The paneling, mantels and other millwork are mostly quarter-sawn oak.
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INDOORS A restoration preserved the hardwood floors, fireplace mantels and decorative molding.
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Recovered during renovations were wide-plank hardwood floors, molding, mantels and plaster walls.
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Its interior, to be restored, features original moldings, mantels, floors and oversized windows.
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Most of the interior is original, including wood floors, molding, wall paneling and mantels.
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Six slate fireplace mantels, also original, have a grained pattern to match the woodwork.
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Throughout the home are heart pine floors and decorative fireplaces with cypress wood mantels.
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Most of the oldest part is original, including wood floors, moldings and fireplace mantels.
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INDOORS Many original features have survived, including wide-board floors, dentil moldings and fireplace mantels.
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The living and dining rooms are adjoining, with wide fireplaces framed by heavy wood mantels.
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Both of the other bedrooms on the second floor have brick fireplaces with wood mantels.
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It works well for mantels, entryways, and even for your tree as a eye-catching display.
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They now greet her with binders full of printouts of fireplace mantels, and plenty of anxiety.
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And mantels, beams, arches, tiles and stone reclaimed from demolished houses punctuate the home's various spaces.
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Much of the interior is original, too, including molding, heart pine floors, mantels and some pocket doors.
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Much of its interior has been preserved and restored, including wood floors, mantels, molding and built-ins.
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Built in the 19th century, the 4,200 square-foot townhome features its original fireplaces, mantels, moldings, skylights and stairwells.
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The original hardwood floors, mantels and moldings have been preserved, as well as the large porcelain farmhouse kitchen sink.
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We mean the statuettes themselves, the trophies that winners get to take home, put on their mantels, and treasure forever.
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They combined rooms to open up living space and added several fireplaces, with large sandstone mantels and English-style chimneys.
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Most of the interior is original and restored, including heart pine floors, fireplace mantels, some window glass and door latches.
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They are also in full view onstage, making last-minute adjustments to falling fireplace mantels and sticking doors (in vain).
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INDOORS This brick house retains much of its original charm, with distinctive moldings, doors and mantels around its five fireplaces.
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I also put in the moldings, mantels, and other architectural details that are so essential to the integrity of the space.
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The interior is High Victorian, with the original gumwood trim and doors, hardwood floors, ornate mantels, wainscoting, molding and pocket doors.
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King is just one of three black actresses who have on their mantels both an Oscar and a Primetime Emmy Award.
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Now they jitter at us from emails and texts and tweets and forum threads—and, apparently, from mantels across the land.
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Much of the interior is original, including wide-plank wood floors, mantels and fireplace surrounds, as well as some handblown glass windows.
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Many of its original architectural features remain, like the marble fireplace mantels, the ornate cornice work and moldings, and the high ceilings.
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And reclaimed mantels can be found at architectural salvage stores like Big Reuse, Olde Good Things and Demolition Depot and Irreplaceable Artifacts.
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The interior is traditional but bright, with formal trim and molding and heavy fireplace mantels, offset by floor-to-ceiling windows and French doors.
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Two bedrooms are on the second level; both have fireplaces framed by painted wood mantels, and one bedroom opens to a second-floor porch.
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Two additional fireplaces — one in a family room, another in a breakfast room adjoining the kitchen — have patterned-tile surrounds and simple wood mantels.
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These are simpler than intricate millwork or mantels, Mr. Dudgeon said, "because the proportion of the space becomes more important," say, for showcasing artwork.
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The home's seven fireplaces are framed by tile work and heavy mantels, and most rooms have their original light fixtures, with electric and gas fittings.
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Pre-Lit Christmas Garland, $47.99, available on Amazon Spruce up mantels, railings, door frames, or columns with this classic garland pre-lit for a brighter glow.
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In the oldest section, the architectural details are almost entirely original: wood floors, brick fireplaces with wood mantels, 12-over-12 sash windows and plaster walls.
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Ms. Dimant details the history of these establishments while simultaneously honoring the young voices who, upon receiving the mantels of these houses, have dared break established codes.
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But the interiors — which had unimpressive moldings and mantels, beige tile and an aesthetic that might be described as "traditional light" — were not quite what they envisioned.
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There are mushrooms growing in the cellar, and a number of marble mantels which have an unexplained habit of falling down onto the heads of the neighbors' children.
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We close with Hannah accepting the job, packing up her apartment and moving into a beautiful space, sun-splashed and full of decorative mantels and books and plants.
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I tiptoed through upside-down rooms and kitchens with rumbling floors, past sinks running with blood and candles sliding along mantels, and declined housekeeping from an undead maid.
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It's easy to write off old mantels and surrounds as unappealing when they're damaged from years of abuse or covered in layers of soot, grime or caked paint.
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There's a reason old mantels are often thick with layers of paint: It's one of the easiest and least expensive ways to change the look of a fireplace.
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They — as well as the new parquet floors and the matching, back-to-back fireplace mantels, remnants from the Plaza Hotel — were key in uniting the two apartments as one.
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Advertise on Hyperallergic with Nectar Ads From wide-eyed dogs to rosy royals perched on horses, tiny figurines from Staffordshire, England, have sat on countless mantels since the 19th century.
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I think "The Committee on Human Rights" just threw a bunch of Chekhov's guns onto a variety of mantels, and I'm curious about which one is going to go off first.
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After nearly two idle years, work resumed a few months ago on the house, a 19th-century Italianate home that featured original plaster molding, marble mantels and a Jacuzzi, neighbors said.
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Of the home's five wood-burning fireplaces, three date to the construction of the building, with mantels of Pietra Serena, a gray sandstone widely used in Tuscan art and architecture during the Renaissance.
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Trial By Fire's cast is stacked with awards-show favorites, from two-time Oscar nominee Dern to male lead and BAFTA-winner Jack O'Connell, and the production team already has Oscars on their mantels.
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Emmy Rossum's gorgeous New York City apartment oozes European chic — think fireplace mantels picked up at the Paris flea and gilded antique tables — with cool girl touches like a bar cart and modern art.
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Size: 2,825 square feet Price per square foot: $304 Indoors: A previous owner made a large investment in custom woodwork, adding coffered ceilings, open beams, carved mantels, paneled doors and a curving staircase with turned balusters.
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Every major room also has a wood-burning fireplace (there are seven in all) with French marble mantels mostly from the 18th century, one with a faux finish, and decorative cast-iron firebacks donning mythical or religious designs.
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" When she is entertaining, Ms. Williams said, she dims all the lights and uses a combination of LED candles and small votives on the dining table, mantels and side tables: "The softer light creates a more romantic, festive feel.
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When Ms. Warren came to investigate, she found intact moldings and fireplace mantels, religious stained glass (after the bishop moved out it was used as a Roman Catholic girls' school) and rooms on the main floor that resembled cages.
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The 193 works by Allen Saalburg were removed from the walls of the Bronx building and cleaned, stabilized, and conserved, with their curious imagery of horses, bulls, flowers, scrolls, and other layered details finally back in place above two fireplace mantels.
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Each year, the holiday decorating of the White House gets a helping hand from dozens of volunteers who come from all over the United States to hang boughs on the mantels, place the ornaments and ensure each display reflects the first lady's vision.
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The Recording Academy announced a star-studded list of musicians — many of whom have a Grammy or two on their own mantels at home — and actors who will be presenting statuettes at the 61st annual Grammy Awards, set to take place Sunday at the Staples Center in Los Angeles.
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The ground floor itself, with 14-foot ceilings, is 6,500 square feet; in photographs of the public rooms from the 1940s, there are clusters of velvet-upholstered Deco barrel chairs and fires in the many hearths, some with mantels made of woven copper and marble in shades of claret, ebony and pine.
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But since his retirement as a Tulane University art professor in 1996 — and for many years before that — the reclusive Mr. Kern has been working quietly in his basement studio, sculpting exquisitely grotesque bodies and surreal horses out of fiberglass, filling up his shelves and mantels and a large homemade storage shed in the backyard.
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COSTS $10,43 a year in taxes LISTING BROKER Coldwell Banker Residential Brokerage ____ 230.5 Fourth Street, Jersey City 9 WEEKS on the market $1,129,000 list price 0% ABOVE list price SIZE 3 bedrooms, 2 baths DETAILS A 19th-century, single-family, three-story brownstone with two decorative fireplaces with marble mantels, baths with exposed brick walls, and a courtyard with a pergola.
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In the East Room, several cityscapes line the mantels, with the skyline of New York — President TrumpDonald John TrumpTrump pushes back on recent polling data, says internal numbers are 'strongest we've had so far' Illinois state lawmaker apologizes for photos depicting mock assassination of Trump Scaramucci assembling team of former Cabinet members to speak out against Trump MORE's hometown — placed front and center in the space.
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Fireplaces with white marble mantels are original on both floors.
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It has pilasters and an architrave. Its interior has Greek Revival mantels. With .
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Doors and windows have molded surrounds, and doors are four panel. Surviving original mantels have simple Greek Revival pilaster and frieze compositions although some have battered jambs with eared friezes. Also in the house are two c. 1900 two stage mantels with colonnettes.
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The fireplace mantels in this and other first-floor rooms are all Greek Revival replacements.
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The Adam mantels are in wood enriched with ornament, cast in molds, sometimes copied from the carved wood decoration of old times. Mantels or fireplace mantels can be the focus of custom interior decoration. A mantel traditionally offers a unique opportunity for the architect/designer to create a personal statement unique to the room they are creating. Historically the mantel defines the architectural style of the interior decor, whether it be traditional i.e.
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Both the older and the newer part of the house had unusual mantels. The older mantel featured cove moldings, panels, and a large central lozenge. The other mantels in the house were more traditional but were still unusual. with two photos and a map With .
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The fireplace mantels of today often incorporate the architecture of two or more periods or cultures.
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Also in the house are brick fireplace mantels, a wood-burning stove and the original light fixtures.
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Also, marble of various colors was found throughout the house in mantels, wainscoting, and in the rear courtyard floor.
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It has 12 guest rooms decorated with antiques and hand- painted fireplace mantels. It also has a restaurant serving Southern cuisine.
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Many areas, particularly in the central portion of the building, also have their original finishes and trim, including some marble mantels.
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McKim, Meade & White strongly disliked the East Room's four fireplaces, which divided the area into three spaces. The fireplaces and mantels, which projected about , were considerably reduced in depth to just . The mantels were replaced with new ones in the Georgian style. The marble for each mantel came from a different state, and each was a different color.
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Interior details continue the motifs of the exterior. The doors and windows on the first floor have massive casings with large bases. The mantels of the two front rooms combine Greek Revival proportions and a fluted frieze roll with Italianate brackets. These two mantels are identical to an example from Engleside (the John White House) in Warrenton, North Carolina.
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The brick sidewalks, shutters, columns, portico details and features, chimneys, roofing, gutters, exterior brick, and mantels were all replaced with modern reconstructions.
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Many of the historically noted sculptors of the past i.e. Augustus St. Gaudens designed and carved magnificent mantels, some of which can be found on display in the world's great museums. Exactly as the facade of a building is distinguished by its design, proportion, and detail so it is with fine mantels. The attention to carved detail is what defines a great mantel.
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The rank insignia of the Italian Navy are worn on epaulettes of shirts and white jackets, and on sleeves for navy jackets and mantels.
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Two later black marble mantels are in the reception room, which has a carved Louis XVI-style wooden screen supported by four Corinthian columns.
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Two interior chimneys lead to six fireplaces with hand-carved mantels. See also: The house was listed on the National Register of Historic Places in 1974.
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The architecture of the home includes diamond shaped window panes across the front, a wide hand carved door and window facings and massive enameled white mantels.
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The interior retains the Federal-style center-hall plan. The adjoining rooms on either side have many of their original features such as woodwork, hardware, and mantels.
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Red marble mantels were installed, and the remaining Venetian window in the room was narrowed to help create the "American" feel. (The 1902 mantels were given away.) The East Room's chandeliers were rewired and cleaned. The size of the large chandeliers was reduced by several inches, assuming their correct size ( wide and high). They were also outfitted with softer internal illumination, and the chains holding the chandeliers shortened.
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The interior has much original trim, including plaster, carved moldings and mantels. The dining room's ceiling has been redone in tile. Some of the original wide-plank flooring remains.
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The interior of the Rock House has large fireplaces at both ends of the original structure, and the wooden doors, window frames, ceiling, floor, and mantels are all original.
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An Eastlake porch was later added to the front and north façades. The porch features elaborate panels with floral designs, brackets with acorn pendants, and turned, spool-shaped posts. Two original mantels remain, one Adamesque and one Federal, while two replacement mantels are Classical Revival and Victorian. See also: The house was listed on the Alabama Register of Landmarks and Heritage in 1978 and the National Register of Historic Places in 1982.
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It has highly unusual vernacular mantels and a stone chimney from a former outbuilding. and Accompanying eight photos It was listed on the National Register of Historic Places in 2011.
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The roof's eaves have a boxed cornice and plain frieze. On the front is a flat-roofed porch supported by octagonal columns. The first floor has the original Federal style mantels.
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The interior of the Henry Hoss House has been altered as little as the exterior. The alterations are limited basically to adding bathrooms (3 1/2), and the remodeling of the kitchen in the early twentieth century. Original pine flooring, the central hall staircase, molding around windows and doors, and five mantels over five fireplaces remain intact. The mantels are each different in design, although they are all wood and exhibit influence of Federal and Greek Revival decoration.
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The house also features primitive Federal fireplace mantels. In the 1960s, the entry was replaced with a modern stoop. The house was listed on the National Register of Historic Places in 1982.
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The fireplace mantel was one of two originally purchased by President James Monroe in 1817. Carved of white marble in France in the Empire style, it and its partner originally were installed in the State Dining Room. In 1902, President Theodore Roosevelt selected Charles Follen McKim of the New York architectural firm McKim, Mead & White to renovate the White House. McKim fashioned all new mantels for the State Dining Room, and reused one of the 1817 mantels in the Red Room.
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The west wing has three rooms. Two of these have fireplaces. The wings use a Greek Revival style for the mantels and woodwork. The rear hallway extends along the north side of each wing.
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The back-to-back fireplaces were made of Tenino sandstone mantels with fire brick fireboxes and wood surrounds. While the house had front and back porches originally, the current porches were not the original ones.
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Its interior has simple, wide boards on the floors, walls and ceilings with no plaster, yet it has elaborate mantels on the lower floor. It is bare of any Greek Revival or Victorian detailing save for the ornamentation of the front porch and the downstairs fireplace mantels. Secondly, it is significant because it has been little changed from its construction and thus provides a look at an original, virtually untampered example of a house of that era. Even the heating has been barely modernized.
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The verandah floor is concrete slab. Two of the side elevations of the residence are secondary and utilitarian in nature. Interior: The residence has a square-shaped floor layout with three similar sized rooms and kitchen, and an external skillion roof toilet on the ground floor, and four bedrooms with a bathroom on the upper level. The overall original features include fireplaces with timber surrounds (decorative mantels to ground floor fireplaces and simple mantels to upper level), timber architraves and spandrel of the timber staircase.
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The original interior comprises only two rooms on the ground floor, each with Georgian period mantels. The upstairs portion comprises two rooms and a hall., with one fireplace. Windows are 6-over-6 double-hung sashes.
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The interior has a four-room plan with central hallway. The ceilings and walls are plastered. The house has its original floors. Most major rooms are decorated in Adamsesque style with cornices, ceiling medallions, and carved mantels.
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The walls of the interior are flush sheathed. Each of the two downstairs has a massive fireplace with transitional Georgian/Federal Style mantel. While the mantels differ somewhat in detail, each is segmentally arched above the firebox and has side pilasters, a paneled frieze, and a heavy multi-layered shelf which is blocked outward at each corner and in the center. These mantels bear a strong similarity to the one found at the John R. Campbell House, located about one and a half miles west of the Perciphull Campbell House.
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The Boatner House, also known as the Record House, is a historic mansion located at the corner of Plank Road and Taylor Street in Clinton in East Feliciana Parish, Louisiana. It was built in 1835. Its NRHP nomination asserts: > The Boatner house is significant in the area of architecture as an unique > example of Creole architectural influence in a town which is widely supposed > to be wholly English in its background. It is also noteworthy for its > handsome Federal Adams mantels which are the finest mantels in the town.
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A room was formed on the second level behind the circular stairwell. The stairwell includes a small, decorative niche. Each room includes a fireplace that extends into the room approximately three feet. Mantels are supported by pilasters of varying design.
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Behind the parlor is a keeping room, with a small bedchamber behind the study. There are five bedrooms on the second floor, two with fireplaces. The downstairs fireplace mantels are paneled, with the one in the parlor slightly more elaborate.
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There are two small service rooms behind the main rooms. The basement has brick paver flooring and low ceilings. The two rooms on this level are the dining room and a quilting room. They have plain mantels and horizontal flushboard paneling.
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Owen, Lorrie K., ed. Dictionary of Ohio Historic Places. Vol. 1. St. Clair Shores: Somerset, 1999, 571. The interior is divided into seventeen rooms, decorated with elements such as carven wood, brass chandeliers, multiple fireplaces with ornamental mantels, and crown molding.
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Research conducted by White House Curator Lorraine Waxman Pearce and Jacqueline Kennedy identified the four Monroe-era candelabra (which had been moved), and restored them to the mantels in the room's southern wall. Early 19th-century crystal candelabra (of an indeterminate manufacture) were placed on the mantels on the room's northern wall. To complement the paintings of George and Martha Washington, Jacqueline Kennedy was loaned portraits of a young Bushrod Washington (George Washington's nephew and an Associate Supreme Court Justice) and his wife, Julia Ann Blackburn Washington. These portraits by Chester Harding were hung on the east wall.
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In addition, there are two fireplace mantels on the east wall behind the screen, which are among the original pieces of the chamber that remain today. Two other mantels on the lobby's north and south ends are replicas, as the originals were replaced with stoves when the chamber was converted for the use of the Supreme Court of the United States. Radiating off the dais are desks and chairs for 64 Senators, which was the number of Senators at the time the Senate moved to its current quarters. The desks and chairs are located on four semicircular graduated platforms.
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This part of the building has a freestanding chimney and staircase that are independent from the rest of the structure. The east wing of the house has reeded recesses, and reeding on the chair rail and mantels indicating a later construction date.
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With . The original part of the house is supported by mortise-and- tenon-connected hand hewn square beams, and is insulated with raw cotton. The interior was renovated in Victorian style in about 1887. The eight fireplaces and mantels vary in style.
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The Federalist-Style house was originally built in 1818 with additions being added in later years. It has a gabled roof and a Greek Revival portico on each of its front entrances. Important interior details survive, such as fireplace mantels and some woodwork.
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It was clad in white oak clapboard, with a two-story front porch. The house was originally heated by limestone fireplaces. Inside, walls are lath and plaster, and mantels from the fireplaces remain. with Daniel Parkinson continued his public service after the war.
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The outer doors are wooden with three large glass panes. They protect a pair of wooden inner doors with decoration similar to that on the porch just outside. Among the original interior features in the house are its original stairwell and two marble mantels.
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Ricer, Ralph A. Buckhingham's Francisco. 1971; p. 32 Inside, the house was divided into two principal rooms per floor, with a central hallway for the stairs. Few original fittings survive; the mantels and wainscoting were removed, as were some floorboards from the second floor.
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He has murals in the Stampede offices in Calgary, the Luxton Museum in Banff, and a statue even sits in the entrance of Buckingham Palace. As well, the many trophies he created throughout his lifetime sit on the mantels of many North Americans to date.
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Architect William Minter designed the house in a Gothic style. It has 15 regular rooms, plus a butler's pantry and a dressing room. There are 11 fireplaces with hand- carved wooden mantels; most are in different styles. Even the doors have ornately decorated hinges.
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The two rear rooms are the same size. They are divided by the central hall with staircase. The front rooms have barrel-vaulted fireplaces with high mantels on their back walls. The left hand rear room has had small bathroom added at a later period.
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The recessed main entrance is flanked by narrow sidelights and topped with a fanlight. It leads into a long central hall, flanked by a parlor and sitting room at the front. Both have fireplaces with wooden Greek Revival mantels. Arched alcoves flank the parlor fireplaces.
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The door opens to a small foyer with staircase. The second floor has three bedrooms and a bath. The fireplaces with original Greek-motif mantels are in the corners of the room. The original, detached kitchen, two smokehouses, and an oak-lined avenue remain.
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The lower level is reached via stairs from the front vestibule. A central hallway in the basement separates lecture rooms. Interior doors are made of oak and glass. Other interior features include solid, wide, oak tables, wood panelling, and tiled fireplaces with oak mantels.
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Bracketed cornices and paneled soffits at the roof line are topped by a shallow hipped roof. The interior is divided on a side-hall plan. Notable ornamental features are a curved staircase, marble mantels, the original bronze chandeliers, and floor-length windows overlooking the veranda.
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Chapman lived in the house until his death. During his lengthy ownership, Chapman completed numerous Greek Revival and Victorian-era upgrades, including new moulding, chair rails, wooden mantels, door frames, and a black and gold Port D'Oro (also called Portor or Portoro) Italian marble mantel.
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During the period of foreclosure the home suffered from vandalism and damage including structural issues, several fireplace mantels that had been pried away from the walls, damage to several of the stained glass windows and theft of some of the home's copper pipe and wiring.
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Its floors are made from pine boards. There are five fireplaces with wooden mantels and some have ornately tiled hearths. It is named after a famed estate Maxwelton House home of Annie Laurie in Dumfriesshire, Scotland. Judge John Louis Taylor Sneed purchased the home in 1874.
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Inside, the entrance, another Dutch door with four-light transom, opens on a central hall. The front rooms are larger than the rear ones. All have fireplaces with early 19th-century mantels. The one in the northwest room has an Arts and Crafts-style tile inlay.
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The staircase is wide, the > rooms spacious: windows reach floor to ceiling and doors are ample. > Decorative woods, richly carved and inlaid, line wainscotting and mantels > everywhere. Rosewood, maple and mahogany predominate. These art panels came > from the east, brought in ships hold around the Horn.
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The interior plan features a central hall with two large parlors on the southwest side and the dining room and rear stairwell to the northeast. The interior features an elaborate main stair and ornate mantels and moldings. The second floor features five bedrooms and a bathroom. With .
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Because these doors were very close to each other, a false door was built between them. They were framed together to result in an architecturally pleasing facade. Both of these rooms have fireplaces with carved Federal mantels. The door frames and moldings are also in Federal style.
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It had its original clapboard siding and a hipped roof with a cupola. The main house's interior had Eastlake-style wooden paneling, molding and mantels. It was one of the few intact examples of that kind of interior in the city. In 1875 it was renovated substantially.
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The mantels are modeled after the Adam design. Shortly after completing the construction, Col. James was captured by the British army during the Revolutionary War and paroled. However, after learning of many British soldiers breaking their parole, he too broke his and re-enlisted in the American Army.
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The hallway has the main staircase and original wainscoting. Scrolled archways lead into the flanking spaces, and the floor is decorated in a raised-pattern wallpaper with a pattern resembling tooled leather. The molded woodwork, white marble mantels, stained glass, brass doorknobs and interior shutters are all original.
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It is a modest 1-1/2 story, Cape style cottage, five bays wide, with a side gable roof and central chimney. An ell, added around 1910, extends to the rear. The interior retains original features, including beaded chair rails and fireplace mantels. The house was built c.
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Elegant mantels, contrasting with simple woodwork, are in the high style of the 18th-century English designer Robert Adam. Projecting rear wings give the back rooms direct southern exposure to waterfront views and fresh sea breezes. Except for the 20th-century kitchen addition, the structure remains unchanged from 1786.
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It was modified significantly over the 19th century, most notably receiving a prominent Greek Revival tetrastyle portico. It retains many interior features from Siler's period of modification, exhibiting transitional Georgian-Federal styling in its mantels. The house was listed on the National Register of Historic Places in 1982.
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The roof is shingled in asphalt. Rectory, south (front) elevation, 2008 Inside, the house's decor reflects later Victorian stylings, due to the era in which it was rebuilt. The walls are plaster on lath; the floorboards are thin oak. The woodwork, particularly the mantels, use Eastlake decorative motifs.
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The mansion had 9 large rooms, a grand staircase at its center, chandeliers, ornate mantels and a wrap-around porch. Architecturally, it is an example of 18th century stone construction in a mid-Victorian style. The building is currently undergoing renovation efforts by the Mount Olive Historical Society.
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The > carvings of the mahogany mantels in the dining room are particularly fine. > For its wood carving the club has been fortunate in having the services of > Edward Maene."The New Home of Art," The Times (Philadelphia, Pennsylvania), > December 8, 1889, p. 3. The building was demolished in 1976.
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Inside, the house follows a center hall plan. Many of its original features remain intact, including molded ceilings and architraves and marble mantels. Sliding pocket doors divide the parlors. The Chimneys The Chimneys, also the Joseph Sutherland House, is a shingle-sided frame cottage on a stone foundation.
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It was built by "Greenbrier Valley master builder" John W. Dunn and includes mantels and other woodwork done by master wood-carver Conrad Burgess. Morlunda (Greenbrier County, West Virginia) is another of their joint works. The house was listed on the National Register of Historic Places in 1980.
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Each of the 225 guest rooms was fitted with all the possible conveniences of the time. This included baths with hot and cold water and fireplaces with wood mantels adorned with artistic styling. Each room was situated in such a way as to receive some sun during the day.
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When listed the house retained wooden Greek Revival mantels and square brick gallery posts from this era. It was expanded by addition of a second frame I-house and otherwise modified in the late 1800s. It was renovated again in the 1930s. with two photos and two maps With .
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A two-story wing, also mansard-roofed, projects from the west. The main entrance is elaborately decorated with an elliptical fanlight, keystone and pilasters with architrave trim and sidelights. It opens onto a wainscoted central hallway. The rooms have original mantels, two in marble and one carved in Adamesque.
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Late Victorian features are the stone kitchen in the rear, an 1880s addition, as well as the central dormer, the two-over-two front windows, the fretwork around the eaves, and cast-iron faux marble mantels on the west side, where the 1880s flues have replaced the 1840s fireplaces.
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Interior walls are beaded board. Mantels and stairs feature decorative carving of good quality for such a remote location. The exterior is clad with wide planking. Nearby on the property a two-level root cellar is dug into a hillside, with entrances to the upper and lower levels on opposite sides.
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The interior of the house features Federal style woodwork, Adam style fireplace mantels, and a spiral primary stairway. The floor plan is based on the center-hall prototype, with two large primary rooms to either side of a hallway. The first floor also features a side hall and a secondary stairway.
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Heart-pine lumber was used as flooring, and fireplace mantels were composed of either black or white marble. The 2-story home had 10-foot-wide (3-meter-wide) porches supported by box columns. Through the years, the property was subdivided, and in 1905, John Kennedy Milner purchased the home.
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The smaller kitchen wing has no decoration. Its roof covers a porch on the south. Inside, the entrance hallway divides two large parlors with much original finishing, including carved moldings and mantels, original wall and ceiling plaster and flooring. The original fireplace and bake oven are still in the kitchen wing.
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An exterior chimney is constructed of brick while the interior chimney is made of brick and stone. The house has clapboard siding and a tin gabled roof. The dining room and parlor both have their original, hand-carved mantels. When first built, the house was located on a 300-acre property.
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The entrance is flanked by sidelight windows and topped by wooden panels. The interior retains most of its original Greek Revival woodwork, and has ten distinctive period fireplace mantels. It has been subdivided into apartments. The house was built about 1830; its first documented owner was businessman Mark Nason, in 1838.
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During renovations, Greek Revival fireplace mantels were installed in the northwest and southwest rooms. These have since been removed to expose the original segmental fireplace openings. The grounds surrounding the house contain many old trees in a wide variety of species. There are a number of gravel walks around the 'park-like' grounds.
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Above the central window on the second story is a small stone with "1832" engraved into it. The paneled wooden door leads into a center hall. Surrounding rooms have many intact original features and woodwork, including two Adamesque mantels supported by fluted pilasters. Upstairs, the bedrooms also contain much original finishing and trim.
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The supplement had preceded the third part by a year (Venice, 1621); it was not published at Mantels in 1623. Other more correct editions have followed even as late as (Casa Vici, Italy) 1858-1862. Jacobus Quétif improved the original in accuracy. He reproduced the work in five tomes, folio (Paris), in 1657.
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Today the mansion is owned by the Belmont Mansion Association and Belmont University. It is operated and preserved by the Belmont Mansion Association. Gilt frame mirrors hang over marble mantels, reflecting the elaborate gasoliers and elegantly furnished parlors. Much of the original Venetian glass still adorns the windows, doors, and transoms of Belmont.
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Several of its mantels are considered some of the very best of their genre. The original size of the plantation was 5000 acres. Included on the property are period outbuildings and a breathtaking antique barn. Today, the residence is considered to be among the most beautiful of the area and is privately owned.
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Formerly the ascending stairs led to upstairs areas which did not connect. There is no ridge pole in the three attic rooms. The interiors of windows and doors on the main entrance side have extremely long wooden lintels. With few exceptions, the interior woodwork is original, including floors, chair rails, mantels and built in cupboards.
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The exterior of the home is sheathed in stone from a quarry in Lake City, Tennessee. The home contains elaborate hand-carved mantels from France. Each room is paneled in a different type of wood. The heads of windows include stained glass panels, and 22 different types of marble are used in the house.
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After some time in the company Mantels in Hamburg, he returned to Nydalens Compagnie in 1886. He was a confidential clerk from 1886 and was promoted to manager in 1889, succeeding Peter J. K. Petersen. He remained manager in Nydalens Compagnie until retiring in 1914. Nielsen was also a member of Aker municipal council.
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Many of the original moldings and other wood trim remain, especially the Gothic fluted surrounds on the bay windows, which emerge from nearby pilasters. The fireplaces have their original marble mantels. A mansard roofed privy of brick and brownstone is located behind the house. It is included in the listing as a contributing resource.
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All the rooms feature mantels and windowsills that were finely carved by a free black craftsman. Auxiliary farm buildings associated with the mansion include the original springhouse. To the rear of the home the oldest section of residence can be seen. The ell consists of four rooms as well as the kitchen and smokehouse.
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Bands of scallop-cut shingles separate the first and second floor and also fill the gable ends of the projecting bays. Spindle-work porches on both floors adorn the main facade. The interior of the house is largely unaltered, retaining period woodwork, including fireplace mantels and trim. A period carriage house was demolished in 1985.
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On the east is a partially enclosed one-story frame wing. Its southern three bays have a porch with a miter-arched frieze and square columns. Inside the house has many original finishings, including its flooring and Federal mantels. The center-hall floor plan remains intact, with some features suggesting early use as an inn.
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Inside, the house contains a front hall, two parlors and a dining room on the first floor. The hall contains a wood staircase leading to the upper level. The formal rooms contain rich woodwork, sliding doors, and numerous fireplaces with wood mantels and tilework surrounds. The dining room is enhanced with a parquet floor.
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Nearly all of the building's interior features are of 18th century origin, excepting some 19th-century fireplace mantels. There are wall sections that have fragments of early wallpaper. An ell, probably of mid-19th century origin, extends to the rear. The house was built in 1764 by Parson Peter Thatcher Smith, the son of Rev.
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Ceilings are partially collapsed and lath is showing. There are no remaining windows, and most of the doors and staircase baluster are gone. Several of the eight fireplace mantels appear to be late eighteenth century, but much of the interior woodwork is nineteenth century, and there appears to be none of the original hardware.
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The original developers then varied the theme through detail choices. Attention was heavily focused on the entry, cornice and windows. Buyers would often choose the architectural elements from pattern books that illustrated multiple styles of windows, doors, stairways and fireplace mantels. Thus the interiors of the homes in Tower Grove East are full of surprises.
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Santee Boulders Santee Boulders is a rock outcropping and recreational rock climbing area in the northern section of Santee, California. It is well known for its thin faces and mantels. However, it also has challenging cracks and steep face climbs. The boulders at Santee have been climbed for decades, even though the boulders themselves are located on private land.
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Inside, the main entrance opens onto a wide central hallway with pedimented arches on the doors and windows. All the fireplaces have Doric mantels. On the first floor, double doors (hinged on the east and sliding on the west) separate the front and rear rooms. A tall narrow cupboard is built into the entry recess of the northeast parlor.
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The upper level windows butt against the eave in a typical Federal style. The interior retains original finishes, including beaded door mouldings, simple fireplace mantels, a beehive oven in the chimney, and a corner dining room cupboard. The house's exact construction date is not known. During restoration, a penny dated 1800 was found inside one of its walls.
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Their fireplaces are almost identical, with pine mantels and marble hearths; the southeast one having a built-in cupboard nearby. The substantial chimney stacks are angled to be centered at the roof. The kitchen wing's interiors date to the early-to-mid-20th century. On the east of the main hall is the stairs, much of which are original.
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The craftsmanship attributed to Robert Bolton's sons is exhibited in the richly detailed woodwork such as mantels and built-in bookcases. Situated in the vicinity of the Priory are several structures associated with the property: Christ Church (1843), Christ Church Parish House (1845, 1876), Bolton Memorial Building (ca. 1848), Bolton Cottage (1810), and the Stables (1895).
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John Bull or one of his heirs subsequently built the house at 34 Meeting Street on the rear of the property; the parcel had originally run from Church Street through the block to Meeting Street on the west. The house retains much of its original cypress woodwork although many of the fireplace mantels were replaced in the Adam period.
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Architraves surround the paneled field around each window. The main stairway features a mahogany rail with a turned newel post and balusters. Both first and second floors have marble mantels, black and white respectively, unusual for Greek Revival houses in the area. The beehive oven in the kitchen wing still has its original cast iron door.
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Fireplaces typically consist of brick or marble hearths with brick mantels. Some of the interior walls contain windows, revealing that they were once exterior walls. Most of the interior walls are plastered, although some contain clay tiles. Upper floors are accessed via wood or marble staircases, although the building contains a crude rope-and- pulley elevator.
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Precast parking structure showing an interior column, girders, and double-tee structural floors. The two gray circles are covers to close the lifting anchor holes. Precast concrete building components and site amenities are used architecturally as fireplace mantels, cladding, trim products, accessories and curtain walls. Structural applications of precast concrete include foundations, beams, floors, walls and other structural components.
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Each face has a central pedimented portico supported by four Tuscan columns. Each portico is flanked by tri-part windows consisting of a nine-over-nine sash window bordered by narrow three-over-three sashes. The interior retains its Greek Revival woodwork and mantels. See also: The house was listed on the National Register of Historic Places in 1984.
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Oakland Plantation House is a historic mansion located Along LA 963, about west of Gurley, Louisiana. The house was built by Judge Thomas W. Scott in 1827. It has a wide front gallery, and the entrance is highlighted by two large double doors. Inside there are plank ceilings, Federal period woodwork, beaded board walls, and molded Adam style mantels.
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The basement is fully finished, with three large rooms whose function is not clear divided by another central hall. The on the two main floors is mostly intact from the original construction. All wall plaster, decoration and woodwork remain. Of particular note are the twin fireplaces in the parlor, with veined marble mantels and cast iron grates.
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In the early 20th century, a private schoolhouse for local children was also on the property. Only a handful of proprietors have owned the home, and the Holladay family was its steward for over 100 years. The Holladay House still boasts much of its original woodwork, including floors, mantels, doors and period antiques from the Holladay family.
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Its exterior is quite plain, with sash windows in rectangular openings, and a central entrance flanked by sidelight windows. The main block is flanked by small single-story ells to the east and west. The interior retains period woodwork and finishes, including fireplace mantels, doors and wainscoting. The central stairway underwent some alterations in the 19th century.
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It leads to a broad central hall flanked on the west by two parlors joined by a broad archway. Both have fireplaces with intricate classically inspired wooden mantels. Many of the finishes, including the lath and plaster walls and carved architraves, are original. On the east of the main hall a stairway climbs to the second floor.
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The main entry, located in the porch, is bordered by sidelights and a transom. The house's cornice features Greek Revival dentils and pediments and Italianate bracketing. Palladian windows are located on the house's east and west sides. Many of the interior details of the house are original, including its fireplace mantels and much of its woodwork.
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In domestic work of the fourteenth century, the chimneypiece was greatly increased in order to allow of the members of the family sitting on either side of the fire on the hearth, and in these cases great beams of timber were employed to carry the hood; in such cases the fireplace was so deeply recessed as to become externally an important architectural feature, as at Haddon Hall. The largest chimneypiece existing is in the great hall of the Palais des Comtes at Poitiers, which is nearly wide, having two intermediate supports to carry the hood; the stone flues are carried up between the tracery of an immense window above. The history of carved mantels is a fundamental element in the history of western art. Every element of European sculpture can be seen on great mantels.
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Theodore Roosevelt, Sr. (father of the future president) hired Furness to decorate his newly built townhouse at 6 West 57th Street, New York City (demolished). The ornate Neo-Grec paneling, bookcases, cabinetry and mantels are based on designs in Furness's sketchbook, and their manufacture is attributed to Pabst. The pair is also credited with individual pieces of Roosevelt furniture.Theodore Roosevelt furniture, from .
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The house contains three brick chimneys, one in the back extension and two in the main section. The mantels in the front of the house are unique in the fact that they are ornately painted with pastoral scenes and motifs. Hinges on doors are of the traditional H and L bolt fashion. Screen doors windows were added in several places starting in 1925.
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A contemporaneous 1-1/2 story brick ell extends to the right from the rear corner. The interior retains original Federal woodwork, including fireplace mantels, doors, and trim. The main hall's trim has been given a marbleized finish, and its walls are painted with scenes of the Erie Canal. This artwork is the work of Albert Sterner, the second occupant of the house.
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The interior of the house has significant features that remain from the 17th and 18th centuries. Many original fireplaces and mantels survive, although most of the fireplaces have been covered over. There are wide pine floors, and the walls and woodwork show many examples of 18th and 19th century construction techniques. Many of the walls were painted with artwork, largely by Audella Hyatt.
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The interior of the house has detailed woodwork, including beaded moldings, friezes, fireplace mantels, and door frames. The main parlor still has its original wallpaper. Samuel Bucknam had this house built in 1820-21. He was the grandson of John Bucknam, one of Columbia Falls' earliest settlers, who established a lumber mill and then a shipyard on the Pleasant River.
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Nickels-Milam House is a historic plantation house located near Laurens, Laurens County, South Carolina. It was built about 1828, and is a three-story, five bay, Greek Revival style frame dwelling. The interior has original moldings, paneled doors, mantels, wide-board flooring and much of the original hardware. Also on the property are several barns and the family cemetery.
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Flooring is random-width wide pine boards, and those in the southwest parlor are clear-grained. All first- story rooms share ceilings with the hallway. All windows have paneled shutters that recess into the 24-inch–deep (61 cm) walls with window seats below. The front parlor fireplace, in the southwest corner, is surrounded by Bristol tiles; the others have carved wooden mantels.
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The Lindens is a historic home located near Bryantown, Charles County, Maryland. It is a two-story frame house built during the second quarter of the 19th century in the Federal style. It is in the double parlor plan with Greek Revival mantels and an exterior double chimney. It overlooks the lower fields of the farm and the Zekiah Swamp.
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He was co-owner and vice president of Brennan & Co., SouthWestern Agricultural Works, a manufacturer of farm machinery. The three-story townhouse has six bedrooms and features 16-foot ceilings. It was designed with stained-glass windows, an expansive veranda, hand-carved marble and slate mantels, and crystal chandeliers. The Brennan home was among the first in Louisville to have electric lights.
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It is the only home in Christian County that is on the National Register of Historic Places. In addition, the home has three beautiful fireplaces adorned with mirrors and hand carved mantels. The hardwood floors throughout are exceptional and various patterns inlaid with different hard woods. The house was added to the National Register of Historic Places on April 20, 1995.
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An elaborate Federal style doorway with sidelights opens on the first story, with a less elaborate doorway directly above. The interior has much of the original simple trim, including horizontal board wainscoting, plain millwork window and door casings, and several Federal style mantels as well as some wide-board floors. During the 1924 renovation, some excellent reproduction woodwork was installed.
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Windows are two-over-two sash, and both door and window moulding is very simple. The interior retains a number of original period features, include some wide floorboards, wooden wall paneling, and fireplace mantels. An early 20th-century garage stands just north of the house. The house was built about 1784 for Urbana Woodruff, and is a good example of vernacular Georgian architecture.
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The addition is sided in shake as well. Behind a metal storm door is a wood paneled door. It leads to a side hall that opens on to living and dining rooms. They retain many original finishes, including wideboard flooring, hand-hewn ceiling beams, two fireplaces with Federal style mantels and marble surrounds, and both sawn and hand-hewn floor joists.
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The second-floor mantels have plain architrave and the architrave in the halls are similar to the first floor architraves. Federal Hill rests on a small hill against the rolling countryside of Campbell county. An early clerk's office remains south of the main house. This building was presumably built by James Steptoe in 1772 following his appointment to the position of county clerk.
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The main dwelling at Meadow Farm is a story-and-a- half frame house. The house is a well preserved farm house of its time and important interior details survive such as the stairs and banisters, mantels, baseboards, and floors. The house has a gabled roof with exterior end chimneys. There is Greek Revival porch on the house which dates to the 1840s.
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The interior contains well-preserved but simple Federal period woodwork, including wood paneling, fireplace mantels, and wainscoting. The main stair's newel post is a 20th-century reproduction. The tavern was built in 1807, along what was historically the main road leading south from Augusta. It was built by Benjamin Shaw, but sold soon afterward to Edward Peacock, from whom it acquired its name.
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The interior features carved oak moldings and a two-story oak staircase where a Tiffany-style stained glass window is located. It also houses six original fireplace mantels. The foyer on the first floor leads to a library with carved bookcases and a front parlor with an original cheery wood mantel and over-mantel. The dining room has a Chinese Chippendale style mantel.
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The Ferguson House is a historic house at 902 East 4th Street in Pine Bluff, Arkansas. It is a two-story wood frame structure, with a hip roof and clapboard siding. It has a variety of projecting gable sections, dormers, and porches typical of the Queen Anne style. The interior features high-quality woodwork, including fireplace mantels, and a particularly ornate main staircase.
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The side elevations have matching single story porches supported by fluted columns. The interior retains many original period features, including a particularly fine spiral staircase and six fireplace mantels. An ell extending to the rear of the house contains evidence of older construction, suggesting it may have been at least part of the original c. 1790s house on the property.
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The entrance is in the rightmost bay, in a recess with frame surround. The gable above has a semi-elliptical window. The interior retains a significant amount of original Federal period woodwork, including fireplace mantels and main staircase. and William Moore Sr. arrived in Riverton in the 1780s, and was one of several individuals engaged in the chair manufacturing trade.
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Three chimneys rise from the main block's roof, two in the west and one in the east near the join with the kitchen wing. Inside, the two wings present a contrast. The kitchen wing has little decoration beyond the carved wooden fireplace mantel. The main block is more lavishly decorated, with marble mantels and casings on two of its four fireplaces.
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All the windows and doors are trimmed in carved wood; the rooms also have similarly carved wainscoting and ceiling cornices. The upper story, mainly given over to bedrooms, also has several fireplaces, all with similarly detailed and painted wooden casings and mantels. The attic is unfinished. There are three outbuildings: a small brick smokehouse, frame woodshed and two-story frame barn.
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It is enclosed by a baluster railing, which continues down the steps, and supported by freestanding columns at the front and engaged ones at the rear. Similar, smaller verandas can be found on the other sides. Inside, the rear stairway has a large carved newel post. Both parlors have Neoclassical black marble mantels that were preserved from an earlier building.
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The mansion has 15 rooms, with ceilings up to high. Six fireplaces have hand-carved wooden mantels, ornate tile work, and mirrors. Speaking tubes were installed to aid communication within the mansion; gaslights were also fitted throughout. Every room in the building featured gold-leaf molding, decorated metal doorknobs and hinges, built-in bolt locks on the doors, and inside blinds.
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House Museums Historic Columbus The home was built for James Rankin, a planter and owner of The Rankin Hotel who came to Columbus from Ayrshire, Scotland. Construction of the home was interrupted by the American Civil War. The home includes iron grillwork, pine floors, marble mantels and a walnut double stairway. Period gaslight chandeliers are a highlight of the museum rooms.
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Five spaces for windows and doorways are present on each of the facade's two stories, while the ends rise to gables., Ohio Historical Society, 2007. Accessed 2010-02-13. Inside, many original details are present, including the fluting on the pilasters of the fireplace mantels, the oven in the fireplace and the delicate wooden molding in the kitchen, and the antique latches and locks on the doors.
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The Castille House was built for Dorsene Castille (c. 1860) in Breaux Bridge, Louisiana by a European of whom little is known except that it took him over a year to complete since he did the entire job by himself. During the Civil War the house was pillaged by Yankee soldiers, but somehow survived the ravages of time. The cypress mantels in the home are of interest.
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The interior of the shelves displaying the vermeil were covered in white velvet. One of two neoclassical caryatid mantels was installed (still in place). White damask drapes were made with blue and off-white fringe trim. A finely patterned blue and white carpet was installed, and a large center table was created with a custom dyed blue velvet cloth not delivered until the Johnson years.
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Original mantels do not survive, but window frames, sash, door trim and the staircase do. In general, the trim is spare but distinctive. At least one door architrave used on the ground floor includes a wide plane that transitions to the adjoining plaster wall with a cyma in a manner uncharacteristic of typical Georgian-era work. Similar architraves were used at Larkin's Hundred, a ca.
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Roof eaves are studded with paired brackets, as are the cornices of projecting window bays on the front and side. The porch is supported by chamfered square posts, and features a low balustrade and a decorative valance. The roof is broken by gabled dormers with decorative hooded windows. The house's interior features original ornate wooden finishes, and fine fireplace mantels, including one of delicately veined black marble.
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It has an overhanging portico supported by six square columns. It has two small windows centered in the gable front. Its interior is little-altered from the original and has Greek Revival details in its doorways, stairway, and four fireplaces with carved mantels. The addition of wings for a kitchen and a bedroom in 1927 did not detract from the architectural character of the house.
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Paneled wainscoting is on the lower walls, with lath and plaster finishing above and on the ceiling. The deeply recessed windows reveal the width of the walls. Both parlors have fireplaces with Federal style wooden mantels with a five-part entablature, beveled panels and bulbous colonettes on the front one. The rear substitutes a molded frieze for the colonettes but has a similar five-part structure.
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Williamsville is a historic home located at Studley, Hanover County, Virginia. The main house was built between 1794 and 1803, and is a two-story, five bay, brick I-house in the Federal style. It has a rear ell. The house features a one-story wood porch surmounted by a balustrade and sophisticated trim, including the fully developed modillioned cornice and the elaborate Adamesque mantels.
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The interior follows a typical center- hall plan, and has much original Federal-period finish, including the staircase and fireplace mantels. The property includes the ruins of an 1848 covered bridge that once spanned Big Cedar Creek. Built about 1820, it is one of the few Federal period houses to survive in southwestern Virginia. The house was listed on the National Register of Historic Places in 2015.
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It is believed that the fireplace mantels also date from this period. The original plank doors with wrought iron strap hinges remain unmodified. After the purchase by John Spahr, the only major change to the house was the addition of a dining room connecting the previously separated kitchen to the remainder of the structure. The hewn timbers of the barn stand on a cut stone foundation.
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To the rear, cabinets--smaller general-purpose rooms used variously as auxiliary bedrooms, sick rooms, or sewing rooms--flank the loggia. Rooms are entirely en suite, each opening out onto gallery or loggia via French (glazed double) doors. Gallery and loggia function as outdoor covered hallways, replete with stairways, and overhung by a steep, double-hipped and dormer roof. Fireplaces, normally with French wraparound mantels, are interior.
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The south elevation features an enclosed brick porch with corbeled columns supporting a frieze at the flared roofline. Another porch, this time wooden, is on the east (rear) facade, which offers a view over downtown Cohoes and the Hudson River. The interior has seen little change. Many of its decorative features survive, such as the wall plaster, door surrounds, architraves, patterned metal ceilings and mantels.
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Plastered walls and molded chair rails run along the entire lengths of the first and second floors. The Federal style stairway features a transverse landing, a square newel, and a rounded handrail on top of rectangular pickets. The step-ends are decorated with a wavy bracket. The Adamesque style mantels in the larger rooms have fluted pilasters while the smaller rooms have simple paneled pilasters.
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The entrance is flanked by sidelight windows and topped by an elaborate multipart semi-oval fanlight window. The interior retains high quality woodwork, including elaborate hand- carved fireplace mantels in the parlor and dining room. The showpiece of the house is its central staircase. It stands free in the center of the hall, rising to a landing where it reverses on both sides without any visible support.
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The Shaw Mansion is an Italianate style house in the George's Creek Valley of Allegany County, Maryland, built in 1872. The house is significant as an unusually large and well-preserved example of the style for its area, with stone trim, detailed brick bonding, cast-iron mantels and much of the original interior woodwork. It was listed on the National Register of Historic Places in 1985.
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1930s vernacular three-tier porch. The interior of the building has also retained most of its original finishes. The ground floor shops have tin ceilings and walls, and original maple flooring, and the upper residential units retain much of the original woodwork, including fireplace mantels, wainscoting, and molded door and window surrounds. The building was listed on the National Register of Historic Places in 1984.
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Cast iron trim and molding frames interior sides of windows and doors. Interior detailing was extensive, with art glass panels, mosaic tile floors and bronze door knobs imprinted with the Seal of the United States. Thirty offices on the second, third and fourth floors featured red Bologna marble fireplace mantels. Photo taken from the south-east corner of the Old Post Office in St. Louis, Missouri.
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The first floor windows are topped by a corniced entablature also adorned with blocks. The entry has a four-light rectangular transom window set under a half-round arch, and is flanked by pilasters rising to a gabled pediment. A 20th-century ell and garage extend to the rear of the building. The interior retains a number of original finishes, including wide floorboards and fireplace mantels.
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Brook Hall is a historic home located at Glade Spring, Washington County, Virginia. It was built about 1830, and is a large two-story, five bay, "T" plan, Federal style brick dwelling. The house has a four-bay, two-story brick wing. The interior retains spectacular carved woodwork as well as very early, possibly original, paint on woodgrained doors and marbled mantels and baseboards.
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Others took scissors and knives to the carpet, gouging the oak floor beneath, and gilded ornaments were stolen from the mantels. President Andrew Johnson had the public rooms on the State Floor refurbished in 1866. His wife, Eliza McCardle Johnson, was in frail health and did little in the way of entertaining or overseeing the White House. Johnson instead relied on his daughter, Martha Patterson (wife of Senator David T. Patterson).
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Soon after the house was constructed, a frame addition was constructed on the house's northern end; it included a loft in which family members once slept. Significant elements of the interior include four large fireplaces, large mantels, ornate trim, and white-painted poplar wood. Its floor plan is typical of the "hall-and-parlor" style of house, which typically features two large rooms or two pairs of rooms.
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He put the house up for auction on 30 March 1950. It was described as in excellent order, with panelling, Georgian mantels and find mahogany doors. There were three reception rooms and a large music room (38 ft × 18 ft), and the large entrance hall had a stone staircase leading up to nine bed and dressing rooms, with three modern bath rooms. Central heating and mains electricity were installed.
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Their very large house was built in a stick style that was "rather simple for its period", but its interior featured tall windows, a massive staircase, front and rear parlors, a reception room with a marble fireplace, and tall mirrors in elaborate frames, as well as "rare woods, marble mantels, brocaded walls [and] fine lighting fixtures" throughout. The four houses on the Couch tract were demolished in the 1960s.
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Rookwood Vase The company was hit hard by the Great Depression. Art pottery became a low priority, and architects could no longer afford Rookwood tiles and mantels. By 1934, Rookwood showed its first loss, and by 1936 the company was operating an average of just one week a month. Several employees, most notably Harold Bopp, William Hentschel and David Seyler left the company and started Kenton Hills Porcelains in Erlanger, Kentucky.
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Irving & Casson was a Boston, Massachusetts, firm of interior designers and furniture makers, founded in 1875. Company badge of Irving & Casson. Its specialty was interior woodwork and mantels, but it also made furniture, primarily in the styles of the 17th, 18th and early 19th centuries. In 1914 or 1916, the firm merged with A. H. Davenport Company, a furniture company also located in Boston (both had factories in East Cambridge).
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Additions made in 1972 are in the Federal style. The house retains most of its original woodwork and mantels, and features murals painted by an unknown local artist. The building housed the Higginbotham Academy from 1851 to 1860, as well as the local Masonic Hall, and meeting place for a Methodist congregation. and Accompanying four photos On August 16, 2006, it was added to the National Register of Historic Places.
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This color scheme is present on the mantels, doorjambs, and wainscottings, all of which are original to the house. The house's doors, known as Christian doors, are of particular interest. Their details feature a cross and an open Bible. In addition to the blacksmith shop, the grounds contained 42 slave cabins, 6 barns, five smokehouses, a trading post, more than 1,000 peach trees, 147 apple trees, and a still.
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The board-and-batten exterior of the Lentz Hotel is supported by a timber frame of chestnut. The building reflects the "bracketed mode" of construction, made popular by American architect Andrew Jackson Downing (1815-1852). This "Carpenter Gothic" style includes brackets under especially wide eaves, vertical board-and-batten sheathing, and heavy lintels over the windows. The seven mantels and the staircase are of the Greek Revival tradition.
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The main entrance is its most elaborate exterior feature, with sidelights and fanlight transom window sheltered by a half-round portico supported by columns with Ionic capitals. Above the entrance is a sash window with half-round fan, framed by wooden paneling. The interior features include a fine curving staircase and carved fireplace mantels. The house was built sometime between 1810 and 1813 for Thomas Morton, a local merchant.
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A similar porch on the northeast (rear) has been enclosed with glass. The centrally-located main entrance is a paneled wood door in a recessed entryway with a wooden surround and sidelights. It leads into a main hallway with large flanking rooms and many original furnishings. These include the flooring, ceiling molding, marble fireplaces and mantels, pocket doors between the parlors and the original staircase with newel post and balustrade.
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They included ornate woodwork, parquet floors, marble and wood mantels, and the light fixtures. Hun's office, in the southwest corner of the first floor, had a brass plaque with his name on the door. Inside were bookcases running the length of the walls, and prints of Albany street scenes set in the woodwork above the mantelpiece aside a Latin quotation. The house at 149½ Washington is similar in overall design.
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The interior layout of both stories remains unchanged, as do many of the finishes. Both the adult rooms downstairs and the children's rooms upstairs have fireplaces with galzed brick, marbleized tile floors, carved mantels and beveled mirrors. The central stair has oak wainscoting, ash banisters, and newel posts topped with carved urns. The flooring, moldings and plaster walls are all original, as are the bookshelves and most other furniture.
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The interior was extensively modified for the library in 1937. Much of this effort was focused on the rear; when it was completed, 39 rooms had been combined into 24. Original treatments remain, such as the coffered ceilings, stone walls and arched entryways on the first and second floors. The wood paneling and mantels in the card catalog room, second floor lounge and director's office is also original.
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An authentically stocked mercantile store representing the firm of Menard & Vallé is on display. Other features of the house include original mantels and interior trim, early Empire furnishings, an exterior staircase leading to the second-floor bedrooms, and a garden with original brick and frame outbuildings. The Bauvais-Amoureux House (1792), which is open seasonally, and the Dr. Benjamin Shaw House (1819) are also part of the historic site.
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Massive elements, such as a bay window and a large pavilion, contribute to the elaborate appearance of the eastern facade. Other elements present on various sides of the house include decorative porches, stone windowsills, a detailed cornice, and entablatures above many windows. The interior features a grand entrance with a walnut stairway, a cathedral ceiling, eight fireplaces with iron or wooden mantels, oak fretwork, and extensive use of poplar.
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Like other carpenters and builders, Buckner drew from circulated pattern books for his work, but he modified such basic patterns to create his own unique renditions. Buckner's houses were typically 2-story Italianate or Queen Anne "I-frame" designs. Buckner often carved and built much of the houses' exterior detailing-- which included bargeboards, porches, and scrollwork-- as well as the houses' interior elements, including mantels, cabinets, and newell posts.
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The interior has a central hall plan, with two rooms on each side of the hall on both floors. These rooms have original Federal period woodwork, including fireplace mantels, wainscoting, trim, and doors. The town of Sangerville was first settled c. 1801-02, and Thomas Prince, one of the early arrivals, established a fulling mill on what is now called Carleton Stream, which empties into the nearby Piscataquis River.
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A porch extends across the eastern facade, supported by simple square posts. The interior has a typical center-chimney plan, with the entry vestibule housing a narrow winding staircase, with parlor spaces to either side, and the kitchen behind. Fireplaces feature Federal period mantels, and the interior retains other period finishes. The house was probably built sometime before 1783, the year in which William and Elizabeth Tarr's first child was born.
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The internal walls are wallpapered, the ceilings panelled, doors four panelled and the staircase is cedar. The joinery throughout is painted and the fireplaces and mantels are cast iron. Upstairs there are lining boards on the walls and ceiling and four bedrooms, two with timber balconies and cast-iron fireplaces. The servants' wing consists of three rooms and a verandah and is connected to the kitchen by a short, covered way.
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It has a Palladian window above the entry with pilasters separating and flanking the window sections. A 19th-century carriage barn, which was moved to the site, serves as the garage. The interior of the house has many instance of fine woodwork, including several original fireplace mantels, and the main staircase. The house was designed by Jonathan Warner, who supervised its construction in 1798 and who copiously documented the process.
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It is a two-story courthouse made of cream and red brick and granite and limestone trim. It has a Doric tetrastyle portico at its main entrance, flanked by projecting pavilions with cream brick quoins. An octagonal dome rises from the center of the structure and features hooded clocks facing in four directions. The interior of the courthouse, as of 1980, had its original balcony, benches, and mantels.
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The cost was covered by sales of Jacqueline Kennedy's guidebook to the White House, which by 1965 was in its fourth edition. Another major change involved the fireplace mantels, which were painted at Boudin's request to appear like white marble, unifying the look of the room. The Kennedy administration was the first to permit smoking in rooms on the State floor. To accommodate smoking, Jacqueline Kennedy wanted portable ashtrays for the East Room.
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The Hauck House Museum is an Italianate mansion located in the Dayton Street Historic District in the Old West End Neighborhood of Cincinnati, Ohio. It was built in 1870. The Hauck House has a striking façade of carved stone, and the spacious rooms have intricately painted ceilings, floors of parquet wood in elaborate patterns, marble mantels, and massive woodwork. John Hauck (1829–1896) was a German immigrant who established a prosperous Cincinnati brewery.
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The house is built entirely of dark-red brick, from the brickworks at Danehill, Hampshire. The central block is of two storeys, with three-story matching wings. The style is Jacobethan and Lutyens originally intended that the E-plan house would have stepped gables, styled after Montacute House in Somerset, but these were not constructed. The interior contains substantial fittings from Mrs Franklyn's Bristol mansion, including fireplaces, over mantels, doorcases and panelling.
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The room also has a stone fireplace with Hill's motto inscribed on the mantelpiece. The living rooms in the homes had fireplaces set in golden brown bricks with raised hearths of the same material. The bedroom fireplaces had green tile surrounds and tiled hearths, and all the fireplaces had simple oak mantels. A fire guard was provided for each living room, and bells enabled each house to communicate with the others in case of emergency.
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Architecturally, it is composed of two separate structures set about apart, the area in between filled in by walls and flooring. The exterior and interior both have modest examples of Federal period woodwork, including fireplace mantels. Israel Putnam, a native of Danvers, Massachusetts, purchased of land in what was then part of Pomfret from Massachusetts Governor Jonathan Belcher in 1739. He was judged one of the area's successful farmers, raising cattle and sheep.
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The interior retains many original period features, including original doors and hardware, wainscoting, fireplace mantels, and flooring. The property includes foundational remains of a barn and an old tannery, which was located on Sandy Brook south of the house. The ell of the house was built in 1799 by Philemon Sage, the son of Stephen Sage, one of Sandisfield's first settlers. Philemon Sage was a successful rural farmer, operating the tannery and a cheesemaking operation.
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Moses Newell shuttled the building materials including mantels, inside shutters, windows, panelling, doors, and lintels from Boston after he sent loads of butchered meat from the farm to the Charlestown Navy Yard. Bricks were made in a local brickyard in West Newbury, close to where Pentucket Regional High School now stands. The brick walls are three layers thick with no insulation. The main body of the three story house is square with a peaked roof.
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The Oliver House is a historic house at 203 West Front Street in Corning, Arkansas. It is a -story wood-frame L-shaped structure, with a gambrel-roofed main block and a gable-roofed section projecting forward from the right side. A single-story hip-roofed porch extends through the crook of the L and around to the sides, supported by Tuscan columns. The interior retains original woodwork, including two particularly distinguished fireplace mantels.
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The house is clad in poplar siding and the gable roof was originally slate over wooden shingles, but has been replaced by asphalt shingles. Two gable-end chimneys have simple, Federal-style mantels. The façade is three bays, with a one-story portico supported by four columns, with a balcony above; it replaced a gable-roofed, two-column portico in 1978. The main entrance is flanked by sidelights and topped with a fanlight.
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There is a four-light transom above the solid wood front door. The interior features many of the cottage's original details including mantels, woodwork and built-in cabinets. There is an arched opening between the former dining and living rooms. A large room, which features the same design and materials as the original portion and is located at the rear of the building, is believed to be a later addition to the cottage.
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It opens into a large entrance hall with a staircase reported to have been brought from a genuine Colonial house in Boston. The walls that once separated the dining room on the north and drawing room on the south have been removed. Many original finishes remain, such as the plaster walls and ceilings; wood, plaster and marble fireplace mantels and black walnut woodwork in other places. The bathrooms upstairs retain their white tile floors.
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All windows have black shutters, and are topped by lintels with a keystone. The main entrance is sheltered by an elliptical portico supported by four Corinthian columns. The doorway is framed by sidelight windows and an elliptical fanlight, with pilasters rising to the base of the portico top. The house interior features lavishly-carved woodwork in the public spaces on the first floor, including fireplace mantels, cornices, internal window shutters, and the stairway balustrades.
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The front gallery, running the length of the home, has chamfered gallery columns. Behind the gallery are two rooms of equal size, with one large additional room behind, all served by a central chimney with wrap around mantels. There is a dormer located above this section of the home. In the late 19th century or early 20th century, an additional three rooms were added to the rear of the home, along with side galleries.
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There is a keystoned Palladian window directly above the entrance. A 1-1/2 story wood frame ell extends west from the main block, forming what is probably the oldest portion of the house. The interior retains original Federal period fireplace mantels and other features. with The oldest portion of the house, its ell, was built about 1783 by Alvan McKenstry, one of Bethel's leading citizens and owner of the Bethel House Hotel.
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In the late 17th century they were widely used as decoration over fireplace mantels and English gardens, among other places. In contemporary times, queen conch shells are mainly utilized in handicraft. Shells are made into cameos, bracelets and lamps, and traditionally as doorstops or decorations by families of seafaring men. The shell continues to be popular as a decorative object, though its export is now regulated and restricted by the CITES agreement.
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Much of the original wooden trim is still present, including some rare crown molding over the west door and south passageway to the later addition. That wide passageway runs the length of the house, with smaller rooms of various purposes on either side. The fireplaces at either end of the addition have retained their original mantels, including the dentilled molding on the south one. Similar original woodwork is found elsewhere in the first story.
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The Pierce–Hichborn House is three stories tall, faced in common-bond brickwork with decorative belt courses and large sash windows. Its narrow side elevation faces the street, with its main facade opening onto a compact private passageway. Inside it is laid out on each floor as a narrow central hallway and stairway with a single heated room to either side. Framing is oak and the trim is pine, including fireplace mantels.
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The Home was built by Vassar's nephews on the site of his old house, incorporating some of the original interior trim, such as the black marble mantels. It cost $45,000 ($ in contemporary dollars) to build and was completed in 1880. The following year it was officially opened. Designed for 50 men, it was initially home to six who met the criteria of being at least 65 years old, Protestant and residents of New York State.
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The house originally had a central hall with two rooms on either side. In 1840, a rear addition was built, adding four main rooms and a shed-roofed patio. Original wood fireplace mantels are present in the original four rooms, though they have been sealed with marble hearths. A sunroom was added to the west of the house in the 1940s, and is accessed through an arched entry in the front left room.
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In 1986 partners Mary Lou Maxwell and Jean Steward bought the house and renovated it, subdividing it into four apartments. At the time, the house was structurally sound, but significant mechanical work was required, including new heating, electrical, and plumbing systems. Thieves had also stolen some of the stained glass windows and tile from the fireplace mantels. After the renovation, three of the four apartments had two stories, and all were outfitted with new appliances.
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The State Dining Room was extensively furnished at this time. President James Monroe, rather than First Lady Elizabeth Monroe (who was in fragile physical health), was primarily responsible for making decorative decisions for the White House. Monroe decided to have the walls of the State Dining Room covered in green silk. Two Italian Carrara marble mantels, featuring Neoclassical caryatids on either side, were also bought by Monroe and installed over the two fireplaces in this room.
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The Solomon Piper Farm is located in southeastern Dublin, in a rural setting on the east side of Valley Road near its junction with Perry Pasture Road. It is a 1-1/2 story wood frame structure, with a gabled roof, clapboarded exterior, and central chimney. It is five bays wide, with narrow windows, and a small extension added to the east end. Interior details which have been retained include wainscoting, chair rails, and fireplace mantels.
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The front is three bays, with ground floor windows, six over nine, the full height of the front door. The next story is also six over nine, but not as tall, and the top floor windows are the same size as the upper sash of the floor below. The interior is elegant, including acanthus pattern cornices, Italian marble mantels, graceful chandeliers, and a carved mahogany balustrade. The two story addition on the southwest side was built in the 1920s.
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The Darrow House is primarily a wooden building; the walls are chestnut, with concrete used for chinking. There are seven rooms inside, and much of the original woodworking (for example, the cupboards) survives, as well as the original fireplaces and mantels. The first story of the house is surrounded by a prominent porch, which is absent from only one of the eight sides. Windows are centered in the sides on both stories, and a chimney protrudes from the center.
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The new town offered convenient transportation into Washington on the B&O; railroad line that ran through the property. The mansion was preserved in a park, but was eventually used as a boarding house. Thomas H. Pickford bought the house in 1912 and undertook renovations, making significant alterations to the wings and moving some of the original mantels to his house in New York. From 1917 to 1929 the house was occupied by California U.S. Senator Hiram Johnson.
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The interior retains numerous original features, including carved fireplace mantels, raised-panel doors, and wide wooden board paneling. A single-story shed extends to the rear of the main block. Also on the property are the foundational remains of a large barn (demolished after extensive damage in the Great New England Hurricane of 1938) and a carriage barn. The house was built by Henry Strongman, the first permanent settler of Dublin who acquired the land here in 1760.
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Waters' River, also known as the Robertson Farm, is a historic home located at Manokin, Somerset County, Maryland, United States. It is a large plantation house constructed between 1800 and 1820 on the Big Annemessex River. It is a two-story, Flemish bond brick house with a steeply pitched gable roof. The interior features a great deal of Federal period detail including the stair and balustrade; mantels; paneled doors and reveals; and baseboard, chair rail, and architrave moldings.
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Mantels and some other features are recreations made as part of the 1930 restoration. The house was built by Ebenezer Wellman sometime between 1743 and 1751, using a plank-frame method popular in the area at the time. In about 1800 the size of the house was nearly doubled by the construction of its western half by Lemuel Fisher. The property was later inherited by Ira Richardson, who had married into the locally prominent Fisher family.
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Bellamy House, 2013 Inside the main house, a stairway leads up from the front entry, with a parlor occupying the space to the left. The dining room is behind the parlor, with the kitchen occupying the first addition. The parlor and dining room have matching fireplaces with black marble mantels. The upstairs of the main house has three bedrooms, one of which has a builtin desk and bookcases, and may have been used as a study.
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The sale was brokered by celebrity real estate agent Sally Forster Jones along with Rick Hilton and Jeff Hyland. Subsequently the chandeliers, wall lights and fireplace mantels were removed by the new owner and the interior was updated. But by July 2014, it was reported that she was looking to sell the mansion for $150 million. In October 2016, the Manor was relisted with Rick Hilton and David Kramer of Hilton & Hyland with an asking price of $200 million.
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The relationship between the Abbey and the City of Essen also suffered under the influence the Jesuits had on the abbess. Not only the Protestant citizens complained; the Catholics complained as well. In 1775, the collegiate ladies and the citizen together attempted to have Father Thomas Mantels SJ, Francisca Christina's Jesuit confessor, relieved of his religious leadership. Their motivation was that he had pursued the replacement of another Jesuit, who had been in charge of the St. John's parish.
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The interior of the house features elegant woodwork in the fireplace mantels, and a plaster medallion in one of the parlors. A more utilitarian ell extends to the rear of the house; it was a later addition that was damaged by fire and has been rehabilitated. The ell joins the main house to a large carriage house which also features Queen Anne elements, including a small octagonal cupola. Its interior has been converted to residential space.
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The restoration integrated modern function and flow patterns into the original historic framework with Greek Revival and vernacular decoration, period furnishings and fixtures, Charlestonian pumpkin-hued walls, hand-painted scenic wallpaper, and restored nine-foot triple-hung windows, mantels and woodwork.Stacey Bewkes, "48 Hours in Charleston," Quintessence, May 17, 2017. Accessed November 15, 2019. The Georgian farmhouse Boxwood (Nashville, 2010) involved working on a residence designed by one of Schafer's influences, American classicist Charles A. Platt.
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The stair brackets of the staircase in the central hallway feature carved floral decorations and moldings, while the doors leading to the two main rooms are surmounted by pediments. The house includes ornate mantels and woodwork on first and second floors. The cupola is reached from the attic by a "barrel stair," a spiral stair framed within vertical wood sheathing that looks like a large barrel. The house lot was originally more spacious, extending to Edenton Bay.
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The Upper Chamber is the meeting room of the Society. The speaker's lectern has been dated to the 1820s and may have been built specifically for the Hall. The simplicity of the carved mantels, window moldings, doors and deep paneled wainscoting emphasizes the drama of the ornate plasterwork ceiling medallion which is based on a template designed by Asher Benjamin. It is a medallion of holly leaves surrounded by swags of smaller leaves which are framed by delicate filigree.
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Mantels in the rear rooms and on the second floor are much simpler that those found in the two (front) primary chambers. Quarter/Kitchen House, c. 1858. The quarter/kitchen house lies to the rear (west) of the house and measures approximately 34 by 16 feet. The hipped roof is covered by pre-formed, ribbed tin panels which are not original to the building, and the exterior of the quarter is clad in wooden weatherboard siding.
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Typically, Church did the bulk of his work in the studio at Olana, then finished the painting in New York. Church also made vibrant sketches of the Olana landscape; he framed a few and hung them in the main residence. In the studio at Olana he made hundreds of pencil and oil technical drawings for stencils, mantels, banisters, and other architectural elements of the main house. With the onset of rheumatism in the 1870s, Church's painting became severely curtailed.
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An ell extends to the building rear, joining it to a carriage house. The interior of the house has extremely high- quality delicate Federal period woodwork, including wall paneling, fireplace mantels, crown molding, and a front stairway with paired newel posts. The house was built in 1825 for Dr. Samuel Farnsworth, Jr. Despite its relatively remote location, the house exhibits interior Federal period woodwork that is comparable to that found in Maine's coastal communities in greater concentration.
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In its earlier years, the house possessed rich fireplace mantels and cupboards, but surveyors from the Historic American Buildings Survey in the 1930s noted that they had been removed by an owner who had no interest in the house's history.Schrand, Eugene F. "HARRISON HOUSE (Landers' Residence)", Historic American Buildings Survey, 1937-03-10. Accessed 2015-07-02. Site of the house Mr. Harrison was related by marriage to a prominent citizen of early Newtown, the miller Nathaniel Armstrong.
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The entrance consists of a six-panel door flanked by paneled pilasters and topped by a corniced entablature. The interior follows a central chimney plan, and retains a large amount of original woodwork. Doors and windows are framed with pilasters, and fireplace walls have carved mantels and paneling. With The house was built about 1790 by Edward Frisbie, the grandson of another Edward Frisbie, who was one of the original grantees of land that became Branford.
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The Monroe mantels were moved to the Green Room and Red Room to make way for the "Buffalo mantel". To furnish the room, Stanford White designed William and Mary oak armchairs with caned backs and Queen Anne style mahogany side chairs. The chairs were then manufactured by the A. H. Davenport and Company of Boston. Based on furniture in his own home, he also designed two small and one large mahogany side tables with marble tops and carved wooden eagle pedestals.
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The front stoop, located half a story above ground level, is in the rightmost bay and leads to a small brownstone portico supported by Ionic columns. The front doorway contains wooden double doors designed in the Italianate style. The windows on the building have metal lintels and sills, which replaced the original stone lintels and sills, and also formerly contained shutters. There are nineteen rooms in the building, many of which contain fireplaces with marble mantels in the Greek Revival style.
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The second floor also contains handsome fireplaces, but made with wooden mantels. The one-half story above the newer section also contains two rooms which are notable for their inside shutters. Behind a doorway in the hall is a stairway leading to the second attic and the "widow's walk." Tradition states that one of Delaware's most famous ghosts still lives in "Woodstock," haunting on the full moon and leaving signs of his tragic death at the foot of the stairs.
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But the marriage ended in divorce (and he died in 1909). In July 1911, Coulby began construction of a luxurious residence at 28730 Ridge Road in Wickliffe, Ohio. The well-known local architect Frederic William Striebinger designed the Renaissance Revival structure, which sat on of land and was built by Wm. T. Paul's Sons. The $1 million, 16-room, two-story mansion had seven fireplaces (with mantels carved from Italian marble), and a skylight over the entrance designed by Louis Comfort Tiffany.
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Canadian couple snowshoeing in 1907 Outside of indigenous populations and some competitions such as Arctic Winter Games, very few of the old-fashioned snowshoes are actually used by enthusiasts anymore, although some value them for the artisanship involved in their construction. They are sometimes seen as decorations, mounted on walls or on mantels in ski lodges. Even though many enthusiasts prefer aluminum snowshoes, there is still a large group of snowshoe enthusiasts who prefer wooden snowshoes. Wooden frames do not freeze as readily.
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The little-altered second floor contains molded woodwork and hand-wrought hardware (including HL hinges) of the highest quality. Other important early features survive including Flemish and English- bond chimneys, board partitions, batten doors, beaded ceiling joists, a boxed winder stair, and Georgian and vernacular Greek Revival mantels. Since the interior walls have survived completely intact, they offer a rare opportunity to study late-eighteenth-century construction. Most of the glass in the windows, as well as the window frames, are original.
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Two distinct architectural styles are visible in the Estate. Originally constructed in the Federal style for Henry Bates Grubb between 1800 and 1805, Mount Hope Estate was the most formal ironmaster's mansion built in the area between 1750 and 1850. In 1895, Daisy Grubb oversaw significant changes, adding a Victorian ballroom, a billiard room, chandeliers, and parquet floors, and converting original hinged doors to sliding doors, while still maintaining much of the original construction, including the original facade and fireplace mantels.
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The interior features delicately refined woodwork in its fireplace mantels, door and window moulding, and cornices, reflective of the style promoted by Robert Adam, which differentiated the scale of these elements in domestic and civic architecture. The gatehouse standing near the property entrance is an architectural folly. The house was built in 1803 for Joseph Manigault to a design by his brother Gabriel. Gabriel Manigault had studied architecture in London before the American Revolutionary War, and was familiar with Robert Adam's design principles.
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This room has much Greek Revival- era decoration, such as its architraves, mantels and the newels and balusters on its staircase. The west parlor on the north side, currently used as the dining room, has similar finishes, and the northeast one has Colonial Revival elements. The upper floor and attic are also mostly original to their era of construction or renovation. In the rear of the lot are a swimming pool, work shed, and a former garage now used as an apartment.
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They were the first written by an American architect, bringing architectural history, style and geometry to ordinary builders in the field. He adapted many designs by James Gibbs and Colen Campbell of Great Britain to fit the scale and finances of New England communities. These handbooks provided superb drawings and practical advice for full house plans, including such details as circular staircases, doorways, fireplace mantels, dormer windows, pilasters, balusters and fences. He sketched proposals for dwellings and churches, even a courthouse.
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There are two rooms, one to each side, which served as the men's and women's lounges; they have bronze chandeliers, parquet wooden floors, and decorative fireplace mantels. Other rooms extend from the lobby; on the east, there are stairs leading up and down, as well as an elevator bank. In the back (south) was a dining room measuring , a ticket office, a coat room, restrooms, and a kitchen. The dining room still exists and has checkerboard terrazzo floors, square piers, and bas reliefs.
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The Shriver House is a historic house located at 117 E. 3rd St. in Flora, Illinois. Built in 1893, the Queen Anne house was designed by architect John W. Gaddis. The house's exterior design features multiple gables on the front facade, original windows with hinged wooden shutters, and a carved wooden front door with etched glass panels. The interior of the house includes a carved wooden staircase with spindle turned posts and three fireplaces with decoratively tiled hearths and carved wooden mantels.
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The main block's northern window has been converted into an entrance with four-paned glass transom. Stairs and a wheelchair ramp lead to it from the north. Inside, the central hallway divides a living room, formerly the banking room and now an art gallery, on the west from a dining room (also used as a gallery on occasion) with two fireplaces running the length of the building to the east. The woodwork, such as the stairs and mantels, is original and well-maintained.
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Mantels, windows, and other architectural details for Eureka did not follow Ranlett's specifications, but rather conformed in character to what Holt had included in previous buildings. According to Catherine Bishir, Eureka was “perhaps Holt's grandest private project, bearing the stamp of his standardized detail but in its dramatic towered form and atypical plan reflecting the productive cooperation of builder and adventuresome client.”Bishir, Catherine W. Southern Built: American Architecture, Regional Practice (Charlottesville, Virginia: University of Virginia Press. 2006), p. 46.
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Although much of the dwelling's original Greek Revival interior woodwork was replaced during a Neoclassical style remodeling in 1913, the second floor's mantels, window frames, and door frames are original, dating from the 1840s. A one-story semicircular sunroom was added to the southern end wall in the late 1880s. Today the house is on the grounds of Asheville- Buncombe Technical Community College. It serves as a timeline museum showing how families lived during the late 19th and early 20th centuries.
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Beyond the room modified to serve as a classroom, many of the original finishes, the original plaster and decoration remains. The fireplace mantels have Federal style Tuscan colonettes with frieze and entablature, and the unusual rear- facing open-stringer staircase has a pyramidal newel post and oval handrails. There are several contributing resources to the rear of the house. A two-story wooden barn is believed to date to 1880, and the remains of a stone smokehouse and another unidentified structure are nearby.
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The entire house, including ell and barn, is clapboarded. The interior of the main block has retained much of its original material, including Federal style fireplace mantels, pumpkin pine flooring, and original doors. The house was built in 1805 by David Warren, a veteran of the American Revolutionary War who was one of the early settlers of nearby Buckfield. Warren served eleven terms in the state legislature (when the area was still part of Massachusetts), and served as Hartford's justice of the peace.
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The house's exterior is complex; typical for Queen Anne houses. Key exterior features include a tower capped by a conical roof, bay windows, high gables with decorative woodwork, carved brackets and moulding, and a wraparound porch with grouped turned columns and spindlework valances. The home contains 20 intricately detailed rooms. Interior architectural elements include pocket doors, non-rectilinear walls and ceilings, detailed mantels, an intricate main stair with gas lamps placed on top of carved newels, and Victorian woodwork detailing throughout.
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The interior retains some of its original Federal period features, including pumpkin pine flooring and fireplace mantels (although one is a replica of a destroyed original). The house was built in 1815 by Abel Jones, a member of a prominent local Quaker family, and the grandfather of Rufus Jones. Rufus Jones was born and raised here, leaving in 1879 to attend school in Providence, Rhode Island. He returned frequently to stay here during his productive career as a historian, writer, speaker, and theologian.
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The following year his sister Nancy Brumfield, brother-in-law William Brumfield and his mother Bathsheba moved from Washington County to Mill Creek and lived with Lincoln. In 1805, Lincoln constructed most of the woodwork, including mantels and stairways, for the Hardin house, now restored and called the Lincoln Heritage House at Freeman Lake Park in Elizabethtown. In 1806, he ferried merchandise on a flatboat to New Orleans down the Ohio and Mississippi Rivers on behalf of the Bleakley & Montgomery store in Elizabethtown.
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Fair Meadows is a historic home located at Creswell, Harford County, Maryland. It is a -story Second Empire–style house constructed in 1868 for the last owner of Harford Furnace, Clement Dietrich. The house is constructed of irregularly laid ashlar and features a mansard roof, cupola, dormers with rounded hoods, and stone quoins. The interior has a center hall plan and includes intricate inlay designs, black and white marble tiles in the center hall, plaster ceiling ornaments and friezes, marble mantels, and original crystal chandeliers.
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Véron covered the floor with a red-bordered blue, fawn, and yellow carpet woven in Brussels, The 1818 Monroe furniture was upholstered, three large mahogany tables topped with marble, and four white marble-topped pier tables placed in the room. For lighting, Véron provided several astral and mantel lamps. Gilded bronze wall brackets for hanging lamps and candles were attached to the walls, and mirrors in gilt frames placed over the fireplace mantels. Jackson also purchased three cut-glass chandeliers to light the room.
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The interior features Adam mantels, exquisite dadoes, and a carved staircase. The Brick House, built in 1855, has a two-story brick façade with end chimneys, a two-tiered portico, stucco-over- brick columns, and a two-story wooden wing at back; it was originally a private boarding school for girls. The district was listed on the National Register of Historic Places on August 19, 1971. In 1997, the district's boundary was increased to comprise 6760 acres, 24 buildings, 12 structures, and 1 object.
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This extended portion of the porch floor allowed for the easy transition from porch to carriage (or horse). Two cisterns and a well exist on the property, and mechanical components for drawing and using stored water are present. Each of the eight fireplaces have hand-carved mantels that are unique to the individual rooms, as well as intricately detailed cast iron fireplace inserts. Each room, including the coat closets and butlers pantries, have working radiators that are highly decorative and original to the house.
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The cottage was constructed in 1885-1886 for Elias Jackson "Lucky" Baldwin and his third wife, Lillie Bennett, the daughter of the cottage's architect Albert A. Bennett. Upon E.J.'s death in 1909, his daughter Anita closed the cottage and disposed of all furnishings. Some of the architectural elements of the cottage, such as the stained glass windows, black walnut doors, and marble fireplace mantels were stored in the coach barn. The stored items were reinstalled in the cottage during the 1951-1953 restoration.
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It is a pink stuccoed house built of concrete blocks. According to its NRHP nomination, its architecture "borrows from several Mediterranean styles without being heavily in debt to any of them": > The crested broken pediments in the foyer, the scrolled brincaded entrance > arch, and the red tile roof are attributable to the Spanish churrigueresque > style. The groups of round arches set on Persian columns are attributable to > the Byzantine style. The hooded classical style mantels in the front rooms > are attributable to the Italian Renaissance.
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The ceiling in the parlor is hand-painted, and the mantels are intricately carved African mahogany. The main bathroom includes a glass-enclosed shower that Lemp brought back to St. Louis from an Italian hotel. The three vaults where the Lemps stored their art pieces are located in the rear of the home. The Lemp Mansion is currently a restaurant and inn owned by the Pointer family; tours both historical and haunted are offered and it is a venue for murder mystery dinner theater and Halloween parties.
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The Benjamin Simonds House is located about north of the center of Williamstown, on the west side of Simonds Road (United States Route 7) just north of its crossing of the Hoosic River. It is a 2-1/2 story wood frame structure, with a gabled roof, central chimney, and clapboarded exterior. Its main facade is five bays wide, with a modestly styled central entrance flanked by pilasters. The interior retains a great deal of original period woodwork, including builtin cabinetry, fireplace mantels, and crown moulding.
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The HABS analysis observed that the interior details of the house were of particularly high quality. Noteworthy features mentioned included "delicate and almost elaborately carved" fireplace mantels and chamfered joints in the wood paneling on the walls. HABS also saw indications that Sabine Hill's design might have been influenced by architecture in Williamsburg, Virginia, particularly the design features of the Capitol Building there. One design detail noted as similar to features seen in Williamsburg was the use of "marbleized" wood for wainscoting along the stairway.
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The second floor retains its original flooring and mantels, and the post and beam construction is visible throughout the interior of the house. Alterations in the house changed the traditional five-room first floor plan by eliminating the keeping rooms and the removal of the kitchen fireplace. Despite this, the house's original door frames and much of the doors with wrought-iron latch hardware remained by the time of its nomination in 1985. In 1935, the Civilian Conservation Corps (CCC) rehabilitated the property for park use.
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A 1.5-story kitchen wing is attached to the rear of the house to create an "L" shape. Square doric columns grace the house's portico. The Benjamin Brabson house, built in 1856, was originally a Federal-style house similar to the Thomas Brabson house, although a Victorian porch and Queen Anne-style gable were added to the front of the house in the 1890s. Both houses contain most of their original design elements, including large post- and-lintel mantels and open "dog-leg" staircases.
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It is five bays wide, with a center entry sheltered by a portico supported by Corinthian columns, and an elliptical window above. The interior follows a typical central-hall plan, and has elaborate interior detail including marble mantels, a U-shape stairway, ceiling cornices, undercut moldings, and walnut doors with silver hardware. Candace Allen (1785-1872) was the older sister of Zachariah Allen, a prominent Providence mill-owner and inventor. Her fiancé was killed in the War of 1812, and she did not ever marry.
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The Spink Farm is a historic farm at 1325 Shermantown Road in North Kingstown, Rhode Island. The only surviving element of the farmstead on this farm is the main house, a 2-1/2 story five-bay wood frame structure built in 1798 by Isaac Spink. The house exhibits modest Federal styling, its doorway flanked by small sidelight windows and simple pilasters, and topped by a shallow hood. The interior follows a typical center-chimney plan, with its original Federal period fireplace mantels intact.
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Interior woodwork, including six mantels, is in provincial Federal style. The façade is five bays wide, with twelve-over-twelve sash windows on the ground floor and twelve-over-eight on the second. A narrow hipped roof porch covers the double front door; originally a wider porch covered a single door flanked by narrow sidelights and topped with a transom. See also: The house was listed on the Alabama Register of Landmarks and Heritage in 1979 and the National Register of Historic Places in 1982.
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In these homes the main entrance opens > onto a central hallway flanked by two large rooms. Each of these rooms > contains a fireplace and often decorative Federal styls mantels. One-and > one-half or two-story central hall plan residences generally have the main > staircase located in the central hall. Examples of this style in the county > constructed before 1830 include the William Allison House (WM-232), Newton > Jordan House (WM-259), Mordecai Puryear House (WM-287) and the Douglass- > Reams House (WM-540).
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The cornice of the porch, as well as its triangular pediment, are dentiled. The floor plan and interior trim of the 18th-century portion of the mansion remain essentially intact within the larger present structure. The elaborate mantels date from the 19th century. While a number of rooms and their furnishings have been restored to their original condition, others have been added to meet the changing needs of different generations of the Kean family, and modifications have been made to add modern heating and plumbing systems.
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The house was built in 1865 for the family of Samuel Morris, the president of the local Third National Bank. Morris chose many elaborate features for his house, such as decorative slates for the roof, multiple gables on the roofline, and elaborate bargeboards overhanging the ground. Inside, the house retains its original hardwood floors and fireplace mantels. Two porches serve the main entrances to the house: the front porch was part of Morris' design, although the rear porch was built in the early twentieth century.
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The house's gable roofs were originally covered with wooden shingles, but these have been replaced by seam metal panels. Around 1910, the interior of the house was damaged by fire, and was replaced with Queen Anne design elements. The interior follows a central hall floor plan, although whether or not this was the original floor plan or a result of renovations after the 1910s fire is uncertain. The main staircase, fireplace mantels, and first-level floor structure were also replaced as a result of the fire.
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Sash windows occupy most of the bays, with the center entrance framed by a Federal period surround consisting of flanking pilasters rising to a gabled partial pediment that surmounts a half-round leaded transom window. First-floor windows are topped by simple projecting cornices. The interior has many high-quality period finishes, including elements of basement kitchens, working dumbwaiters, and Federal and Georgian style fireplace mantels. Near the house stands a 19th-century barn, moved to the site in the 20th century after the original barn was destroyed by fire.
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The building now sits on reduced acreage that retains its relationship with the creek, surrounded by denser residential development. A century after its construction, the house retains many original wooden windows and wooden decorative features such as brackets, bell eaves, decorative vents, and a dramatic overall form. Hardscape features including the concrete retaining wall and a stone grotto were still in place. The original front door, antique Venetian light, Douglas fir floors, paneling, beams, fireplace mantels, door and window trim, brass hardware, and antique glazing are intact in the foyer, dining and living rooms.
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The John F. Cates House is a story-and-one-half, five-bay, side-gabled residence with a gabled portico on the front and a full-width gallery across the back. The basic plan is a center hall with two large rooms on either side; there is also a modern apartment in the half-story, accessible by a stair mounting from the back gallery. Notable features include board-and-batten siding; eight-foot, paneled, single-leaf doors, tongue-in-groove, random width heart pine floors; and a mixture of original pilastered and shouldered-architrave mantels.
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The exterior of the house gives little idea of the elaborate and elegant interior of fine panelled rooms, Georgian fireplaces with carved over- mantels, and ornate plaster decorations At the back of the house is a beautiful 0.8 ha (2 acre) Victorian walled garden with interesting and rare trees, delightful summer houses and fruiting orange trees, thought to be 300 years old, roses, herbaceous borders, fernery, croquet lawn and 17th-century reed thatched barn. A mantrap once belonging to the Peckovers is now on display in Wisbech & Fenland Museum.
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President Martin Van Buren purchased a new, table for the State Dining Room, and reupholstered the chairs in blue satin fabric. Blue and yellow drapes and rugs complimented the chairs. At some point, the mantels over the fireplace had been replaced with new ones of black marble, and three chandeliers now lit the room. Although little upkeep was made to the White House during the administrations of William Henry Harrison and John Tyler due to a national depression, President James K. Polk redecorated the State Dining Room in the summer of 1845.
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The 1,400 lb (640 kg) marble bathtub, rumored to be a gift from Napoleon Bonaparte to the family Due in part to an old legend that the privateer Jean Lafitte had hidden treasure in the house, treasure-seekers left gaping holes in the walls. Vandals also stripped the building of its Italian- marble mantels, cypress paneling, Spanish-style ceramic tiles, and glass window panes. Fortunately, a local sheriff prevented the theft of the plantation's original 1840s iron entrance gates and a marble bathtub, rumored to be a gift from Napoleon Bonaparte to the family.
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Constructed in the shape of a cross, the house is built around a central chimney, and multiple porches surround the stucco-covered exterior. The interior includes ornate plasterwork, marble mantels, and a spectacular 2 story spiral staircase. The Gothic theme is carried through many aspects of the ornamentation of the interior. After Wirt's death in 1899, the house was owned by his son and daughter-in-law, William Dabney Wirt and Garnett Pendleton Wirt, who ran a boarding school for women in the house until its sale in 1918.
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The finely crafted house is sheathed in cypress and cedar weatherboards and features late Federal style mantels, doors, chair rails and cupboards. The main room of the house has raised panel wainscoting and over-mantel paneling that survives with an early layer of tiger-maple graining. Also on the property is a small frame outbuilding with a gable roof and a family cemetery. Several other "telescope" style houses remain on the lower Eastern Shore of Maryland, but this house stands out as one of the least altered examples with highly unusual woodwork.
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An example of the painted motifs that decorate many of the mantels in the Crabtree Jones House, this one is located on the mantel in the main dining room. The Crabtree Jones House's architectural history is as significant as the history of those who lived in it. Dendrochronology performed in 2014 dated the front of the house to 1808-09 and the stairwell to 1811. The floor beams of all sections of the house are made with wood, and are in varying states of decay due to centuries of termite damage.
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The front facade is four bays wide, with the entrance in the center-right bay, and a single-story porch across the full width, supported by brick posts. The interior has an unusual center hall plan, with the main stairway set immediately to the right of the hall, in what is normally an intra-wall space between the hall and the right-side parlor. The interior has many original finishes, including elegant period fireplace mantels and cornice moulding, and original wooden floors. The oldest portion of the house, its kitchen ell, was built about 1730.
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The rank insignia of the French Navy are worn on shoulder straps of shirts and white jackets, and on sleeves for navy jackets and mantels. Until 2005, only commissioned officers had an anchor on their insignia, but enlisted personnel are now receiving them as well. Commanding officers have titles of capitaine, but are called commandant (in the army, both capitaine and commandant are ranks, which tends to stir some confusion among the public). The two highest ranks, vice- amiral d'escadre and amiral (admiral), are functions, rather than ranks.
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The interior features the original staircase in the kitchen, an open-stringer staircase in the center passage, and simple plastered mantels in the flanking rooms. The lawn is sheltered by a pair of river maples symmetrically placed in front of the house and by an aging catalpa tree near the drive to the northwest side of the house. Portions of an ornamental boxwood garden remain to the southeast of the house. A medium-sized frame granary is located to the north of the house and appears to be contemporary with it.
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"Mr. William H. Vanderbilt's Drawing-Room," (1882). The firm of Herter Brothers, (working 1864–1906), was founded by German immigrants Gustave (1830–1898) and Christian Herter (1839–1883) in New York City. It began as a furniture and upholstery shop/warehouse, but after the Civil War became one of the first American firms to provide complete interior decoration services. With their own design office and cabinet-making and upholstery workshops, Herter Brothers could provide every aspect of interior furnishing--including decorative paneling, mantels, wall and ceiling decoration, patterned floors, carpets and draperies.
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Lancaster returned to live in Kentucky in 1978, purchasing Warwick, a Federal-era residence on the Kentucky River. Here he spent the first winter making mantels for fireplaces in an addition, shelves for the library, and cabinets for the kitchen. During the following spring he gave a course on Kentucky architecture at Transylvania University, and it became a seminar in the College of Architecture at the University of Kentucky in the fall. In 1980 he presented a class on "Asian Art and Its Influence on Europe and America" at Transylvania.
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The Caleb Cushing House and Farm property is located in a rural area of central western Rehoboth, on the west side of Pine Street a short way south of its junction with Salisbury Street. The main house is set in a yard lined by a picket fence; it is a 2-1/2 story wood frame structure, with a side gable roof, central chimney and clapboarded exterior. A small gabled porch shelters the center entrance. The interior retains original fireplace mantels, and some doors, in addition to other period features.
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These changes had the dual effect of unifying the room and giving the vaulted ceiling more presence. Parish had the walls painted a soft yellow, and yellow silk curtains, tied back twice with ornamental cords and tassels, installed within the frame of the windows. French interior designer Stéphane Boudin had recommended a similar treatment by her in the Yellow Oval Room. A series of mantels and chandeliers were tried, finally resulting in permanent installation of a late Louis XVI green marble mantelpiece with a carved eagle and festoons in white marble.
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It is a double house, four bays in width, with opposite side entrances, and two stories in height over a full English basement. It is surmounted by a pair of low-pitched hip roofs, and there is a veranda across the facade. The interior has undergone very little remodeling from its time of construction, and retains original doors, mantels, and window and door casings. There are indications that it was originally constructed as a single- family house, and that that portion to the south was a subsequent addition.
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Woodside is a two-story Greek Revival house, originally with a central, double-height portico that was extended to the full width of the façade in the early 1900s. The house has a center-hall plan, with two rooms on either side of a hallway on both floors. The rear of the house was originally a pair of one-story wings, but a second story was added in an early 20th-century renovation. Greek Revival details continue inside the house, such as mantels and architrave- framed panels in the stairwell.
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At the north-west end of the second hall is the main timber staircase, with simple timber balusters and a timber handrail. The rooms have plastered walls and chimney breasts and, excepting the front north-west room where the chimney has been bricked up, metal fireplaces with marble mantels and slate hearths. All have ornate cornices, picture rails, high skirting boards with moulded tops, wide architraves and four-panel doors. Although high ceilings with ornate ceiling roses are found in every room, the ceilings themselves are contemporary and plain, with inset downlights.
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The first floor consists of a large center hall, the foyer, which is encased on either side by two large reception rooms that are all decorated with paneled wainscoting. The reception rooms on the East and West side both have their own fireplace with mantels that said to be gifts to Lafayette in 1825. The stairway is an ornamental structure in the center hall section that has a "molded handrail and thin, square balusters, three to a step." On the second floor, there are bedrooms with ornamental federal style woodwork, along with a fancy bath.
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The Nash-Hooper House is located in central Hillsborough, on the north side of West Tryon Street, a residential street just on the edge of the central business district. It is a 2-1/2 story wood frame structure, with a gabled roof, clapboard siding, and a high stone foundation. A single-story ell extends to the rear, and a single-story porch, probably of 19th-century origin, extends across the front. The interior retains a number of original finishes, including wide pine floors and fireplace mantels in some rooms.
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Cunningham & Waterhouse, p. 174 For eighteen of his buildings including Manchester Town Hall, he used the contractor Robert Pollitt to execute the painted decoration. Extensive correspondence survives between Waterhouse and Minton's and Maw's about patterns and colours that their tiles came in, both for floors and walls.Cunningham & Waterhouse, p. 175 When it came to fireplaces Waterhouse usually designed them in timber, but in his grander buildings like Manchester Town Hall and Eaton Hall he used stone and marble. The most important have elaborate carved decoration. He also often designed fireplace mantels.
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The interior is divided into thirteen rooms — six of which feature fireplaces with wooden mantels — as well as four bathrooms. Comparatively few components of the house have changed since its original construction. In 1980, the Hollencamp House was listed on the National Register of Historic Places, qualifying because of its historically important architecture and because of its place as the home of a locally significant individual. Although it is the only building on East Second individually listed on the National Register, it lies near a Register-listed historic district, the East Second Street Historic District.
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As early as 1882, he designed "a modest but commodious home of stone and brick" on South State Street for Dr. Victor C. Vaughan. Pond later pointed to the designs of the old mantels in the Vaughan house which "foreshadowed his future works." He also designed Ann Arbor's Ladies Library Association Building (1885) and the West Physics Building for the University of Michigan, built in 1887 and destroyed by fire in 1967. In 1887, he renovated the Detroit Opera House, increasing the seating capacity to 2,100 and relocating the auditorium to the main floor.
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Her ambition was to create decorative works: fountains, gates, portals and mantels; objects and subjects in which she could be entirely original. Risque sold many pieces while abroad, one of them going to the home of an ambassador, and another to the New Orleans Museum of Art. In 1915 Risque exhibited five pieces at the Panama–Pacific International Exposition, a world fair held in San Francisco between February 20 and December 4 in 1915. Her pieces were: the paintings Mere Colaer, In the Morning, Josef, The Old One, and Bird Fountain, a sculpture.
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Although the cornice is narrow, following the Federal style, the moldings are Greek Revival in scale. The doorway is well-proportioned, with sidelights and narrow pilasters, but contains a simply glazed architrave instead of a more elegant Federal style fanlight. Inside the architrave trim moldings throughout most of the house and the two simple fireplace mantels reflect the Greek Revival influence. The simple, but elegant, stair banister and the molded trim and block corner moldings found in the southeast room on the first floor are also typical Federal details.
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A smaller porch, sheltered by a continuation of the roof, extends over the center portion of the lower porch. The interior of the house retains much of its original design work, including fireplaces, with mirrored mantels, and an elaborate central staircase. The house was built in 1896 for Edwin Rogers, president of a Boston-based manufacturer of fire alarms, and was named for the large number of pebbles on nearby beaches. It was built on three lots of a subdivision laid out by Henry Evanston that was generally built out with much less pretentious buildings.
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When the Barnard's sold the property in 1958 it passed through a number of hands and underwent some alterations. The back verandah was enclosed sometime during the late 1950s and the original timber flooring was removed, leaving the main bedroom with a rough concrete floor and the living area with a dirt floor. The mantels over the central fireplace were also removed at some point and the wall separating the two bedrooms demolished, effectively changing the cottage from 3 rooms to 2. A number of conservation works have taken place since the Gayndah Shire Council purchased the Brick Cottage in 1969.
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The Dominos sold the home in 2019 to the current owners, Dana and Drew Sarros. The stained glass in the front living room window was installed in 2002 and is a reproduction of the original stained glass panel, with the exception of the colors. The current owners were able to locate a black and white photograph, which provided the template for this recreating this stained glass panel. During the late 1980s and early 1990s, when the home was abandoned and in disrepair, four white Carrara marble fireplace mantels, along with the newel post for the front hall, were stolen.
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Notable features include a fanlight and sidelights framing double paneled front doors, original false graining on all original doors, original marbleizing on surviving mantels, and handwriting (including notes, poems and other records) on walls throughout the house, with the earliest dating to 1870. The nearby Old Bridgeport Road is a registered Mississippi Landmark. The current site has had a variety of uses, first as a Native American camp, later as Hall's Plantation, which was occupied by Union troops on numerous occasions during the Civil War, and finally as the center of an African American tenant farming community.
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These included repainting the room (it retained its warm cream color), and adding gold silk swag valances over the draperies. Over-draperies, ordered in the Carter administration, were also replaced in the East Room during the Reagan administration, at a cost of $130,000. During the Clinton administration, the faux white marble finish painted on the mantels and baseboards in the 1960s was removed to reveal the original "rouge antique" (reddish) marble from Vermont installed during the White House's renovation in 1951. Although the East Room's oak floors had been bare since 1903, three matching $259,330 wool carpets were installed in February 1995.
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The Dawson Brothers Plant is a historic factory building located at 517-519 N. Halsted Street in the West Town community area of Chicago, Illinois. The factory was built in 1888 and designed by Julius Zittel; the five-story brick building has a cast iron front on its first floor and lacks ornamentation. The Dawson Brothers used the factory to produce fireplace mantels and grates; the building also served as the company's showroom and offices. A six-story addition was added to the building in 1901; this addition mainly served as a storage and shipping area.
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A number of indoor elements, including floor boards, doors, lock hardware, mantels and others items were preserved and repurposed in the house. The completed house is an example of Queen Anne Style Victorian architecture and features multi-faceted detail woodwork. The house was originally lighted by carbide light fixtures which were fueled by gas generated on the property in a small brick building and piped into the house. Although unusual for the era, the house was equipped with indoor plumbing which was supplied and pressurized by a large reservoir in the attic which functioned similarly to a simple water tower.
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Multiple fireplaces are placed in the various rooms, with wooden mantels around them. The original portion of the house forms the southern half of the present structure; the northern half is the 1850s addition, which features a more modern stud-based form of construction. While the halves are separate from each other, the newer northern portion and older southern portion appear similar on the exterior, since both were sided when the northern portion was built. Because the shallow gabled roof extends past the western front of the house, it forms a large overhang that has been adapted into a long porch.
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The McDaniel-Tichenor House, located in Monroe, Georgia, United States was built in 1887 for retiring Governor Henry McDaniel. Originally designed by Athens, Georgia architect William Winstead Thomas (1848-1904) in the then- popular Victorian Italianate Villa style, the house was extensively remodeled in the 1930s by Nashville architect, and son-in-law of Edgar and Gipsy Tichenor, Francis Boddie Warfield. Remade in the Neoclassical style popular with prominent southerners at the time, the Tichenors also added modern indoor plumbing, electricity and heating systems. Though the interior was reconfigured as well, much of the original woodwork, doors and inlaid marbleized mantels are original.
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The Taylor- Grady House is located in central Athens, at the northwest corner of Prince and Grady Avenues, set on a generously sized landscaped lot. It is a rectangular two-story wood frame structure, with a hip roof that is obscured by a parapet-like entablature that wraps around three sides. The roof extends beyond the main bulk of the house on those three sides to form a gallery, which is supported by thirteen massive fluted Doric columns. The building interior follows a center-hall plan, and retains a significant amount of interior finishes, including woodwork, plaster, and fireplace mantels.
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The rank insignia of the French Navy () are worn on shoulder straps of shirts and white jackets, and on sleeves for navy jackets and mantels. Until 2005, only commissioned officers had an anchor on their insignia, but enlisted personnel are now receiving them as well. Although the names of the ranks for superior officers contain the word "Capitaine" (Capitaine de corvette, Capitaine de frégate and Capitaine de vaisseau), the appropriate style to address them is "Commandant", "Capitaine" referring to "lieutenant de vaisseau", which is translated as lieutenant. The two highest ranks, Vice- amiral d'escadre and Amiral (Admiral), are functions, rather than ranks.
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In 1900 several modifications were made including the addition of Queen Anne style dormer windows and a large rear wing. Over time, other, smaller modifications have been made including the replacement of windows and doors, the replacement of the original gallery columns, and the replacement of front, exterior staircase. Despite the modifications, the house still retained significant integrity, including the basic Creole form of the house, the bousillage construction, the copious beading, and the original mantels at the time of its enlistment in the National Register of Historic Places. The house was the best detailed and largest surviving early structure in Evangeline Parish.
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The Charles Pinckney House at 7 Orange Street, Charleston, South Carolina The Charles Pinckney House is an 18th-century house at 7 Orange Street, Charleston, South Carolina. Alexander Petrie bought the lot in 1747 and constructed the current 2 1/2 story house on a high basement sometime before 1770. The mantels and woodworking are original, but other features including floors and large sliding doors to the parlors date to the early 19th century. Charles Pinckney was thirteen years old when his father bought 7 Orange Street in 1770, and the family resided at the house until 1778.
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Later, in 1863, a statue of William Darlington was erected for the bank by William Marshal Swayne. A renovation in 1928 was modified to an unknown extent with a "Greek influence and design". Six marble mantels and coal grates were requested for the heating systems of the building for the fireplaces in the building, located in the north and south areas of the banking room, in addition to one each in the president's, cashier's, and two others in the removed rear rooms, though the building is currently powered by electricity. None of the original flooring, doors, nor hardware remains.
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Shortly after starting San Simeon, he began to conceive of making the castle "a museum of the best things that I can secure". Foremost among his purchases were architectural elements from Western Europe, particularly Spain; over thirty ceilings, doorcases, fireplaces and mantels, entire monasteries, paneling and a medieval tithe barn were purchased, shipped to Hearst's Brooklyn warehouses and transported on to California. Much was then incorporated into the fabric of Hearst Castle. In addition, he built up collections of more conventional art and antiques of high quality; his assemblage of ancient Greek vases was one of the world's largest.
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Within the state forest, once a residence and cranberry packing facility, Atsion mansion has been vacant since 1882. In 1960, the building lost even more of its glory when its west porch was torn down. Under the guidelines of the State of New Jersey, area contractors Wu & Associates undertook the restoration of the site. The existing exterior stucco was removed and replaced with new material; the interior plaster, wood windows and shutter were restored; fireplace mantels, stone and wood floors in the basement, and the existing cedar roof were all repaired; and a new exterior sidewalk was added to a handicap ramp.
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The interior has two elaborate country Federal mantels taken from a nearby 1820 country home. It was built by Thomas J. Michie, who represented Augusta County in the Virginia House of Delegates and may be of the same family that built Michie's Tavern in Charlottesville, Virginia as well as Michie Stadium at West Point Military Academy. It was later the home of jurist Allen Caperton Braxton (1862-1914) and Henry Winston Holt (1864-1947) who was the Chief Justice of the Virginia Supreme Court. and Accompanying photo It was added to the National Register of Historic Places in 1982.
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Frank Miles Day won the 1888 architectural competition to design the Art Club of Philadelphia, at 220 South Broad Street.Philadelphia Art Club from Philadelphia Architects and Buildings. Completed in 1889, Maene executed its interior woodcarving: > A most remarkably effective use of white pine has been made in many of the > mantels throughout the house. In the cafe and other apartments this ordinary > wood has been so treated and finished that it has all the elegant effects of > the richest and rarest grains of tropical forests, and moreover the > genuinely artistic carvings lend an air of the greatest elegance.
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Since they have a lot of muscle control in their mouths, these rays are able to remove the exoskeletons of crustaceans, squid mantels, and bivalve shells in order to eat only the indigestible parts (Dean 2004). Predation As stated in the lifespan/longevity section, most of their deaths are caused by anthropogenic effects. One of these main effects, is the fishing industry, since they have been responsible for the decline of several populations of this species over the past 30 years (Vianna 2009). They are usually discarded as bycatch when they are caught accidentally by trawl nets.
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There is also documented trade of goods ranging from honey to quetzal feathers throughout the Maya region. The goods, which were moved and traded around the empire at long distance, include: salt, cotton mantels, slaves, quetzal feathers, flint, chert, obsidian, jade, colored shells, Honey, cacao, copper tools, and ornaments. Due to the lack of wheeled cars and use of animals, these goods traveled Maya area by the sea. Because the Maya were so skilled at producing and distributing a wide variety of goods, they built a lifestyle based on trade throughout all of Mesoamerica, which spread to many different groups of people.
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Much of the paneling was reinstalled in the main public rooms, but other historic elements were simply copied to accommodate increasing cost and time constraints. Many of the original materials that were not deemed of significantly identifiable historic value, such as marble fireplace mantels, or not deemed to be readily reused, such as pipes, were sent to landfills. To avoid profiteering from the millions of items being carted away from the work site, the project ran a highly publicized souvenir program. Prior to its establishment in January 1951, over 20,000 requests were made for everything from nails to charred wood.
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The house rests on a mostly limestone foundation, although the west wing rests on a brick foundation (possibly left over from the earlier Shields house). A split- run staircase in one of the rear porches provides access to the second story of the central block, which contains three bedrooms. The house has three cellars, one of which (under the central block) was used as a kitchen, and has three brick chimneys with post-and-lintel mantels. The design of Rose Glen was modeled after architect Minard Lafever's "Design for a Country Villa," which appeared in both Lafever's Modern Builders Guide (1833) and Beauties of Modern Architecture (1835).
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A series of six fireplace mantels salvaged from the brownstones adjacent to the Museum and fully restored by the Dion, are intended to refer to the living room of Abby and John D. Rockefeller, Jr., renowned for its warmth and intimacy. A custom-made cabinet presents objects cleaned and classified not by scientific criteria but by the artist’s logic; visitors are invited to peruse its contents and appreciate its odd organizational paradigms. Finally, a functional laboratory and a group of photographs recording Dion’s behind-the-scenes archaeological “performance,” as he calls it, reveal an interest in experimentation and process that balances his investment in the finished product.
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Many interiors boast archways, hardwood flooring, cheerful bathrooms and galley kitchens with quaint breakfast rooms and built-in cabinetry sparkling with beveled mirrors and stained glass. Some fireplace mantels display multiple types of wood and are flanked by built-in bookcases, which were favorite gestures of the builder. Homebuilding was curtailed during World War II (because of strict rationing of materials for the war effort), creating a housing shortage for returning soldiers and their families. To help address the crisis, Oak Cliff realtor and builder Wiley Roberts, who also served as executive board chairman of the Dallas Association of Home Builders, announced his intention to finish out the Hampton Hills neighborhood.
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When built, the clock tower featured granite floors and metal interior furnishings, though there was very little wood trim, unlike other contemporary structures. The lower floors contained bronze grillwork and doorways, especially around the elevators, while on the upper floors, ornamental iron is used for the metalwork around the elevators. The second-floor spaces contained offices of the Metropolitan Life Insurance Company and contained white marble wainscoting, plaster cornices, marble mantels, etched-glass doors facing the executive offices, and red mahogany door, wall, and window panels. Each of the tower's floors are up to in area, smaller than the floor areas of most other nearby office buildings.
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The Williams house is a 2-1/2 story wood frame structure, five bays wide and two deep, with a side gable roof, twin interior chimneys, and clapboard siding. Its main entrance, centered on the front facade has a Greek Revival surround, with sidelight windows and pilasters flanking the door, topped by a cornice with a carved elliptical arch. A single-story ell extends to the rear of the house. The interior follows a center hall plan, and retains original features, including fireplace mantels (although most of the fireplaces have been closed up), and wide pine flooring.. The house's construction date and original owner are not known.
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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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Originally, the Payne-Desha House was built in the Federal style, and in the late 19th century the structure was updated to the then popular Italianate style. Additionally, the house underwent renovations in 1955 and 1975. Details of Italianate style porch addition As first built, the Payne-Desha house featured "an arch spanned central hall, a winding staircase, ash floors, sunburst design mantels, beaded and fluted woodwork, three basements, and a hipped roof" making the stone building one of the most intricate early stone structures in Scott County, Kentucky. The exterior of the house was altered in the late 19th century with the addition of Italianate style porches, hoodmolds, and roofbrackets.
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About to the south stands a garage- like building, with both a track-mounted garage door and a pedestrian entrance; this building was used historically for the manufacture of boxes, and houses original early 20th-century equipment for doing so. The house's interior follows a central-chimney plan, with a parlor to one side of the chimney and the kitchen to the other, with three small chambers in the back. Fireplaces have Federal period mantels, while the kitchen cabinets are of late 19th century vintage. The first of the farm were purchased in 1790 by William Dyer, who had married in that year, and the house was probably built soon afterward.
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Among the most significant elements of its architecture are details such as a bracketed cornice, some courses with corbelling, and a belt of sandstone, plus larger elements such as significant rectangular panels on the facade and massive bay windows. Inside, many original details have survived to the present day, such as elaborate balusters in the halls, the wainscoting on the corners of the rooms, and the plain fireplace mantels. From their construction in 1885 until 1947, the apartments were owned by the family of Ulrick Bauer, a local greengrocer. Both historically and in the present, they have been used both for residential purposes and as the location of a specialty store.
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That facade is five bays wide, with an open single-story piazza extending across the center three bays, supported by round columns, and steps descending to the ground across its width and sides. The main entrance is flanked by sidelight windows and topped by a Federal style fanlight window, into which the date "1785" has been etched. The interior of the house retains elegant Federal period finishes, including two staircases, fireplace mantels, and wooden wainscoting, which on the ground floor consists of single planks of pine, in width. The house was built in 1785 by John Brewer, a prominent local shipbuilder, who also served as the local postmaster.
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When older buildings are demolished, frequently any good wood is reclaimed, renewed, and sold as flooring. Any good dimension stone is similarly reclaimed. Many other parts are reused as well, such as doors, windows, mantels, and hardware, thus reducing the consumption of new goods. When new materials are employed, green designers look for materials that are rapidly replenished, such as bamboo, which can be harvested for commercial use after only 6 years of growth, sorghum or wheat straw, both of which are waste material that can be pressed into panels, or cork oak, in which only the outer bark is removed for use, thus preserving the tree.
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A modillioned cornice is used on the eaves. Four Mile Tree's oldest interior woodwork is in the central stairhall where the turned balustrading on the stair, the heavy hand rail and the high dado place the date in the first half of the eighteenth century. The southwest room, which probably dates from the early nineteenth century, has two framed niches flanking a simple mantel and overmantel topped by an architrave, frieze and cornice; only the cornice and a paneled dado ornament the other walls of the room. The remaining rooms have mantels which seem to date from the first half of the nineteenth century but only in the southeastern room is there a paneled room.
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In 1988 the original shingled roof was removed and replaced with a corrugated iron hip roof. At this time, work was also carried out on the ceiling, which needed to be repaired again in 1994, as it was beginning to sag due to incorrect installation of the roof timbers. The dirt floor in the main room was laid with concrete to match the exposed floor in the bedrooms, the front doors of the cottage were replaced and the interior walls replastered. The mantels over the central fireplace were also replaced, on one side with what is believed to be a replica of the original and the other with the mantel from the fireplace at Ban Ban homestead.
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The Power House stands south of downtown Pittsfield on the east side of South Street (United States Route 20), on more than just north of the Pittsfield Country Club. It is a rambling 2-1/2 story brick structure, set on a granite foundation that is fully exposed on the eastern side due to the sloping lot. It is roughly L-shaped, with a landscaped circular drive providing access to the house at the crook of the L. Its exterior is characterized by a variety of dormers, projecting and recessed sections, and varying window sizes and shapes. The interior has Federal style fireplace mantels, and includes a basement-level billiard room with a quarry tile floor.
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Town also took the climate of southern Louisiana into account while designing his homes, using large roof overhangs, an abundance of breezeways, and cross ventilation to provide air circulation. Town's involvement in the selection of interior materials, colors, and even furnishings was extensive—sometimes going as far as to include the recommendation of a certain type of dog to accent the house. Town was one of the first architects to salvage old building materials and incorporate them into new houses, giving his homes a comfortable, elegant feel. He would often scrounge abandoned warehouses and rice mills for floorboards, fireplace mantels, or flagstones, handpicking the individual elements that would eventually be incorporated into his architecture.
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Bushy Park Homestead is an Edwardian-era homestead registered as a Category I heritage building by Heritage New Zealand. It is located in Bushy Park, at 791 Rangitatau East Road, from Kai Iwi, Whanganui, in the Manawatū-Whanganui region. The 22-room Edwardian homestead, designed by Charles Tilleard Natusch, includes a long, -wide hall that runs the length of the residence, as well as wood panelling, carved mantels, and Art Deco lights. Built by Russell and Bignell in 1906 at a cost of £4,566 for G. Frank Moore, a cattle and racehorse breeder, the residence and park were given to the Royal Forest and Bird Protection Society of New Zealand by Moore in 1962.
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These traditional high-quality furniture making firms began to play an important role as advisers to unsure middle class customers on taste and style, and began taking out contracts to design and furnish the interiors of many important buildings in Britain. This type of firm emerged in America after the Civil War. The Herter Brothers, founded by two German emigre brothers, began as an upholstery warehouse and became one of the first firms of furniture makers and interior decorators. With their own design office and cabinet-making and upholstery workshops, Herter Brothers were prepared to accomplish every aspect of interior furnishing including decorative paneling and mantels, wall and ceiling decoration, patterned floors, and carpets and draperies.
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Williams Plains is a historic home located in the White Marsh Recreational Park at Bowie in Prince George's County, Maryland, United States. It is a -story brick house, with a Flemish bond south facade and six-course common bond used for the remaining walls. It is an early- to mid-19th-century brick house which is significant primarily for the Greek Revival–influenced interior decorative detailing which remains almost completely intact and thus is an excellent and somewhat rare record of domestic architecture in Prince George's County in the first half of the 19th century. The dominant design elements which characterize the decorative detailing include Greek Revival influenced trim, mantels, and paneled doors.
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Interior work included plastering, exposing wall boards of rough cut hemlock, sourcing and replacing mouldings, scraping and repainting mantels, researching and painting in historic colours, and completely refurbishing the staircase. Charles Cullum received an inaugural Southcott Award from the Newfoundland Historic Trust for his dedication to the preservation of St. John's over the course of many years, including restoration work on Anderson House. In 1984, it was noted that the building had been preserved "as a distinctive set of offices with much of the atmosphere and charm of... earlier times." On March 23, 1996, the Anderson House was designated as a Registered Heritage Structure by the Heritage Foundation of Newfoundland and Labrador.
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The 22-room Edwardian homestead, designed by Charles Tilleard Natusch, includes a long, -wide hall that runs the length of the residence, as well as wood panelling, carved mantels, and art deco lights. Built by Russell and Bignell in 1906 at a cost of £4,566 for G. Frank Moore, a cattle and racehorse breeder, the residence and park were given to the Royal Forest and Bird Protection Society of New Zealand by Moore in 1962. The homestead, bird sanctuary, and rain forest have been managed by Bushy Park Homestead and Forest Trust since 1994. The Bushy Park Festival, an annual event on the Sunday of Wellington Anniversary weekend, is the major fundraising event for the trust.
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Foster's Tavern was built by Anthony Foster, with construction beginning in 1801 and taking seven years or more to complete. The house is made of locally made bricks and features tied chimneys (separate chimneys joined by a wall or facade) at each end of a gable roof, hand carved woodwork including bowed mantels and stair scrollwork, blown-glass windowpanes, soapstone hearths, cattle-hair plaster and original shutter pintles. The portico with its fanlight was added in 1845 and the porches about 1915. Foster's Tavern housed John C. Calhoun and Bishop Asbury on their travels through the area, with the southeast corner room on the second floor traditionally called the John C. Calhoun Room.
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The W.H. Bickel Estate is a 2½ story stone mansion built between 1928 and 1930 on the outskirts of Parkersburg, West Virginia. The building has a rectangular main section and a wing to the East. It is known for its architecture and ghost that reportedly haunts the area. The main house is rich with woodwork, including intricately inlaid walnut and maple floors with geometric patterns, wood mantels, partial wainscoting on all three floors, 15 light French doors on the first floor, solid maple arched doors on the second floor, built-in china cabinets, crown molding in all main rooms, and original finish wood casement windows with roll down screens and brass hardware.
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In 1829, the first year of the Jackson administration, the King furniture was finally upholstered in blue damask silk. Monroe also purchased (for $80) a marble bust of George Washington by the Italian sculptor Giuseppe Ceracchi, which remained in the East Room probably until the Kennedy redecoration in 1962 (when it was moved to the Blue Room). Monroe also purchased in 1817 for the fireplace mantels four gilt bronze candelabra, designed and manufactured by the French bronzemaker Pierre-Philippe Thomire. By 1825, the room contained 24 unfinished mahogany armchairs, four large unfinished mahogany sofas, eight tables made of pine, a door screen, a paper partition, a three-shelf bookshelf, a mahogany map stand, a washstand (with basin and ewer), and a clothes press.
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The original East Point Library, also known as the New Deal Library, constructed in a Federal Revival- style in 1939, bears a brass plaque attesting to its construction as part of President Franklin D. Roosevelt’s Federal Emergency Administration of Public Works (FEAPW) in 1939. (FEAPW was renamed the Public Works Administration shortly after the Library’s construction.) Atlanta's Suburban Reporter, October 6, 1939 Almost all of the Library’s original features remain intact, including the dark wood bookcases, shelving, and Adam-style fireplace mantels. Other prominent features of the building are the Art Deco-style lighting fixtures. The Library operated until November 8, 1994, when city voters chose to make the East Point library a part of the Fulton County Library system.
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An 1877 newspaper article credits the mansion's mantels to Pabst; and the interior woodwork, ebonized library, and grand staircase are attributed to him. Although there is no evidence of Furness's involvement, Pabst used design elements that can also be found in Furness commissions—the parlor's mantel features the dog-faced beasts that flank fireplaces in several Furness houses, the entrance hall features door frames and a chimneypiece with shingled roofs (a frequent Furness motif). The 1877 article specifically credits the dining room's "very elaborate buffet" to Pabst, although only its base survives. Its relief-carved fox-and-crane panels, copied from a plate in Charles Eastlake’s book Hints on Household Taste, are repeated on the sideboard at the Art Institute of Chicago, and on other attributed pieces.
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Although the facade of this Italianate structure has disappeared, the north and south sides of the original building are visible; on the north are three deeply projecting bay windows, and on the south, a two- story loggia. In 1918 the residence was vacant, so the Sisters of Nazareth purchased it for $75,000 as the site of the college they planned to open in Louisville. The fact that this house is one door north of Presentation Academy, also operated by the Sisters, was fortunate. As successive owners occupied the mansion, they added such treasures as a hand-tooled leather ceiling from Florence for one parlor, ebony mantels, and a large hand-carved hat-rack, which Mr. Buchanan purchased at the New Orleans Exposition.
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In addition to a modern business facility, the refurbished building included woodwork and mantels salvaged from 18th century buildings in Philadelphia intended to serve as a backdrop for the automobile name plates, license plates, and other antiques on display. In addition to automobiles, Mr. Swigart amassed what is thought to be the largest automobile nameplate and license plate collections in the world. Often his insurance agents out in the field would scour junk yards looking for abandoned cars and return to the office with buckets of name plates, radiator ornaments, and license plates, all then cleaned and mounted by the office staff. By the time of his death in 1949, W. Emmert Swigart had preserved twelve early automobiles plus thousands of automobile related items and literature.
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Although the interior has had some modernization done in the 20th century, it has retained some Greek Revival features, including fireplace mantels, and the staircase to the upper level, which, in an unusual configuration, extends as a single run from the entry vestibule between two fireplace flues. The farmhouse is estimated to have been either built or extensively modified in the 1840s. A house was standing on the property when it was purchased by David Lincoln in 1841, but it is not known if this house is a restyling of an earlier 19th-century house, or a new construction. In 1852 the property came into the Weed family, whose descendants would own it until the death of Bert McCorisson in 1931.
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Dr. Messinger extensively restored the building during his ownership, including adding a garage to the west side of the building, removing four outdated and unsafe fireplaces, while retaining the marble mantels and surrounds where possible, and replacing the essentially unusable floor in the entrance porch. The flooring he used was marble from tombstones abandoned when the Rondout Reservoir was flooded. They were laid face down in red grout, except for one at the main entrance which was engraved "Home At Last". Dr. Messinger and his family moved away from Grahamsville in 1953, the completion of the Reservoir having made the essentially cashless economy of the area unable to support a medical practice, and sometime within the next couple of years, he sold the property.
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Bryant Franklin Tolles, Carolyn K. Tolles, New Hampshire Architecture; An Illustrated Guide, 1979 And although he helped disseminate the Federal style, he was not averse to changing fashion. In fact, his book published in 1830, The Architect, or, Practical House Carpenter, helped redirect American taste towards the Greek Revival. But as architectural historian Talbot Hamlin writes: :"...he, more than any other person is responsible for the character we roughly call 'Late Colonial'; his moldings, his doors and windows and his mantels and cornices decorate or at least inspire the decorations of numberless houses up and down the New England coast and in the New England river valleys." Florence Thompson Howe, "More About Asher Benjamin", Journal of the Society of Architectural Historians 1954, p.
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Noxon House has a brick exterior, hipped roof, square, symmetrical rectangular shape, paneled front door at center decorative windows and elements on either side over front door, five double hung sash windows across the second floor front and four on the first floor, four and four paired chimneys. It preserves a typical Georgian floor plan inside, with four over four and a center staircase ascending, another staircase descending behind it to the lower level and what was the original kitchen for the house. That kitchen still retains a beehive bread oven, large fireplace and original fittings, panels and beamed ceiling. Throughout, the Noxon House preserves its original wide plank floors, original windows and glass panes, many original moldings and doors, eight fireplaces with original surrounds and mantels and original timbers and beams.
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Laguna de Alegria In the Sierra of Chinameca, one of the most important volcanoes is Tecapa, located at 26 kilometers away from Usulután, and 2 kilometers to the south of Alegria. Its peak, in the famous plain of Quemela, at 1,603 meters above sea level exhibits a big rocky crater, oval and guided from east to west in whose bottom, in eccentric position to the southeast and at 1,250 meters high, a small crater form lake of yellow-greenish waters exists, resting on mantels of sulfur. The highest part of the crater circumvallation to the northeast is the culminating point of the volcanic cone and the lowest is to the east and at 1,275 meters high. In that area a current of lava was spilled in prehistoric time.
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Because of its proximity to neighboring houses at the time of construction, the sides were left relatively plain, and this is evident on the west wall as it was never intended to be visible, with the neighbor house standing only a few meters from it. However, the six 3-story town houses also built by Hunt to the west of his house were all subsequently demolished. The interior has suffered extensive renovations and alterations through the years, and while the main staircase remains intact, only fragments of the once richly decorated spaces remain. All interior spaces have been modernized, and the original layout of the rooms has been altered, but still some mantels and fireplaces remain as artifacts of significance, giving a notion of the splendor once showcased by the interior.
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Douglas Ellington served as the architectural advisor for the project; Charleston architects Simons & Lapham then supervised the daily work while Ellington was in Washington, D.C. The woodwork and mantels of the second floor drawing room were salvaged from the Radcliffe-King Mansion (circa 1799), which stood at the corner of George and Meeting streets and was razed to build the College of Charleston gymnasium, another WPA project. Modeled on 18th century London playhouses by Charleston architect and pioneering preservationist Albert Simons, the present Dock Street Theatre's stage house and auditorium were built in the hotel's courtyard. The local carpenters, who were put to work as a part of this Depression-era relief effort, used locally grown and milled native black cypress for the wooden interior. Following this $350,000 renovation, The Historic Dock Street Theatre's second grand opening took place on November 26, 1937.
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Lynnewood Hall in January 2013 The grounds were used for training military dogs during World War II, and parcels of the land outside the property fence (see below) were sold to others after 1943. Lynnewood Hall suffered a general decline under the ownership of the Faith Theological Seminary, a religious group headed by Carl McIntire, which purchased it in 1952 for $192,000. During that ownership much interior detailing, such as mantels, walnut paneling, and landscape ornamentation was sold off in order to raise funds. This is evidenced by the 2006 auction of a French bronze figural fountain—one of only two major surviving Henri-Leon Greber commissions in America—originally installed at Lynnewood Hall. Lynnewood Hall was added to the Preservation Alliance for Greater Philadelphia's 2003 list for most endangered historic properties and is eligible for the National Register of Historic Places.
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Working with noted architect Hoyte Johnson, she helped to evolve her home-place into a comfortable venue to share with her family, her friends, and nearby Huntingdon College. Her husband, Hal Holbrook referred to the home as having "feel" of the Mark Twain House in Hartford, Connecticut, and that there is no other place to which he feels so ideally suited. Besides the grand "Music Room" addition, the house is surrounded with the talented works of her mother, Virginia (Ginna) who built the expert masonry fireplaces and mantels in the older parts of the house, as well as the wooden guest house beneath the ancient Catalpa trees in the back yard. Her father, Halbert Carter (Hal) remains forever present in the books that line the back room walls and the tapestry of tales told by a once great haberdasher.
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Stone recycling is usually done by specialists that monitor local demolition activity, looking for stone-containing houses, buildings, bridge abutments, and other dimension stone structures scheduled for demolition. Particularly treasured are old hand-carved stone pieces with the chisel marks still on them, local stones no longer quarried or that are quarried in a different shade of color or appearance. There is no national or regional trade in reclaimed stone, so a large storage yard is required, since the recovered stone may not be quickly sold and reused. The recycled dimension stone is used in old stone buildings being renovated (to replace deteriorated stone pieces), in fireplace mantels, benches, veneer, or for landscaping (like for retaining walls). The Parthenon in Athens underwent a major reconstruction prior to the 2004 Olympics Related to stone recycling and stone reuse is the deconstruction and reconstruction of a stone building.
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In the year 2000, The Museum of Modern Art's sculpture garden underwent an extensive rebuilding project. The garden was disassembled and the land was excavated to a depth of fifteen feet. Dion lead the series of archaeological digs in the garden, recovering a pillar and fragments of the limestone foundation from the nine-story townhouse. A month later he scavenged again in the garden, as well as in the hollowed-out brownstones adjoining the Museum to the west and in the newly demolished Dorset Hotel. His findings included historical artifacts such as cornices, moldings, shards of ceramic and glass, sections of fireplace mantels, wallpaper pieces, and bricks from distinct phases of the Museum’s expansion, as well as more recent ephemera, including the remains of Bruce Nauman’s Audio-Visual Underground Chamber (1972–74), which was installed in the garden as part of the artist’s 1995 retrospective.
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Here can be found leather chairs, lace curtains, and rockers with foremost men of New Orleans discussing current events. There is a reception area with a large round table behind leading into formal and informal dining areas. The formal dining room is forty-five feet deep, with molded stucco ceiling cornices and large center ceiling medallion of floral designs, and mantels finished in period Eastlake Style replacing earlier marble mantel carved with cherubs and flute players. The bar, located behind the informal dining area, is made of oak along with the wainscot running around the room. The second floor has two rooms, the front, a former card room while the rear is mainly used as a sitting room but can be converted easily to a dining room, it is finished in oak with cypress doors and is attached to a billiards room, board room and lady’s water closet.
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On the interior, the broad central hall is divided at midpoint by a graceful elliptical arch which rests at either side on piers alluding to the Doric order in detail. The stair which ascends along the east wall of the hall and curves at the beginning and end of each flight, develops exceptional rhythm of design due to the repetition of the octagonal- shaped and turned balusters, two to a tread. In addition, the scrolled, uncarved brackets on the step ends and the fascia board on the landings increase the activity of the design, making the stairway the finest single piece of woodwork in the house. Two rooms flank the hall on both sides and offer a calm contrast to the stair by featuring broad, flat window and door framings as well as black marble mantels with arched openings and subtle curving lines in the shelf.
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Captain Marvin had married a local Burlington woman by the name of Ellen Blackman before purchasing Grasse Mount. Marvin hence financed a number of additions to the mansion, including an Italianate belvedere (cupola) structure upon the rooftop, a gas-powered illumination system, the replacement of older small-paned windows with larger- paned sash, and the replacement of wooden fireplace mantels with Italian marble. Where the exterior was painted pink with green shutters, the interior was painted with a number of ornate frescos throughout its eight main rooms, stairwell, and the cupola. Spending about $10,000 over the course of a decade, Marvin employed what historians estimate to have been at least two Italian professional artisans (most likely a master and an apprentice) who used watercolors and distempers to hand-paint numerous scenes from his seafaring years, including palm trees, shorelines, windmills, ships, international seaports, as well as cherubs, garlands, and other classical patterns in the form of Trompe-l'oeil (translated in French as "trick of the eye"), where the images convey the optical illusion of having three-dimensions.
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See detailed article in the Swiss professional periodical "Bâtir", journal romand de la construction suisse, novembre 2007, pages 17 to 22. (in French) The challenge was to clean up and to restore the wall and ceiling frescoes of the great hall which had been created by Bernese painter in 1902. The ceiling was particularly important as one of the largest ever painted in Switzerland and as the only one still in its original state. It is also unique by its decoration in Swiss Art deco style and by its cupola shape. The restoration works of the frescoes allowed reducing the visual impact of the various alterations they endured in time, to keep in place as much as possible the initial decorations’ substance and to bring to light two additional frescoes adorning the great Hall’s decorative fireplace mantels. These renovation works were led by specialists Olivier Guyot et Julian James and supervised by the “Monuments and Sites” section of the Vaud state, as well as by Swiss architect Eric Jaeger for the Caux Foundation.
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