as was their right; the government and the poor law administrators would then treat them more civilly: "I would recommend you, every one, before next Saturday night, to have a brace of horse pistols, a good sword and a musket, and to hang them up on your mantelpieces (not by any means to use them). They will petition for you" As with the Blackburn speech, this alarmed and alienated moderate support. The Anti-Poor Law agitation was however rapidly overtaken and supplanted as the great working-class Radical cause by the more sweeping Chartist movement, (whose constitutional program Oastler did not support); when that collapsed in 1839 (with the failure of the National Petition and a Government crackdown with many leaders arrested and charged with seditious speeches and involvement in unlawful assemblies),see list given as so did organised resistance to the New Poor Law. Many of Oastler's associates were involved in Chartism, and Oastler did not disown them: he played a prominent part in raising funds for the defence of J R Stephens; his last public campaigning for 5 years.
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