1000 Sentences With "mouldings" | Random Sentence Generator

Wind turbines, vehicle components, injections mouldings and electronic systems all go off to South Korea, for instance.

The Italian Renaissance Revival-inspired mansion has wood mouldings, a spiral staircase, crystal chandeliers and a marble fireplace.

Many industrial companies, from aerospace engineers to makers of plastic mouldings, are concerned about the regulatory vacuum that could follow Britain's divorce from the EU, scheduled for March 2019.

Decades of poor treatment by renters had resulted in unsalvageable plaster walls and falling ceilings, so Ms. Hampton, an interior designer, sought the help of Johnny S. Donadic, a contractor, and Adrian Taylor, a principal at Hyde Park Mouldings.

Take Goodfish, a medium-sized manufacturer of plastic injection mouldings, which ships a third of its products to the EU. Greg McDonald, its boss, has registered the company in Slovakia and is ready to transfer some production there in the event of no deal.

After graduation lawschool Thorby joined Specialised Mouldings Ltd. in Huntingdon in 1974. Specialised Mouldings Ltd. fabricated plastic and fibreglass body panels.

Its walls and ceilings are embellished with exquisite plaster mouldings.

Small angle fillets or mouldings are often used as skirtings.

The deul is of rekha order with bada, gandi, mastaka measuring 13.05 m in height. The bada has fivefold divisions measuring 3.55 m in height. Pabhaga (0.93 metres) has five mouldings, tala jangha (0.83 m), bandhana with three mouldings (0.27 m), upara jangha (0.87 m) baranda with seven mouldings (0.65 m). The gandi of the temple measuring 6.00 m in height.

Interior woodwork mouldings are in a transitional style, bridging late Georgian and Federal styles.

Both houses have hardwood floors, plastered walls and fibrous plaster ceilings with decorative mouldings.

This flexible antenna can be conveniently taped or nailed to walls, following the contours of mouldings.

The whole building is decorated with fine wood carvings, polychrome plaster mouldings, and murals of auspicious motifs.

It has timber-louvred windows and pitched clay tiles. Inside has high ceilings, plaster mouldings and Doric columns.

Ornamental ceilings. Palisade fence. Magnificent cast iron lace work and elaborate mouldings. Some original tiled verandahs and pathways.

The company produces products as simple as dimensional lumber and hardwood flooring, to custom doors, mouldings, and other products.

There are leadlight windows in the original dome. The cedar and plaster mouldings of the dome are also intact.

The particular character of this Early English interior is dependent on the proportions of the simple lancet arches. It is also dependent on the refinement of the architectural details, in particular the mouldings. The arcade, which takes the same form in the nave, choir and transepts, is distinguished by the richness of both mouldings and carvings. Each pier of the arcade has a surface enrichment of 24 slender shafts in eight groups of three, rising beyond the capitals to form the deeply undulating mouldings of the arches.

Together with the old vestibule, the new court formed a sequence of spaces decorated with doric pilasters and mouldings. Some Baroque interior fittings from this time is still present in the building, including classical corner mouldings, fire resistant doors with six double fillings, and separate windows with original hinges, colour, and glaziers lead casements.

Thermoplastic mouldings were manufactured for use as specialised containers for: radio, radar equipment, frozen food transportation and prefabricated kitchens and bathrooms.

The queen's throne room is really most splendidly finished, the walls and mouldings gilt, and the surbase of fine blue marble.

Palmateer uses mouldings and casting of textures from rocks, fossils and shells and uses them on the surface of the brick clay vessels.

Ammonite capitals were often used by Amon Henry Wilds. Mouldings of various types were common external decorative features in the 18th and 19th centuries, especially on Regency-style buildings. Many structural elements would typically feature moulded stucco work—pilasters, entablatures, pediments, brackets and courses—while other mouldings would be merely decorative. Typical designs included shells, foliage (especially on capitals) and vermiculation.

The building has classical mouldings and a pedimented arched portico over the main entrance. The entrance contains black and white marble tiles and decorative sandblasted glass door surrounds and fanlight, on which is written "VERNEY". The entrance hall contains a carved timber staircase with a large sandblasted glass window at the landing level. Decorative plaster mouldings feature around archways and light fittings.

The Old Wan Chai Post Office is an L-shaped building. It is a simple pitched- roof structure with attractive gable ends and mouldings.

The Plain (East) Cross is tall and undecorated, except for mouldings and a central boss that mimic metalwork, and a heavy mitre-like crown.

The ornate windows and mouldings at the front of the building feature on the coverpiece on the Suffolk edition of Pevsner's Buildings of England.

Interior features include Roman Doric columns, decorative mouldings, pilasters and an arched vestibule. The majority of the interior light fixtures are original to the house.

The first floor has an overhanging open balcony above the doorway, again flanked by windows. The door and windows are all decorated by Melitan mouldings.

The south door, dating from the 15th century, has multiple continuous mouldings. The north aisle door dates from the 14th century and has weathered headstops.

According to Harle, the original temple "must originally have stood to a height of some ", but only parts of its walls and decorative mouldings remain.

The Adventuress is constructed of GRP. The bilge keels are formed as an integral part of the hull, and create dynamic and directional stability - they do not contain ballast. The hull and deck mouldings have inner mouldings that create built-in buoyancy tanks at bow and stern and along each side. The configuration of the bow buoyancy tank creates a area for stowage space under the foredeck.

The building retains hood mouldings and windows that rarely survive at other, similar schools and are distinguishing features. The gable ends of the side wings retain sheet-metal hood mouldings, over banks of timber-framed casement windows with fanlights and sunhoods, which indicate the location and size of the original narrow windows. In other locations above high level sills are original tall, narrow windows with vertically centre-pivoting sashes and later casement windows. Accessed by timber stairs, the verandahs feature a variety of high-quality, decorative treatments, including diagonally-laid timber board ceilings, brackets, stop chamfered posts with mouldings, and an elaborate, cross-braced balustrade.

It could also be cast to form mouldings and other ornaments. It was however of an unattractive brown colour, which needed to be disguised by surface finishes.

The memorial is finished in unpainted cement render and given interest by classically inspired capping mouldings. The structure is as originally built and is in good condition.

Each pillar and its "T" piece would be treated as a project in its own right. Purpose-built steel mouldings would be reused for each pillar and each pillar would be constructed in stages. The mouldings would be moved by cranes. Where the underlying ground was "soft", steel reinforced concrete piles would be driven into the base of the foundation hole and the upper protruding ends incorporated into the foundation.

Countess Mouldings made replicas of the Lamborghini Countach Countess Mouldings Limited made replica Lamborghini Countach sports racing cars in Fielding, New Zealand from 1988 until about 2009. David Short was the owner.Sharp idea fills gap in shearing market, HB Country Scene, July 2006 Short's workshop was originally an old wool shed that was used for sheep shearing. It was an average sized workshop, which could accommodate four or five cars.

A symmetrical imposing structure, it is characterised by horizontal lines, with mouldings separating floors and polygonal windows. Another representative example of Hegele's later style is the apartment building in Roseggerstraße, St. Pölten (1929). Quiet traditional in its layout, it is characterized by the use of black bricks creating vertrical stripes that enhance the structure's corners. The disposition of windows, chimneys and mouldings contributes to its balanced and symmetrical look.

Faenol Fawr, Bodelwyddan. Decorative beam mouldings in older house to north and now linked to main building The distribution of Snowdonia type houses extends into Aberconway and Caernarfonshire.

The Junior Suites, with "fireplaces, gilded mouldings and antique furniture" are above Piccadilly, and are in size, while the 3-5 bedroom suites range in size from to .

The building's southern and eastern corners are elaborately decorated with rendered mouldings that include ornate window hood-mouldings, sculptural friezes, partly balustraded parapets and unusual shaped pediments. Sandstone steps lead up to the ground floor level arcades on both street frontages. The arcades are formed by a set of segmental arches carried by rendered piers supported by pedestals. Above the arcades are open verandahs that have intricately designed cast iron balcony columns and railings.

The North (Tall) Cross is tall and is unusually shaped: tall and slender, with short arms and no ring and a circular base, with hatched mouldings on the west face.

Her Smoke Room was paneled with ash with oak framing and teak mouldings. The upholstery was carried out by Townson, Ward & Barrow, who also provided the upholstery in the Peveril.

Lucy Taxis Shoe Meritt (born August 7, 1906, in Camden, New Jersey; died Austin, Texas, April 13, 2003) was a classical archaeologist and a scholar of Greek architectural ornamentation and mouldings.

A Fleetline sub-series was available as the 2-door Aero Sedan and 4-door Sport Master Sedan, both of which featured "fastback" styling and additional triple mouldings on all fenders.

The first bridge was made of steel truss. This iteration of the Maryland Bridge was described by the Winnipeg Free Press as having a "Renaissance character" with "classic mouldings and features".

The talajangha has the same motifs as the vimana's second part of the wall, barring the goddesses. The third part of the wall has three horizontal mouldings. The fourth part of the wall also resembles its counterpart in the vimana, except it does not have the Naga and goddess sculptures. The uppermost part of the wall has seven horizontal mouldings, the central portion of which is decorated with dancing women, amorous couples, elephants, deer, scrollwork and jaliwork.

Another benefit of EIFS is the option to add architectural details that are composed of the same materials. EIFS mouldings or as they are commonly referred to, stucco mouldings, come in a large variety of shapes and sizes. They are widely used on residential/commercial projects in North America and are gaining popularity worldwide. Production methods have come a long way since their inception which allow manufacturers to create with great efficiency in a cost-effective manner.

It preserves a superb set of contemporary heraldic stained glass in the hall. Many of its bargeboards and other exterior timbers are run with rich mouldings and carved. Herringbone brickwork provides the infill.

The interior of the stone house is decorated with extensive plaster mouldings to ceilings and fireplaces. The grounds and gardens were laid out by Humphry Repton, but have since been reduced in size.

It has an octagonal shaft and green glass or ceramic elements that fill the mouldings that run around its keel-arched panels. The uppermost section above this is probably from the Ottoman era.

Mangalore tile used for the roofing of traditional built Goan Catholic houses Large ornamental windows with stucco mouldings open onto verandas. These may appear purely decorative, but have their origins in similar mouldings in the windows of Portuguese houses. There these elements of style were devices to help sailors identify their homes at a distance as they sailed in. The design is therefore an import but serves a similar purpose in Goa: to help construct the identity of the home.

Arches are located in transverse corridor walls, and some early detailing survives including doors and fanlights, architraves, skirtings and arch mouldings. The deck over the small service yard is accessed from the enclosed verandah.

Trend Technologies,Injection Moulding, Plastic Mouldings, Medical Devices, Automotive Components -Trend Technologies . Trendtechnologies.ie. Taconic International,Taconic Corporate Homepage . 4taconic.com. and Mullingar Pewter. The town is home to a €25m Lidl warehouse and distribution centre.

Flying with 193 Squadron and 257 Squadron, Ince flew almost 150 Sorties. When flying reconnaissance he modified the front gun mouldings to take an F24 camera, an exercise which yielded unprecedented close up images.

The cellar walls are made with rubble stone, while the first floor rooms and front hallways are mud and straw filled with a flaster coat. The flooring, panelling, mouldings, and doors are all pine.

The main timber products include rough sawn timber, wattle bark, charcoal, various doors and frames and mouldings. The major timber produced is pine, sydney blue gum, black wattle, and some hardwoods on a smaller scale.

The architecture is palladian, which is common in Bath. The two-storey Bath stone building has a heavy ground floor arcade of round-headed arches on pillars, and retains its original window mouldings and sashes.

The painted decoration was completed Antonio Liozzi, who painted the central ceiling fresco of the goddess Flora, as well as the mouldings and frames.Turismo di Macerata, website by Cassa di Risparmio della Provincia di Macerata.

It was reopened on 16 June 1875. The roofs were replaced and a ceiling inserted with oak panels and mouldings. The old seats were restored and new ones made to match. The pulpit was remodelled.

The corrugated fibrous cement roof of the station is hipped over the central part and separately hipped over the flanking bays which also feature dormer windows with brick surrounds to the south. The present roof replaced an earlier slate roof. The building has been painted externally. The building was designed with classical elements including symmetrical massing, southern arcade and porte cochere; round and square arched head windows, castellated parapet detailing, classically inspired mouldings, string course mouldings lining the entire building and pilasters separating openings.

1741: The Upper Priory Cotton Mill opens as the world's first mechanised cotton-spinning factory. It is financed by local businessman Thomas Warren, and opened by John Wyatt and Lewis Paul. 1742: John Baskerville takes out a patent for making metal mouldings, rolling, grinding and japanning metal plates by use of weights, rollers and pickling, which Baskerville uses over the more traditional method of employing screws. This is the first patent for making metal mouldings by passing them through rolls of a certain profile.

The walls are stuccoed and the roof is of slate. The corners of the main facade feature prominent piers elaborately decorated with recessed shafts, prominent string courses and other mouldings, recessed panels and prominent and distinctive brackets supporting the broken pediment motif above. The porch is also stuccoed and features prominent quoins, bourgeois and architrave moulding, round headed paired entrance doors, string course on brackets and a parapet. Above the porch is a large semi-circular window with prominent key stone and architrave mouldings.

Surmounting the pilasters are panels which project from the face of an entablature but have similar mouldings. Above this is a large broken triangular pediment which acts as a parapet, and runs the entire width of the building but comprises a central signage panel, broken arched pediment at the apex, mouldings and urns. Between the pilasters on the face of the building are a number of round arched window openings. The openings on the upper storey, glazed with timber framed sashes, are above blind Italianate balustrades.

The ogee and Roman ogee profiles are used in decorative moulding, often framed between mouldings with a square section. As such, it is part of the standard classical decorative vocabulary, adopted from architrave and cornice mouldings of the Ionic order and Corinthian order. Ogees are also often used in building interiors, in trim carpentry, for capping a baseboard or plinth elements, as a crown moulding trim piece where a wall meets a ceiling, and in similar fashion, at the tops of pieces of case furniture.

It sits on a smooth faced step capped by two cyma recta mouldings of decreasing scale. Rising from this is the pedestal dado which has bronze plaques with brass lettering on each of the four faces. Bronze wreaths are located above each plaque which bear the names of the 360 local men who took part in the First World War including the names of the 64 fallen. The dado is crowned by a large cornice comprising a number of cyma recta mouldings and steps.

Some areas have significant plaster mouldings. Ceiling types are mixed. Window joinery, doors and architraves are generally french polished or varnished. Windows are timber, of french door and vertical sliding sash types, where overlooking the street.

Around the 9th century porticoes were added to the north and south of the abbey church. The church itself is known to have been decorated with multi-coloured stained glass, stone sculptures and stucco wall mouldings.

The all-wheel-drive switching mechanism was upgraded to a pneumatic version in 1977, the chromed mouldings on the front grille were removed in 1979. From 1979 to 1989, the 406 was produced without any major changes.

It has windows topped by label mouldings, and some windows are topped by a Gothic pointed-arch. The corner boards have elaborately grooved pilasters. The house was listed on the National Register of Historic Places in 1989.

These may often, as in textile art, be repeated many times in a pattern. Important examples in Western art include acanthus, egg and dart,Lucy T. Shoe, Profiles of Greek Mouldings 1936, supplemented by Shoe, "Greek Mouldings of Kos and Rhodes", Hesperia 19.4 (October - December 1950:338-369 and illustrations) and various types of scrollwork. Elibelinde kilim motifs, symbolising fertility Many designs in Islamic culture are motifs, including those of the sun, moon, animals such as horses and lions, flowers, and landscapes. Motifs can have emotional effects and be used for propaganda.

The internal walls are all rendered masonry, with mouldings around windows and at dado rail height and below the clerestory windows of plaster. The ceiling is of panels of diagonal timber boarding, alternately arranged. The timber king post roof trusses feature caps and sunk mouldings, with elegant moulded sweeps which rest on attached piers extending to the spandrels of the nave arches, where they are terminated by a carved sandstone corbel. Between the piers are the clerestory windows, featuring leadlight panels and a stained glass quatrefoil, the image on which differs on each window.

In Romanesque architecture, piers were often employed to support arches. They were built of masonry and square or rectangular in section, generally having a horizontal moulding representing a capital at the springing of the arch. Sometimes piers have vertical shafts attached to them, and may also have horizontal mouldings at the level of the base. Although basically rectangular, piers can often be of highly complex form, with half-segments of large hollow-core columns on the inner surface supporting the arch, or a clustered group of smaller shafts leading into the mouldings of the arch.

The organ was moved to its present location in 1927 by Conacher Sheffield & Co. and was extensively rebuilt. However, the organ case could not be accommodated in its new position unaltered. The wings had to be removed and are now joined together to serve as the screen facing the north gallery, along with some recycled pew doors. The side towers could not fit between the mouldings on the north arcade bases, so the entire case-front was raised so that the corbels of the side towers cleared the mouldings.

There is a raked timber floor, sloped more steeply at the northern end of the building. The side walls are lined internally with vertically-jointed tongue and groove timber boards to dado height, and above this have early plasterboard panels with decorative "classical" mouldings between the timber arches. There is a small stage the southern end of the auditorium, with a proscenium arch in plasterwork with "classical" motifs. On either side of the stage, angled to direct focus to the rear wall, are large, early plasterboard panels with decorative "classical" mouldings.

Chlorine attack of acetal-resin plumbing joint Acetal resins are sensitive to acid hydrolysis and oxidation by agents such as mineral acid and chlorine. POM homopolymer is also susceptible to alkaline attack and is more susceptible to degradation in hot water. Thus low levels of chlorine in potable water supplies (1–3 ppm) can be sufficient to cause environmental stress cracking, a problem experienced in both the US and Europe in domestic and commercial water supply systems. Defective mouldings are most sensitive to cracking, but normal mouldings can succumb if the water is hot.

Flanking the entrance, in the recesses formed by the rusticated pilasters, are two square arched openings surmounted by oculi with decorative mouldings joining the two windows. At first floor level are five, equally sized, round arched openings, in the recesses of the attached columns, with sills resting on blank balustraded panels. Mouldings surround the arched heads of these windows, and moulded swags are found on recessed panels above the windows. The engaged columns support an entablature which acts as a parapet, with a central projecting panel featuring the words, "SCHOOL OF ARTS".

Egg-and-dart enrichment of the ovolo molding of the Ionic capital was used by ancient Greek builders so it's found in ancient Greek architecture (e.g., the Erechtheion at the Acropolis of Athens),Shoe, Lucy T. (1936) Profiles of Greek Mouldings, and Shoe, Lucy T. (1950) "Greek Mouldings of Kos and Rhodes", Hesperia 19(4, Oct- Dec):338-369. was used later by the Romans and continues to adorn capitals of modern buildings built in Classical styles (e.g., the Ionic capitals of the Jefferson Memorial in Washington, D.C.).

The upper step has plain faces and is capped by cyma recta mouldings. Surmounting this is the pedestal dado comprising a recessed square marble pillar with engaged columns at each corner. It has recessed marble plaques to each side recording the leaded names of the 77 local men who served in the First World War, the names of the 15 who fell being on the front face. The columns have capitals of scrollwork and acanthus leaves which support a large cornice made up of cyma recta and torus mouldings.

Between are single-pane vertical sash windows with rounded heads and render mouldings. Formerly an arcade, the archways of the lower level of the northern elevation have been infilled with windows similar to those of the remainder of the building, although the mouldings to these former archways are a higher level than those of the adjoining windows. The entry is presently at the eastern end of the Flinders Street elevation, rising up several steps to the glazed entry. Once inside, a timber staircase gives access to the upper level.

Lathe-turned polished pillars in inner mantapa Old Kannada inscription of Vikramaditya VI dated 1087 A.D on temple beam According to Cousens, the doorpost mouldings on the southern and eastern doorway are worthy of mention. On both sides of the southern doorway are four inner bands of scrolls which run up the sides and around the lower part of the entablature above. Next to these bands, on either side, in the centre, are tall columns or pilasters supporting the lower cornice above. Beyond these columns, on either side, are four more bands of decorative mouldings.

In the early temples built prior to the 13th century, there is one eave and below this are decorative miniature towers. A panel of Hindu deities and their attendants are below these towers, followed by a set of five different mouldings forming the base of the wall. In the later temples there is a second eave running about a metre below the upper eaves with decorative miniature towers placed between them. The wall images of gods are below the lower eaves, followed by six different mouldings of equal size.

Woods, p.121 The framing of the miniatures with gold frames with simple mouldings, imitating the wooden frames of contemporary panel paintings, can also be seen in the French Grandes Heures of Anne of Brittany of 1503–1508.

The visible parts of the temple measure 6.75 metres in length and 4.35 metres in width. The bada that is visible has threefold division namely pabhaga with three mouldings (0.85 metres), Jangha (1.55 metres) and baranda (0.33 metres).

It was also labeled "SUPER CHARGER" on the rear trunk and body mouldings behind both doors. This model was never offered outside of the Japanese and North American markets, although some cars were privately imported to other countries.

The boards are painted and simple mouldings fixed at the joints with the framing. The stove recess is lined with corrugated iron. Its pyramid roof ceiling is lined with unpainted, horizontal timber boards, with beading fixed at each joint.

A plaster cornice with decorative moulding is also visible inside. The pulpit, also with decorative mouldings, was installed in the early 19th century. Memorials include monuments in the graveyard commemorating Henry Booker (d. 1799) and his wife Sarah (d.

The same constructional object is followed in the earlier Gothic styles, in which they become merged into the mouldings. Being virtually always ready made, so far as their design is concerned, they were much affected by the Italian revivalists.

Windows are mainly double hung sashes with highlights above. A major feature is the stone, arched entry porch on the corner. It is double faceted and has ornate impost mouldings and archivolts. Above the corner is an embellished cartouche.

These cars were displayed at Olympia's first postwar Motor Show in November 1919. Commentators described the design as common-sense and not sensational with evident attention to detail. The blue saloon with shining black roof and mouldings drew attention.

Later granite centre entrance. Very rich interior, with 4 Corinthian columns in hall with rich capitals, and pilasters. Ceiling in coffered panels with egg and dart mouldings, and richly ornamented centre and side panels; very rich frieze and cornice.

There are six-panelled doors and french windows with small wooden panels at the base and small glass panes held in fine wooden glazing bars. The mouldings of the architraves and chimney pieces are typical of Colonial Georgian design.

It consists of concentric circles of cusped mouldings. At the apex, the ceiling falls rosette or pendant design. The overlying roof is a stepped pyramid shape. Nearby is the ramal, an octagonal piece of stone in a corbelled lotus shape.

It is long and wide, with two aisles. The chancel is in length and in width. The arcades have three bays each; their arches are supported by ornamented shafts. The arches have chamfered orders, and the hood-mouldings are also ornamented.

The base slab, or pylon, of the tomb monument rests on a high plinth, separated by a cornice and concave mouldings. The pylon is high and wide, decorated with a frieze of winged angel heads (perhaps seraphim) and garlands and ribbons.

The Second Boer War broke out in 1899 and work was delayed until October 1900. The present clubhouse was finally completed and occupied in January 1904. The new clubhouse is of Edwardian, free Renaissance style with capitals, arches, pilasters and mouldings.

It was superseded by the low floor Alexander ALX200 in 1996-1997 with a more rounded roof dome and plastic mouldings under the windscreen to make it deeper having made on the Dennis Dart SLF and the Volvo B6LE chassis.

It stands on a square plinth that rests on three wide steps. The plinth is decorated with mouldings resembling chains and ropes, and bears inscriptions on each side. It was constructed c. 1872 and became Grade 2 listed in June 1973.

The timber is used for the manufacture of cricket bats and picture frame mouldings. He conducts courses teaching the craft of making cricket bats by hand. At first he used willow imported from England, but now he uses his own.

Windows are marked by simple classical sill and lintel mouldings. The hipped roofs originally of slate are now sheeted in asbestos cement. A good timber picket fence encloses the property which is in good condition and well maintained.Sheedy, D., 1976.

Each house is separated from its neighbour by pilasters running the full height of the building to a cornice. The bottom part of each pilaster is rusticated. The entrance and windows have decorative mouldings to their archivolt and architraves respectively.

Layers of peeling paint have been removed. The mouldings and plasterwork had been expertly repaired. Analysis has been carried out on finishes original to the property. This information can be used to recreate decoration in other parts of the project.

Inside the house, the rooms on the ground floor are typical of Victorian decorative arts with a parlour and dining room near the front of the house and a kitchen and pantry in the rear. Leading out of the kitchen is a narrow and modest stairway that led to a room that would have been reserved for the maid who worked in the house. The parlour also contains several attributes including "very large double bay windows, dentil mouldings, pocket doors, roundels, stained glass windows, four fireplaces, large handcrafted mouldings throughout and a handcrafted staircase." The main stairway is defined by unique details.

The monument is ruined – lacking most of the body above the archway. All that remains are the two pylons and the arch itself, while the entablature and spandrels have disappeared, as have the decorative elements, such as the mouldings of the fascia and the pylons. It is around 5.8 metres in height and 6.92 metres in width. It was constructed of limestone, on a base of granite blocks, without mortar, of which the two quadrangular columns, including mouldings at the top and bottom, survive, as does the arch on top, a semicircle of fourteen wedge-shaped segments placed radially.

A small, single-room, rectangular, gable-roofed annexe extends from the centre of the east verandah. Clad externally with weatherboards, the annexe has two casement windows to the north and east elevations and the ceiling and interior walls are lined with tongue-and-groove boarding with coved mouldings to the corners and cornice. The east verandah is enclosed and lined internally with tongue-and- groove boarding and coved mouldings to the corners and cornice. There is a bank of clerestorey louvres to the south of the annexe and three sets of clerestorey and six sets of half height louvres to the north.

Number 21 has lost much of its exterior decoration: none of the windows have mouldings or cast- iron window guards. Number 19 has an arched side entrance under an architraved porch. The houses at numbers 23–37 are also of the same style, but with two windows on each floor; all retain their original features, but some of the decorative mouldings have been modified on three of the buildings. Numbers 69 and 71 are again of three storeys with a three-window range, stucco-clad and topped by a cornice and parapet in front of the roof.

Lambert's cosine law in its reversed form (Lambertian reflection) implies that the apparent brightness of a Lambertian surface is proportional to the cosine of the angle between the surface normal and the direction of the incident light. The phenomenon can be used when creating mouldings, with the effect of creating light- and dark-shaded stripes on a structure or object without having to change the material or apply pigment. The contrast of dark and light areas gives definition to the object. Mouldings are strips of material with various cross-sections used to cover transitions between surfaces or for decoration.

Painting of the main house took place from 1671 to 1675. There was then a 10-year gap before the fitting out of the house took place from 1685 to 1686. This portion included washboards, paneling and lining, doors, mouldings, and architraves.

One of the mouldings, the cyma moulding, has carved dolphins, shells, and tridents. These particular symbols refer to Venus and the sea. There were three fountain basins: one at the front of the facade and one on either corner of the Temple.

Tusk tenon joints to the framing of the windows and doors. The main room has a coved ceiling lined with tongue-and-groove boarding with coved corner mouldings and cornice and exposed timber truss bases. There are winding mechanisms for the tilting fanlights.

The central dome is flanked by four corner domes which are plastered with lime masonry brick. While the central dome is nearly plain, in the interior the four corners are provided with a series of squinches. The outer plinth shows decorated mouldings.

The foyer included a fireplace, and upholstered seating was provided. The plaster mouldings adorning the roof and walls of the cinema were added at this time. The cinema was sold to the Hoyts Group in 1951 (after a merger with Ozone Pictures).

He was awarded the posthumous title of "Loyal Servant" and worshiped in this hall. The whole building is decorated with fine wood carvings, polychrome plaster mouldings, and murals of auspicious motifs. Tang Chung Ling Ancestral Hall was declared a monument in November 1997.

The façade is decorated with reliefs of deities, people, nayikas, genre scenes and floral decorations: Brusaarudha Siva, Ekapada - Bhairava, Ardhanarisvara, Parvati, Gajabhisekha Laxmi, Durga Mahisasuramardini, bharabahaka, people playing musical instruments, sakha mouldings, Kartika, Navagraha panel, lotus medallions, elephant figures and boar hunting scenes.

It is U-shaped in form around the lantern and is now a gallery. A high quality of detail is evident in the building in such features as plaster mouldings, cedar joinery and encaustic tiles to the banking chamber, stair lobby and entrance.

The theatre has been restored to its 1913 glory, with the original mouldings and intricate plasterwork having been repaired or replicated. The interior of the Imperial has been faithfully re- created. The Imperial has been designated a National Historic Site of Canada.

The garden is set in large grounds. The house is completed in the late Victorian Italianate style. Large two-storey face brick Victorian Italianate style residence with slate roof. The house features a two-storey window bay with cement rendered mouldings and quoins.

The timber entrance doors and sidelights are also varnished, as are panelled timber front doors to each flat. Stairs and landing are also of timber. The stair-light extends from the first to the second floor. Walls are rendered masonry, and ceilings have plaster mouldings.

Even to this seemingly impersonal architecture of a market, Dreijmanis managed to add several artistic finishing details, which reflect the Art Deco style of the time. The corner mouldings of the pavilions are not only ornamental, but also respond to the tectonics of the building.

The central cell in each wing is larger, stronger and more elaborate with certain special features such as small pedestals and platforms with decorative mouldings, larger niches, etc. By analogy to similar arrangements in Nalanda and Paharpur monasteries, they certainly represent subsidiary chapels or shrines.

The Detroit Metal Mouldings were a minor league professional ice hockey team, and member of the International Hockey League. The team joined the league in its second season, and played three seasons. The team was known as Detroit Jerry Lynch for the 1948–1949 season.

The stairwell retains the original timber stair (painted) with vinyl covered, tapered treads. Balusters and newel posts are turned, and the stringers are plain. All doors are four panel, with inlaid mouldings, pivoted transoms and ogee architraves. Two double hung windows have no glazing bars.

The bastion projects 7 m (23 ft) from the face of the wall, and is 10.36 m (34) ft in breadth on each side of the gateway. It is ornamented on the outside, with simple mouldings and simple plaster carvings, but on the inner face which forms the prolongation of the gateway itself, it rises abruptly without any plinth or mouldings, from the ground level. Two flights of steps, one on each side of the gateway, provide access to the top of the bastion and the wall. Each gateway was equipped with a thick wooden door of two leaves, (which were removed after the British annexation).

The memorial itself sits on a stepped base of five tiers which vary in size, the last two having chamfered tops Surmounting this is the pedestal itself, comprising a plinth capped with cyma recta mouldings and a dado. Both the plinth and the dado have marble plaques attached with lists of the fallen on the dado, and commemorative verses on the plinth. The dado is capped by a substantial cornice of cyma recta mouldings, on top of which stands the digger statue. The soldier statue stands with his head slightly bowed and hands crossed over a rifle which is in the reversed positioned and resting on his left boot.

90Butler, Scottish Cathedrals and Abbeys, pp. 24–25 The windows and the quoins are of finely cut ashlar sandstone.Fawcett, Elgin Cathedral pp. 21–22 A doorway in the south- west portion of the wall has large mouldings and has a pointed oval window placed above it.

The interior features Greek Revival-style pattern mouldings. Also on the property is a garden storage building built in about 1950, that was designed to resemble a 19th-century smokehouse. and Accompanying four photos It was listed on the National Register of Historic Places in 2008.

The ground floor and first floor feature vaulted ceilings. There are gun-loops on the first floor. A doorway at second-floor level may have connected with a long vanished adjacent building. These features and the mouldings of the windows point to a sixteenth-century date.

Mouldings surrounding the bronze and glass doors contain ornate rope and garland designs. Original custom glass light fixtures remain in the lobby. Other important public spaces include stair and elevator lobbies and corridors. Walls are generally clad in marble wainscot, and floors are covered in terrazzo.

EKCO (from Eric Kirkham Cole Limited) was a British electronics company producing radio and television sets from 1924 until 1960. Expanding into plastic production for its own use, Ekco Plastics produced both radio cases and later domestic plastic products; the plastics company became Lin Pac Mouldings Ltd.

In the meantime there are three 1000 gallon [45 litres] tanks > all full. The chimney-pieces and other fittings are in cedar, and are in > excellent taste. All the rooms are ceiled, with mouldings, &c.;, of elegant > design, and ventilation and drainage have been specially attended to.

The interior walls and ceilings were lavishly decorated with baroque-style mouldings, wall sculptures, frescoes. The new electrical lighting was integrated into the decoration. The theatre then reopened in October 1893.Henneberg, Jörg Michael / Kreier, Peter: Musentempel des Historismus im neuen Glanze – Zur Baugeschichte des Oldenburgischen Staatstheaters.

The ceilings have been strengthened early this century by an artistic application of patterned battened mouldings. The front of Dunara has a recent brush-fence along it. In the south western corner of Dunara is a dead Sydney blue gum (Eucalyptus saligna). Another large tree, a Qld.

In all there are twenty four sculptures of Vishnu standing upright holding in his four arms the four attributes, a conch, a wheel, a lotus and a mace in all possible permutations.Foekema (1966), p72 Below the panel of deities is the base of the wall consisting of six decorative rectangular moldings of equal width which run all around the temple.Quote:"Generally, Hoysala temples built in the 13th century have 6 mouldings ("new style") while those built a century earlier have 5 mouldings ("old style")" Foekema (1996), p28 The six horizontal mouldings are intricately sculptured and are called friezes.Quote:"A rectangular band of stone decorated with sculpture", Foekema (1996), p93 Seen from top to bottom; the first frieze depicts birds (hansa), the second depicts aquatic monsters (makara), the third frieze has depictions of Hindu epics and other mythological and puranic stories narrated in the clockwise direction (direction of devotee circumambulation), the fourth frieze has leafy scrolls, the fifth and sixth friezes have a procession of horses and elephants respectively.

Smart Inspection Systems: Techniques and Applications of Intelligent Vision. Academic Press. . InspecVision Ltd. produces primarily 2D or 2&1/2D as well as 3D computer vision systems and its customers are often manufacturers of 2D and 3D components such as sheet metal components or gaskets or plastic mouldings.

The Lewknor tomb has ogee mouldings and a series of carvings depicting the Pietà, the Resurrection of Jesus and the Trinity. The pulpit, made in the 18th century, dominates the interior with its size and positioning. The lower deck, an uncommon feature, serves as a separate priest's reading desk.

SWM started making Rotax TL125 and TL320 trials bikes in 1977. Rotax built a special trials version of their rotary valve motor, with development input from Sammy Miller and Charles Coutard. Acerbis made the plastic mouldings, and suspension was by Marzocchi. These first trials machines were red and white.

Robinson, p.57 Mundersfield Harold is an even earlier Augustan era mansion made of brick on an H-Plan with typical bays and hipped roofs. There is a Venetian staircase, plaster mouldings, and a glazed porch. In the Victorian period a south wing with a terracotta balustrade was added.

Compton Wynyates, p4. However, fortifications were not the only consideration for the new mansion—dark brick diapering and decorative mouldings add variety to the façade. Over the entrance the Royal Arms of England are supported by the dragon and greyhound of Henry VII and Henry VIII.Compton Wynyates, p5.

Cruisers are particularly attracted here by the local pubs, known for their food and music. St. Mary's Church, a detached gable front building with bellcote from 1872. Stained glass, arched windows and mouldings are signs of skilled craftsmen. This small church is notable for architectural, artistic and social reasons.

Nearby, 49 Brighton Road, a large detached villa, is an example of Richard Cook's late-19th-century housing in the "New Town" area of Southgate. It has red-brick walls with ornate mouldings, timber- framed gables and original sash windows. St Mary's Church is also on the local list.

The panels of the walls are treated like picture frames, with inner and outer mouldings, in contrast to the window frames and the wall mirrors which are surrounded by "clusters of reeds, with an inset behind which a curtain could hang without obscuring the moulding", according to Binney.

As a medium-sized sawmill, Spillum Sawmill & Planing predominantly produced for the northern regions of Norway. The products ranged from sawn timber and unplaned cladding to mouldings and panels. The sawmill even produced prefabricated homes, interiors included. Houses for workmen and beach cabins were produced based on standardized designs.

The chancel at the eastern end of the ruin remains to roof height on the north and south side. The original eastern wall has been demolished, but a flint wall has been built up to window-sill level. The north-east corner still has most of its window mouldings.

The interiors use white and grey glazed bricks with terrazzo floors, lacking any mouldings therefore easy to keep clean. The chapel has bright coloured faience work and tiling by Burmantofts Pottery. The Nightingale ward plan was used, women were on the first floor, the men on the second floor.

The hotel tower is also characteristic of the style. The cupola was removed in the 1940s due to disrepair. The Gladstone retains its original plaster mouldings in the grand hallways. In the hotel's Melody Bar, the two restored pillars' faux marble finish was rendered in true European fresco technique.

Construction is of flint and ragstone rubble with ashlar dressings. The doorway to the upper chamber is ornate with Purbeck marble shafts to either side and mouldings above. There was originally a drawbar running into holes. Originally the walls would have been plastered smooth and painted like stone.

Enough remains to show it was a single roomed building of by . The surviving walls, which are up to thick, remain standing up to a height of . Within the limited remains there is door mouldings and sections of window. The chapel is on a terraced area of approximately by .

This is broadly termed "horizontal treatment".Kamath (2001), p. 134 The six mouldings at the base are divided in two sections. Going from the very base of the wall, the first horizontal layer contains a procession of elephants, above which are horsemen and then a band of foliage.

An imposing entrance on Alexandra Road (decorated with ceramic mouldings by TinworthTiles and Architectural Ceramics Society Database of Ceramic Locations) leads into a corridor adorned with mosaics and marble. The original aquarium building (now the school's Academic Hall) leads off the main corridor directly opposite the main entrance. Appropriately the decorative scheme includes plaster mouldings of fish and other marine animals. In 1891, Salford Catholic Grammar School (the Diocesan Junior seminary) amalgamated with the College which duly became the place where over 500 priests, some of whom later became bishops or archbishops, were educated. The College Chapel was built in 1898 and the Henshaw Building, named after the fifth Bishop of Salford, was opened around 1932.

Jenkins, S.C., p. 85-87. Part of the works was dedicated to the large scale production of concrete mouldings which were innovatively used by Marriott in the construction of signals and building blocks. The works closed in 1936 resulting in a significant reduction of activity at Melton Constable.Jenkins, S.C., p. 89.

It was refurbished for her by Andrei Stakenschneider, who employed heavy gilt mouldings for the ceiling and walls in a Byzantine style. The room contains a fireplace of marble and jasper with a mosaic by Etienne Moderni Today, as part of the State Hermitage Museum, this room retains its original decoration.

The Duette was fitted out for cruising rather than racing. The Duette was also available with a lifting keel. The same hull was used later with different deck mouldings for other models, including the Hunter Horizon 23. The Hunter Medina is a scaled-down trailer sailer version of the Sonata design.

Can Serra, built in 1565, is Renaissance-style building with a ground floor and two upper floors. The facade is particularly noteworthy for its voussoir doorway and its windows framed by mouldings and corbels. The original interior structure has been preserved, including the original wood panelling, which is of particular interest.

The chapel still has sculptures and two mullioned windows decorated with mouldings. Attached is a round tower standing on a base with four floors. A vaulted cellar gave surveillance of the surrounding area by spy holes. Inside are 15th and 18th century chimneys, earthenware paving, beamed ceilings and visible joists.

Two barracks especially have been built in this way. Above the door of one, a block forming the lintel was once ornamented with mouldings, now very much mutilated. Close to the town is a celebrated wely in which lies a colossal sarcophagus, containing, it is said, the body of Noah.

An 1892/3 two storey Victorian mansion with a slate roof, elaborate mouldings, cast iron lacework and bay windows. The street facade is dominated by a three-storey tower with a copper clad dome. Attractive mature planting and stone fence enhance its setting. St. Cloud has 9 main rooms, 3 downstairs.

Much of this space was occupied by two monks' choirs. It seems that the elaborate doorway to one of these may have been the original west doorway. Pier stones with 14th century wavy mouldings were found on the site of the tower. The cloister on the south was not excavated.

The larger palaces have side extensions giving the complex a symmetrical shape. Palaces were built on raised platforms made of granite. The platforms have multiple tiers of mouldings with well-decorated friezes.A rectangular decorated panel of stone is called a frieze, A complete guide to Hoysala Temples, pp 93 Gerard Foekema.

The gallery has a wrought iron balustrade, and a pressed metal frieze along the fascia and return with brackets over the columns. There is an exit via a side door and a steel external stair. The stage is of timber boards. Over the stage is a proscenium decorated with timber mouldings.

Any exposed joints in the fabric are covered with aluminium mouldings. The seats are fixed directly to the chassis. Passengers were therefore in almost direct contact with the firmly mounted engine. Where the market permitted some isolation was provided by luxuriously sprung passenger-seating often topped with inflated pneumatic cushions.

There are moulded brick dripstones rising from plaster and terra cotta corbels. The window sills, plinths, mouldings and steps of buttresses are rendered in cement stucco. The buildings exterior is rough stone and brickwork with the brick pointed, in black and white mortar. The tower is tall with an octagonal spire.

The life-size marble bust is set in an oval frame with Mannerist mouldings behind and in between a broken pediment. The oval frame crowns an elaborate frame ornamented by three cherubim, also created by Bernini. These cherubim may have served as models for the artist's early mythological statues of putti.

The mouldings throughout the saloon were of carved oak. She was despatched from the River Tyne on 24 July 1886. In 1897 she was acquired by the Great Central Railway. On Saturday 6 December 1903 she ran aground and was lost on the sands near Happisburgh on the Norfolk Coast.

This type of material was also used to make some components such as the control columns and to reinforce the stub spars which supported the tail surfaces. The nose and tail cones and the wing tips were fibreglass mouldings. The forward engine cowling and the air intakes were moulded from Durestos.

The building was built in the style of Edwardian Classical. The exterior features Lions' heads and other ornamental mouldings sculptured in the surface of the terracotta. Inside white and green Italian marble was used to finish the main stairways and corridors. The building included modern conveniences like steam heating and ventilation.

Cenni storico- artistici di Siena e suoi suburbii, by Ettore Romagnoli, (1840) page 44. The priest and proto-economist Sallustio Bandini was born in the house. The facade is mainly brick. The portal and window mouldings are made of grey pietra serena and has a Piccolomini shield with 5 crescent moons.

The base is a smooth faced step with a chamfered top edge. Surmounting this is the pedestal plinth which is smooth faced and capped with large cyma recta mouldings. The front face displays a high relief carving of a trooper's hat and bandolier. Rising from the plinth is the pedestal dado.

Timber framed verandah has stop chamfered columns with neck mouldings. Verandah floor is tiled. The east elevation also features a projecting porch (timber framed) supported on masonry piers with a pressed metal ceiling (well overgrown with wisteria (Wisteria sinensis). Later verandah enclosures include use of pressed metal for walls and ceilings.

Late Victorian grandstand with timber framed roof structure above a raking stepped concrete base. Cladding is part corrugated iron, part weatherboard under a gabled roof supported by square timber stop chamfered posts with attached mouldings. Some vestiges of timberwork and decorative iron remain but much has been removed. Iron railings to steps.

Four chimneys indicate the presence of extant fireplaces. The roof, originally shingled and now clad with corrugated iron, has hips on four sides. Verandahs are 2.75m (9') wide with rectangular posts with small mouldings and stop chamfers. At the sides and rear the verandahs are partly enclosed to form the two ancillary rooms.

3-light mullioned window with cavetto mouldings and hoodmould over former rear entrance. Early C19 stable block adjoining C16 range with arcaded stable yard. Symmetrical stable block with honey-comb brick treatment to 1st floor hay lofts, possibly for ventilation. Outbuildings incorporate doorway (see above) and other carved fragments from the C16 house.

These are usually steep and triangular: curved and shaped gables are uncommon in the area. Stucco, plaster, weatherboarding and woodwork were often used to decorate the face of the gable. Buildings decorated with yellow faience include 4 King's Gardens, Hove. This gable at the former Belgrave Hotel on Brighton seafront has ornate mouldings.

The design was linked overall with decorative plasterwork. The library walls were decorated with carved pilasters and mouldings marking out panels of grey and cream silk brocade. The carpet was rose, with Rose du Barry silk curtains and upholstery. The chairs and writing desks were mahogany, and the windows featured etched glass.

Handles and legs are cast, and are enriched with graceful geometric mouldings. The bowls are wrought, and their shape and technique are pre-Hellenic. Here are two of the elements of classical Greek art in full course of development: the forms and processes of earlier times invigorated by a new aesthetic sense.

Phil Vincent described it as a 'two- wheeled Bentley' and the enclosed Vincents got a lot of attention at the 1955 Earls Court show. Problems with production of the glass fibre mouldings meant that many riders removed them, which eventually led to financial difficulties and the factory closed on 16 December 1955.

1948 Chevrolet Fleetmaster Sport Coupe. This example has the additional triple fenders mouldings which were a feature of the Fleetline sub-series models The 1948 Series 2100 FK Fleetmaster was again little changed from the previous year. There were no significant body alterations, however the radiator grille featured a vertical centre bar.

There are ten stone heads on the facade of the house. The entrance on Church Street consists of a pointed arch by multiple mouldings. This entrance is framed with engaged columns with figured capitals. A square with an ornate T is present on top of the front door and below the centre window.

Within the walls, the body of the church is divided into a six bay nave and side aisles. The side aisles are formed by two heavy brick faced arcades. They comprise compound columns supporting six round arched openings. The compound columns are capped with white painted concrete capitals embellished with mouldings of foliage.

The Vee Express 267 was a smaller 6–8-berth version of the USA constructed Vee Express 296. Cruisers International folded in 1992 as the result of a fault in the 267 mouldings that occurred when the UK company moved to a smaller location and left the mould outside in the elements.

Also in the transept there is a doorway which leads to what is thought to be a sacristy, and is the only doorway remaining in its original form. The architrave is almost complete. West of the transept there is a small chapel long and wide. Most of the chapel's window mouldings survive.

A large sandstone arched bridge spanning the Prospect Creek. The single arch has supporting buttresses. The clear span is 110 feet while the clearance above mean water level is 76 feet at the centre. It has curved abutments and approaches, while the parapets and mouldings are simple and devoid of unnecessary ornamentation.

To the left are two small mullioned windows that have possibly been reused from an earlier version of the house. The interior has several original features including rooms with the original oak and pine panelling, various mouldings, a fine marble chimney-piece in mid-eighteenth century style and ceiling cornices of various periods.

The front façade has decorative detailing in render in the form of raised mouldings/cornices and label courses. The rear façade is similar in features and detailing. It is a prominent building within the streetscape of Tenterfield. The street facade of the station building is highly intact and visible from a long distance.

Foekema (1966), p72 Below the panel of deities is the base of the wall consisting of six decorative rectangular moldings of equal width which run all around the temple.Quote:"Generally, Hoysala temples built in the 13th century have 6 mouldings ("new style") while those built a century earlier have 5 mouldings ("old style")" Foekema (1996), p28 The six horizontal mouldings are intricately sculptured and are called friezes.Quote:"A rectangular band of stone decorated with sculpture", Foekema (1996), p93 Seen from top to bottom; the first frieze depicts birds (hansa), the second depicts aquatic monsters (makara), the third frieze has depictions of Hindu epics and other mythological and puranic stories narrated in the clockwise direction (direction of devotee circumambulation), the fourth frieze has leafy scrolls, the fifth and sixth friezes have a procession of horses and elephants respectively.Foekema (1966), p29 In the frieze that depicts the epics, the Ramayana starts from the western corner of the southern shrine and the Mahabharata starts from the northern side of the central shrine vividly illustrating the demise of many heroes of the famous war between Pandavas and Kauravas.

The upper floor of the gabled element features a central three part window opening, again shaded by an awning. The entire building is lined with a series of concrete rendered mouldings, at base level forming a plinth; at the level of the sill of the ground floor windows; at the level of the base of the round arched windows above the ground floor windows; at the line of the first floor; at the line of the sills of the first floor windows and, again, at the top of these windows, below the arched transoms. This banding is variously smooth rendered and moulded. The western, eastern and northern faces of the building, continue the banded mouldings, fenestration patterns and gable detailing.

Aside from colour-coded hubcaps, most of the equipment differences were only on the inside with the GL being considerably better equipped.bigger and better, p. 21 The GL also received square headlights, back-up lights, and body-side mouldings. The South African Escort received the 1.3-litre Kent engine with , while the 1.6 claimed .

A bend stiffener is a type of cable protection system. They are conically shaped polyurethane mouldings designed to add local stiffness to a riser, flowline, cable or umbilical. They limit the bending stresses and curvature to acceptable levels. They are used in the oil and gas industry as part of offshore deep sea drilling operations.

This was becoming very uneconomic. The mouldings for the new Dynamique Physique manikin were moulded on non-family hot-runner tools (no sprues to be recycled). That is a separate tool for each component. So it was easy to maintain equal numbers of components to make up the figures; and the quality was assured.

Inside the south porch is a wicket door, the only known one in an American colonial church. It consists of five vertical sections and three horizontal sections each divided by battens. The smaller door is located within the middle three battens vertically and the central one horizontally. Cyma reversa mouldings are used on the battens.

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The church remained unchanged until 1936, when the ceiling, mouldings, altar rail, and pulpit were given new colours. Angular braces, which supported the ceiling and the walls, were removed, and the church interior became more open. Behind the simple wooden cross on the altar a canopy with stars against a blue background was installed.

Nilkamal Limited is a plastic products manufacturer based in Mumbai, India. It is the world's largest manufacturer of moulded furniture and Asia's largest processor of plastic moulded products. Their product range consists mainly of custom plastic mouldings, plastic furniture, crates and containers. The company also has a chain of retail stores under the @home brand.

Mounted on the northeast wall of the hall is a timber World War I honour board. It features decorative timber mouldings, including a curved and scrolled timber top with painted crossed Australian and British flags. It lists servicemen and war workers. Under the raised stage floor is a storage area accessible from the hall.

The station is a three-bore buttressed tunnel with ten pairs of boarding and deboarding accesses. It is 148 meters long in total, but the boarding platform spans only 100 meters. The walls of the station are covered with brown and gold, anodized, aluminum mouldings. The single lobby under Vinohradská Avenue is 5.6 meters underground.

The gallery was heated by two fireplaces at the corners of the walls. In the gallery are pews on each side of the doorway. At the front of the gallery the oak screen has grilles of split cane. The ceiling of the chapel is plastered and formed into thirty panels by slender timber mouldings.

All windows are recessed into the wall. The architects employed geometric shapes to enhance this hall. The base has a strong horizontal emphasis that is reinforced by the horizontal window moulding and entablature beneath the parapet. Roundness is emphasised by the semi-circle window heads and mouldings and the circular decorations in the parapet.

82 The mausoleum was two stories. On the ground level there were three steps supporting the base mouldings. Each plain socle was surmounted by torus, cavetto and Lesbian cyma. Ten courses of large neatly cut ashlars, 69–88 cm high, which constituted the facing of the podium, made for a total height of 11.37 m.

Side gabled corrugated metal roofs with rendered brick chimneys featuring simple projecting stucco mouldings are located between No 198 and 200 and at the southern end of 202. The interior of the house has been modified over time but the original room layout is largely discernible. Significant internal fabric includes timber joinery and fireplaces.

This room has hosted royalty, international statesmen and diplomats, and can seat 500 diners simultaneously. It is used for miscellaneous ceremonies, conferences and events during the year. It is decorated with mouldings picked out in gold leaf, of mermaids and other sea creatures. Three large bronze chandeliers are contemporary to the original architects' design.

All that remains is the 13th century church and 15th century gatehouse. A number of ashlar blocks in the nave and the lintelled north doorway may have come from an earlier structure. There are carved capitals on the chancel arch. The twin east window is also decorated in mouldings of wild and imaginary animals.

The two niches are now empty of statues. On the ends of the drip mouldings over the central window are two busts, one of a knight with his visor down and another of a monk. In the fields around the priory can be seen traces of medieval earthworks for fish farming and water control.

On a bold square base, , is imposed an octagon. On the octagon, there is a circle of deeply cut classicizing mouldings from which rise columns circular in plan. These columns are finely moulded; four bold circular rolls at the cardinal sides; between each are three fluted members. The whole effect combines the Corinthian and Pointed.

This has timber posts, with mouldings, and lattice infill to the archways between the posts; the upper balustrade is cross braced. Windows are twelve pane and have shutters. A skillion section runs along the rear of the building. The interior includes high-ceilinged rooms and several narrow hallways with steep stairways and cedar joinery.

The bays to either side of the first floor balcony have oriel windows with decorative mouldings. The oriel windows are framed by rendered squared Corinthian pilasters. Windows flanking the central arches are surrounded by rendered architraves with a centred decorative moulded motif. Tuck-pointed brickwork continues along the eastern end of the northern elevation.

The terms he used to describe the effect, once again deriving from Perrault, were dégagement (disengagement) and apreté (sharpness). He condemned the bas-relief effect of contemporary architecture. He disliked the numerous motifs and mouldings scattered over the surfaces of buildings. He suggested that even pedestals, applied orders and pilasters might be dispensed with.

Mouldings stand out around doors and windows rather than being recessed, as in Gothic architecture. Sculptured figures may be set in niches or placed on plinths. They are not integral to the building as in Medieval architecture.Banister Fletcher, History of Architecture on the Comparative Method(first published 1896, current edition 2001, Elsevier Science & Technology ).

The church from the northwest The church is built predominantly of flint with mouldings and window dressings of stone. Internally very spacious, it can hold up to 900 people. Its south and west elevations face the street. At the east end is a three-bay chancel flanked by a Lady chapel and vestry to the south and north respectively.

Window frames all had black matte trim, and were accented with chrome. Chrome also highlighted the door handles, bumpers, and side mouldings. Originally, it had been planned to use a smaller, 2,458 cc turbocharged, version of the PRV V6 (as seen in the Renault 25 and Alpine), which had been successfully tested in 740s and 760s.

On each side of the entrance are ornate bronze lamps of florentine design and arched windows with exaggerated keystones. Three rectangular windows with prominent mouldings distinguish the upper level. A heavy rendered cornice with a tiled roof behind completes the building. Although built in two stages, the internal finish to the newer section mirrors that of the first.

The church was converted to parish church in 1963. The church facade has sandstone mouldings with stucco walls. The interior structure was built above a crypt, used as an ossuary by the Franciscans. The interior has a single nave once possessing 18th-century ceiling frescoes by Domenico Provenzano, but lost in the roof collapse of 1823.

Although Stehlin proposed a new building, Merian restricted the rebuild to a refurbishment. The quintessential walls were roughcast and clad with cast iron and iron mouldings. The ground floor was clad with imitation ashlar and the windows were summated with acroterion. The first and second floors were separated by Gesims and the outer corners of the building were reinforced.

The two-stage tower has mouldings defining its upper and lower stages, and stands on a moulded plinth. Diagonal corner buttresses provide support. A stair-turret topped with a parapet is attached on the north side. The tower itself terminates in a squared-off parapet with "heavy" pinnacles which Nikolaus Pevsner considered to be 17th-century.

In this he seems to have been influenced by Pearce and also James Gibbs. However, when it came to interiors, Cassels gave full rein to his love of the more continental Baroque. Walls were covered in stucco reliefs, ceilings medallions and motifs of plaster, segmental mouldings, and carvings, in an almost rococo style peculiar to Ireland.

Timber fanlights and bars decorate each opening, as do patterned Chinese green glazed tiles. Inside the ancillary hall is the main prayer hall. Also a square airy room, it is supported by two rows of Tuscan columns with elaborate mouldings. Verandahs lie on the north and south sides, separated from the hall proper by timber doors.

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.

The facade is divided horizontally by a string course and vertically by pilasters. There are three arched openings on both levels of each section. Decorative elements include architraves, pilasters, keystones, horizontal mouldings, rosettes, ornamental urns and triangular pediments centrally placed in the parapet. The side and rear walls of the building are unrendered porphyry (Brisbane Tuff) with some sandstone.

Kotikal is a simple, early excavation with two pilasters on its facade. In front of it are sockets, suggesting a structural mukhamandapa (main hall). Inside the Kotikal cave temple are an oblong ardha-mandapa (half or partial hall) and a square sanctum (garbha griya). The front of the sanctum has mouldings and features similar to a free-standing temple.

The east window of three lights dates from around 1300 as does the two-light window in the south wall of the chancel. Built into the chancel walls are coffin lids and the gravestone of a 17th-century vicar. The octagonal sandstone font probably dates from the 16th century. The chancel arch has early Norman capitals with rope mouldings.

The additional full level of Palings has a large archway broken into narrow vertical openings. To each side of this in the corner are ornamental panels with floral mouldings. The upper parapet has the name "PALINGS" in raised lettering. Another partial level is situated above this at the rear of the building and contained toilet facilities.

Originally supplying the surrounding estates builders with timber skirting, architraves and framing materials, many of which can still be purchased in the exact style original to the design hand shaped by Abraham Lewis. The business still manufactures the same mouldings of timber by Abraham's descendants with three of the five generations currently assisting in all areas of the business.

Today, the only remains of the auberge are a quoin, a partially defaced coat of arms, the base of a balcony, and some mouldings on the façade. These remains were scheduled as a Grade 2 property on 2 December 2009, and they are also listed on the National Inventory of the Cultural Property of the Maltese Islands.

The façade consists of a central doorway, with smaller doors on each side. The central doorway is embellished with a moulded cornice. The apertures have typical Melitan mouldings. The auberge continued to house the langues of Auvergne and Provence until the building of a separate Auberge d'Auvergne and Auberge de Provence in Valletta in the 1570s and 1580s.

Since 1998 Countess Mouldings have sold over sixty kits, about 25 of which were completed cars. Many of these cvars were exported to Japan. The cars space-frame uses square tube ERW steel and a built in roll cage is made from chrome-alloy and mild steel. The biggest selling point for these cars was their racing history.

The elaborate Renaissance style includes yellow terracotta mouldings over windows and doorways. Passmore Edwards donated £2,500, and the County Council and public donations paid for the rest. Renovated in 2010–2012, it was renamed the Passmore Edwards Centre after its benefactor and to reflect its future as a multi-purpose facility. It works closely with Coombeshead Academy.

Six Baroque altars, made from the artificial multicoloured marble, pulpit, baptistery and organ make a united ensemble of the interior. The architectural forms of altars are elegant; they are embellished by stucco sculptures and decorative mouldings. Designed with a lot of delicate decoration, the pulpit and baptistery are especially original and are united into Rococo composition.

The Subiaco Hotel is a two storey brick building, with stucco and iron roof. It was designed in the Federation Romanesque style. On the corner of the building is an imposing three storey tower, which used to have a spire. The outside walls, painted grey, feature decorative elements – cornices, pediments, Corinthian pilasters, pier caps, and mouldings with floral decorations.

These elevations are linked with cement banding. The corner tower has large openings at the base with deep lintels with dentils and scrolls. The single windows above have pilasters and single scrolled brackets under the sill, and are surmounted by deep arched hood mouldings with cartouches. The tower roof is topped with an idiosyncratic concave peak and finial.

The lower of these two steps has a diaper pattern, margined and chiselled on all faces. The upper step is smooth faced and is capped with cyma recta mouldings. The pedestal rises from this base and is in two parts. The lower part consists of a recessed square section with small barley twist columns at each corner.

This brick church was erected in the late 19th century, and has a portal with fragments of a mural depicting Ecce Homo. The mouldings and the cross atop the tympanum are stone. Above the entrance is the crest of the Della Gherardesca family; the church contains family tombs. The interior apse is frescoed with a Madonna and child.

The frequent painting replaced carving on the architectural mouldings was a practice reminiscent of Macedonian architecture. The work of the mausoleum was never finished. If the monument was completed, it could have reached a height of about 35 m. When Lysimachus first erected the monument, the construction of his mausoleum had been interrupted because he died in battle.

Windows are arched with traditional decorative Victorian mouldings. The ground floor hall and rear service rooms are tiled, otherwise the building is carpeted throughout. The front hall has a feature mural which is depicted on both sides of the dividing wall. This mural is valuable for its ability to demonstrate the function of the building as Aboriginal Children's Services.

Recessed behind the arches are plate glass windows. The second floor level has round headed window openings in line with the arches on the level below. These openings have decorative hood mouldings, and prominent keystones of acanthus leaves. The facade is finished with a dentilled string course which is the base of a Corinthian entablature with Italianate balustrading.

The west front has two large flanking three-stage towers. On the rear outer corners of the towers are octagonal stair turrets with panels on the belfry stage. Between the towers is a deep entrance arch of six orders with decorative Purbeck Marble colonnettes and enriched mouldings to the arch. The tympanum of the arch contains an empty niche.

It is a square pillar with recessed panels on each side. The front face has a leaded marble plaque set into the recess bearing an inscription to Lance Corporal John Harry Anning. The dado is capped by a large cornice made up of a number of cyma recta and torus mouldings. Projecting from the pedestal is the obelisk.

The arches have the complicated mouldings typical of the period. The aisles of the south transept and nave are all vaulted in stone. Only the vault of the east aisle of the south transept is original. The rest of the roofs consist of thin and closely spaced arched brace trusses forming pointed arches, very simple and harmonious.

The caps and bases of both columns and pilasters were gilded. This treatment occupied most of the wall space. The ceiling was divided by heavy beams running from column to column, and between these the flat space was divided into oval and other shaped panels with light mouldings. The color scheme was in tints of pale- green and cream.

Cousens (1926), p. 81-82 The Kasivisvesvara temple epitomises the shift in Chalukyan artistic achievements, towards sharper and crisper stone work not seen in earlier constructions, taking full advantage of the effect of light and shade. Special attention was paid to mouldings, arches and other details on the tower, and decorations on doorjambs and lintels.Cousens (1926), p.

Trim Carpentry Techniques: Installing Doors, Windows, Base, and Crown. Newtown, Conn.: Taunton, 1989. 68. Print. also refers to pieces of wood or other material that run between wall studs in order to provide support and attachment sites for mounted hardware or trim such as cabinets, shelving, handrails, vanity tops without a cabinet underneath, bathroom towel bars, mouldings etc.

The brick was stuccoed. Internally he used it for the columns, for the tracery of the ceiling, and for mouldings. Cragg worked with the architect Thomas Rickman on the design of both churches, although the relationship between the two was not always happy. The church was consecrated by the Bishop of Chester (George Henry Law) on 21 June 1815.

In the north-eastern corner of the mound are remains of what once was a temple. The temple was made of whitish sandstone over foundations of laterite blocks. About four hundred fragments of mouldings and some mutilated pieces of sculptures have been recovered so far. This temple of the Ganga period containing a stone idol of Lord Jagannath is in ruins.

Bow or bay windows were the "chief architectural feature" of Brighton's early houses. Vertical sliding timber-framed sash windows with glazing bars were usually inserted into these, although casements were sometimes used—typically on the oldest or most modest buildings. Casements would sometimes be given glazing bars as well. Such bars were usually slim and had mouldings in various patterns.

The mouldings and spout of the plinth are now damaged. The Skanda sculpture is desecrated, with his staff or club and parts of limbs broken and missing. The surviving remnants show an impressive muscular torso, with Skanda's weight distributed equally on both legs.J. C. Harle, Gupta Sculpture: Indian Sculpture of the Fourth to the Sixth Centuries A.D. (Oxford [England]: Clarendon Press, 1974).

This is supported by metal posts and is accessed via a spiral cast-iron stair. Fluorescent lights are fixed to the underside of the hammerbeams. A carved and painted timber screen surrounds the side chapel, and plaster mouldings feature around windows and above the arch to the chancel. The floors are of timber, with the sanctuary and chancel raised above the nave.

The Helidon sandstone Boer Memorial comprises a pedestal surmounted by a digger statue. It sits on a slightly concave base constructed of sandstone blocks. This is surmounted by a curved moulding and a smooth-faced step which is capped by a series of curved mouldings with shadow reveals between. The pedestal comprises a recessed square section with freestanding columns at each corner.

Planning permission was granted in November 2018 to turn the building into a Starbucks drive-thru and coffeehouse. In 2019 Starbucks opened a Drive Through Coffee House which maintains all the original features including the plaster mouldings and wood panelling. It is reputed to be haunted with the sounds of children and babies crying and a number of doors opening on their own.

A sandstone parapet wall is extant along the eastern and western ends at the top of each abutment. Shallow buttresses project from the corners facing the river. Narrow, horizontal sandstone mouldings running the length of each face divide the facades into horizontal sections. On both abutments a moulding runs along the top of the bottom section, the upper section and the wall.

Window detail The church is a long rectangular building with high gables of which the original north, east and west walls survive. The west doorway is lintelled on the outside and arched inside. It has Romanesque moulding on the outside and a draw-bar socket. Two round-headed windows in the east wall have hood mouldings on the outside supported by pillars.

Precise date : 7th Century A.D. Approximate date: Bhauma epoch. Source of Information : Pabhaga three mouldings, rectangular jagamohana with features of Parasurameswara of 7th century A.D. It was first noticed by Charles Fabri and partly exposed by D. Mitra. Now only a part of the eastern wall and southern wall is visible beneath a Sanskrit College under the name Krushna Chandra Gurukula Vidyapitha.

The clearstory, with its three windows on each side, was apparently added about 1400 when the south wall was built. The west doorway with the walls on either side also formed a part of the early 12th-century church. The arch is of three orders, the two outer of which have roll mouldings resting on jamb shafts with moulded bases and carved capitals.

In 1843 the chancel was thoroughly restored, and a new > roof added. The whitewash, which for many years had obscured and disgraced > the rich decoration and beautiful carving was taken away. On the south side > are three stone stalls, and on the north a lofty arch, having deep and rich > mouldings. Beneath is the effigy of a knight in armour.

Although it is not apparent, the windows on the upper and lower floors differ significantly, with the ones on the ground floor being rectangular and the ones above being octagonal. They are harmonized by the elaborate mouldings that frame each one. Many of the windows have ironwork railings. Inside, an imposing stairway leads to a chapel inside a large courtyard bordered by arches.

The parapet is also decorated with an ivory tower design and a palm tree framed by elaborate Baroque mouldings. Inside, the building has two patios with independent entrances to the street as well as a doorway that connect them to each other In the main stairwell is a fresco done by Rufino Tamaño from 1933 which is dedicated to music.

Gonystylus spp. - MHNT The white wood, harder and lighter in colour than many other hardwoods, is often used in children's furniture, window blinds, dowels, handles, blinds, and decorative mouldings. However, over-exploitation has led to all species of ramin being listed as endangered species, particularly in Indonesia and Malaysia. An estimated 90% of ramin in recent international trade is illegally logged.

Panorama of the auberge's façade Auberge de Bavière is a large two-story building. It has an austere façade containing a centrepiece with the main doorway, above which is an open stone balcony. Six rectangular windows decorated with mouldings flank either side of the centrepiece. The corners of the building have large pilasters, and a cornice runs along the entire building.

The walls had stained wood wainscoting, postal windows, grills, and door casings with painted plaster above. The interior entry vestibule (center door pair only) was constructed of stained wood and glass and had two wood and glass doors. The ceiling of the lobby had ornamental plaster crown mouldings. The main stairway was constructed with grey marble treads and iron railings, stringers and risers.

Eaton Ltd, based in South Molton, is responsible for the manufacture of the control fins and actuators. Raytheon Systems Limited based in Glenrothes, and Thales Missile Electronics based in Basingstoke, manufacture electronics assemblies and the systems proximity fuse. National Plastics Aerospace based in Coventry, is responsible for the plastic and composite mouldings. Skeldings, based in Smethwick, manufacture the system's special purpose springs.

The entablature is continued around the sides of the building. The facade behind the portico is finished in flushboard, and the windows there have eared corner mouldings. The main entrance, at the center of the facade, is framed by sidelight and transom windows, with a corniced architrave above. The house was built about 1841 by Benjamin Kent, a local carpenter.

In England, the great school of Grinling Gibbons arose. Although he carved many beautiful mouldings of conventional form (Hampton Court Palace, Chatsworth, etc.), his name is usually associated with a very heavy form of decoration which was copied direct from nature. Great swags of drapery and foliage with fruit and dead birds, etc., would be carved in lime a foot thick.

The U-shaped configuration promotes transverse ventilation and illumination. The building is single- storey with a high ceiling. Its two lateral wings are topped with full length gable roofs, each featuring upright projections overlooking the street and the parade ground. Both wings have cornices and mouldings, nineteenth-century style casement windows facing the parade ground and sash windows opening onto the street.

The four-bay Norman arcade on the north side of the nave is from c.1160-70. It has circular piers, with arch mouldings that become increasingly more elaborate towards the east. The three- bay south arcade is Early English with Decorated walls. The south aisle has highly decorated Perpendicular battlements with pinnacles, and piers with round arches, indented capitals, and octagonal abaci.

The low Tudor arch was a defining feature. Some of the most remarkable oriel windows belong to this period. Mouldings are more spread out and the foliage becomes more naturalistic. During the reigns of Henry VIII and Edward VI, many Italian artists arrived in England; their decorative features can be seen at Hampton Court Palace, Layer Marney Tower, Sutton Place, and elsewhere.

The family added 18th-century mouldings (in Louis XV, Louis XVI and Directoire styles). At the end of the 19th century, the mansion was enlarged, and a big banqueting room was added to the building. The enlarged house was able to host special guests, including the composer Arthur Honegger, who recited "Jeanne d'arc au Bûcher" to the family in 1935.

It commands views of Hope Valley below and Treak Cliff, Mam Tor, Black Tor, and Lose Hill. The castle was entered through the gatehouse to the east. Its design was simple, wide with a passage across. Little survives, although earlier drawings contain details of mouldings that suggest the structure was built in the 12th century, perhaps by Henry II or King John.

Sandgate Town Hall is a single-storeyed masonry building with a partial basement floor. The building has a gabled corrugated-iron roof and features a face-brick plinth and rough-cast stuccoed facade. It is L-shaped in plan with a prominent clock tower near the intersection of the two wings. The stuccoed tower has face brick corner pilasters and decorative mouldings.

These balcões are bordered by ornamental columns that sometimes continued along the steps and added to the stature of the house. This, together with the plinth, which usually indicated the status of the owners. The houses of rich landlords had high plinths with grand staircases leading to the front door or balcão. Large ornamental windows with stucco mouldings open onto verandas.

The gable to Second Wood Street has a dentillated beam between ground and first floors. There are three doorways with square-headed wooden surrounds to the Welsh Row face. This face has three mullioned and transomed four-light windows to the ground floor; those to the gable have five lights. The windows retain the original wooden cases featuring ovolo and cyma mouldings.

It is dedicated to an Udbhava (spontaneously born) Lingam named Mukteshwar. The dome of the temple is hollow and is closed by the slabs of the stupi. Shikhara of the Mukteshwara temple is 2.2 m in its axis at the base. The stupi is made of three beautiful lotiform mouldings diminishing in size and a lotus bud with its base.

After it was set, the wall was lifted into place, and windows fitted into it. The interior of the building also showcases Gill's interest in sanitation: there are no baseboards, mouldings, or other design details, as Gill believed that these features trapped dust and dirt. The La Jolla Woman's Club has been called one of Gill's most successful works.Kaplan, Wendy.

Its west door has 14th-century mouldings and above the door is a three-light window. The stage above this contains ringers' windows on the north and west faces and a diamond-shaped clock on the south face. Above these the belfry windows on all faces have two lights. The top of the tower is embattled and contains the bases of eight pinnacles.

The Masjid, built on a high plinth, has a frontage with an arched entrance at the centre flanked by two lateral arches. Initially, three entrances existed on the east, south, and north directions. There are well spaced minarets fashioned with horizontal cornices and mouldings, and decorated niches. Of the three domes, the central one has a fluted design and is colourful.

The kiosk section has sliding multi-paned sash windows which can be concealed within the solid balustrade below, and multi-paned fanlight glazing above. The balustrade has fibrous cement panels with timber mouldings. The service wing and northeast addition have weatherboard cladding, with a brick base to the northeast. A tall timber framed tankstand is located to the north of the building.

The entrance, in the west-facing wall, sits below a stone entablature with a stone-pilastered doorcase. Above this is a round- arched stone-dressed window with mouldings, linked to the entablature by a stone balustrade. Above the window is a stone pediment. Arched windows to a similar design are on each of the other seven walls at first-floor level.

The timber ceiling is braced with arched metal rods. At the rear of the church is a sandstone font with decorative mouldings and designs. The timber dedication plaque on the porch incorporates a brass centenary plaque attached to the original timber plaque. The timber plaque reads: "Laid by Hon T.J. Byrnes; May 21, 1898; A.H. Julius Vicar; W Armstrong Warden".

They all stand at ease and are remarkably Italian in detail. In the centre of the four statues is a large obelisk sitting on a smooth-faced base capped with cyma recta mouldings. Bronze wreaths are located on the side and rear faces. Latin crosses are attached to the front and rear faces, as are bronze letters forming the words LEST WE FORGET.

C. and J. Hampton Ltd. 1959 Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it.Henry Chapman Mercer:"Ancient Carpenters' Tools". Bucks County Historical Society.

Typically, the great hall had the most beautiful decorations in it, as well as on the window frame mouldings on the outer wall. Many French manor houses have very beautifully decorated external window frames on the large mullioned windows that light the hall. This decoration clearly marked the window as belonging to the lord's private hall. It was where guests slept.

The rear elevation has a central recessed verandah with skillion awning. Internally, the building has been altered quite substantially, with partition walls creating a central court room surrounded by offices and meeting rooms, with service rooms at the rear. Surviving sections of original walls are rendered masonry, and ceilings are suspended. The entrance foyer has some surviving expressed mouldings including pilasters and cornices.

In 1970 Herbert's Canadian patent, 881000, was sold to Frameguild Mouldings. Today they are a division of Nielsen & Bainbridge Canada Inc. In 1972 the U.S. patent, along with the rights to the international patents Herbert received, became the property of Structural Industries in Hicksville, NY when they purchased Herbert's company, Presentation Sales Corporation. There are currently 20 patents listed at Delphion.

The panel consists of a single oak board, cut vertically down close to the painted surface. It has a small unpainted area at the upper left. The support's encasing was probably changed in the 19th century; today four of the eight supports are fixed to the edges of the interior borders, forming inner mouldings. The other four act as inner pins.

External walls were bricks deep, quite solid for a low building. External walls were revetted with special brick, the socle was revetted with ashlar, there were stucco mouldings in the vestibule and hall cornices. The solidity and reliability was felt in everything. At the railway side there were service rooms, gendarme rooms, main tsar's rooms and outlets to the platforms.

It is of interest as an example of a post office with a combined postmaster's residence. The place is important because of its aesthetic significance. The building's ornately detailed facade, regarded amongst the most elaborate of all post offices in Queensland, is of considerable aesthetic significance. The variety of mouldings, motifs and cast masonry decorations demonstrate a fine quality of workmanship.

There are also gabled offset buttress between lancet north chapel windows underneath mouldings with sill bands and string courses linking windows with the buttresses and the building has a cornice (band of prominent stone beneath the roof). Much of this ornamentation was added in 1846 and the building is listed in the initial architectural protected status category of Grade II.

It sits on a plinth capped with cyma recta and torus mouldings and also has a leaded marble plaque on the front face. It bears another inscription to Lance Corporal Anning. The obelisk has a relief carved tasselled shroud draped over the top, symbolising death and mourning. Below the shroud are relief carved crossed rifles, bound with cord and resting on a banner.

Between the arches are trefoil decorative mouldings, one dated 1861, the date of the restoration. Either side of the plastered nave roof is a row of vertical struts supporting the roof rafters assisted by a pair of tie beams. The ceiling is plastered. The chancel roof has two tie beams with queen posts, but its rafters are half exposed the remainder being plastered.

The structure is a single storey Flemish bond face brick building with white rendered mouldings. The heavily moulded Darling Street facade has tuckpointed brick with five arches forming a symmetrical arcade. The central portico is surmounted by a pediment on Corinthian pilasters. There are masonry balustrades to the verandah and at parapet level, the parapet being broken by a large central pediment.

The Public Works Department then undertook the construction phase of the project. The restoration involved some skill not commonly used today. These included matching the elaborate timber mouldings, architraves and doors and the painting of stencilled designs on the walls. The external façade of the building was cleaned and all painted surfaces were repaired and painted using the original colours.

The simple rendered arches have been overcoated. The windows are double hung, with scotia horns and a light arch effect in the top rail of the upper sash. Fenestration is in a broadly symmetrical pattern, apart from a single window on the ground floor. These windows all have segmental heads with prominent drip mouldings on both floors, and bracketed sills.

Some original features are still visible, such as the ceiling and tops of windows. The rear offices, mail room and loading area are open plan in form, and the former quarters are now utilised as store rooms, the lunch area, toilets and locker rooms. The cedar staircase is original. There are many original four-panel doors, with ogee inlaid mouldings and architraves.

Both begun in 1870, Skelton was consecrated in 1876 and Studley Royal in 1878. The Church of Christ the Consoler, in the grounds of Newby Hall in North Yorkshire, is built in the Early English style. The exterior is constructed of grey Catraig stone, with Morcar stone for the mouldings. The interior is faced with white limestone, and richly fitted out with marble.

Hardwicke Rawnsley, co-founder of the National Trust and vicar of Portinscale's parish church, Crosthwaite, theorised that the mouldings were sold to people en route to St Herbert's Island from Nichol End, Portinscale's embarkation point on Derwentwater.Bott, p. 5 From medieval times until the twentieth century, according to records at Carlisle Castle, a Court leet met periodically and appointed constables for Portinscale.

Although the medieval origins are now obscured behind a modern façade, substantial parts of the timber-framed original open hall-house layout remain inside. The oldest part of the building is the north–south range, parallel to the High Street. This has a gigantic tie-beam holding up a king post ceiling. The king post's structure includes purlins, chamfers and decorative mouldings.

Raja sabha or the 1000-pillared hall is to the east of the Shivaganga pool, in the northeast part of the third courtyard. A pillared pathway from the eastern gopuram leads to it. It was a choultry for pilgrims with a convenient access to the pool. The hall's lower mouldings have dance mudras and medieval era musical instruments being played by musicians.

The doors of the sitting room of the suite are edged in gold leaf. The Elton John Suite, decorated in strawberry pink and cream, contains two bedrooms, a thick pink carpet and attic windows. John reportedly hired the entire floor for his 42nd birthday. The Windsor Suite contains tapestries and gilded mouldings and portraits of the Duke (Edward VIII) and Duchess of Windsor.

The main window elaboration is in the arch mouldings and keystones. The window reveals have two steps each but no aedicules and timber-framed double-hung sash windows. Masonry panels with vermiculated treatment under each first floor window hint at balustrading. To the rear, the original form is partly concealed by a series of basement and ground floor alterations and additions.

This was mainly designed by Designer Ivor Edmunds, with help from Chief Designer Bob Brechin under the direction of Bill Pugh. Tooling and material selection was under the supervision of Process Manager Alec Langton. The tooling that produced the components for the Hasbro designed manikin were wearing badly and delivering poor quality mouldings; and because the tooling was, what is known as "family tools" (all components to produce the limbs of the manikin were moulded on the same tool) it meant that if one component was below standard the whole shot was potentially scrap. However what was happening in production was that the good components were used but there became an imbalance in the numbers of good components, so substandard mouldings were reworked to make them acceptable and good components were ground up with bad components and the sprues for remoulding.

The decorative parapet, shaped to conceal the roof behind, consists of two peripheral bays and a central bay. The junctions between each of these bays is marked by an implied pilaster which protrudes above the remainder of the parapet. The lower peripheral bays slope up to a raised central bay; a rectangular panel which carries the name of the store. Mouldings are used to emphasise the composition.

Central archway on the parapet The three portions are divided on the two upper levels by fluted giant order pilasters with ornate Corinthian capitals that include grotesque masks. The first floor windows have segmental arches and the ones on the top floor are semi-circular. The arches are embellished with hood and label mouldings and decorated key stones. These openings have balustrading in their lower portion.

Rendered stucco façades "are a defining characteristic of Brighton and Hove's historic core". Stucco gave the appearance of stone, left a smooth finish and could be worked into intricate patterns on mouldings, capitals, architraves and other embellishments. It was used prominently on long, continuous terraces of houses, such as in the Brunswick and Kemp Town estates. Rustication was sometimes used, especially at ground-floor level.

The other identifiable periods are around 1900 (evidence for this is conjectural but based upon clear insertions of mouldings and other superficial additions fashionable at that time) and 1951/2 which is quoted by Rosemary Annable in her report of conversations obtained during her oral historical research. Vegetation is climbing over some of the structure but this has been cut back and appears to be under control.

The Renaissance Pavilion is in the outer courtyard. Though dilipated, the facade still shows ancient mouldings and pilasters. The inner castle, to the north, boasts 10 m (33 ft) high walls, built on a basalt base. Next to the keep, connected to a smaller tower by a curtain wall, are the two chapels, the older from the 13th century and the other 15th century.

Eleanor's body remained in this grave until the completion of her own tomb. She had probably ordered that tomb before her death. It consists of a marble chest with carved mouldings and shields (originally painted) of the arms of England, Castile, and Ponthieu. The chest is surmounted by William Torel's superb gilt-bronze effigy, showing Eleanor in the same pose as the image on her great seal.

The chancel, measuring by , dates from the 13th century with a 14th-century roof. The chancel arch is 14th-century, plain with no mouldings and traces of an earlier roof gable above it, and preserving two sawn-off ends of the rood beam. The roof has braced collar beams and the two tie beams are moulded. The east window has been restored with glass from 1887.

The front of the house sits at ground level and the protruding front porch is accessed by a single concrete step. The porch has double tapered posts above sill height with Georgian style mouldings supporting thick verandah plates above. Weatherboard-clad piers rise at each corner with thick sills from which extend the verandah posts. Lattice infill panels are fixed in between the posts below arched valences.

The better face bricks are used on the north and west sides of the accommodation wing. The first floor walls cavity brick in stretcher bond. The first floor bricks are also "Armidale Blue" but have more kiss (firing) marks than those on the lower floor. Sills and thresholds appear to be of Ravensfield stone while window head mouldings and string courses are cement rendered.

The arrival of the new monastic orders in Scotland from the twelfth century led to a boom in ecclesiastical building using English and continental forms, including abbeys at Kelso, Holyrood, Jedburgh and St Andrews. In the thirteenth century, the east end of Elgin Cathedral incorporated typical European Gothic mouldings and tracery. In the fifteenth century continental builders are known to have been working in Scotland.

A hall was founded at Lower Hardwick in the Tudor period with bays, studding, and diagonal cross-bracing. A new wing was added on the north-western side in the Jacobean era. Gabled windows are distinguished by the lozenges with elaborate carved mouldings on diagonal wooden dragon-beams in the roof with supporting columns. There was a hop farm at Wicton with three large square kilns.

It alsoemployed ornate elements like impost mouldings and pilastered capitals. Nearly four decades later, the building of Yuvaraja's College, constructed near by in 1927 was modelled on the Maharaja's college building. The college took its present shape when the University of Mysore was established in 1916. The university started functioning from college campus itself and VC's office remained here till 1947 when Crawford Hall was built.

Brook is now Brook Farm, where there is a remnant of Maycote's home in the form of a gateway, which is a "very rustic Elizabethan affair", all of brick, with mouldings.; ; . Thomas Broke, alderman and MP for Calais in the mid-16th century, may have been a son of Thomas Brooke of Reculver, as well as being a "religious radical". Retrieved 21 April 2014.

Its architecture is based on 16th century traditional styles. The main part of the building has a cubical form, crowned with one illuminated and four decorative drums decorated with arcature and bearing large onion cupolas. The decor of the facades is simple: plain cornices and mouldings and window-jambs on rollers. In 1880, the chapel, refectory and bell-tower were rebuilt in a pseudo-Russian style.

Factory buildings in Cherry Holt Road West Street Although the Autocast foundry has closed with the shrinkage of the British car industry, there are a number of small machine workshops in the south and east of the town. These include Pilbeam Racing in Graham Hill Way and Trackline International, manufacturers of "crawler undercarriage systems". Bourne has two printing companies and manufacturers of double glazing and fibreglass mouldings.

Setback corner buttresses with sloped weatherings to all elevations. Paired lancet windows to nave with chamfered sandstone surrounds and hood mouldings on label stops. Foiled triangular opening to apex of east gable, over chancel roof, having timber louvres and sandstone surround. Triple lancet stained glass east window flanked by wall buttresses with weathered gablets, single lancet windows with leaded glass to flanking lean-tos.

It has revised exterior look with bigger bumpers and mouldings and raised ride height and spare wheel on the rear. In 2009, the whole Adventure line (Doblò, Idea, Strada and Palio Weekend) was equipped with a locking differential. The line was rebadged as Adventure Locker. Only in the model year of 2010, the Brazilian Doblò and the Doblò Adventure were updated with the European facelift of 2005.

24-26 and the modernised ground floor facade of No. 22 (which serves as a vehicular entrance to the Landmark building) are painted. The original facades have florid detailing including rusticated and fluted pilasters with ornate capitals, vermiculated courses, swag mouldings, dentils, parapet and broken pediments topped by urns. The ground floor to Nos. 24-26, although altered, remains largely in its original configuration.

MASISA S.A. (BCS: MASISA) is a wood products company headquartered in Chile with manufacturing operations in Chile, Argentina, Peru, Brazil, Venezuela, Mexico and the United States. Its manufactured products include solid wood, particleboard, medium-density fibreboard (MDF) and oriented strand board (OSB), as well as interior doors, mouldings and millwork. The company is currently the second largest company of its sector, after Brazilian meu furebs Duratex.

Brassey rebuilt Heythrop as a model village in the 1870s and 1880s. He encouraged the growth of the church congregation such that it outgrew its Norman building. In 1880 he had a new Church of England parish church of St. Nicholas built by the Gothic Revival architect Sir Arthur Blomfield. The south doorway incorporates 13th century mouldings from the demolished nave of the old church.

The windows sit on the window sill on the profiled moulding as same as in the nave. The moulding is also in the presbytery where narrow shafts of the arch ascend from the mouldings. Sculptural decorated heads are situated on the tops of the shafts. On the top of the column heads are closed by slight polygonal profiled covering slabs and pear ribs derive from those slabs.

Ordinary Mycenaean blades are enriched with narrow mouldings, parallel to the midribs of swords and daggers, or to the curved backs of one-edged knives. The spearheads have hammered sockets. Other tools and implements are oval two-edged knives, square-ended razors, cleavers, chisels, hammers, axes, mattocks, ploughshares and saws. Cycladic and mainland Greek (Helladic) weapons show no ornament but include some novel types.

This garden was planted as a "natural" landscape with trees and shrubs, and with a pond and stream. It also had colonnades on at least one side. Decoration of the palace was elaborate, including wall paintings, stucco mouldings and opus sectile, marble polychrome panels examples of which are in the museum. As in the proto- palace, foreign craftsmen had to be employed at this early period.

The auberge was a two-storey building constructed in the traditional Maltese style, and the rear of the building was linked to Auberge d'Angleterre. It had a Maltese-style staircase, with mouldings on the façade. The remains were scheduled as a Grade 3 property on 22 December 2009, and they are also listed on the National Inventory of the Cultural Property of the Maltese Islands.

The baptismal font is by far the oldest feature of the church, dating from the late 12th century. Made of local marble, it has an intricately carved stem flanked by four columns topped with delicate leaf-like capitals and roll mouldings, ornamentation uncommon on a Norman-era font. Its form is otherwise typical: a deep square bowl supported by a wide central column and four narrower shafts.

Between each angle buttress, except those at the stair turret corner, is a projecting gargoyle at the height of the clerestory parapet. The tower 14th-century west doorway is pointed, with four set-back continuous mouldings set on a single running plinth. Around the doorway, from the spring, is a hood mould. Within the doorway is a plank double door with large decorative iron face hinges.

Zakozolec), Cerenja Gorca, Dole, Gaberska Gorca, Sveti Križ (), Rapovce (), Sela, Veliko Bukovje, Veseli Vrh (), and Vošni Dol (). The local church, built on a hill above the settlement, is dedicated to the Holy Cross and belongs to the Parish of Pišece. It is a Gothic building with ribbed vaults and trefoil mouldings on its windows. It was remodelled in the 18th century, but still retains these original features.

The mastaka is composed of usual beki, amlaka, khapuri, kalasa, and ayudha that measures 3.00 metres. The sanctum measuring 2.50 square metres is 0.70 metres below the present ground level. On elevation, the jagamohana is in pidha order. With threefold divisions of the bada, pabhaga has five base mouldings of khura, kumbha, patta, kani and basanta, measuring 1.20 metres, jangha 1.55 meters and baranda 0.75 meters.

Featured on each of the gables is a large pointed arch stained glass window, integrating many smaller lights with geometric tracery. The western wall features a portal entrance framed by a ribbed pointed archway. Pointed arch windows flank the portal and feature hood mouldings, which are integrated with a string course. Above the entrance is a large three arched window, incorporating four lancet lights and geometric tracery.

These may appear purely decorative, but have their origins in similar mouldings in the windows of Portuguese houses. There these elements of style were devices to help sailors identify their homes at a distance as they sailed in. The design is therefore an import but serves a similar purpose in Goa: to help construct the identity of the home. Windows gradually became more decorative, ornate, and expressive.

The central entrance doors contain wrought-iron panels in curved Art Nouveau lines. Each opening is articulated with intricate, decorative plaster surrounds and flaked with plaster festoon mouldings. In addition, the central entry is crowned with a plaster cartouche displaying the initials of the first owners, PF (Providencia Ubides and Federico Font). A heavily ornamented three-bay facade is shaded by two gazebo- like front terraces.

The side aisles are further divided by round archways defining each of the bays of the nave and springing from the compound columns of the principal arcades. Also demarcating the six internal bays are a number of heavy, dark stained timber, scissor roof trusses. They are supported on white painted concrete corbels with simple mouldings. The ceiling of the church is lined with stained pine rafters.

The nave of Laon Cathedral resembles a Norman arch The Norman arch is a defining point of Norman architecture. Grand archways are designed to evoke feelings of awe and are very commonly seen as the entrance to large religious buildings such as cathedrals. Norman arches are semicircular in form. Early examples have plain, square edges; later ones are often enriched with the zig-zag and roll mouldings.

Internally, the front entrance leads to a foyer with rendered walls with a high pressed metal ceiling. An arched opening with decorative mouldings and keystone leads to the central hall and central staircase. The hallway runs east-west through the building with a number of panelled timber doors with breezeways, leading to offices and staff rooms. The hallway has a high pressed metal ceiling.

Side mouldings were added, with the smaller "XJR" badge embedded in them. Engine had a plaque saying "Jaguarsport XJR 4L" on the rocker cover. XJR badge size was decreased on the boot (had previously ranged from XJR-3.6, XJR-4L, 4-litre and "XJR". The later one ("XJR") is most common and the only badge that could be chosen on the boot infill panel models.

The church is noted for its Late Norman north door, with chevron mouldings, and a Norman chancel arch, leaning outwards, also with chevron moulding. The nave roof was rebuilt in 1923-4 by Sir Philip Stott. The font is a Norman bowl, remodelled into an octagonal shape in the 14th century. Most of the furnishings in the church date to the 1860-1 restoration.

There were was an attached stable yard with servants bedrooms above the coach house. Yattendon Court was a larger house, built from red brick with terracotta decoration, with light coloured stone mouldings, with a tile roof. It was in an early Tudor style with some Gothic details. There was a four storey battlemented tower on the west side, there were gables and prominent chimney stacks.

Exterior: A stone, second class station building in rectangular symmetrical form. The Bowenfels Station building is constructed of coursed, random stone. Quoins are emphasised by large blocks of stone and reveals are stuccoed, while there are smooth cornice and eave mouldings. The central section of the station building is flanked at either end by wings with parapets concealing low pitched corrugated iron roofs behind.

The original church is believed to have been built soon after 1100, but the main building was constructed in its present form in about 1250. The south aisle was added about 100 years later. The chancel has beautifully proportioned triple lancet windows with Purbeck marble shafts and stone mouldings. The altar stands on Victorian tiles, but those in the first pavement by the rails are medieval.

The temple is constructed in the Kalinga architecture style using grey sandstone. Tala jangha and upara jangha are decorated with khakhara mundi and pidha mundi respectively. The pista has three mouldings, which is decorated with series of khakhara mundi. The anuratha paga(main portion) has series of khakhara mundis in succession, lotus cup in anuraha paga and 10 bhumi amlas in the kanika pagas.

The mandapa (hall) is supported by lathe turned pillars. The pillars, except two of them, are of the same size. All of them, except four in center, have five mouldings from common life themes stacked in sequence: disc, bell, pot, wheel and umbrella. The four set of central square pillars of the Navaranga have yakshas and brackets, which have been damaged or have disappeared.

The semi-circular wall arch with rich mouldings is supported on slim columns terminating in Gothic pinnacles. There are emblems, often repeated, on the columns, which date from the reign of Wenceslas IV. The emblems consists of a kingfisher and the letter "E", surrounded by torse. Both the style and the personal emblems of Wenceslas indicate that the portal was built by the royal stonemasons' lodge.

The chapmen of the area had formed themselves into a guild and elected their office bearers at the fair. Two of Preston's most important structures were Preston Tower and Preston mercat cross. The mercat cross is unique in that it is the only such structure still in its original location and form. It has eight compartments, two doorways, six alcoves with semi- circular mouldings of scallop shells.

The ground and first floor levels of the William Street wing are similar in design, with original joinery, iron columns, and exposed rafters and beams. Walls are rendered and painted. The William Street wing is partitioned on ground level into three rooms, each with a fireplace. The rooms retain finely detailed joinery and ceilings are beaded tongue and groove timber board ceilings with timber mouldings.

Marble from Tennessee, Vermont, Maine and Italy was used in corridor floors, wainscoting and stairways. Floors in the rotunda were marble accented with mosaic tile while railings and elevator grilles throughout the building were wrought iron. Ceilings were framed by egg-and- dart mouldings. The four courtrooms on the sixth floor contained a series of murals depicting historical moments in the development of law.

At ground level the street facades have plaster mouldings including window and door surrounds, and quoining to the corners. Here, the brickwork between has been painted, but otherwise it is unpainted, laid in English bond. There are two entrances with "PRIVATE ENTRANCE" lettered in the architraves above the door. These are centrally located on each street facade, with panelled doors and leadlight side and toplights.

At upper level, the architrave of these windows takes the form of mini-pilasters supporting a moulded lintel. The front elevation is finished in chamferboards. Pilasters are located at the corners, separated by a protruding string course at first floor level. The upper level pilasters support an entablature and pediment with simple timber mouldings and the symbols of Freemasonry are located within the tympanum.

The glazing is clear and green leaded glass and the fanlight is operable, retaining an original brass mechanism. The door opens into a small foyer with a bay window with built in timber seat. The foyer ceiling is plaster with decorative mouldings. The house layout is organised off a central hall with rooms either side; bedrooms are to the west and living rooms are to the east.

In classical architecture, the shape of the abacus and its edge profile varies in the different classical orders. In the Greek Doric order, the abacus is a plain square slab without mouldings, supported on an echinus. In the Roman and Renaissance Doric orders, it is crowned by a moulding (known as "crown moulding"). In the Tuscan and Roman Doric capital, it may rest on a boltel.

The folly has a square three-bay plan. The two outer bays are formed by large circular two story corner towers. On the south side, the two towers have pointed windows (some blind), while on the first floor they have quatrefoil windows and relief mouldings above in form of Maltese crosses. The central bay has a blocked pointed doorway with hood mould and returns.

The front door is two leaved, four panelled and half glazed with a fanlight, fluted mullions and sidelights. The windows are surmounted by heavily decorated mouldings. The southern facade is less decorative and features a simple parapet, string courses and a square porch with keystone arches. The northern wing is the fully rendered former Town Hall with pediment, pilasters and the curtilage is the fenced property boundary.

The first and second floors contain five classrooms separated by masonry walls and the floors are suspended reinforced concrete. The classroom interiors were rendered and the face brick corridors are now painted. The entrance foyer located on the first floor has large glazed entrance doors, sidelights and fanlights of silky oak. It has a ventilated plaster ceiling decorated with simple mouldings and a fluted cornice detail.

Cornice and base mouldings were kept to a minimal in an endeavour to avoid dust being carried through the ventilation system. A Montgomerie Neilsen oxidising non-septic toilet system was installed with a large brick tank under the building. This basement was accessed from the rear of the building. Inside the building the toilets were located at the rear of the office on both levels.

The overall fabric of the hall is intact, although a few alterations have been made. The ceilings retain features such as decorative ceiling roses and cornices with geometric designs. The proscenium arch has elaborate mouldings with abstract geometric designs. Pairs of eight-light French doors opening to the north into the supper lounge are intact (although a few lights have been replaced), as is the timber floor.

The central arch is flanked by paired circular Corinthian pilasters with square Corinthian pilasters at the corner of the projecting bay. The clock tower, with extant clock faces, is square in plan, with square Doric pilasters at each corner. The tower has arched mouldings surrounding each clock face. The top portion of the clock tower is painted brown and the bottom portion is cream.

Courses, mouldings and all decorative details are carved with great precision. Studying and mastering the details of the ancient Romans was one of the important aspects of Renaissance theory. The different orders each required different sets of details. Some architects were stricter in their use of classical details than others, but there was also a good deal of innovation in solving problems, especially at corners.

Tied buttresses along the north and south walls and gothic arched heads to the main entrance porch, other external doors and the traceried windows generally conform to the details typical of the period, style and building type. The external walls are of a warm gold sandstone (probably a Sydney stone) laid in narrow courses of rock- faced stone with dressed stone for corner quoins, window and door surrounds, mouldings and string-courses. The western tower, a compact structure with a shallow arch over the central doorway and stone traceried windows at clerestory and bell-tower level, terminates with a modest projecting string course surmounted by the squat circular finials with ball-mouldings installed in 1913 to replace the original corner spear finials and balustrade. The original diagonally boarded entry doors in the west elevation of the tower are flanked by pilasters with decorative heads and a frieze of carved foliage.

The bricks used for the street frontages are > of a reddish colour with white "tuck" points, while the sandstone coloured > entablature, mouldings and embellishments form a fine set off to the > effective looking Corinthian columns set on solid pedestals and extending to > the full height of the two storeys, the extremities of the columns > themselves being surmounted with beautiful entablatures and enriched > cornice, further relieved with medallions and mouldings. Artistic effect is > given in a lesser order in the Ionic style introduced on the line of the > first floor, with small cornice and entablature butting into Corinthian > columns and supported by Ionic columns and pilasters. The main entrance is > attractively treated with Ionic columns and arched pediments whilst the > windows on the first floor are also nicely relieved in fine architectural > work. To save space the main entrance doors slide into recesses in the > brick.

The base of the front passenger seat flips up to reveal a storage compartment. An optional feature of the Modus is a boot chute, a drop-down opening in the centre of the tailgate below the rear window. The facelifted Modus was launched in Europe in 2007, featuring colour coded bumpers on all versions, clear Perspex 'glass' indicator bezels, revised side door mouldings and updated interior trim on all specification levels.

Later, in the portals, arches were formed with archivolts, i.e. a sequence of concentric arches decorated with simple or decorative plants or geometric mouldings. Pointed arches came from the Orient. It is unknown the exact date of their use in Romanesque architecture in Spain, although historians proposed some dates based on buildings containing one or more pointed arches that sometimes spawn an entire vault in some of its parts.

Listing Reference Number 87001310. August 4, 1987. The most continuous side of the E-shaped structure constitutes the front facade; it is articulated to best reflect and express the internal organization in plan. Sophisticated neoclassical details, although integral to the building's public "face", are not used with such insistence anywhere else on the building, except for the lobby, which includes some mouldings, cornices and relatively simple pilaster inlays.

261x261px Items found inside the Temple include a statue of Venus by Arcesilas as well as statues of Julius Caesar. Numerous Greek paintings by Timomachus of Ajax and Medea, six collections of engraved gems, a breastplate decorated with pearls from Britannia, and a controversial golden statue of Cleopatra as the goddess Isis once filled the Temple. The Temple was styled in Corinthian order. This included carved mouldings, capitals, and entablature.

Bilboa is located on the boundaries of County Laois, Carlow and Kilkenny.Rootsweb The little settlement at Bilboa was originally based around coal and coal mining. Of the early mining village, only the church remains. Bilboá's Anglican church is a detached three-bay Tudor Revival Church of Ireland church, built 1846, with crenellated entrance tower and granite dressings including clasping buttresses on octagonal plans having pinnacles and hood mouldings to openings.

On the basis of a number of detached sculptures of different faiths like Saivite and Sakta, the original temple can be assigned to the Eastern Ganga dynasty rule during 12th Century AD. A miniature four- armed Vishnu, broken images of Chamunda, Surya and Buddha, Udyotasimha, Nandi, miniature temple and other architectural members. The temple is pancharatha on plan and the bada has multi-segmented horizontal mouldings in elevation.

He was encouraged to send a model of it, which remains at Monticello. In the 1830s Alexander Jackson Davis admired it enough to make a drawing of it. In 1809 Latrobe invented a second American order, employing magnolia flowers constrained within the profile of classical mouldings, as his drawing demonstrates. It was intended for "the Upper Columns in the Gallery of the Entrance of the Chamber of the Senate" ().

The main building is of Purbeck rubble and ashlar construction, with red brick mouldings around the windows. The building has a nave with a clerestory, chapels to the north and south, and a south porch. The tower, on the west of the building, has a broached spire which was added a decade after the construction of the remainder of the building. The chancel arch is wide, with three bay nave arcades.

The ground floor has a single large sash window to each bay, with basement windows covered by cast iron screens below. The central bay has a curved pediment and the pilasters are scribed to imitate stonework. The first floor has twin sashes, with shallow arched window heads and rendered mouldings, and a concrete balustrade below to each bay. The second floor is similar, but with rounded window heads.

The facade has two pillars and two pilasters, as does the space separating the two mandapas. The inner hall leads into three shrine cells sharing a common adhisthana. The adhisthana has four mouldings. It is unusual in lacking a recessed moulding (kantha), an upper fillet (kampa) and a thick moulding (pattika); it has a lower most moulding (upana), vertical moulding (jagati), three faceted moulding (tripatta-kumuda) and a lower fillet (kampa).

The niches created in the walls are of rectangular shape and have carved sculptures of gods, demi-gods and the kings. The skirting around the images are of wild aquatic animals with "foliated tails and open jaws." The wall pilasters have curved brackets, and columns on the porch provide support to an overhanging eave; arch windows occasionally carved with images are located above them. The mouldings culminate in parapets.

View Terrace is a restrained Victorian Italianate style terrace of two houses built in 1893 of stuccoed brick. It has keystones, mouldings and label stops to each depressed arch opening above the windows and doorways. Half fluted pilasters divide the façade and define the recessed first floor balustraded balcony. The roof line is dominated by an elaborate parapet, the centre of which has the name View Terrace and the date 1892.

The suspended ceiling appears to have been replaced and false walls and heads over openings were introduced, probably following the upgrading of air- conditioning services. Cornice mouldings were used to simulate older ceiling details. For many years Bank policy required the Bank Manager to reside on the premises. From 1896 the upper two floors were used as residential accommodation for the Branch Manager and family for many years.

No major cracking of the facades or internal walls has been observed and no other indications are apparent to suggest major foundation movement, structural damage or deterioration. The building generally appears to be in good condition. The sandstone facing of the walls appears to be in good condition in most cases. Some surface exfoliation in evident in areas of excessive exposure to rainfall (such as paparets, sills, projecting mouldings, etc.).

WC34 Nissan Stagea WC34 Nissan Stagea rear The WC34 series 2 (1998 to 2001) was a minor revision of the WC34 Series 1. The headlights were changed in shape and made from high impact plastic (previous model had glass headlights) and the fog/auxiliary light moved into the grill. The indicators were changed to a clear unit, and changed shape slightly. Front aero was slightly revised and body mouldings colour matched.

A single storey extension was added to the rear (date unknown). This sustains the prominent entablature mouldings that run across the original facades, but much of its original fenestration and Classical detailing has been removed. The Silver Street elevation of this single-storey section now consists of a wide entrance with two plain pillars, creating a tripartite arrangement, and two small square windows. The internal timber stairs have been reconfigured.

Two of the 1940s galleries added to the Long Room were removed and one, at the southwest end, retained and adapted. Timber window and door joinery was conserved and plaster mouldings reconstructed where they were missing. Following the renovation, there is a restaurant and function centre within the building, and regular concerts and an art gallery occupies the lower floor. The Long Room was once the place customs business was transacted.

The arcade pointed arches, of double-faceted flat and rounded mouldings, sit on piers incorporating four rounded columns each with a central raised flat projection continuous along the full length. Between each rounded column is a continuous annulet (flat hollow). The piers' capitals and abaci are flat-faced Doric of five sides; the deep base octagonal and moulded. A continuous hood mould runs above the arches throughout each arcade.

The windows are sashes and originally had wooden shutters. The building was mostly of timber construction inside. A three-sided gallery was held up by wooden columns with decorative mouldings at the top and bottom, and three king posts supported the roof (two in the original part of the chapel and one in the western extension). The extension is given further structural stability by five iron columns on the north side.

Figoni designed and patented hideaway tops and sunroofs, so that his roadsters and drophead coupes would not be cluttered by a folded top. Chrome hood ornaments and mouldings echoed the streamlined, windswept design., Figoni used nitrocellulose lacquers to paint his cars in brilliant and metallic colours, often two or three colours in designs which flowed with the body lines., Dashboards made of rich, golden wood were a Figoni et Falaschi signature.

The present church, which probably stands on its site, was practically rebuilt in 1794, but during renovation about 1900, 15th century mouldings were discovered. A probably 13th century cross and a tombstone dated 1400, from the churchyard are preserved in the church. The present church is still in use and no trace of an earlier building can be seen. A restored panel in the tower reads "Founded in 1690".

The symmetrical, highly decorative northern elevation has twin pointed arch doorways with entrance porches, a single lancet window and a rose window above. Access is via a twin set of stone stairs, and the elevation is framed by twin spires. The building has decorative timber work to eaves and bargeboards, with decorative mouldings around windows. The southern elevation has a rose window above the original pulpit with the storeroom attached below.

The three sanctums are connected to a "staggered square" (indented) central hall (mahamantapa) by individual vestibules called sukanasi. A porch connects the central hall to the platform. The base of the temple wall (adhisthana) around the common hall and the two lateral shrines consist of mouldings, each of which is treated with friezes in relief that depict animals and episodes from the Hindu lore (purana). Historian Kamath calls this "horizontal treatment".

The two small teaching rooms are lit from the south by a bank of casement windows and each opens to its adjacent verandah. The flat sheeted and battened ceiling across these rooms falls with the gable roof slope near the edges of the rooms. Throughout the building door mouldings, window frames, verandah posts and verandah rails are stop-chamfered. Many verandah posts survive within the enclosing boarding, some with capitals intact.

The walls and ceilings throughout the interior are plastered and the floors are generally timber. The public bar area, now one large room on the principal corner of the building, features a timber bar in the corner opposite the entrance. The walls are lined with timber panelling to two metres, braced and edged with timber mouldings. High quality timber joinery surrounds the windows and doors in the bar.

Following the invasion, Normans rapidly constructed motte-and-bailey castles along with churches, abbeys, and more elaborate fortifications such as Norman stone keeps. The buildings show massive proportions in simple geometries using small bands of sculpture. Paying attention to the concentrated spaces of capitals and round doorways as well as the tympanum under an arch. The "Norman arch" is the rounded, often with mouldings carved or incised onto it for decoration.

Temple architecture is a synthesis of engineering and decorative arts. The decorative elements of the Kerala temples are of three types – mouldings, sculptures and painting. The moulding is typically seen in the plinth where in horizontal hands of circular and rectangular projections and recesses in varying proportions help to emphasize the form of the adisthana. Occasionally this plinth is raised over a secondary platform – upapeedam – with similar treatment.

Wood carving and mural paintings, the two decorative media of temples are seen to be adopted in ancient churches also. A famous piece of wooden carving is a large panel depicting the last supper in St. Thomas church, Mulanthuruthy. The All Saints church at Udayamperur has a beam resting on wooden mouldings of heads of elephants and rhinoceros. Floral figures, angels and apostles are the usual motifs of mural paintings.

Passenger platform, 2015 The station building is also a single-storeyed sandstone building on a north-south axis, with the platform running along its eastern side. The western facade features an entrance portico and verandah. The roof is hipped and mainly of corrugated asbestos cement sheet, apart from the kitchen wing which is corrugated iron. Above the roof are two rendered chimneys with decorative mouldings and a cornice.

A group of six long rectangular windows are located in the ground floor and a group of five long rectangular windows are located in the first floor and are surrounded by decorative mouldings. Below these windows the raised lettering reads "TECHNICAL COLLEGE". A large blue "E" is located on the northern elevation. Double-hung timber sash windows are located on both floors on the eastern side of the building.

The damaged spire on the tower was replaced with a low cap, but the pointed-arched louvres with their decorative mouldings and the castellated parapet at the top (bell) stage remain. The entrance is in a porch in the lowest stage. The body of the church is "powerfully massed" and "fortress-like", emphasised by its prominent brick buttresses to the aisles. Between each buttress is a lancet window.

It has three storey building. There is an opening arch in the center of this memorial while on both sides are staircases. There is an influence of Hindu temple on the ground structures, level with suspended leaves in well carved stone works, with marble stones, mouldings which not only support the building but secure it from earthquake shockwaves. The Gothic arches are British architecture like seen in Churches.

The Yellow Dining Room at Ston Easton Park The two- storey house has a symmetrical facade with projecting wings either side of the central doorway with a Tuscan portico. The ashlar is dressed with plaster and stone to highlight architectural features. The rear of the building is plainer than the front and is without the plaster dressing. The interior is decorated with plaster mouldings and engravings on the ceilings and fireplaces.

The doors and windows have mouldings, and a stepped dado moulding decorates the north and south walls. The Great Hall contains a number of memorial plaques, and WWI and WWII honour rolls. This impressive primary building of the Grammar School group remains substantially intact in form and detail, retaining its well-crafted features, in particular the upper level classroom and Great Hall interiors, and the Oamaru stone porch.

A continuous sill extends across the front of both sections and all openings are framed with rendered mouldings. The 1887 portion comprises a double-leafed timber entrance door with a well-worn concrete threshold flanked by windows either side containing pairs of large timber casement (replacement) windows. The 1901 addition has double-hung timber windows with frosted glazing. The remainder of the building is timber framed and lined.

In the north-eastern corner of the mound are remains of what once was a temple. The temple was made of whitish sandstone over foundations of laterite blocks. About four hundred fragments of mouldings and some mutilated pieces of sculptures have been recovered so far. The fort are today houses JN Indoor Stadium, Satyabrata stadium, Sports Hostel, Dargah, Gada Chandi Mandir, Cuttack Club, High Court museum and several high-profile bungalows.

155 Door and window openings narrowed towards the top. Temples were constructed without windows, the light to the naos entering through the door. It has been suggested that some temples were lit from openings in the roof. A door of the Ionic Order at the Erechtheion (17 feet high and 7.5 feet wide at the top) retains many of its features intact, including mouldings, and an entablature supported on console brackets.

The Big Block, 1921 The building with frontages to Queen and Adelaide Streets, comprises four main sections of varying levels and differing facade treatment. The southern Queen Street section (1909) has six storeys with a basement. The facade contains five vertical bays of windows, now painted, above the ground floor level. The bays are divided by a cluster of slender columns and mouldings extending into delicate floral decoration at their top.

Building began about 1175 at the east end with the choir. Historian John Harvey sees it as Europe's first truly Gothic structure, breaking the last constraints of Romanesque. The stonework of its pointed arcades and fluted piers bears pronounced mouldings and carved capitals in a foliate, "stiff- leaf" style. Its Early English front with 300 sculpted figures, is seen as a "supreme triumph of the combined plastic arts in England".

Guslitsa is also well known for its cultural heritage and its home-crafts, mainly hand-written singing books and copper mouldings. Guslitsa has its center in the Rudnya and Ilyinsky Pogost villages. Nowadays Guslitsa lies almost entirely within Orekhovo- Zuyevsky District of Moscow Oblast. The regions neighboring Guslitsa (currently also unofficial) were also mainly inhabited by the old believers and were influenced by the Guslitsa culture a lot.

Essentially the bottom part only of a large but very thin shallow hanging bowl, designed to be seen from the outside, and possibly used as a lamp. The decoration is repoussé worked from the outside, leaving the pattern in relief when seen from the inside. Other fragments were found, including rings for suspension and bits of chain, and parts of the rim. There are nine zones of decoration and mouldings.

Kanturk Castle, Kanturk, County Cork Portumna castle. In Ireland at the end of the sixteenth and beginning of the seventeenth century, the fortified house (), along with the stronghouse, developed as a replacement for the tower house. 'Fortified Houses' were often rectangular, or sometimes U or L-shaped, three-storey structures with high gables and chimney stacks and large windows with hood mouldings. Some examples have square towers at the corners.

The bar, formerly a dining room, features a marble fireplace and a pair of curved french doors opening onto the northeast corner of the verandah. The manager's residence and guest accommodation occupy the second floor. The interiors of the first and second floors retain original finishes including pressed metal ceilings and plastered masonry walls ornamented by arches and mouldings. Panelled timber doors with fanlights open off the central hallway.

Windows are marked by simple classical sill and lintel mouldings. The hipped roofs originally of slate are now sheeted in asbestos cement. A good timber picket fence encloses the property which is in good condition and well maintained. After coming onto the real estate market for the first time, the two-bedroom Cottage One of the Signal Station has been leased on the first inspection, by a young family.

The tower, which is three storeys high, has an entrance on the south, the principal entrance to the castle. This was the south-east tower of the castle, and it contained a turnpike stair to the first floor. The ground floor of the Hall was stone-vaulted. There are round gun-loops in the basement of the tower, while there are quirked roll-mouldings on openings on upper levels.

These works are found on capitals, corbels and bosses, or entwined in the foliage on door mouldings. They represent forms that are not easily recognizable today. Common motifs include Sheela na Gig, fearsome demons, ouroboros or dragons swallowing their tails, and many other mythical creatures with obscure meaning. Spirals and paired motifs originally had special significance in oral tradition that has been lost or rejected by modern scholars.

Alker is an earth-based stabilized building material produced by the addition of gypsum, lime, and water to earth with the appropriate granulometric structure and with a cohesive property. Unbaked and produced on-site either as adobe blocks or by pouring into mouldings (the rammed earth technique), it has significant economical and ecological advantages.A Compendium of Information on Selected Low-cost Building Materials. United Nations Center for Human Settlements, 1986, p.

Alker has been utilized in numerous constructions in Turkey, where it was first developed, as well as in other countries. One of the earliest among these, constructed in 1995 in Istanbul Technical University’s Ayazağa Campus, has been in continuous use without necessitating significant repair. In this particular construction process, the material was poured into mouldings and rammed, with a view to exploring possibilities for mass construction with Alker.

There are 70 houses in the municipality, which are archeological monuments. They are mainly from the age of the Revival — the so-called "Razlog-Chepino" houses. The historic museum in Razlog presents a collection of pottery from the 19-20th century, local traditional hand-made textiles and bell-mouldings. During the Second Balkan War (1913), the area around the town was a major battlefield between the Greek and Bulgarian armies.

To the south-west, the nave extends past the aisles, forming a projecting chancel with a vestry attached in the south-western corner. The building has buttressed walls, and generous pointed arched windows and doors. The coursed rubble stonework is dressed with sandstone to the hood mouldings, cornice, crosses and window tracery. The window reveals are in rendered brickwork and are surmounted with alternating green and pink stone voussoirs.

It resembles the related Toona, except that the leaves have 5-9 leaflets, whereas Toona has 8-20. Its fruit matures December to January and is a reddish three-lobed capsule that contains two or three seeds surrounded by a red aril. Germination from fresh seed is reliable and relatively fast. The timber of Synoum is used in local construction as sawn timber for general house framing, flooring, mouldings and joinery.

The church was lightly restored and improved by a Mr. Griffith in 1845. In 1878 one of the large painted windows at the east end survived, as did remains of Prior Thomas Docwra's church in the south and east walls, and capitals and rib mouldings of the former church underpinned the pews. In 1868 its living was a rectory valued £260, in the patronage of the lord chancellor.

Roll of Honour, Queensland National Bank, Brisbane, August 1920 The honour board is a large bronze panel framed by mouldings and relief ornamentation, with lettering covering the pediment and frieze. In the upper corners of the panel are brass and enamelled representations of the Australian Commonwealth flag and of the Union Jack. In the lower corners are the brass bas relief figures of an Australian Infantryman and a Light Horseman.

Arcades of ten majestic bays march towards the chancel, each rising > on continuous mouldings with only the tiniest of capitals. The unusually > wide hammerbeam roof is a marvellous survival. Eleven pairs of angels guard > the space below, attended by lesser angels on the wallplates and by saints, > martyrs, prophets and kings, 42 figures in all. On the frieze a medieval > menagerie takes over, with dragons, unicorns, birds and fish.

These ramps have large balustrades and piers, thick brick and rubble walls coated with stucco, and ornate decoration in the form of rustication and mouldings. Nearby is a retaining wall at the south end of the garden; this was also designed by Burton and extends for . Its height diminishes towards the ends as the ramps rise alongside it. Built of brick and coated with cement, it is intricately decorated.

22, p. 28, section:The plan of the temples Outer wall panel with six horizontal mouldings at Somanathapura Below the superstructure of the vimana are temple "eaves"under the projecting roof overhanging the wall (Foekema 1996, p. 93) projecting half a meter from the wall. Below the eaves two different decorative schemes may be found, depending on whether a temple was built in the early or the later period of the empire.

To supplement the Cavalier for the 1963 season the Grenadier was introduced, initially available on the longer chassis it was outwardly similar but a tauter-looking body, the structure was similar but the glazing was revised employing one fewer window per side and dipping less toward the rear. A larger windscreen was fitted with a more prominent peak, only the rear glass was carried over from the Cavalier. Revised front and rear GRP mouldings were employed, that at the front accenting the horizontal and carrying a larger destination box, that at the rear having horizontal rather than vertical light clusters. The forced-ventilation set up was standard, intakes for it being fitted in the front peak rather than in Plaxton-style air-scoops on the roof, these changes adding further to the cleanliness of line, the bright trim was of a similar layout to that of the Cavalier, the skirt mouldings being carried over virtually unchanged.

Tall hardwood columns with mouldings and a decorative timber bressumer to the front and sides create nine separate bays. Most of the original decorative brackets are missing. Access to the Grandstand is achieved via two pairs of introduced steel stairs constructed in the 1970s when the building was relocated to its current location. Underneath the grandstand is exhibition/storage space with a concrete floor which is accessed from the sides and rear wall.

The main operating company's (Sunseeker International Limited, company number 00675320) registered office is Sunseeker House, West Quay Road, Poole, Dorset, BH15 1JD. Sunseeker describes the nature of its business using the Standard Industrial Classification number 30110: 'Building of ships and floating structures'. A holding company, Sunseeker International (Holdings) Limited, was founded in 2006 using an off-the-shelf company. There are other companies in the group, including specialist entities for chartering and mouldings manufacturing.

The floor was made with tongue and groove seasoned hardwood, and mouldings were Queensland pine (hoop pine). Joinery could be made with cedar, oak, or maple timber. The price of a Cooran No.3 home (timber clad, either seven inch weatherboard or four inch chamferboard) was now ; a Cooran No. 4 (Durabestos clad) was ; and the frame alone could be purchased for . The two smaller one- bedroom models still sold for (), and ( including verandah) respectively.

Interior view of the church's dome The church's façade includes a high plinth, and it is divided into three bays, with the central one projecting outwards. Each bay contains a portal decorated with mouldings and segmented pediments. A roundel with a relief of the Virgin Mary, topped by a triangular pediment, is found above the central doorway. The central bay's upper tier contains another segmented arch, and an aedicule topped by a cross.

The Proton Juara was sold in four colours, namely yellow, silver, iridium and black, all of which have two-tone combinations on the bumpers and bodyside mouldings. The car was sold in several trim variants, of which the 1.1E was most popular, which retailed at around RM49,200 at launch. Its closest rival was the Perodua Kenari. The Juara's market performance was generally poor, with production stopping a few months after its introduction in July 2001.

The building, completed in 1893, is an anomaly among its contemporaries. While many buildings built during the late 19th century were often ornate, the Hamilton building has little decoration. It is said that architects Whidden & Lewis designed a ground-breaking building, built decades ahead of later (and similar) trends in commercial architecture. Decoration comes in the form of granite-clad cast iron entry columns and cable mouldings, set against a Japanese-brick facade.

Workmen spraying the trunk of an Obeche tree with Gammaxene to protect it against timber-boring insects The timber yielded is typically pale yellow and is moderately soft and light for a hardwood.Wood Species Database: Obeche - TRADA Abachi wood The timber is used in the manufacture of veneer, furniture, picture frames and mouldings. It is also used by guitar makers. Gibson and Fender Japan have used the wood to produce limited edition guitars.

The original eastern wall has been demolished, but a flint wall has been built up to window-sill level. The north-east corner still has most of its window mouldings. The cloister, to the south of the nave of the priory church, is now part of the Priory Farm garden. To the east of the cloister, still standing, are part of the walls of the chapter house, and also some traces of the dormitory.

The openings contain timber framed multi-paned windows and french doors which open onto the balconies. Ornate floral mouldings are situated on the pilasters to either side of the upper level openings. A deep bracketed cornice runs between the base of the pediments separating the parapet from the remainder of the facade. The parapet has raised sections at each end and in the centre where there is the name "BRISBANE ARCADE" in raised lettering.

It is ideal for the transport of people and goods alike, and it can accommodate up to nine occupants. Model designations were Ducato 10 (1 ton), Ducato 14 (1.4 tons) and Ducato Maxi 18 (1.8 tons). The second series was restyled in February 2002, with the addition of rear and side bump mouldings and revised front grille. The engine range was: 2.0 JTD, 2.3 JTD 16v and 2.8 JTD, 2.5 diesel was dropped.

Ystrad corrupts into "Strata", while Fflur ("Flowers") is also the name of the nearby river. The arch is exceptionally ornate, indeed the finest such work in the county. It has three deeply moulded shafts each triple-roll with keel to centre roll and stiff-leaf capitals and matching triple mouldings to the pointed arch, with hoodmould. There is no evidence, archaeological or documentary, that it came from Strata Florida, or indeed anywhere else.

Gov. William H. Ross House, also known as The Ross Mansion, is a historic home located near Seaford, Sussex County, Delaware. It was built in 1859, and is a two-story, brick mansion in three main connected blocks in an "H"-shape. It is in the Italianate style and features a three-story tower in the central space. The interior retains its original plaster mouldings, its Victorian trim, doors, and original inside shutters.

Following a series of restorations, mainly by Jef Van der Veken in 1933-34 and Edmond Florens in 1977, they are in good condition.Verougstraete (2015), 413 The inscriptions were placed on flat strips between the mouldings. The frame is richly inscribed, with van Eyck's signature, the coats of arms of both Van der Paele's paternal and maternal families, lettering identifying each of the two attendant saints, and a passage praising the Virgin.

Pevsner describes the interior as "sadly scraped"—scraping a typical 19th-century restoration method of cleaning and retooling. Nave from the chancel The 13th-century double- chamfered pointed tower arch is supported by twin octagonal responds. Sitting at the base of the tower arch is a 19th-century octagonal stone font. The bowl is panelled on each side with inset fields containing cusped and quatrefoil mouldings, floriate details at its base, all partly painted.

The building is situated on a corner and built on exposed rock face sandstone footings. The remainder of the external walls are rendered masonry, with decorative string courses and other mouldings. The building is a strong corner element in the streetscape with a distinct and picturesque conical roof to the curved corner form. Timber doors and windows (double hung) appear original, but may include some recreated elements, and are in good condition.

The clerestory to the nave has paired leadlight lancets set in a pointed arch recess. The southwestern side has a concrete ramp with metal handrail accessing the arcade. The rear of the building has less decorative mouldings with buttresses separating two leadlight windows, each of which consists of tall paired lancets either side of the central altar. A circular leadlight window with central quatrefoil is located at the top of the gable.

In street frontage, internal organisation and interior ornamentation, the building is typical of hotels erected in Warwick during the early 20th century. Internally, the building retains substantial amounts of original fabric including pressed metal ceilings, plaster mouldings and joinery. The place is important because of its aesthetic significance. Prominently located within the business centre of Warwick, this substantial two storey brick hotel with filligree verandah contributes to the Palmerin Street streetscape and the Warwick townscape.

The fascias of the arcaded verandah are perforated and the roof is supported on timber columns with Corinthian capitals. A criss-cross balustrade is common to both verandahs. The first floor level east facade of the north wing has a central projecting oriel bay window with a separate conical shaped roof with large windows on either side with curved pediment type mouldings above. Entry to the house is on the western facade.

MichellTemple IV at Gedong Songo Temple I at Gedong SongoThe temples of Gedong Songo reflect a similar architectural structure to those on the Dieng Plateau, though they have less variation in form than them. Gedong Songo displays more emphasis on plinth and cornice mouldings. At Temple 3, an entrance is outlined by a vestibule that is decorated by guardian figures.Michell Temple III is a Shiva temple, paired with a facing Nandi shrine.

There are three large openings across the lower level with six smaller windows on the first level, and another six on the upper level. The middle portion of the building has pointed openings whilst those on the wings are rectangular. The central section rises above the wings to a gable containing a small rose window. The building is constructed of brick and has plaster used decoratively around window openings and as horizontal mouldings.

Features of Free Classic Queen Anne style architecture and Folk Victorian predominate the structure. Colonial Revival Style entry doors and surrounds were added in a 1939 renovation influenced by the recent Colonial Williamsburg restoration. Other interesting architectural elements abound including false windows, clipped gables, vertical beading, shingle tile siding, dentil mouldings, and functional exterior shutters. One standout feature is the striking Art Deco brick patio which wraps around the front of the home.

A high chain link fence surrounds the site. Where the ground is cut down for a road at the corner of Love and Water Streets, a retaining wall is clad with rubble stonework featuring recessed panels surrounded by concrete mouldings. A steel sign "BEDFORD PLAYGROUND" is adjacent to the entrance to the site. Within the playground, near the entrance of the playground is a large elevated hall with a substantially infilled undercroft.

The interior retains period high quality woodwork, including original floors, plaster walls, and mouldings. The house is connected via two structures, now called the shop and shed, to the barn. The shop is the oldest structure on the farm, dating to the early 19th century. The barn is a large three-story bank barn, with a high stone foundation, and was built by John Colcord out of sawn and hand-hewn timbers.

Around 1960, Jouef made a series of plastic 1:87 (HO) scale cars, trucks and buses mainly for display with its train kits. These were mainly French vehicles including a Peugeot 203 and 403, Simca Chambord, Citroen DS 19, and a few Renaults including the 16 hatchback. These were basic one-piece mouldings with simple plastic wheels. Jouef made electric slot cars for many years with production starting in their Champagnole factory in 1963.

Other original elements include the timber floor structure, windows in the rear wall, mouldings, skirtings and architraves. However, nothing remains of the original stage. ;Second Floor The second floor is occupied by a large function room, toilets at the rear, a kitchen and an unused board room along the northern boundary wall. Surviving original fabric includes timber floor structure, original wall surfaces along the southern and northern walls, timber windows, window joinery, architraves and skirtings.

The doors are often surrounded by architectural plaster mouldings. Windows lack glass, instead they are open to the elements, but have barrotes, bars constructed of small turned wooden columns which allow the air to circulate without allowing entrance to the house. In the 19th century these wooden barriers were replaced by wooden shutters behind a wrought-iron grille. The large windows are normally raised slightly from ground-level but can be flush to the pavement.

The Meteor grille had more of an "eggcrate" pattern than the plain black slats of the Laser. Suspension was fully independent with coil springs. Trim levels in Australia comprised the entry- level GL and upmarket Ghia, both available with an optional "S" pack that added full instrumentation and upgraded tyres. Steel wheels with bright metal trim rings differentiated the GL from the Ghia with its alloy wheels and deep side protection mouldings.

College Park, located at College and Yonge Street. The Round Room was, as the name suggests, a circular room, with circular mouldings in the domed ceiling and recessed alcoves in the corners. At the centre of the room stood a Lalique fountain, lit from below. Carlu was responsible for all aspects of the dining room's design, from the lighting fixtures to the Royal Worcester china, the stemware, and the waitresses' black uniforms.

It is constructed of face brick with rendered mouldings to the upper facade and parapet. The hipped roofline is concealed behind the parapet which contains the words "E. Bostock & Sons, estabd 1865" with the date of construction of the building, "1915", on the corner. The detailing to the upper floor windows is a distinctive feature of the building and includes elaborate rendered sills, and window hoods with timber brackets, fretwork and terracotta roof tiles.

This is glazed with panels of multi-paned diamond shaped coloured glass. The tower, extending through two stories and a bell tower, sits on an arrised plinth with string course mouldings. The tower was built in two sections, the base and first storey of sandstone and the belltower, which is of cement rendered brick. Single lancet windows on the tower extend from slightly above the plinth, to just below the bell tower extension.

Locust Lawn, his Federal style-home during his last years, is on the National Register of Historic Places, located along NY 32 in what is today the town of Gardiner, just south of New Paltz. The house, which is owned and operated as a house museum by [the Locust Grove Estate] boasts an outstanding collection of original furnishings and interior mouldings, and is open to the public on weekends from June through October.

See Davies (1934), p. 241 It comprises a neutral soft pale grey and evenly textured wall, with a linear structured gilded wood mouldings, and a fictitious coat of arms combining the heraldics of the de Broglie and de Bearn families. The grey wall is underlined with a barely discernible deep blue pigment. This minimalist approach reflects the "ascetic elegance" of his early female portraits, where the sitter was often set against featureless backdrops.

The north porch is described by art historian Nikolaus Pevsner as "sumptuously decorated", and intended as the main entrance. Externally it is simple and rectangular with plain side walls. The entrance is a steeply arched portal framed by rich mouldings of eight shafts with stiff-leaf capitals each encircled by an annular moulding at middle height. Those on the left are figurative, containing images representing the martyrdom of St Edmund the Martyr.

"coving" is also a word for all types of interior mouldings The cavetto moulding is the opposite of the convex, bulging, ovolo, which is equally common in the tradition of Western classical architecture. Both bring the surface forward, and are often combined with other elements of moulding. Usually they include a curve through about a quarter-circle (90°).Summerson, 124 A concave moulding of about a full semi- circle is known as a "scotia".

With its Adamesque-like mouldings and elaborate ornamental devices, the three-storey Stamford House is typical of the High Victorian phase. The building has an arcade which allows natural light to enter. It mainly housed offices, with shops on the ground floor opening on to a five-foot way. A hallmark of many older buildings in the colonial district, the covered walkway around the Stamford provides shade and encourages pedestrian traffic by shoppers and tourists.

The church bears traces of monastic work in its architecture, the mouldings and capitals. Another feature of the monastic influence is the irregularity of the layout. No angles are square, no walls are parallel, and the main axis of the Chancel is out of line with the main axis of the Nave. This deviation is well-known, being attributed to a desire to recall the tortured body of Jesus on the cross.

The gables on the side walls, added in the 18th century, are faced with tiles. A hipped-roofed timber-framed wing with brick walls extends to the rear. In the main section, the twin entrances have straight-headed hood moulds supported on corbels, with panelled doors reached by stone steps with iron handrails. Inside, there are exposed oak beams with decorative mouldings, and the brackets which originally supported the jettied upper storey survive.

Twin buttresses were erected against the west wall around 1718 to alleviate concerns that the church could slip down the hill. The internal beams are original and the bells date from the 17th century. The church was constructed from a variety of materials; the nave incorporates clunch (a type of limestone), flint and ironstone, and the mouldings of the doors and windows are made from Reigate stone. The church has been important ecclesiastically.

There are slender pointed windows with new tracery between the rests, simple window in the end of choir, the north window is immured and the south window is two part with new flame tracery. The original bevelled mouldings are preserved only in the end of church, otherwise they are covered with plaster. There were penetrated new portals in the western half of the nave. The portals have pointed arch with pinnacles on the sides.

The gable ends are treated with diagonally battened panels incorporated into which are fine finials and drop mouldings. Variously sized gabled projections occur on each of the four faces of the building, from various points. This asymmetrical massing contributes to the overall picturesqueness of the structure. Stairs leading to the house, 2014 Access is provided to the building from a two part stair extending from the Westminster Road footpath to the entrance door.

Seidler's parents managed to follow their sons to England thus escaping the destruction of European Jewry by the Nazis. They eventually immigrated to Australia where the family's only known relatives outside Austria, the Hermans had moved in the 1920s and established Herman Plastic Mouldings. In 1938 Mr Herman sponsored Seidler's uncle Marcus to move to Australia where he set up a clothing manufacturing business in Sydney. This business established the Seidler family in Sydney.

The Chepeko was Carlton's first project to produce a kit car that was easy to build, and reasonably practical for everyday use. To this end, it was based on the floorpan (chassis) of a 1960s Volkswagen Beetle coupled with the available range of engines that would mate with the drivetrain. It was a two-seater, with gull-wing doors. The kit comprised a one-piece body shell, built from separate glass-fibre mouldings bonded together.

Vaulting of the nave aisle Street's design followed the form of the Gothic choir. On a plan or elevation it is not apparent that the work is of a different era. But Street designed an interior that respected the delicate proportions of the ribs and mouldings of the earlier work, but did not imitate their patterns. Street's nave is vaulted with a conservative vault with tierceron ribs, rising at the same pitch as the choir.

The architecture historian Nikolaus Pevsner called the King's Theatre "splendid" and described the theatre as having a "prominent hexagonal tower with Ionic columns and lion finials around a broad spire-like top crowned by a cupola with a replica statue of Aurora. The interior is charming and richly detailed, making full use of the tight space. Plaster figures and mouldings in Matcham's full-blown Baroque."O'Brien, Bailey, Pevsner and Lloyd (2018), pp. 531–532.

The structure was largely built of fine ashlar. The minaret was heavily decorated in relief ornament, more so than any other Islamic-era structure in Aleppo with the exception of the Shu'aybiyah Madrasa. Its stories contained cusped arches and continuous mouldings. The masonry of the minaret varied throughout, with a mix of light and heavy usage of toothed tools, short, long, vertical and horizontal strokes, fine and rough finishes, and small and large stones.

The building has a tall square, wood-shingled bell-cot at the western end with double louvred-windows to either side. It has a pyramidal roof over the bellcote topped by a ball and a weathervane finial. Buttressing supports the west end with a quatrefoil roundel window over two lancet windows below, all with linked hood moulds. One 'decorated style' two-light window and one plate tracery window to south side also has mouldings above.

The drawing room in 1903 The drawing room, containing four bay windows of different sizes, is panelled with oak for its entire height of about . One of the upper panels, surmounted by its Corinthian entablature, is a frieze depicting a fig, grape, and pomegranate, each with foliage and blossoms. One of the lower panels, part of the dado in the same room, has a section of projecting mouldings. The upper panel is ; the lower, .

The 18" wheels were changed to a new design called "Tibor", while the 19" wheels carried over from the 250. Extreme Blue and Sport Yellow were dropped as colour options. The new exterior package introduced on the 265 was the 'Red Design Pack' which includes red striping on front blade, rear diffuser and side protection mouldings, rear parking camera with front parking sensors, Visio System lane departure warning and auto high/low beam headlights.

Corona and Hygeia are an attached pair of large semi-detached mansions designed in the late Victorian Italianate style. Stucco finished with heavily decorated balustered roof parapets and classically derived pediments over the bowed section of the front façade and as decoration over the window lintels. Deep string course mouldings extend around the side elevations. The verandahs at the front and back retain richly decorative iron lace valances and cast iron columns.

Each house has a large cast-iron balcony outside the first-floor window and some ironwork at second-floor level, forming guards outside the bracketed windows. Many of the mouldings, except at number 1, are no longer in their original condition. Number 1 also has dormer windows in the roof, and number 13 has a side entrance in an arched porch. Numbers 19 and 21, originally part of the same terrace, are similar in style.

Each door features a single panel with heavy bolection mouldings and a semi-circular headed top. Stained and lacquered on the interior, each door has two panels with a semi-circular headed top on the upper panel. Both the front and rear doors have substantial drawback rimlocks. Although the house is relatively small there is a distinction between the principal rooms at the front and secondary rooms at the rear on both floors.

Looking along the front verandah Oldhome is set in spacious grounds amongst mature trees including Bunya Bunya pine (Araucaria bidwillii) and Moreton Bay fig (Ficus macrophylla). Oldholme is a two-room, single story Georgian Colonial brick cottage, with verandah, with an interesting fanlight and door mouldings. Hipped iron roof extends over a verandah to three sides supported on later cast iron columns. One side of the verandah has been infilled with matching brickwork and joinery.

Doorjamb and lintel mouldings on southern door of Kasivisvesvara temple This is a double shrined temple (dvikuta). The shrine facing east is dedicated to Kasivisvesvara (Hindu god Shiva) whose universal symbol, a linga, stands three feet tall in the sanctum. The other shrine, which faces the main shrine is dedicated to the sun god Surya and is called Suryanarayana. The Surya shrine faces west, an unusual occurrence among Surya temples, which normally face east.

The entrance is surmounted by a rectangular shaped relief moulding, with a central diamond pattern and a cornice base. Above this, a central stair-light extends from the first to second floor, and contains a series of tangential arc mouldings along its length, with moulded glass panels. A narrow slit, possibly for ventilation, is located centrally in the gable parapet above. A three panel casement window is located on each floor either side of the central entrance feature.

Henry Francis Blanford (sometimes spelt Blandford) (3 June 1834 – 23 January 1893) was a British meteorologist and palaeontologist who worked in India. He was a younger brother of the naturalist William Thomas Blanford, both of whom joined the Geological Survey of India in 1855. Henry was the first official meteorologist in India, appointed as Imperial Meteorological Reporter in 1875. Henry was born at 27 Bouverie street, Whitefriars, London where his father ran a workshop for gilt mouldings.

La Ventosilla is a large "country house" near Burgos in Spain that was built at the start of the seventeenth century for Juan Fernandez de Velasco, the Constable of Castille. The palace today has been converted for use as a rural hotel. The architecture is almost intact, including decorative features such as mouldings and balcony railings. Of the many rooms on three floors, eighteen are open to the public, some still decorated in traditional Castilian style.

A typical form consisted of two columns with decorative mouldings, an entablature and a straight roof, all stuccoed, supporting a cast-iron balcony. Suburban villas often feature brick and timber porches with gabled tiled roofs. In central areas, many old houses have been converted into shops and have lost their original doorways in favour of glazed shopfronts. Balconies and canopied verandas are often seen on larger Regency- and Victorian-era houses in central Brighton and Hove.

The front door (D11) is ledged and sheeted with a mid-rail and mouldings of the 1820s (the Greek fillet which was still used in the 1840s although considered unfashionable by then). It has an old strap hinge and is set in a very old frame. It had a centre knob and knocker, a rim lock and barrel bolt. Door 10 is a panelled door with a frieze rail hole and key hole on the right hand side.

Lister House is located towards the eastern end of Wickham Terrace, overlooking the city centre, within an area dominated by buildings accommodating medical and allied professions. It is a two-storeyed, brick building with basement. The main arched entrance is surrounded by rendered mouldings which match the heavy render quoining to the angles of the building. Above the doorway is displayed a crest which incorporates a lighted torch, the date (1930) and the motto Lux sanant (light heals).

The floor framing is timber and the bathrooms have concrete floors. The cabins were initially thought to have been built from materials donated by building supplier George Hudson and Sons and used Hudson's trade name "Ready Cut" standard materials. The detail, such as mouldings, vents and architraves would suggest they were either standard Hudsons or James Hardie products. The latter seems the more likely as Hardies manufactured and promoted fibre cement products exclusively at this time.

Model of the South Wing of the General Hospital In 1811, Governor Lachlan Macquarie commenced planning for a new general hospital in Sydney which was to be his first major public building. The contractors were paid with 45,000 gallons of rum hence the name Rum Hospital. Construction was completed in 1816. Its design is loosely based on ancient Greek architecture with its two tiers of columns made of cedar timber in the style of Doric mouldings.

The entire spread over is over hundred acres. On the wall there are decorative with mouldings and terracotta plaques which testify high excellent art of terracotta art of flouring in the region during Pala period (8th-12th century A.D.). Over the plaques are depicted many Buddhist, Hindu deities and human figures, animals, and birds. The library building was air-conditioned by cooled water from the adjoining reservoir through a range of vents in the black well.

In October 1984, there were more equipment upgrades made across the range. The 1.3 base models gained reclining front seats, door bins, locking fuel filler caps and clocks. The L models gained cloth door trim, upgraded upholstery, and remote-adjustable driver's side door mirrors; the 1.6 Ls gained five-speed gearboxes. The 1.3 HLEs gained five-speed "4+E" gearboxes with overdrive fifth gear ratios, side mouldings, tweed cloth upholstery and remotely adjustable passenger's side door mirrors.

There is a cornice interrupted by rounded mouldings, an arched entrance flanked by columns with decorative capitals and a recessed bronze door. Four family members are commemorated on inscribed bronze panels. ;Richmond Hotel (now Pressure Point), Richmond Place, Brighton (1931–34) This has a curved façade which rounds the corner from Grand Parade to Richmond Place. It is a "nicely composed and detailed Neo-Georgian" building distinguished by unusually large arched windows on the upper floor.

The corners have decorative rounded mouldings. There are the remains of a hearth in the west wall on the first floor, which comprised a single Great Hall, where the occupants ate and often slept. The second and third floors were each divided into two rooms for important visitors or the governor, and the basement was a storage area. Late 20th-century resistivity surveys of the inner bailey have traced the outlines of more 12th-century buildings.

Belmont Castle seen from the River Thames c. 1830 The house was designed as an imitation of a medieval baronial castle with battlements and a four-story tower overlooking the River Thames. Early visitors commented on the luxuriousness and elegance of its interior fittings which matched the neo-Gothic style of its exterior. The library was oval shaped with fitted book cases and mouldings and opened out to a double flight of stone steps descending to a terrace.

The palace floors are laid with blue delftware tiles and the marble walls are decorated with mirrors that are separated by gilded frames. The walls are also decorated with fitted shelves on which glassware and ceramics were displayed. The rooms were illuminated by hanging candelabra and chandeliers with shade of Venetian glass. The pillars and roofs are decorated with golden mouldings and other ornamentation, and spaces between pillars and walls are filled with triangular mirror compartments.

A two-centred arch with chamfered columns and mouldings gives access from the nave. Inside, there is a 12th-century font of Sussex Marble. It was repaired in the 19th century using the similar Purbeck Marble, as the supply of local material from the quarries at Petworth was exhausted. The south aisle has an chest believed to be about 800 years old; another, dating from the 16th or 17th century but with a renewed lid, stands in the vestry.

The building was later neglected and in the 1960s hardly noticed. In 1973 scaffolding, which had been erected for several years, was removed to reveal a refurbished building and a new exterior colour scheme of brown and creams. The architect Paul Pearn of Plymouth concluded, that these were the original colours after stripping layers of paint from the elaborate mouldings which were mainly of coade stone. The building was fully restored under the ownership of the Landmark Trust.

Cement rendered externally and internally, the duplexes have cast iron fireplaces in the main rooms, together with built in storage units at the sides. Internal finishes included timber floors, cedar trims and mouldings. ;Minor structures A number of small structures and buildings around the lighthouse precinct generally fulfil their original support and storage functions. A rendered brick structure (formerly the oilstore, now the generator room) and a weatherboard store stand adjacent to the base of the tower.

BMW Concept X5 Security Plus The BMW Concept X5 Security Plus is an armoured version of BMW X5 xDrive50i with protection level VR6, with armoured passenger cell constructed from high-performance steel mouldings and panels, sealed joints, security glass, Intelligent Emergency Call system and optional BMW ConnectedDrive. Other options included LED strobe lights in the radiator grille, roof beacons with a siren system and an auxiliary battery. The vehicle was unveiled at the 2013 Frankfurt International Motor Show.

Each of the three wings of the U-shaped building, formed around a parade ground, has wide verandahs running lengthways on both sides with attached teachers' rooms. The prominent corrugated metal-clad roof has multiple, intersecting and projecting gables. Its gable ends feature a variety of elaborate timberwork, including: moulded barge boards; scrolled, paired eaves brackets; fretwork; mouldings; stop-chamfering; lattice; finials; and pendants. Metal louvres in the apex of the gables vent the roof space.

Above the plain, unadorned architrave lies the frieze, which may be richly carved with a continuous design or left plain, as at the U.S. Capitol extension. At the Capitol the proportions of architrave to frieze are exactly 1:1. Above that, the profiles of the cornice mouldings are like those of the Ionic order. If the cornice is very deep, it may be supported by brackets or modillions, which are ornamental brackets used in a series under a cornice.

The stands which support these birds are sometimes of rich Gothic tracery work, with figures, and rest upon lions; later forms show a shaft of cylindrical form, with mouldings at intervals, and splayed out to a wide base. A number are found in Germany in the Cologne district, which may be of local manufacture; some remain in Venice churches. About a score have been noted in English churches, as at Norwich, St Albans, Croydon and elsewhere.

The triple crosses occupy the middle field of the three pieces of the portal, whereas the largest rosettes appear on both sides of each cross. The upper corners are covered by large sun rosettes while at the sill the straight mouldings turn round inwards closing the work. The entire composition has a symmetrical scheme, yet with many different details. Finally, a multitude of small triangles breaks up the background in shifting spots of light and shadow.

The Count's House is particularly distinct for its two faces, a very unusual feature for a Greek Revival. The north facade, facing Waukegan Road, consists of a portico with full two-story columns of the Doric order. The south facade, facing Main Street, consists of two-story loggia with an upper balcony and several intricate mouldings. The six-over-six windows, balustrades, columns, door surrounds, and nearly all of the exterior moldings appear to be original.

Another feature was that doorways were often enclosed by squared mouldings and the spaces between the moulding and the door arch – called spandrels were decorated with quadrifoils etc. Ornate stone ceilings, using so-called fan vaulting, made for huge unsupported spaces. King's College Chapel, Cambridge has magnificent specimens of these. Meanwhile, the Lady Chapel of Ely Cathedral has an unsupported stone ceiling approximately 30 feet by 80 feet, using a star formation of lierne vaults and bosses.

The brick chimney shafts have rendered mouldings and cornice, and terra cotta chimney pots. At the roof terrace they are grouped in stacks and turned on the diagonal, showing an Old English influence. The building features many classical motifs, both internal and external, in its articulated street facade and ornamentation of the major rooms. There is an extensive range of pressed metal ceilings throughout the building, with the degree of ornamentation varying with the importance of the room.

The upper level is divided into four bays each with multi-paned glazed doors opening to rendered bay form balconies. Concrete hoods on shallow corbelled brackets overhang the doors. Vertical chevron mouldings at the centre of a stepped parapet mark the second bay from the north, over The Paragon and hold the vertical sign advertising the restaurant. The building has its 1930s awning, with its original pressed metal soffit, extending over Froma Lane to the south.

The first time he visited he estimated that the village contained about one thousand inhabitants. He further noted that the houses were crudely built, one of them, which was assigned to the reception of foreigners, the al-Medhafeh, was a square tower. Above the entrance of the al-Medhafeh was a large block for lintel, featuring elegant mouldings, Guérin assumed it came from an ancient destroyed monument. Many other ancient stones were embedded here and there in private homes.

Major buildings on the site include:- ;Yaralla Yaralla is a large asymmetrical two storey Victorian Italianate building with a 4-storey tower over the front door, smaller octagonal towers at its corners, verandahs and projecting bay windows at corners. It has an Indian influence to the verandahs. Ornamentation is confined to balconies and verandahs, including simple mouldings. ;Jonquil Cottage - Single storey Californian Bungalow style dwelling with a series of gabled roofs and prominent entry porch and tall chimneys.

The church is rectilinear in form, divided into six bays by stepped buttresses, each bay containing a lancet window. The roof is steeply pitched and clad in colourbonded corrugated steel with lightning conductors at each gable end. Side view of the buttresses, 1997 The interior of the church is also cement-rendered with a decorative cornice and mouldings around the windows and at dado and picture rail height. Engaged columns with decorative capitals mark each of the bays internally.

It had a white-painted gallery with gilded mouldings, stained pitch pine pews and a platform-pulpit. The ceiling had a plain border, but "richly-moulded" centre-pieces to hang the chandeliers from, and the windows had stained-glass borders. It was paid for by subscription and bazaars.Bradford Observer, Saturday 11 April 1874 p5 col4: New Primitive Methodist Chapel Calverley According to Historic England, at the time of listing (1986) it still had its pews, gallery and ceiling bosses.

Above these are short sections of balustrade to the parapet. The verandah has a raked boarded ceiling, a central timber partition, and multi-paned French doors with fanlights and expressed architrave mouldings. The rear of the building has a unifying first floor verandah which has been enclosed with a combination of multi-paned windows, weatherboards and vertical boarding. Internally, the ground floor of the remaining section of the building houses three tenancies, consisting of a cafe and two bars.

Internally the chapel has architectural features that bear similarity to the Sagrestia Vecchia by Filippo Brunelleschi. The interior spaces are defined by architectural orders, pilasters, architraves, mouldings, pendentives and a ribbed dome with all the details picked out in grey stone that contrasts with the flat plaster surfaces. These architectonic features are in places richly ornamented with formal motifs in relief. A number of the surfaces have been painted in fresco in the Lombardy manner by Vincenzo Foppa.

The ground floor has three arches to the central section, with one arch to either side, with coursed render expressing voussoirs and a vermiculated base. The central arches open to an entrance portico and are accessed via wide steps, with the side arches housing window displays. The first floor is composed similarly, with the three central arches originally to a loggia, but now glazed. These arches have expressed imposts, vermiculated keystones, and decorative mouldings to voussoir and abutments.

The seating in the choir is made of parquetry of fine woods, onyx and ivory of Moorish design. The two organs were donated by Charles V. In the crypt under the Cathedral, numerous statues of saints and angels made of onyx can be seen. Church of San Francisco The Church and Friary of San Francisco is on Blvd Heroes del 5 de Mayo. Its elevated four-level tower stands out with its mouldings and Ionic and Doric pilasters.

Wooden statue of St. Nicholas, now in the Żabbar Sanctuary Museum The chapel is built in the Baroque style out of local limestone. The chapel is a rectangular building, and it has a small cylindrical dome with a lantern. The façade contains the main portal, which is flanked by two sets of flat pilasters set on plinths. The doorway is set in the central bay, and it is decorated by mouldings and topped with a pediment.

The north facade is similar in design with the addition of a 20th- century porch. Much of the house is now used by Kingston Maurward College, though some of it is used for private functions. In 2016, the house was flooded after a pipe burst above the house's main hall. The consultants brought in to assess the damage discovered that the room had been redecorated and was designed to use white and stone to accent the mouldings.

One of the plaques listing names The rest house is entered via arched openings to the north and south elevations. Inside the ceiling is pressed metal painted powder blue with gold plastic stars affixed; the floor has been painted red. Along the east and west walls are two long timber slatted seats. On the walls are five World War I honour boards of metal set into concrete mouldings, one of which is reserved for the names of the dead.

Reliefs never decorate walls in an arbitrary way. The sculpture is always located in several predetermined areas, the metopes and the pediment. In later Ionic architecture, there is greater diversity in the types and numbers of mouldings and decorations, particularly around doorways, where voluted brackets sometimes occur supporting an ornamental cornice over a door, such as that at the Erechtheion. A much applied narrow moulding is called "bead and reel" and is symmetrical, stemming from turned wooden prototypes.

1266.9 was purchased by Salisbury tuning firm Janspeed and raced internationally for them by BMC works driver Geoff Mabbs throughout 1967. Serial number UWF1007 was a car with special lightweight carbon fibre reinforced fiberglass bodywork made by Specialised Mouldings. Weld-Forester took this car to Le Mans in 1969. The bright yellow GT was given the sobriquet "La puce jaune" ("the yellow flea") by the French observers. The engine was a 1293 cc Cooper S engine tuned by Janspeed.

The Vincent Black Prince was a British motorcycle made between 1954 and 1955 by Vincent Motorcycles. A year before the factory closed in 1955, Vincent produced the enclosed range of Vincent Black Knight and Black Prince. Philip Vincent described it as a "two-wheeled Bentley", and the enclosed Vincents attracted a lot of attention at the November 1954 Earls Court show. Quality problems with early production of the glass-fibre mouldings necessitated a replacement supplier causing delays.

The edge of the stone is ornamented with the classical fret seen on the Penmon Priory stones and cross. The carving is defaced and difficult to make out. A wheel head, an early Christian monument, has also been found at the church. The lower half of the wheel is triple- beaded and of Celtic-style, the head contains arm ends in square or hammer shaped style, while the detailing on the cross arms includes raised mouldings.

The doorway is surmounted by a tall rendered arch flanked by a Corinthian column, supporting a large globe, to either side. Each column sits on a pedestal with a marble plaque. The rendered arch mouldings contain a large keystone and surround a circular window above a row of four small square windows. The parapet has a deep cornice above the words AD GLORIAM DEI, and is crowned with the masonic emblem of the carpenter's square and divider.

The ship was built by Swan Hunter and launched on 9 June 1886 by Mrs. Hunter. She was built for the passenger a freight trade between Grimsby and Hamburg. She was the second of an order of two ships from Swan Hunter, the other being launched on 1 May 1886. The saloon furnishings were fitted with panels of Hungarian ash, the mouldings were of walnut, the stiles of oak with carved oak pilasters and Corinthian capitals.

The Fortitude Valley Post Office is particularly unusual as the only post office in Queensland to be designed and constructed with mansard style roofs. The place is important in demonstrating the principal characteristics of a particular class of cultural places. The building's ornately detailed facade, regarded amongst the most elaborate of all post offices in Queensland, is of considerable aesthetic significance. The variety of mouldings, motifs and cast masonry decorations demonstrate a fine quality of workmanship.

The estates were identical to the saloons in equipment, except that the TS estate additionally featured shock-absorbent bumpers, door mouldings, and front seat head restraints from the 18 GTL saloon. The estate proved almost as popular as the saloon. In Germany the Break was originally marketed as the "Variable", after the Type 2 facelift it became the "Combi". In the Netherlands, it was called the "Stationcar", while it was sold as the "Familiar" in Spain.

These principal rooms are embellished with fine woodwork, fluted pilasters, and decorative plaster mouldings. The house, built (probably in the late 1820s) for Charles Daniels, owner of a nearby gimlet factory, is an excellent example of Greek Revival domestic architecture. Its design has traditionally been ascribed, without evidence, to the New Haven architecture firm of Town and Davis, one of whose principals was Ithiel Town. Nevertheless, the house is architecturally consistent with other works by Town.

It was designed by Walter Cave, architect, stylistically the house is Cotswold manor house, Jacobean Revival. The exterior is constructed of coursed rubble oolithic limestone with ashlar and a stone slate roof. The interior is decorated, in the arts and craft style, with simple panelling and boldly projecting, simplified mouldings. The fireplaces, though classically derived, have attenuated column mantelshelf supports rather similar to Charles Voysey's designs; the central hall fireplace has a carved datestone: 'GSB 1900'.

The kitchen, storage and toilets remain located along the back wall under the skillion roof area. Original features on the second level include hoop pine floorboards, fibrolite ceiling with timber strapping, simple cornice and floor mouldings and no internal architraves around the windows. Boxed facings to the timber columns have been removed exposing the sawn timber columns which are now incorporated as design features. Between the columns some original pine floorboards have been removed and replaced with hardwood boards.

The lowest two levels of the tower are supported by undecorated stone buttresses. The lancet windows are simply highlighted with stone hood moulds, and the small wheel windows to the upper tower are encircled with stone mouldings. Two stone string courses add a simple horizontal detail to the upper tower, and highlight the roundel windows. The main entry door is a large timber door set into a pointed segmental arch opening, also with a hood mould.

The original style was of the Federalist period and featured wide ash floors with reeded doors and window treatments. The only room retaining these original features in the downstairs bedroom. In the 1840s, during the Greek Revival Period the house was remodeled to reflect the tastes of the era and many of the mouldings were changed. The doors and windows featured crossest, or double-mitered ears, at the top of the lintel which was supported by side columns.

The main roof is hipped and gabled with two small gablets (gable on hip) and is punctuated by numerous chimney shafts. The gables have prominent bargeboards, decorative timber fretwork, pendant and finial, and louvered timber ventilators. The front façade has decorative detailing in render in the form of raised mouldings/cornices and label courses. The rear façade is similar in features and detailing and has a series of doors and windows opening on to the platform.

Bricks were to be laid in old English Bond with damp proof courses and hoop iron reinforcing. Air gratings were to be fixed for the sub floor spaces with slate steps to the outer doors set on brick risers. External cladding and carpentry were to be of hardwood the frame and roof timbers of Oregon or approved local pine. Architraves and mouldings were to be in redwood, floor boards tallow wood and lining boards in Kauri pine.

Barge boards are also timber and at the eastern end is highly carved with decorative patterns. The tower is square and originally had a small spire in the centre. This was removed and the tower was extended in the mid nineteenth century with parapet introduced and a pinnacle at each corner with a wrought iron finial in a simple Victorian Ecclesiastical Gothic style. Buttresses were added together with other decoration including projecting cornices, dentil courses, mouldings and attached rendered motifs.

The entrance is sheltered by an enclosed shed-roof portico finished mainly in glass. The interior has been extensively altered for use as an art gallery, but it retains some original features, including window mouldings and one wall of wooden paneling. A shed-roof leanto extends to the rear, giving the building a saltbox profile; it is a later addition. The house was built about 1752 by Samuel Stanley, the second of that name, for his son, also named Samuel.

The left two openings are now recessed doorways and the other a window. Originally the most northern portion had a similar arrangement of openings while the central portion had a window to one side and large opening for carriage access to the rear. The pilasters to each side of the surviving southern ground floor portion are rendered to imitate stone coursework capped with mouldings and rosettes. Above this is a cornice with small dentils separating the upper two floors from the ground floor.

It shared the same 1.5 L engine found in the saloon variant, but featured a redesigned rear end which is unique to Proton. 1987 also witnessed the production of the 50,000th Saga. The Proton Saga Magma was introduced in mid-1987, offering mild mechanical and cosmetic upgrades. The Magma suffix denotes the updated engine, and the Magma-powered Saga can be differentiated from the original Orion II-powered models by its slightly different front grille design and the inclusion of bumper protector mouldings.

The skillion-roofed extension on the south-east of the house is clad in roughly sawn, unpainted timber slabs fitted vertically. Some corrugated iron has been fixed to the remainder of the south-eastern facade of the house, where the brick fireplace has collapsed. Four sets of French or double doors open from the three central rooms onto the north-eastern verandah, while two open onto the south-west facing one. The internal doors are four-panelled with simple bolection mouldings.

The timber-framed windows, some of which have fixed- louvre shutters, are generally casement with three or four panes. Joinery to the main section of the house, incorporating the three main rooms, is finely detailed and includes a variety of mouldings. The wall framing is exposed in these rooms, and where it appears around the remaining fireplace and the doors to that room, it is finely moulded. Most joinery elements are painted in either white, or various shades of green and blue-green.

There is a first-floor veranda on every house except number 1, the westernmost house, which has a balcony instead. Each veranda has curved metal roofs (with either cyma recta or cyma reversa mouldings), cast iron railings and bracketed supports. The whole terrace has a timber-framed façade with brick nogging (infilling) and covered with black glazed mathematical tiles. These were laid in an interlocking pattern to mimic brick, and were frequently used in Brighton in the late 18th century.

Where the verandah has been enclosed, a variety of windows have been installed. Although alterations have been made, the original plan of the house can still be read and the form of most rooms remains substantially intact despite the introduction or alteration of door and window openings. Internally, most of the original rooms are lined in narrow vertically jointed pine boards, though some are clad in fibrous cement sheeting. The former drawing and dining rooms have picture rail and dado mouldings.

For the 2010 model year, the models received a facelift in late 2009, adopting Kia's new Tiger nose grille. In addition, the steering wheel receives the same design as the Kia Soul and Kia Forte, featuring optional Bluetooth hands-free phone operation, and the gauges cluster receives a new red backlit design. The headlights were modified slightly, with a darker appearance and parking lights and side-marker lights sharing the turn-signal housing. Side mouldings on the car became narrower and body-colored.

Floral capital to a canopy column A particular feature of the station are the deep canopies which are supported by elaborate, cast-iron girders, which are in turn supported by columns with elaborate capitals. These capitals are decorated with high relief mouldings depicting different arrangements of flowers and foliage.The Railway Station Gallery The sculptor William Forsyth was employed to work on the buildings and designed the metal capitals of the columns which support the canopies above both platforms of the station.

At the street level of this section several openings for both windows and glazed doors have been inserted, and these are separated by corbelled mouldings. Flanking this central section are symmetrical end bays featuring large archways with architraves and keystone and voussoir elements scoured in the render. Though previously opened these archways, identifiable only above the awning, have been filled with glazed doors and windows, forming shopfronts. A panelled section of rendered masonry forms the parapet to these end bays.

Plans for one house were drawn in the sand on the beach. He was a pioneer in developing artificial or cast stone, a combination of coquina shell, lime, and a cement mixture. He also used "woodite", a composite material with a wood component, which could be poured and molded. As a result, Mizner Industries sold "precast plastering", highly ornate plaster coffered ceilings and mouldings, and with woodite, besides antique-style doors, the paneling of a complete room, all at a relatively low cost.

Built between 1175 and 1490, Wells Cathedral has been described as “the most poetic of the English Cathedrals”. Much of the structure is in the Early English style and is greatly enriched by the deeply sculptural nature of the mouldings and the vitality of the carved capitals in a foliate style known as “stiff leaf”. The eastern end has retained much original glass, which is rare in England. The exterior has the finest Early English façade and a large central tower.

The monastery then past to the hands of the Greek Orthodox Church. The Greek church renovated the monastic buildings in series of campaigns in the 15th and 16th centuries, a notable addition being a richly decorated arch with chevron mouldings. Above the inner Gothic-style door is a 16th-century fresco of the Annunciation which bears the end of a Greek inscription. This was uncovered in 1950 and the fresco was conserved in 1995 by the Society and the Department of Antiquities.

At the northern end of the undercroft is the passage known as the outer parlour. This has stone benches on each side and elaborately carved blind arcades above them. The arcades each consist of two groups of four round-headed arches with capitals, free-standing columns and bases that are set on the benches. The capitals and mouldings of the arches are decorated with a variety of carvings, the capitals being predominantly late Romanesque in style and the arches early Gothic.

At the rear of the building, evidence of the 1860s house is apparent. The central section is painted sandstone ashlar with several original window openings and a sandstone chimney. In the interior of this section some of the planning of the former residence is discernible and several door openings, mouldings and sections of timber floor remain. The chimney-breast can be seen at both ground and first floor levels and an early dog-leg staircase with balustrade and curved handrail remain.

A series of double-hung windows with arched heads are situated on either side of the doorway. The door and window openings are emphasised with mouldings at the level of the sill and head with central keystones in each arch. The upper floor verandah is cantilevered out over the footpath with a cast iron balustrade and frieze and a convex roof. Where the building steps back, the parapet ends and the roofline changes to a skillion, separate to the main roof.

The gable peaks have circular vents. Surrounds include combinations of beige brick voussoirs and toothing, and terracotta voussoirs, hood mouldings, red brick surrounds, and toothed concrete sills and keystones. The main entrance portico to the west has series of concrete arches with keystones on brick columns under a gabled roof. Other external decoration includes beige brick quoins, and several string courses, made up of combinations of diagonally-placed bricks and projecting bricks, with a concrete string course at hall floor level.

The church now consists of a chancel with a sexpartite vault. The vaulting with its carving is original but may have been re-constructed when 1792 the church was rebuilt and the chancel was encased with stonework, decorated in Romanesque revival style. The restored east end of the chancel has blind arcades of intersecting round- headed arches and engaged round shafts. Round-headed east window with stylized leaf-mouldings and billet-moulded hood mould continuing as frieze to either side.

The City's architecturally more radical planners for large commercial buildings refused these plans, as pastiche, even though the scheme that was eventually realised also draws heavily from classical architecture, complete with Corinthian columns and classical mouldings. In 1996 planning permissions were granted for the masterplan by Sir William Whitfield — then planned in detail and built. By October 2003 the redeveloped square was complete, lined with buildings by Whitfield's firm and others. Among the first new tenants was the London Stock Exchange.

The location of original doors is evidenced by pointed arch recesses at the rear of the side aisles. Internally, the building has a timber gallery above the entrance accessed by a corner timber stair with turned balusters. The side aisles are separated from the nave by concrete columns surmounted by pointed arches with expressed mouldings. The building has a concrete floor, and the nave has a scissor braced King-post roof with curved side braces and lined with diagonal boarding.

Step-growth polymers like polyesters, polyamides and polycarbonates can be degraded by solvolysis and mainly hydrolysis to give lower molecular weight molecules. The hydrolysis takes place in the presence of water containing an acid or a base as catalyst. Polyamide is sensitive to degradation by acids and polyamide mouldings will crack when attacked by strong acids. For example, the fracture surface of a fuel connector showed the progressive growth of the crack from acid attack (Ch) to the final cusp (C) of polymer.

The building has buttressed walls, pointed arched tracery windows, and rosette windows to the gable ends. The street elevation has a recessed entry with floriated colonnettes surmounted by a large tracery window and small lancet windows. The building is decorated with white cement render to copings, cornices and window surrounds; it also has stone hood mouldings, beige brick voussoirs, a dado with quatrefoil motifs and a rendered plinth. The gables and turrets to the Brookes Street end are topped with small finials.

Other capitals have the animals and the two lower plant- based elements, but not the section in between with the volutes; the example in Chicago is of this type. There are various small mouldings between the various elements, reflecting a Greek style. The horns and ears of the animals are often separate pieces, fitting into the head by square plugs. The columns were polished and at least the capitals were painted, in the case of wooden ones on a plaster coating.

The Mallikarjuna temple complex at Aihole The Mallikarjuna temple complex features five Hindu monuments. The main temple in this complex is dated to the Early Chalukya period, likely around 700 CE. The temple tower experimented with square mouldings of diminishing area stacked concentrically as it rose towards the sky. On top is a crowning amalaka and then kalasa (pot used in Hindu festivals and rites-of-passage functions). The smaller shrines in this complex were likely built in the Late Chalukya period.

Erected prior to the First World War, at the time of its construction it was considered the most important block of flats in the international style of the modern movement. When Radoma Court was finished in 1937 it was the most remarkable building that Johannesburg had ever seen. It brought South Africa into the mainstream of modern architecture. The International Style is characterized by asymmetrical composition, an absence of mouldings, large windows in horizontal bands and a predilection for white rendering.

The first floor of the Brisbane Street section has a central reception area with a skylight and offices to exterior walls. The mezzanine level has a hardboard panelled ceiling with cover strip mouldings and curved edges to side walls. The top of the tall sash windows project above the floor level and light the floor area, and arches either side of the proscenium arch access the top level of the stage area. This area has a hipped boarded timber ceiling.

The reconstruction according to Karcher's plans began from 1713–1715. In 1717 the Parliament Hall was completely rebuilt. It was used to serve the Saxon rulers as a coronation hall. During the following years, between 1722–1723, the other castle halls were converted-under the direction of architect Joachim Daniel von Jauch, the new Senate Chamber was built, and all the furnishings moved from the old to the new location, including among others: 60 Polish provincial emblems, paneling, mouldings and lizens.

He also argued that no new style was needed to redress this problem, as the appropriate styles already existed. The 'truest' architecture was therefore, the older Gothic of medieval cathedrals and Venice. The essay sketched out the principles which Ruskin later expounded upon in the three-volume The Stones of Venice published between 1851 and 1853. Practically, he suggested an 'honest' architecture with no veneers, finishes, hidden support nor machined mouldings and that beauty must be derived from nature and crafted by man.

The reconstruction according to Karcher's plans began from 1713–1715. In 1717 the Parliament Hall was completely rebuilt. It was used to serve the Saxon rulers as a coronation hall. During the following years, between 1722–1723, the other castle halls were converted-under the direction of architect Joachim Daniel von Jauch, the new Senate Chamber was built, and all the furnishings moved from the old to the new location, including among others: 60 Polish provincial emblems, panelling, mouldings and lesene.

"Ant" was the most popular nickname for the TW9 and the truck was eventually marketed under that name. It used a pressed steel chassis designed by Press Mouldings and was styled by Ogle Design with a 701cc inline four-cylinder, four-stroke engine at the front, directly behind the single front wheel. It developed 27.5 bhp (20 kW) of power. The four-speed transmission had synchromesh only on the top three gears and the vehicle's unladen weight was 1200 lbs (545 kg).

The chancel, nave and aisles were rebuilt (to the same dimensions as the original building) when English Gothic architecture was at its height, and the chamfered arches, octagonal pillars, chancel arch, blind arches and mouldings are considered good examples of their kind. The king post roof of the nave has also been praised. Interior fittings include a 14th-century Easter sepulchre with an ogee-arched roof, part of a sedilia, some Norman friezework, and a 12th-century square font in good condition.

The 1914 Italianate-Neo-Romanesque original building in 1922 Designed by Toronto architects Frank Darling and John A. Pearson, the architectural style of the original building (now the western wing) is a synthesis of Italianate and Neo- Romanesque. The structure is heavily massed and punctuated by rounded and segmented arched windows with heavy surrounds and hood mouldings. Other features include applied decorative eave brackets, quoins and cornices. The eastern wing facing Queen's Park was designed by Alfred H. Chapman and James Oxley.

The main structure dates from the 12th century; it is believed that the tower was added to the building in the 14th century. The tower, with its saddleback roof, may have been partially rebuilt in the 17th century, from evidence of a difference in masonry above its ridge. The rounded Norman arch at the church entrance dates from circa 1150 and the large font with rolled mouldings dates from the 12th century. There are no aisles in either the chancel or nave.

The decorative plinth, showing some of the regiment's battle honours The memorial is in the form of a single rectangular column of Portland stone, which is decorated with classical mouldings and stands approximately tall. At the top is a shallow cornice, on which stands a plinth supporting a sculpture of an urn at the very top. The plinth is decorated with laurel swags. The column itself stands on a square, coved base which in turn rests on a platform of two square steps.

The compound wall is also decorated with ornamental mouldings, as well as figures placed on top of the wall at various points, including several prominent seated cow sculptures. Within the walled compound, the temple comprises a combination of covered halls, shrines and service areas, as well as courtyards open to the sky. Leading directly from the gopuram entrance through a covered hall is the main prayer area, with richly ornamented columns and ceilings with frescoes. The ceiling paintings include a large mandala diagram.

Constructed by the Ruthvens after they acquired the castle around 1515, the Ruthven Lodging represents the final stage of building at Dirleton. In the later part of the 16th century, it served as the main residence of Lady Dorothea, wife of the first Earl of Gowrie, and their 15 children.Tabraham (1997), p.10 The three-storey building is constructed, like the Haliburton range, from undressed stone, although the Ruthven Lodging is decorated with string courses, horizontal mouldings running around the walls.

The stair is flanked by concrete balustrade which terminates at the base with newels on which sit lion statues. Filling the cavity between the timber posts supporting the house is diagonal timber lattice panels. The house is clad with wide horizontal timber boards which are quite unusual with heavily beaded mouldings at the tongue and groove joints. The house is essentially rectangular in plan with a kitchen wing adjoining the rear elevation on the south west side of the building.

The Kent Street Building is a two- storeyed cement rendered brick building with a hipped corrugated iron roof. The symmetrical south facade, to Kent Street, has corner pilasters, a protruding central bay and mouldings including window surrounds, eave brackets and a heavy cornice between floors. The first floor has a central sash window with an arched sash window to either side. The ground floor has a metal street awning with a skillion roof and timber trim, and timber framed glazing and doors.

The northeast and southwest verandahs have been enclosed with multi-paned windows and hardboard panelling. Hatherton is frontally symmetrical, with a slightly projecting gabled porch accessed by a short flight of steps with an arched valance above. The gable has a fretwork panel, decorative bargeboard and finial, and the main entry consists of an arched fanlight and sidelight assembly of etched glass with carved timber mouldings and panelled timber door. Step out sashes, with incised architraves, open to the verandahs on both levels.

Liberal carved stone decoration is based on European print- sources or decorative arts with royal and Erskine heraldry, and wry inscriptions. A motif of the letter "A" with the earl's coronet points to a variant version of the family name, as "Areskine," or possibly the initial of Mar's countess, Annabella Murray. Traditionally it has been alleged that the carvings include stones re-cycled from Cambuskenneth Abbey. The general articulation and architectural mouldings closely reflect royal buildings, especially the palace at Stirling Castle.

These openings are surmounted by a brick header and rendered keystone and have concrete rendered sills. Similar openings line the eastern and western side walls of this section of the building. The upper level of the front facade of the building is lined with three window openings, which are also repeated on the side walls. These openings are fitted with vertical hung sash windows and sit on the line of the first floor string course, and have no decorative mouldings.

For its application in S-Video, the 4-pin mini-DIN connector is sometimes called the Hosiden connector. Hosiden Besson Limited was established in 1957, trading as A P Besson and Partner Limited in the UK, manufacturing earpieces for the National Health Service. It was sold to Crystalate Electronics in 1971 to form the Besson division, and as part of a manufacturing group it assimilated injection mouldings and designed and manufactured printed circuit boards. On 2 March 1990 Hosiden Corporation, acquired the company.

Peters, Greg. "Report by Greg Peters 2000 Churchill Fellow" , The Winston Churchill Memorial Trust of Australia. Retrieved on 7 August 2009. The workshop was visited at this time by Greg Peters, 2000 Churchill Fellow of The Winston Churchill Memorial Trust of Australia. In 2003, Gonzalez & Harms carried out work for the restoration of Christ Church, Spitalfields, involving thirty-eight existing carved oak brackets with repair work, and eleven brackets to be newly made; and above the brackets corniced mouldings which they also carved.

The recently demolished Bijou Theatre (in Bourke Street) proved a rich resource which provided the beautiful cast iron circular staircase, architrave mouldings and some of the doors and windows. Helen Lempriere's family donated materials and money to build the ornamental pond. The many doors that open onto the pond area are from the cubicles that were the students' bedrooms, which have now been combined into one long studio. (The original inhabitants' initials can be seen on the front doorstep of each room).

The fittings mostly date from the 1861 restoration including the seating The pulpit is of wood and lozenge pattern panels The book for supporting the tester or sounding board from the old three decker pulpit still hangs on the wall nearby. The font is twelve-sided and of uncertain date but thought to be mediaeval. It has well-cut mouldings down the sides and damage where the old hasps were positioned so that it could be locked when not in use.

No 10 Australia Street No. 10 - A terrace style two bedroom house featuring round-headed door and window with arched mouldings on the lower floor and another panelled door and cast iron fence with French doors on the upper floor. Roof is iron tiled. Much of the detail of the terrace matches the grander house Cranbrook at No. 14. No 14 Australia Street (Cranbrook) No. 14 (Cranbrook) - A large two-storey Italianate villa of five bedrooms with boxroom and rear courtyards.

The suspended timber floors are red stringybark and covering tiles have recently been removed from several areas. All joinery and mouldings in the house are silky oak, apart from the handrail which is maple. The house was originally designed to cater for a family served by a maid and a secondary circulation route links the main public rooms with the kitchen and laundry areas. A bathroom is located between these utility areas and public areas and has a small antechamber adjacent to it.

Internally, larger rooms had been subdivided, new doorways added and original timber work and plaster mouldings had been either damaged or were missing. The facade also now consisted of asbestos sheeting and louvre windows. The outer layer of additions and alterations that hid its character for more than 50 years was completely removed in 1987, reducing the number of rooms from 60 to 30. Much of the original fabric, particularly the bricks, had to be replaced owing to its poor condition.

During the run of the Wayfarer and the Contender, Harrington's coachbuilders developed expertise in handling increasingly large and complex glass-reinforced plastic (GRP) mouldings. The management were keeping abreast of European trends in design and had formed an especial friendship with their opposite numbers at the Italian firm of Orlandi. These changes set the seed for future progress. This combination of alloy frame, mainly aluminium panelling and GRP for coachwork features requiring complex compound curvature enabled stronger, lighter and more durable coach bodies.

The socle was around 2 m high and of three steps, of which only one remains above ground.Konrad, 2001, p. 370. A pedestal, nearly 8 m tall with cornice and mouldings at the top and bottom, that probably faced the Mese odos to the south and whose southern, eastern and western faces were decorated with carved reliefs in four registers. The north side, mostly undecorated and probably facing away from the Mese, had a doorway which allowed access to the spiral staircase within.

Mouldings on original door panels are run in with rail, stiles and muntins. This is an 18th-century technique and unusual in this period of building.) Evidence of a water storage cistern/well in rear courtyard. Evidence of a water storage cistern/well in rear courtyard. Front verandah considerably altered: original verandah with open parapet & timber posts demolished; new verandah with eaves and cast iron columns built (c. late 1800s shown in 1912 photo); enclosed upper storey verandah added (c.

The high spire proposed in the original drawings has yet to be completed. The exterior includes a number of finely carved stone mouldings, decorative bosses, gargoyles and carved heads to windows and doorways. After Vatican II some minor alterations also occurred to the sanctuary, altar and bishop's seat. The Cathedral was constructed in five principal phases as follows: Cathedral during 1857 61, Chancel and North Trancept in 1897, Blessed Sacrament Chapel in 1897, Sacristy in 1922, major extensions in 1962, and Altar modification in 1981.

The palace was enlarged on the north side by a one-storey extension, housing a living room on the side facing the street and a winter garden adjoining the courtyard. The interiors were richly decorated, and stucco ceilings were covered with polychrome, which preserved to this day only in some areas. The main staircase with wooden stairs and a balustrade was decorated with fragmentarily preserved stained glass. The interiors were almost completely destroyed, but in some areas mouldings, furnaces and fireplaces are still to be seen.

The mansion's interior features eleven-foot high ceilings, ornate plaster ceiling medallions and crown mouldings, tall paneled tiger-oak doors, and two sets of paneled tiger-oak pocket doors. Three of the first floor rooms each contain a marble fireplace. The main parlor retains its original cut-crystal gasolier, which has never been converted to electricity, and an ornate pier mirror on a marble top base. A staircase leads to the second floor where there are four bedrooms, five bathrooms, a small library, nursery, and servant's quarters.

It changed hands over the centuries, finally passing to the Earls of Bridgewater and Lord Brownlow in 1823. The buildings are described as being of Totternhoe stone with mullioned windows, square mouldings and trefoil-headed stained glass windows. The structure survived as a manor house until at least 1802, but had been almost completely demolished by 1862. Several place names persist from the convent, including St Margaret's Lane and Farm; and the district north-west of Great Gaddesden is still known as St Margaret's.

At that time, it was thought that this was the location of the sentencing of St. Lawrence, Deacon and Martyr to death by the Prefect of Rome, hence its dedication. Christianization accounts for the survival of the cella and portico of the temple through the centuries, though it did not preserve the edifice from all damage. Originally, the podium was faced with white marble slabs, with matching marble mouldings at the top and bottom. Most of the marble facing was scavenged, except for the moulding.

The rear room in the back may have been used for record or other storage. After leasing the property, the Society removed the partitions in the rooms that separated the rooms from each other. The second floor is arranged differently from the first floor, with the rooms above the front parlor and reception room believed to have been the bedroom for the jailer and his family. The west room is described as "quite elegant in its simplicity with its original wainscot and cornice of run mouldings".

The centre punch not only punched a hole, but formed a lip which would be used to secure the stamper into the press. The stamper was next trimmed to size, and the back sanded smooth, to ensure a smooth finish to the mouldings, and improve contact between the stamper and the press die. The edge was then pressed hydraulically to form another lip to clamp the edge down on the press. The stampers would be used in hydraulic presses to mould the LP discs.

The keep, with its entrance on the first floor, survives as a shell, with the west wall, interior floors and roof missing, as a result of bombardment in the 17th century. With its sloping plinth to aid defence, flat roof and four turrets, reports that the roof must always have been flat, because there are no weather-mouldings. this square four-storey building was over . The walls range from in thickness, the west wall being strongest, and there are several windows, some blocked up along its length.

The interior space is embellished with decorative timber mouldings to the cornice and tie beams. Furniture to the interior space includes the altar of varnished timber with inset quatrefoil panels, a timber framed fabric curtain screen to the altar, the altar rail and varnished pews. A painting by the late aboriginal poet and local Stradbroke resident Oodgeroo Noonuccal ( or Kath Walker) hangs on the southern wall near the altar. Located at the rear of the site is a more recent building currently used as the thrift shop.

The majority of locomotive models and some road vehicles had a diecast metal body with a moulded plastic chassis and plastic wheels. The bodies were fully painted and lined. They were free-wheeling although the chassis was rigid (locomotives were not fitted with separate bogies), and a steam locomotive's tender was part of the same moulding as its body. Models of coaches and trucks were assembled from self-coloured plastic mouldings, with some surface detail (such as coach sides) being applied using self-adhesive labels.

The Cornwall Apartments is a building on the National Register of Historic Places in the Capitol Hill section of Denver, Colorado. The apartments were designed by Denver architect Walter Rice in a Mexican colonial style that capturing a cosmopolitan spirit and gaiety in the unusual architectural elements for 1900, such as its balustrades, mouldings, and varied balconies. Reed made most of the terra cotta trim himself. Cornwall Apartments, Denver, Colorado in 1903 It may have been the first building of a Spanish-derived architectural style.

The new San Vicente gate then moved to the Juan de Villanueva fountain, which had been in that location since 1952, and was moved to the Parque del Oeste. For the replica, in concrete veneered with grey granite and limestone, the mouldings of the upper cornices that were still preserved from the original were used, as well as the reference of the original plans and a photograph from 1890 by Laurent. Among the elements reproduced, the ornaments by José Luis Parés Parra stand out.

Appraisal- Built for the Roman Catholic priest of Swanlinbar, this late nineteenth-century presbytery of picturesque form is a significant landmark on the northern outskirts of the town. Despite renovation and the replacement of some of the historic fabric, the house retains noteworthy features including vitrified brick chimneystacks, decorative hood mouldings, and decorative wrought-iron gates. It is an interesting reminder of the high quality accommodation built by the Roman Catholic church for its clergy at the turn of the century. # Stepping-stones over the river.

All of these high relief mouldings are all acknowledged to be excellent examples of the Jacobean period. George Romney On the wall along the final top flight of stairs can be seen some 18th-century wallpaper, which was discovered during restoration work. While it has become distressed with time, it is considered to be among the best examples which have survived into present times. Like most houses that have served as homes, it has when needs prevail, been improved and modernised, by the Clitherow family.

On the main façade, eight large pillars of Jura limestone alternate with six smaller ones, of red granite found in the bed of a mountain river in the Bernese Oberland. The main façade was—and still is—graced with a number of sculptures and mouldings, which give it its monumental aspect. A spacious perron leads to the front building, where marble statues representing Drama, Dance, Music, and Comedy balance the central façade. On the upper level, double columns separate the three balcony windows from the main foyer.

The processes at Burnaston include stamping (pressing panels from rolls of steel), welding, painting, plastic mouldings (bumpers and instrument panels/dashboards) and assembly and at Deeside machining, assembly and aluminium casting. On 26 February 2007, Gordon Brown, the then chancellor, visited the Burnaston facility, to celebrate the official launch of the Auris in the United Kingdom. TMUK used the occasion to announce an investment of in its Deeside factory, to build a petrol engine for the Auris. Four months later, Brown would become Prime Minister.

Two ABe 4/4 IIs in multiple unit operation below Ospizio Bernina Although the ABe 4/4 II class has always been decorated in a red livery, their appearance has evolved over the years, in line with changing Rhaetian Railway standards. On delivery, nos 41–46 had chrome trims, and nos 47–49 were given painted mouldings. These were originally golden, and later white. The name Rhaetian Railway was initially applied to all members of the class in its shortened German language form of RhB.

Elaborate single-storey entrance bays flank the towers, with chamfered arches, ornate mouldings, Ionic columns and a cornice. Above the frieze is a scroll-moulded cartouche which is framed by the upper sections of the columns. Inside, much of Frank Matcham's original work remains, and the design is considered to be one of his finest and to display "his hallmark decorative richness". A narrow foyer leads to an auditorium shaped like a horseshoe, with seats arranged in a circle around it and in front of the stage.

The First Baptist Church of Gilmanton is located in a rural setting on the east side of Province Road, several hundred feet north of its junction with Stage Road. The rectangular building presents a two-story main (southwestern) facade, although its main hall occupies the building's full height. Although the main body of the building is clapboarded, the gable end of the main facade is flushboarded. The building has wide corner pilasters, and an elaborate cornice with mouldings, frieze, and architrave on three sides.

This courtroom was finished modestly with wall coverings, smooth painted plaster, and stained wood mouldings and furnishings. A construction alternate for the courtroom was designed and shown on the bid drawings, but not built. That design was built at the federal courthouse in Pendleton, Oregon, a very similar building that was constructed concurrently. Office areas on the upper two levels typically were finished with wood floors, moulded wood base, chair rail and casings, three panel wood doors, and smooth painted plaster walls and ceilings.

A second auberge was built in Barrack Front Street (now Hilda Tabone Street) during the magistracy of Grand Master Claude de la Sengle. This auberge was designed by the architect Niccolò Bellavante in the traditional Maltese style, and it housed the langue until the building of a new Auberge de Castille in Valletta in 1574. Today, the building still exists, but it was heavily altered over time, and only a quoin and some windows with Melitan mouldings remain of the original auberge. The building is privately owned.

It looks were the same as last year apart from some extra mouldings added to the fairing mid-sections that enhance stability and reduce noise emission levels by now totally enclosing the clutch and gearbox. Although all of these changes involved the addition of some materials, the overall weight of the 2009 CBR600RR remained the same as the 2008 model. This was achieved through weight savings in the engine, exhaust, and the chassis. The CBR600RR carried over for the 2010, 2011 and 2012 model years.

The car went on sale in the UK for £12,595. The Zetec S Red was a limited (500 cars) edition based on the Zetec S and included a Colorado Red body, black-and-white chequered roof decal, dark privacy glass on the rear windows, panther black door mirrors, door handles, bodyside mouldings, roof spoiler and tailgate handle; Quickclear heated front windscreen, ebony leather seats, alloy wheels, air conditioning and heated electrically operated door mirrors. The car went on sale in the UK for £13,000.

A damp proof course, of sheet lead in asphalt was inserted to all the walls. The church was designed in a style described at the time of its construction as a revival of Gothic architecture practiced between 1274 and 1377, or Decorated or Middle Pointed Gothic. This is evident in the traceries and mouldings around the church. Major departures from this style include the internal nave piers, thought to be of earlier, Norman influence and the entrance porch of the later 15th century pointed Gothic.

New oak floors, picture and chair rail mouldings all in the Colonial Revival Style were added to the two parlors and entrance hall. The old wallpaper was removed and the walls were painted ivory. A scenic wallpaper from the Zuber & Co. of Paris, France was installed on the walls of the Entrance Hall on the first floor. Albert Cluett died in 1949 but not before he and his wife Caroline challenged the Board of Trustees at RCHS to raise money to support the preservation of the house.

The floor of the front entry porch, under the arcade, is raised several steps above the surrounding level. From the entry porch, a pair of timber panelled doors with a decorative glass and timber surround open into an entry vestibule. The vestibule is tiled with multi-coloured tessellated tiles and decorative mouldings including cornice, picture rail and skirting. A set of timber-framed doors at the rear of the vestibule has side panels and a fanlight, all of which are glazed with decorative leadlight.

The temple foundation moldings rhythmically project the plastered walls of the temple. The temple is not complete, as the niches and walls where carvings would be, are either cut but empty or left uncut and left raised. The temple had a tower, but it is lost and has been replaced by a rooftop watch room like empty chamber added much later and that does not flow with the rest of temple. The mouldings around the foundation have carvings of Jaina motifs such as seated Jinas meditating.

The hipped roofs of main house and wings are slated and have rendered brickwork chimneys with simple neck mouldings. The single storey verandah lining the front and part of the two side elevations retain their original flat timber columns (but has a new roof following the removal of an Edwardian double storeyed verandah). The new roof line follows the original which was retained in the side return roofs. The front door is flanked by French doors with 2 x 6 paned sash windows to the first floor.

Lili Gumbaz Masjid Lila Gumbaj Ki Masjid stands on a high plinth and has a frontage with arched entrance at the center flanked by two lateral arches. The central arch is a structure of well spaced minarets fashioned with horizontal cornices and mouldings; the niches have decorations. There are three mehrabs in the prayer hall and these are decorated with a central suspended kalash carved with floral motifs. Of the three domes, the one at the center has a fluted design and is colourful.

Those three sides, following the heavy massiveness and crude simplicity of the California mission adobe style, were without ornamentation. This contrasted with the front facade of the California State Building, 'wild' with Churrigueresque complex lines of mouldings and dense ornamentation. Next to the frontispiece, at one corner of the dome, rose the tower of the California Building, which was echoed in the less prominent turrets of the Southern California counties and the Science and Education buildings. The style of the frontispiece was repeated around the fair.

The core products offered by AC Schnitzer includes individual components such as chassis, custom exhaust systems and light-alloy wheels, as well as complete vehicles and performance tuning for petrol and diesel engines. AC Schnitzer Tension Other products include aerodynamic components. AC Schnitzer also makes products for vehicle interiors using materials such as aluminium, leather or carbon fibre. The product range includes control elements such as steering wheels, pedals and hand-brake levers, or interior mouldings and cladding, as well as to customer requirements.

On Day 39, Big Brother revealed the presence of the Crypt, a secret burial place for nominated housemates Jay and Anton who became 'ghosts' dead to the other housemates as part of the Week 6 shopping budget task. It was located near the main house, adjacent to the garden, and was decorated with Gothic-effect mouldings, gravestones, cobwebs, church candles and skeletons. The room contained two tomb-styled beds. From there, Jay and Anton could view and listen to their former housemates, eavesdropping on their conversations.

This entrance is faced in smooth sandstone and its simplified modern design, without mouldings or banding, contrasts with the external finishes of the remainder of the building. All of the building's entrances lead to the middle of the building where they are connected by a main corridor which wraps around the central courtyard. Vertical circulation is via stairs and lifts along the main corridor. Although most of the office spaces have been altered since construction, the public spaces of the building retain their original finishes.

The side aisles of the northern and southern facades of the building are lined with paired round arched openings divided by twisted columns with Composite order capitals and flanked by panels with dog tooth mouldings. These openings define the internal bays of the nave and are glazed with figured stained glass panels. The windows throughout the church are steel casements. Above the height of the side aisles are taller paired round arched openings aligned with the lower windows, but glazed with two tones of green leadlighting.

A Norman arch c. 1150 in Andover, Hampshire A Norman arch with zig-zag mouldings above the church doorway at Guiting Power, Gloucestershire In England, Norman nobles and bishops had influence before the Norman Conquest of 1066, and Norman influences affected late Anglo-Saxon architecture. Edward the Confessor was brought up in Normandy and in 1042 brought masons to work on the first Romanesque building in England, Westminster Abbey. In 1051 he brought in Norman knights who built "motte" castles as a defence against the Welsh.

Mouldings are also seen in the mandapam, the hand rails of the steps (sopanam) and even in the drain channel (pranala) or the shrine cell. The sculptural work is of two types. One category is the low relief done on the outer walls of the shrine with masonry set in lime mortar and finished with plaster and painting. The second is the sculpturing of the timber elements – the rafter ends, the brackets, the timber columns and their capitals, door frames, wall plates and beams.

The truss supports a timber framed roof structure and the entire structure is clad on both the roof and walls in corrugated galvanized iron. A Visitor's Pavilion (1920) is located further along Ellerton Drive, on the same side as the pump houses and reservoir but closer to the Administration Building. It is a small, low-set, hexagonal timber structure accessed by a short set of timber steps. The entry is a small projecting bay with a pitched roof, decorative timber mouldings, lattice and balustrade.

Further under Sub-section 20 (a) and 20 (b) of Ancient Monuments and Archaeological Monuments and Remains (Amendment and Validation) Act, 2010. Gulab Bari is surrounded by an enclosure wall, built of Lakhauri bricks lime plastered and decorated with plaster mouldings. The enclosure contains the tomb of Shuja-ud-daula along with mosque Imambara, Shahi Hammam, Baradari and a well approached through triple-arched gateways. The tomb of Shuja-ud-daula (1753–1775) was constructed by himself during his lifetime which is approached through an imposing gateway.

With the early PlayStation units, particularly early 1000 models, many gamers experience skipping full-motion video or physical "ticking" noises coming from their units. The problem seemingly comes from poorly placed vents leading to overheating in some environments. This causes the plastic mouldings inside the console to warp slightly and create knock-on effects with the laser assembly. The solution is to sit the console on a surface which dissipates heat efficiently in a well vented area or raise the unit up slightly from its resting surface.

The western bay, according to Bacci, was turned into "a kind of narthex or vestibule". The older façade of the building is plainer, with a round window and a plain portal, while the portal of the southern nave, added later, is adorned with an oeil-de-boeuf and marble mouldings. The church is home to numerous frescoes dated to the 14th and 15th centuries. Unlike Byzantine Orthodox churches, the frescoes in the Nestorian Church are not part of a unified design, which is characteristic of Nestorian Churches.

The archways are lined with clustered sandstone mouldings. The aisles outside the columns are linked at both the western, entrance end of the building and at the eastern end to the rear of the altar area with a small ambulatory. A carved timber altar sits at the eastern end of the building. The church is washed internally with a bright blue light filtering through the stained glass window of Mary Queen of Angels, a loose copy of a Chartres window, in the eastern end.

In 1979, the Perth Fire Brigade vacated the building, which was subsequently restored between 1983 and 1985. The external work involved re-roofing with terracotta tiles to match existing, reconstruction of a limestone arch that had been replaced with a concrete lintel to suit larger and higher engines, and replacement of columns, mouldings and original doors which had been removed. Internal work included new timber stairs, toilets and a theatrette. New ceiling cornices and ceiling roses were installed to match the period and the existing.

A giltwood neoclassical chair, made circa 1770 and signed by Georges Jacob. In the late 1760s in Paris the first Parisian neoclassical chairs were made, even before the accession of Louis XVI, whose name is attached to the first phases of the style. Straight tapering fluted legs joined by a block at the seat rail and architectural mouldings, characterize the style, in which each element is a discrete entity. Louis Delanois, Jean- Claude Sené and Georges Jacob were three leading chairmakers in the 1770s and 80s.

Simple round columns with Doric order bases and capitals are found on each corner of the pedestal. Small carved field guns are mounted on the side tops of the pedestal flanking the obelisk which rises from the centre. The obelisk comprises a square planned shaft with various mouldings on its faces above which is a cornice of a cyma recta moulding with foliated carving. Surmounted on this is the obelisk, of smooth faced sandstone; a tapering column with carved shields affixed to the north and south.

The columns are fluted with narrow, shallow flutes that do not meet at a sharp edge but have a flat band or fillet between them. The usual number of flutes is twenty-four but there may be as many as forty- four. The base has two convex mouldings called torus, and from the late Hellenic period stood on a square plinth similar to the abacus. The architrave of the Ionic order is sometimes undecorated, but more often rises in three outwardly-stepped bands like overlapping timber planks.

The doorway to the Hall of Lilies has marble mouldings sculpted by the brothers Giuliano and Benedetto da Maiano. The inlaid woodwork (intarsia) on the doors was carved by Del Francione and depicts portraits of Dante and Petrarch. The large frescoes on the walls portraying the Stories of Furius Camillus by Francesco Salviati were made in the middle of the 16th century. Since Salviati had his schooling in the circle around Raphael in Rome, these frescoes are based on Roman models and not typical of Florentine art.

" However, he continues: "On the other hand, those who want something a little more cataloguey and are fervently interested in mouldings and such like, may find my descriptions more to their liking."Nairn and Pevsner (1965), p.11. This contrast between exhaustive description (Pevsner) and passionate, sometimes emotional, enthusiasm (Nairn) is noted by Alec Clifton-Taylor in his review of Sussex in the Listener on 15 July 1965. "Dr Pevsner... is inclined to tell us everything about a building except whether it is worth going to see.

To the rear is the original detached brick service wing, also on a Brisbane tuff stone foundation. The style is Gothic-revival, with exterior decoration including: elaborate plaster mouldings to bargeboards; timber pendants in the gables; dormers; and quoining to the projecting front gables. The southern front projection features a bay window with corrugated iron roof and awning. At the northern end, French doors open onto a faceted balcony with a steeply-pitched iron roof and cast-iron balustrading of a circle and cross-brace pattern.

Original features include plaster mouldings, bolection moulded fireplaces, and rococo wood carvings. The cantilevered Imperial staircase, added by Soane, has stone treads and a cast iron baluster, leads to the piano nobile on the first floor, decorated with carved wooden fittings and moulded plaster cornices. It has 13 bedrooms, with six main bedrooms, seven bathrooms and two dressing rooms on the first floor, and seven more bedrooms and five bathrooms on the second floor. The 18th-century Italian wall-paintings were removed from the salon c. 1949.

Metal and plastic second stages get equally cold, but they differ in how fast they cool down. Metal casings conduct heat faster so will get cold quicker, but will also warm up quicker than plastic mouldings, and plastic components may insulate metal components inside, reducing the rate of reheating by the water. Metal components can be more of a problem out of the water in very cold air, as they will draw heat from any body part they contact faster than plastic or rubber.

The roll mouldings of the arch are held in the beaks of these "fearsome", "wide- eyed horrors". Such "beakhead" decoration is a little-understood feature of Late Norman architecture: in churches, it may have been used to capture the congregation's interest or to inspire fear and awe. The moulding has two orders (recessed jambs which together form a chamfered opening): in contrast to the lavishly decorated outer order, the inner order is plain. Some Norman windows survive: these are large, round-arched and chamfered with deep splays.

The rear of the building has a two-storeyed kitchen wing with a sub-floor room and covered walkways accessing adjacent structures. May 2016 Internally, Hatherton has a central corridor with a tiled foyer leading through an archway with plaster mouldings to a timber staircase. This has a cast iron balustrade, carved timber newel post, timber panelling and an arched leadlight sash window at the landing level. This space is decorated with a stencil dado, and has timber architraves, skirtings and panelled doors with glass fanlights.

The main facade is five bays wide with a projecting central bay that rises to a gabled peak above the main roof line. Most windows are set in openings topped by heavy segmented-arch hood mouldings. The house was completed in 1861, and was from 1863 to 1865 home to Franklin Hough. Hough was one of the first people in the nation to articulate significant concern for the state of its forests, observing that forestry products had declined in New York in the 1850s and 1860s.

The pointed arches used in Perpendicular were often four-centred arches, allowing them to be rather wider and flatter than in other Gothic styles. Perpendicular tracery is characterized by mullions that rise vertically as far as the soffit of the window, with horizontal transoms frequently decorated with miniature crenellations. Blind panels covering the walls continued the strong straight lines of verticals and horizontals established by the tracery. Together with flattened arches and roofs, crenellations, hood-mouldings, lierne vaulting, and fan vaulting were the typical stylistic features.

Sir David Hunter Blair made some of his money in Jamaica and was joint-owner of Roselle Estate, St Thomas-in-the-East. In 1820, Sir David commissioned Scottish architect William Burn to design a new house on Blairquhan. The old castle, which had become ruinous due to previous fires and neglect, was torn down for a new the Tudor-style castle, which nevertheless incorporated some of the decorative mouldings and sculpted stones from the old castle into the kitchen courtyard of the new house.

The station is a long, two-storeyed brick building with a hipped corrugated-iron roof. The Grey Street frontage is dominated by a central projecting pedimented entrance. Either side of the entrance are sloping corrugated-iron street awnings, which are supported by cast-iron columns with Corinthian capitals and large brackets. The station platforms in 2017 Other Renaissance stylistic elements to the street facade include: Romanesque windows on the upper floor, rendered string courses and window mouldings, pilasters with Corinthian capitals, and a solid rendered parapet.

The Homestead is a single storey Victorian Italianate residence of stuccoed brickwork with a hipped slate roof and rendered brickwork chimneys. A verandah surrounds two sides of the building, its slightly curved corrugated iron clad roof supported on circular cast iron columns and decorated with cast iron cornered brackets. On the front elevation the verandah abuts a hipped roofed wing and projecting 3 sided bay window. Italianate renderwork decoration includes brackets and raised panels under the eaves and mouldings around the round headed windows.

One of the four lion statues from which Casa Leoni gets its name Casa Leoni is an example of Maltese Baroque architecture, with a simple but elegant design. Its façade contains an arched doorway at the centre of the ground floor, with a balcony above it. The door and balcony are flanked by several wooden louvered windows surrounded by mouldings. Casa Leoni has a small front garden, and its entrance consists of an ornamental arched gateway decorated with the coat of arms of Grand Master Vilhena.

This portal is internal and is particularly well preserved, even retaining colour on the figures and indicating the gaudy appearance of much architectural decoration which is now perceived as monochrome. Around the doorway are figures who are integrated with the colonnettes that make the mouldings of the doors. They are three-dimensional, but slightly flattened. They are highly individualised, not only in appearance but also expression and bear quite strong resemblance to those around the north porch of the Abbey of St. Denis, dating from 1170.

In erosion tests pure earthen materials completely dissolve; the erosion rate in Alker is minimal. The material gains a rigidity of 0.375 MPa during the setting process, within the first twenty minutes after pouring. It gains rigidity while containing 20% moisture, which makes it possible to remove mouldings and stack blocks shortly after pouring the material.B. Pekmezci, R. Kafescioglu and I. Aghazadeh, "Improved Performance of Earth Structures by Lime and Gypsum Addition," METU Journal of the Faculty of Architecture, v. 29, 2012, pp. 206-209.

View of the inner wings. The two outer wings contain an Annunciation scene in grisaille. Oil on oak panel, 1437. Gemäldegalerie Alte Meister, Dresden. 33.1cm × 13.6cm; 33.1cm × 27.5cm; 33.1cm × 13.6cm Detail of the right panel showing St. Catherine and the inner mouldings of the protective frame The Dresden Triptych (or Virgin and Child with St. Michael and St. Catherine and a Donor, or Triptych of the Virgin and Child) is a very small hinged-triptych altarpiece by the Early Netherlandish painter Jan van Eyck.

The dark stained timber stair, beyond this entrance, is dog legged with half-landings at each turn. On the first floor, this stair arrives in a room between a concert hall and a music library. The concert hall has a coffered plaster ceiling with recent mouldings and round headed arched windows with vertical sash fittings, opening onto the loggia spaces. At the north eastern end of the hall is a timber stage accessed via wide shallow stairs from the main body of the room.

Lviv Theatre of Opera and Ballet Gorgolewski's plan for the Lviv Opera. The Lviv Theatre of Opera and Ballet is built in the classical tradition using forms and details of Renaissance and Baroque architecture, also known as the Viennese neo- Renaissance style. The stucco mouldings and oil paintings on the walls and ceilings of the multi-tiered auditorium and foyer give it a richly festive appearance. The Opera's imposing facade is opulently decorated with numerous niches, Corinthian columns, pilasters, balustrades, cornices, statues, reliefs and stucco garlands.

The Romanesque campaniles are similar to the ones found in the village of Teror, in an old octagonal Italian Romanesque tower of the same date. This exactly reproduces the flanking campaniles of the cathedral, and was probably by the same architect. It rises simply from the ground, and consists of six equal stages; the mouldings are good and divided, and the alternate faces of the top stage are pierced for the bells with a Pisan-looking arcade. It has a pyramidal, and very Norman-looking, capping.

The axis of the composition was set off by two monumental marble fireplaces in the form of wall porticoes, featuring statues of Apollo and Farnesian Heracles set against the shorter walls. The longer, white marbled walls decorated by vertical panneaux, painted by Jan Bogumił Plersh in the style of Raphael's grotesques in the Vatican. Gold was the dominant colour in all chambers, especially in Solomon's Hall. The plafond, bed-mouldings and both longer walls were filled with paintings by Marcello Bacciarelli illustrating the life of King Solomon.

A rendered plinth at the base of the building is continuous around the main facade and is deepest at the truncated corner as the site slopes to the south. A single storey wing extends from the western side to the boundary with the London Hotel. The building has a dominant square form with a truncated corner, where the main entrance is located, at the intersection of Stirling Terrace and York Street. A decorative frieze stringcourse is found between the ground and first floors with further horizontal mouldings.

80 Doorjamb and lintel mouldings on shrine door of Kasivisvesvara temple The architects in the Karnataka region seem to have been inspired by architectural developments in northern India. This is evidenced by the fact that they incorporated decorative miniature towers (multi-aedicular towers depicting superstructures) of the Sekhari and Bhumija types, supported on pilasters, almost simultaneously with these developments in the temples in northern India. The miniature towers represented shrines, which in turn represented deities. Sculptural depictions of deities were generally discreet although not uncommon.

The names of Shiva temples can end with the suffix eshwara meaning "Lord of". The name "Hoysaleswara", for instance, means "Lord of Hoysala". The temple can also be named after the devotee who commissioned the construction of the temple, an example being the Bucesvara temple at Koravangala, named after the devotee Buci.Foekema (1996), p. 19–20 The most striking sculptural decorations are the horizontal rows of mouldings with detailed relief, and intricately carved images of gods, goddesses and their attendants on the outer temple wall panels.

Cathedral interior, 2012 The original building was designed in a Gothic Revival style with Early English influences popular in England in the 1940s and reflecting English Catholic Liturgical practice, particularly evident in the work of renowned English architect Augustus Pugin (1812 - 1852). The Cathedral was constructed in red brick with decorative stone coursing and mouldings from local Mount Lambie sandstone. Internally the Cathedral consists of an aisled nave with round sandstone columns and Gothic arches. The timber hammer-beamed trusses spring from corbels high on the walls to support the high open roof.

Hopper had remained at Morgan Grenfell as an adviser while serving in the European Parliament, and he swiftly became a Director of Wharf Resources Ltd., a firm based in Calgary in Canada. His constituency connections in Manchester paid off when he was made a Director of the Manchester Ship Canal Company from 1985 to 1987. He was executive chairman of Shire Trust Ltd from 1986 to 1991 and chairman of Robust Mouldings Ltd from 1986 to 1990; Hopper also served as an adviser to Yamaichi International (Europe) from 1986 to 1988.

The Iswara features a new grille, slimmer headlights, grooved taillight clusters, plastic bumpers and side mouldings. Additionally, the rear license plate bracket was moved to the bumper instead of the boot. Like its predecessor, the Saga Iswara was produced in both 4-door saloon / sedan and 5-door hatchback guises, powered by the same 1.3-litre and 1.5-litre engines. However, models exported to Singapore and the United Kingdom were fitted with Mitsubishi's ECI Multi fuel injection system and a catalytic converter to meet Euro I emission standards.

She is fitted with double topsail yards... > She has a top-gallant forecastle, and raised quarter-deck; with an officer's > house and cabin staircase... The saloon is a very chaste apartment, of great > length and height with remo styles and mouldings, with open iron scroll work > for ventilation. which gives a graceful and airy appearance. The births are > roomy and well planned. [sic] Novelty was owned by a Mr T Henderson, its agents were Henderson & Macfarlane, Auckland, and its master from the time of launching was a Captain Austin.

In 1898, the coffer type ceiling that was originally designed in wood panels and mouldings, was completed in zinc supplied by Wunderlich & Co. of Sydney. The richly embossed zinc, while giving an impression of massiveness, was actually light and had the advantage of being an excellent resonator, greatly improving the acoustic of the Basilica. Five shades of colouring were utilised on the 78 squares of zinc and this work was undertaken by McKay assisted by some of the "best" pupils of the Convent school. This colouring work was done before the ceiling was erected.

The interior features silky oak joinery, parquetry floors, rough plaster finish on the walls to picture-rail height, plaster ceilings and cornices employing a variety of decorative mouldings, and leadlighted fanlights above doorways and in the arches of the central corridor. There are two reception and stairwell areas in the building, with the front staircase featuring silky oak treads and wrought iron balustrading. The basement was designed specifically to accommodate an x-ray unit, and continues to be used for this purpose. Lister House continues as a specialist medical office building.

Many buildings were lost in the 1960s and 1970s, when Brighton's increasing regional importance encouraged redevelopment, but conservation movements were influential in saving other buildings. Much of the city's built environment is composed of buildings of the Regency, Victorian and Edwardian eras. The Regency style, typical of the late 18th and early 19th centuries, is characterised by pale stuccoed exteriors with Classical-style mouldings and bay windows. Even the modest two- storey terraced houses which spread rapidly across the steeply sloping landscape in the mid-19th century display some elements of this style.

Also under Mamluk rule, the construction of religious buildings such as madrassas, mosques, khanqas and commemorative mausoleums proliferated in Palestine and these constitute some the finest examples of medieval architecture in the Middle East. Mamluk architecture in Jerusalem was characterized by the use of joggled voussoirs, ablaq masonry, muqarnas mouldings, and multi-coloured marble inlay. In Ramla, the Crusader church was converted into a mosque and the Great Mosque there was rebuilt. One of the most beautiful Mamluk era structures is the tomb of Abu Hurayra in Yibna.

Weld lines therefore occur during machine start-up, when equilibrium conditions have not been met. Mouldings made in this setting-up period must be rejected. There are many Computer Aided Engineering tools that are available that can predict where these areas could occur, but a skilled designer will be able to predict where such defects can be found by examining the tool or product. Weld lines are not found in other manufacturing methods such as Rotational moulding, but can exist in extrusion, especially where there are internal metal supports for a die.

The official pictures of the new C3 were revealed on 29 June 2016. The C3 takes front styling cues from the facelifted Citroën C4 Picasso, as well as the Grand C4 Picasso and receives side Airbump mouldings from the Citroën C4 Cactus, and is available with Airbumps or without them. Rear view Interior of Citroën C3 It is offered with a choice of nine exterior colours, and three contrast shades that appear on the roof, foglight trims, side mirrors and Airbump surrounds. Citroën claims the range will offer a total of 36 different colour combinations.

Corbels are short cantilevering beams or projections that serve to facilitate the connection of beams with columns. They are usually made of timber, granite or concrete and ornamented with carvings or mouldings and occasionally are part of the overall ornamentation of the columns and beams. In Gedung Kuning, they are physically small in size and made out of concrete or plaster but their absence would be a significant departure from the original expression of the house and without them, the junction between the beam and columns would appear incomplete.

The Jensen 541 is an automobile which was produced by Jensen Motors from 1954 to 1959. It was first exhibited at the London Motor Show in October 1953, and production started in 1954. The 541 used fibreglass bodywork mounted on a steel chassis and was fitted with a straight-six engine, three SU carburettor version of the 4-litre Austin engine and four speed transmission with optional Laycock de Normanville overdrive. The body consisted of three major mouldings and the entire front was rear hinged and could be raised for engine access.

According to Rodney Dale, the upper shell mould was "one of the largest – if not the largest – injection mouldings of its type in the UK: possibly even in the world". The manufacturing process reflected Sinclair's ambition for the C5 production line. A single mould set was capable of producing up to 4,000 parts every week. The two parts of the shell were joined together by wrapping a tape around the joint, aligning them on a jig, pressing them together and passing an electric current through the tape to heat and melt it.

Built in 1245, the church has the typical Franciscan pattern: a large nave ending in an apse with a groin vault, flanked by two smaller side-chapels also with groin vaults. The facade holds a lancet-arched main doorway with three small columns in a recess, and a large circular window set above. In the apse are the mouldings of the partially walled Gothic windows. On the left the eastern wing of the cloister is visible, where there are two windows, now filled with masonry, and an arched doorway belonging to the Chapter House.

Church interior and nave North-west view of Saint Michael's Square St. Michael's Church is a freestanding gable-fronted Roman Catholic church built of limestone with pitched slate roofs with cut-stone eaves courses. The spire has octagonal-plan corner pinnacles with gargoyles diagonally to corners. It has triple lancet window openings to the upper part of the gable-front with continuous hood- moulding and stained-glass windows. The front elevation of the side-aisle of the ground floor of the tower has cinquefoil-headed double-light window openings with under carved hood-mouldings.

The doorway has Ionic pilasters and a tympanum decorated with the implements of war. In 1716 the architect William Killigrew was commissioned to rebuild St John's Hospital which was founded around 1180, by Bishop Reginald Fitz Jocelin and is among the oldest almshouses in England. The 2 storey Bath stone building has a heavy ground floor arcade of round- headed arches on pillars, and retains its original window mouldings and sashes. Building work continued after 1727 under the 23-year-old John Wood, the Elder, his first commission in Bath.

SFU at Downtown Segal campus A 1916 building located at the corner of Granville and Pender Streets in downtown Vancouver, the Segal Graduate School is home to SFU's graduate business programs. It honors the university's former chancellor and SFU Beedie School of Business supporter Joseph Segal. Opened in 2005 and previously the Western Canada headquarters for the Bank of Montreal, the building underwent a $20 million renovation under architect Paul Merrick. The designers were able to retain many of the building's original features and materials, including marble columns, decorative plaster mouldings and stair balustrades.

Supermarine Aircraft is not related to the original British Supermarine company, although the owners of the Supermarine marque have given their permission for the name to be used. The first production model was named the Spitfire Mk25 and was a 75% scale replica of the original Supermarine Spitfire design. The stressed skin structure consists of 2024 aluminium alloy skins, formers and longerons with some fibre-glass mouldings for parts such as fairings and air scoops. The design features electrically-operated retractable undercarriage, with differential braking to the main wheels, and landing flaps.

Those that remained in situ throughout the nineteenth and twentieth centuries suffered the onslaught of weather and especially pollution. The metopes were removed from the building in 1988-1989 and deposited at the Acropolis Museum of Athens, along with southern XII. They have been replaced by cement mouldings on the Parthenon. South I, XXIV, XXV and XXVII to north XXXII and the fourteen metopes of the west facade are still in place, sometimes in very bad condition (West VI and VII have lost all their decor), sometimes intact (South I and North XXXII).

Three were known to have been made. Graham McRae with Steve Bond of Gemini Plastics imported a replica Le Mans M6B styled GT mould in 1968, The cars were made and sold by Dave Harrod and Steve Bond of Fibreglass Developments Ltd, Bunnythorpe as the Maram. McRae went on to make a Porsche Spyder replica in the 1990s. A number of new companies entered the market in the 1980s – Almac 1985, Alternative Cars (1984), Cheetah (1986), Chevron (1984), Countess Mouldings (1988), Fraser (1988), Leitch (1986), and Saker (1989).

Columns, where used, are massive, as in the nave at Gloucester, and are alternated with piers at Durham. Mouldings were cut with geometric designs and arcading was a major decorative form, particularly externally. Little figurative sculpture has survived, notably the "barbaric" ornament around the west doors at Lincoln, the bestial capitals of the crypt at Canterbury and the tympanum of the west door at Rochester. alt=A view into the north transept at Salisbury shows a harmonious arrangement of lancet arches rising in three tiers of various sizing and grouping.

On the northern side of the hall, one of the doorway landings has been fully enclosed, with the outside stairs being removed. The shop awning has also been simplified, losing its original mouldings and detailing. Five rotating galvanised iron vents were added sometime after 1938, projecting from either side of the ridge of the roof, and these were replaced with new vents recently. The first floor rooms above the shops now have three triple-hung sash windows, instead of the original small pane casement windows, which can be seen around the rest of the hall.

A fleuron is a flower-shaped ornament,"Fleuron" Oxford English Dictionary Second Edition on CD-ROM (v. 4.0) © Oxford University Press 2009 and in architecture may have a number of meanings: # It is a collective noun for the ornamental termination at the ridge of a roof, such as a crop, finial or épi. # It is also a form of stylised Late Gothic decoration in the form of a four- leafed square, often seen on crockets and cavetto mouldings. # It can be the ornament in the middle of each concave face of a Corinthian abacus.

364–65; available at Google books here. and a Barbadian staff, Messel transformed it using the trademarks of his theatrical design: slender Greek columns, flattened arches, white-on-white interiors splashed with bright spots of colour, elaborate plaster mouldings – an easy mix of baroque and classical. It was his use of the materials and traditions of island architecture that was truly innovative. Wealthy friends commissioned Messel to design houses for them, both on Barbados and Mustique, and thus began what architect Barbara Hill described as "his work … of converting quite ordinary houses into wonderlands".

The main entrance foyer on Spence Street still retains early black and white floor tiling and has some white-painted wood arching, elaborate plaster cornices and ceiling mouldings. Above the suspended ceiling of the first floor there are still substantial remains of the original ceiling, including decorative, pressed metal panels and scrolled concrete capitals associated with some of the internal columns. The second floor, which cannot be accessed by the public, retains its original open plan. The ceiling consists of permanent formwork of curved corrugated iron sheets resting on exposed iron beams.

However, the Juara's unconventional kei car dimensions and van-like design was not well received by the Malaysian public. Nonetheless, the Juara's unique package makes it highly versatile and practical. It offers three rows and up to six individual seats, depending on the configuration. Both the second and third row seats can be moved, removed or folded with ease. The overall looks of the Juara remained largely unchanged over the Mitsubishi Town Box Wide which it is based on, bar the unique Proton corporate front grille, front bumper, bodyside mouldings and 14-inch alloy rims.

In 1840 he made a tour of what he called "the very cream" of Norfolk churches, in the course of preparation of his designs for Cheadle, drawing details of mouldings, tracery patterns and canopy work. His sketchbook from the tour survives in the Victoria and Albert Museum. East Anglican porches were Pugin's source of inspiration for the stone-vaulted south porch of St. Giles'. He studied surviving rood-screens in Norfolk, and the one at Castle Acre appears to have been particular favoured in his preparations for the Cheadle screen.

Pevsner criticizes the mouldings of window- frames, frieze and volutes of the door-hood brackets as "characteristically overdone", and mentions Wood citing its "profuse ornament" which was typical of a mason rather than an architect. Chute remained as manager and employed Charles Kean and Ellen Terry to play in A Midsummer Night's Dream on the opening night, 3 March 1863. Initially the reopened theatre struggled to become profitable despite appearances by Henry Irving among others. In 1885 William Lewis took over as the lessee and was followed, in 1892, by his son Egbert Lewis.

Opened on 16 September 1912,The Dream Palaces of Liverpool: Harold Ackroyd, the ‘Lime Street Picture House’ was a very upmarket city centre cinema, with a Georgian styled facade & a French Renaissance interior. The grand entrance foyer had a black & white square tiled floor and the walls were of Sicilian marble. It housed a luxurious cafe on the 1st floor and the auditorium was designed to have the effect of a live theatre with an abundance of architectural features, embellished by plaster mouldings. It provided seating for 1,029 patrons.

This represents a very early example by Sussex standards, dating from a period when stained glasswork was moving from the grisaille style and the basic Tree of Jesse towards Biblical figures. The nave and chancel were structurally divided in the early 14th century by a horseshoe-shaped chancel arch built of clunch and covered with elaborate decorative mouldings. The remains of a contemporary wall painting are visible above it, and on each side there is a recess—the left-hand one of which has a carving of a human hand on its corbel.

Blunt considers whether Pietro da Cortona with his design for Santi Luca e Martina or Francesco Borromini at San Carlo alle Quattro Fontane was the first to plan a curved church facade and decides in favour of Cortona, p. 76-77. The columns of the ground storey are pressed into the wall rather than projecting as a spatial entity like the entrance portico at Santa Maria della Pace. Other elements such as pediments and mouldings are allowed to project between the columns to create spatial tensions which are reminiscent of Florentine Mannerism.R. Wittkower, 1985, p.

The most import and impressive feature of the church is the round-headed chancel arch the mid 12th century. This arch has six elaborately decorated orders on ornamental capitals. The inner order is roll-moulded, the second has beak-heads, the third has zig-zags and continuous crenellation, the fourth various heads including those of a king and queen, figures, animals, a green man and foliage and the fifth with zig-zags and the sixth an abstract version of beak mouldings. The outermost edge of the arch is decorated with billet moulding.

Following the initial divestitures, the company focused on core businesses, including OSB, siding; engineered wood products, and plastic building products (vinyl siding, composite decking and mouldings). In December 2002, Louisiana-Pacific Corporation (LP) finalized the sale of 33,000 acres of timberland near Oakdale, Louisiana, to Barrs & Glawson Investments, LLC for approximately $30 million. Throughout 2003 LP continued to sell Timberland in Louisiana, Texas, Idaho along with several mills related to the company's divestures. The timberland portion of the company's divesture program exceeded the initial $700 million target by more than $50 million.

The former Stratford Explosives Magazine, currently used as a storage facility for the adjoining sawmill, is located on a level site fronting Magazine Street to the south and surrounded by worksheds to the north and west. The magazine consists of two structures, an explosives store and a store for detonators. The explosives store is a symmetrical, rectangular building with a hipped corrugated iron roof on which the word EXPLOSIVES is still visible. Three square ridge ventilators, in sheet metal decorated with classical mouldings, are prominent on the roof.

The ticket hall, or rotonde, located under the Place du Havre between the stations of lines 12 and 13 has been called "one of the architectural masterpieces of the Métro". It was designed by the architect Lucien Bechmann in the form of a large rotunda, a legacy of the former Nord- Sud company. Its metallic vault, comprises eight interlocking pillars, is adorned with mouldings and ceramic tiles with light brown and green motifs, while the vault is tiled in white with green friezes. Pillars regularly receive backlit advertising posters during certain event campaigns.

There are three halls and two courtyards at King Law Ka Shuk, which is a traditional Chinese building with a functional design and elegant ornamental features. Geometric plaster mouldings can be found on the roof ridges and wall friezes while for the internal eave boards, patterns of leafy and motifs are used. To support the roof, there are two drum terraces, each having two granite columns, in the front of the study hall. An altar with six levels, which is intricately carved, can be found in the main chamber of the study hall.

Gunports of this type were invented in England in the 1520s. Also in that century, the walls were raised to add a third storey and several windows with hood mouldings were added. In 1530, Gerald FitzGerald, 9th Earl of Kildare garrisoned and fortified the castle. Woodstock Castle was an important site during the Irish Confederate Wars (1641–53); originally commanded by Pierce FitzGerald, in 1642 it was taken from the rebels by James Butler, 1st Marquess of Ormond; it was in turn taken by Eoghan Ruadh Ó Néill in 1647, and he massacred the garrison.

The second story has side by side windows over the bay and a single window above the paired windows. West elevation of the main section is a duplication of the east except there is but one window on the first floor nearer the rear. There is a wide wood frieze with center and top mouldings on the main section and wood soffit on the roof overhang with moulded wood eaves. There is one brick chimney which is located at the center of the exterior north wall of the main section.

All these coaches had the new low waist and were wood panelled with full outside beading. However, a much larger group of low-waisted vestibule coaches was the , 56 seat version of which 300 were built in 1931-2 and differed from the version in that they were steel clad with simulated external beading in paint. They did, however, follow the Period II style in all other respects and retained the raised window edge mouldings. Eventually in 1930–31, the new low waisted style was adopted for all corridor stock too.

Fireplaces, mantelpieces and mirrors were removed, as were wall paintings and mouldings, and smaller rooms were combined to create larger exhibitions spaces. The dance hall and large theatre were completely reworked, with windows being filled in and replaced with skylights. Few of Rossi's interiors were retained, though the reconstruction was carried out in the neoclassic style to fit with the original designs. Concrete ceilings were also fitted to protect against attic fires, and the central heating system was overhauled, as well as measures to improve the ventilation and water supply.

Pruning, as a silvicultural practice, refers to the removal of the lower branches of the young trees (also giving the shape to the tree) so clear knot- free wood can subsequently grow over the branch stubs. Clear knot-free lumber has a higher value. Pruning has been extensively carried out in the Radiata pine plantations of New Zealand and Chile, however the development of Finger joint technology in the production of lumber and mouldings has led to many forestry companies reconsidering their pruning practices. "Brashing" is an alternative name for the same process.

The ceiling is supported by steel posts and beams clad with timber sheeting and embellished with decorative timber mouldings. The showroom to the west side is floored towards the front with red brown terrazzo, presumably to display cars to the best advantage. This area is notable for a pair of steel lattice trusses, which support the concrete floor above, and has stairs to the upper storey that are no longer in use. Windows to the south, east and west light the upper storey, which also has a battened ceiling, though the central section is missing.

On one house near the river, that celebrated subject, the fox preaching to geese, is carved in graphic allusion to the dissemination of false doctrine. Of mantelpieces, there is a good example in the Rouen Museum. The overhanging corners are supported by dragons and the plain mouldings have little bunches of foliage carved at either end, a custom as common in France during the 15th century as it was in England a century earlier; the screen. beam at Eastbourne parish church, for example. As a rule, cabinets of the 15th century were rectangular in plan.

In 1861, the direction of the theatre was assumed by Albina di Rhona, a Serbian ballerina and comic actress. She renamed it the New Royalty Theatre, and had it altered and redecorated by "M. Bulot, of Paris, Decorator in Ordinary to his Imperial Majesty, Louis Napoleon", with "cut-glass lustres, painted panels, blue satin draperies and gold mouldings". In the opening programme, di Rhona danced, the leader of the Boston Brass Band from America played a bugle solo, and a melodrama, Atar Gull, was performed, with a 14-year-old Ellen Terry in the cast.

A parapeted gable rises above the central section, which incorporates clerestory windows in each side elevation. The clock tower is also located within the central section, positioned to the southern side of the central entrance. It is a substantial square-planned brick tower, and comprises the tower, which has a clock face in the upper section of each elevation, surmounted by a belvedere with a cupola above. Various mouldings in cement render are located above and below the clock faces and a Coat of Arms addresses the intersection of King and Channon Streets.

The deck and inner mouldings have a moulded-in non-slip pattern on the decks and side benches. The inner edge of the side deck is contoured, making the boat comfortable to sit inside, and also comfortable to the backs of the legs when sitting on or hiking out over the side decks. A marine plywood case houses the centreboard, and it also supports the cross-thwart - which is made from solid mahogany. Moulded into the back is a useful locker with a marine ply hatch though not watertight.

In 1843, he bought the Tyntes Place estate near Wraxall, Somerset, which lay only from the centre of Bristol. In 1854 Gibbs commissioned John Gregory Crace to redecorate 16 Hyde Park Gardens, and then extended the contract to Tyntes Place which he renamed Tyntesfield. In both properties principal rooms, Crace installed wood panels and gold inlays, with oil-varnished woodwork and mouldings, and Gothic fireplaces. Tyntesfield had been demolished and rebuilt only 30 years before Gibbs purchased the property, and then remodelled by Robert Newton of Nailsea shortly before Gibbs purchased it.

The grand circle was rebuilt, after an absence of 50 years. Two curving staircases in the expanded main foyer and other features retain some of the original Edwardian-era Art Nouveau elements, including a pressed metal ceiling, elegant architraves and mouldings. Other features include custom-built curved timber balcony fronts in the auditorium, foyer bars on all three levels, a larger backstage rehearsal room and a huge glass façade to the new west wing. The theatre's "signature wall", formerly in the basement, was deconstructed and reinstalled brick by brick in a central position backstage.

The tower's domed cylindrical stair-hood The Torre dello Standardo's design is similar to the coastal watchtowers such as the De Redin towers that the Order built in Malta during the 17th century. It has the same basic layout, with two floors and a scarped base. However, this tower is of finer construction than the coastal towers, having decorative Baroque elements such as mouldings, as well as escutcheons containing the coats of arms of De Vilhena and the city of Mdina. The sculptural details are the work of Francesco Zahra.

The industrial products division was sold to become Dunlop Industrial Products and Dunlop Rubber Mouldings. The tyre business, Dunlop Tyres International, was bought by Apollo Tyres of India in 2006. Apollo Tyres were never comfortable with, nor fully committed to the Dunlop Brand and sold most of the company (including all of the Dunlop Tyre trademark rights in Africa) to Sumitomo Rubber Industries in 2013. Dunlop Tyres International had owned the rights to various Dunlop brands in a number of countries outside South Africa, and these rights were sold to Sports Direct in 2006.

This space has a raised ceiling with plaster mouldings including a deep cornice with recessed lighting, laurel relief, ornamental ventilation panels and a centre glazed skylight, which no longer admits natural light. There are sections of original joinery throughout the building, including doors with etched glass panels into the former dining room, internal doors, architraves and skirtings. The building has false ceilings and air conditioning throughout. There are sections of marble tiled floor in the foyer and former Palm Lounge, now the Telecine room, but they do not match early photographs of these areas.

Queensland Building, viewed from Flinders Street, 2009 The Queensland Building is located on the south east corner of Wickham and Flinders Streets, Townsville, and has been designed to make the best use of its position with frontages to both streets and a corner entrance. It is across the street from the former headquarters of Burns Philp and Company which has similarities of form and detail. The Queensland Building is a 3-storey structure of rendered brick in a free classical style with arcades at each level. There are pronounced cornice mouldings marking each storey.

The small spaces that develop from fitting a rectilinear floorplan into an octagonal space are used as coat nooks, and on the west side of the house, as a stair closet. The door frames and mouldings are hand carved in a simple medallion pattern. There have been at least two additions to the structure—the first, sometime before 1920, removed the rear porch and added a kitchen addition to the southwest corner of the house. Upon purchasing the home in 1951, the Hawley family added a small bedroom extension at the structure's rear southeast corner.

The arches are supported on massive columns, generally plain and cylindrical, sometimes with spiral decoration; occasionally, square-section piers are found. Main doorways have a succession of receding semicircular arches, often decorated with mouldings, typically of chevron or zig-zag design; sometimes there is a tympanum at the back of the head of the arch, which may feature sculpture representing a Biblical scene. Norman windows are mostly small and narrow, generally of a single round-headed light; but sometimes, especially in a bell tower, divided by a shaft into two lights.

Although polymers usually possess quite different properties to metals and ceramics, they are just as susceptible to failure from mechanical overload, fatigue and stress corrosion cracking if products are poorly designed or manufactured. Many plastics are susceptible to attack by active chemicals like chlorine, present at low levels in potable water supplies, especially if the injection mouldings are faulty. ESEM is especially useful for providing elemental analysis from viewed parts of the sample being investigated. It is effectively a technique of microanalysis and valuable for examination of trace evidence.

All stone detailing, including tracery and window surrounds, mouldings, carvings, copings, chimneys is of smooth faced sandstone. The corrugated iron roof is generally hipped, and gabled over the transverse wings. Three dormer windows project through the roof on the northern and southern faces of the central wing of the building. The entrance facade, addressing Locke Street, consists of the central bay, the gabled ends of the transverse wings, a prominent entrance porch and the bell tower, attached to the building at the intersection of the central bay and the eastern, chapel, wing.

To the northern (rear) of this bay the verandahs are timber framed with simple turned balusters, stop chamfered columns and fretwork brackets and infill mouldings. To the south of the central bay the verandah is stone on the ground level and timber above. The verandah fascia, at first floor level, is lined with a decorative timber panel with trefoil arched cutouts. Internally, the building is arranged around a central corridor running east west through both levels of the building from which smaller rooms are accessed, with major rooms in the transverse wings.

Geographically, the building is aligned on a northwest-southeast axis but this description treats this axis as the west-east liturgical axis, e.g. the northwest elevation is regarded as the west for liturgical purposes. St John's Church stands prominently to the corner of Cunningham and Drayton Streets, Dalby and is set within extensive grounds. An elegant composition in the Gothic revival idiom, the building is sheltered by a steeply pitched roof clad with fibrous cement shingles and the buttresses and external walls are of brown facebrick embellished with white cement copings and mouldings.

These windows have hood mouldings and traceried awnings. Tripartite elongated rectangular window openings are found on the upper, cement rendered, section of the tower. The north and south elevations of the church consist of the transepts with small entrance porches and the nave and 1939 chancel extensions. Entrance is through a pointed arched opening above which is an inverted eyelet window in the transept porches, which have steeply pitched gabled roofs, with smooth faced sandstone coping terminating in carved corbels at the base of the sides of the gable.

The Fairmont was also fitted with chrome insert side body mouldings and carried over the tail light lenses from the previous EF model. The Fairmont Ghia offered a combination of luxury and performance, which was emphasised most effectively by making use of the six-cylinder engine fitted to the XR6, with the V8 remaining optional. Due to the implementation of a quieter exhaust, the Ghia suffered from a slight loss in output compared to the XR6. Limited slip differential provided better handling than the Fairmont, as did improved variable ratio power steering.

The entrances to the building are on the north and south faces through pointed arch timber double doors with carved inscriptions on either side. The sandstone door surrounds feature a gable carved with trefoil motifs above a hood mould. The sandstone battlement also features trefoil motifs, and is punctuated with curved gables surmounting the buttresses. Other sandstone dressings include hood mouldings and toothed surrounds to windows, thin pilasters crowned with small spires which link the dormers to the windows below, and two courses of rough hewn stone at the base.

The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. Bomera is significant as an early example of the Italianate Villa style and because its designer, John Frederick Hilly, was one of the most important Sydney architects of the nineteenth century. Tarana retains fine original joinery, fireplaces, plaster mouldings and leadlights typical of the period. Also, because it may have been designed by Edward Harman Buchanan, it is a good and rare example of his house designs.

The last remodeling of the interior came in the late19th and very early 20th centuries. The project was sponsored by Father José María Galván and done by artisan Joaquín Orta Menchaca, using new techniques to sculpt flowers, other vegetative motifs, mouldings and more in plaster and ceramic on the walls of the church. All of these and the remaining flat spaces on the walls and ceiling were painted in various colors. This style has been repeated in the Church of San Francisco in Tlalpujahua and the Sanctuary of Guadalupe in Morelia.

Those of the lower storey have semi-circular heads and are surrounded by continuous mouldings of a Roman style, rising to decorative keystones. Beneath each window is a floral swag by Grinling Gibbons, constituting the finest stone carving on the building and some of the greatest architectural sculpture in England. A frieze with similar swags runs in a band below the cornice, tying the arches of the windows and the capitals. The upper windows are of a restrained Classical form, with pediments set on columns, but are blind and contain niches.

The main internal space of the cathedral is that under the central dome which extends the full width of the nave and aisles. The dome is supported on pendentives rising between eight arches spanning the nave, choir, transepts, and aisles. The eight piers that carry them are not evenly spaced. Wren has maintained an appearance of eight equal spans by inserting segmental arches to carry galleries across the ends of the aisles, and has extended the mouldings of the upper arch to appear equal to the wider arches.

At its centre the vault is supported by a remarkable structure of angled piers. Two of these are placed as to complete the octagonal shape of the Lady Chapel, a solution described by Francis Bond as "an intuition of Genius". The piers have attached shafts of marble, and, with the vaults that they support, create a vista of great complexity from every angle. The windows of the retrochoir are in the Reticulated style like those of the Lady Chapel, but are fully Flowing Decorated in that the tracery mouldings form ogival curves.

It has a cornice interrupted by rounded mouldings, an arched entrance flanked by columns with decorative capitals and a recessed bronze door. The Ford family's Gothic Revival mausoleum, another Grade II-listed structure, dates from 1889 and resembles a columbarium with its steep gabled roof and multiple openings. It is of stone with pink granite columns and a base surrounded with iron railings. Members of another local family, the Rays, are buried in "the grandest memorial in the cemetery"—a giant mausoleum which is nearly attached to the chapel.

Dog-tooth ornament In architecture, a dog-tooth or dogtooth pattern is an ornament found in the mouldings of medieval work of the commencement of the 12th century, which is thought to have been introduced by the Crusaders. The earliest example is found in the hall at Rabbath Ammon in Moab in Jordan (c. 614) built by the Sassanians, where it decorates the arch moulding of the blind arcades and the string courses. The pattern consists of four flower petals forming a square or diamond shape with central elements.

Faenol Fawr, Bodelwyddan. Decorative beam mouldings in older house to north and now linked to main building This is likely be earlier 16th century in date.This house is called the second house in the RCAHMW records, but is omitted from the listing details RCHMW Field Notes It appears to have been a two storied, hall house, with cruck framing and stone walls. The evidence for the cruck roof is from a photography the Rev N W Watson,Bezant Lowe, W. ‘’The Heart of North Wales’’, Vol 2, Llanfairfechan, 1927.

End-on shot of 15 different moulding planes. A highly detailed description of each plane is present on the image page itselfIn woodworking, a moulding plane (molding plane in US spelling) is a specialised plane used for making the complex shapes found in wooden mouldings. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge.

The bases support pillars which are interpreted as candelabra. The lower parts of the candelabra are decorated with a shallow relief of acanthus leaves. Calligraphic differences in the incised text, varying positioning of the words and differences in the depth of the relief and the mouldings, imply that the two cippi are separate offerings, carrying the same inscription because the patrons were brothers. When the Greek inscription was published in the third volume of the Corpus Inscriptionum Graecarum in 1853, the cippi were described as discovered in the coastal village of Marsaxlokk.

Brown's Warehouse is a two-storeyed brick building with a parapeted, corrugated iron gable roof and a rendered facade to Wharf Street. This symmetrical facade consists of a central, arched recessed entry and flight of steps with iron gates and an arched sash window to either side. The first floor has a central sash window with J.E. BROWN ESTAB 1857 in relief above, with twin arched sash windows to either side. Render mouldings include a cornice and brackets following the gable with finials to the centre and corners, and window surrounds with horizontal cornice banding.

Some of the AEC Regal IV RFs had been refurbished in the 1960s, with twin headlights, curved windscreens, new side mouldings and improved interiors, mainly allocated to Green Line services. There were 14 Willowbrook bodied AEC Reliances at Hertford garage, which had been bought by London Transport in 1965. By 1975 they were on bus work, which some thought was idiosyncratic when vehicles twice as old were still on Green Line work. The Green Line services were largely operated by AEC Routemaster coaches and AEC Regal IV RFs.

Bridge at Stanton Drew The narrow limestone bridge over the River Chew is possibly 13th or 14th-century in origin with more recent repairs. The bridge spans about 12 metres, about 5 metres across footway, parapet wall to each side, about one metre high. Each side has two pointed arches with chamfered mouldings and relieving arch, central cutwater with off-sets to each side and pyramidal stone top, inner ribs to vaults; on east side, oval plaque with illegible inscription and strengthening with exposed steel girder. Ancient Monument Avon no. 162.

Decoration is minimal but the form of the shaft with simple stepping, string courses and small panel oval and square windows is typical of restrained Colonial Georgian building work. It was also reported that the government stores already had a catoptric lens apparatus available that has been purchased in 1853. The wing for staff quarters in an "I" plan with enclosed verandahs either side. This building probably s building having very good ashlar work to external walls with each elevation recessed within a frame of foundation, eaves and quoin mouldings.

The topmost level has a cantilevered iron and timber catwalk and the metal pitched roof is surmounted by an observation fleche. Decoration is minimal but the form of the shaft with simple stepping, string courses and small panel oval and square windows is typical of restrained Colonial Georgian building work. The wing for staff quarters in an "I" plan with enclosed verandahs either side. This building probably s building having very good ashlar work to external walls with each elevation recessed within a frame of foundation, eaves and quoin mouldings.

The verandah has paired timber posts, a panelled frieze with timber mouldings, a timber rail supported by scroll shaped brackets, and wide timber entrance steps. The twin entrance doors with fanlight are framed by timber pilasters, and the paired timber sashes to either side have wide timber surrounds with deep cornices above. The eastern side has undergone a number of changes resulting in a variety of window types, including paired sashes to the front banking chamber and hoppers to the rear. The western side has paired timber sashes with timber batten window hoods.

Other parts included mouldings for the two doors and bonnet, plus door gas struts, hinges and catches, and four side windows in moulded acrylic sheet. The front and rear screens were not in the kit, but could be sourced as the rear screens of 1970s Vauxhall estate cars. The kit was produced from 1975 to 1976. The design changed several times throughout the production run of less than 20, including restyling of the rear end, and the provision of separate engine cover, headlight covers, instrument box, and sunroof panels.

He worked confidently in a classical idiom in his country houses, when necessity or the spirit of place demanded it, as Norman Shaw, Edwin Lutyens and, in the Cotswolds, Guy Dawber had done. The Lindens, Norwich (1921), and The Garden House, Westonbirt, are some of his most successful essays in a whimsical, vernacular classicism, with characteristically fine plasterwork detail and restrained use of mouldings. He travelled whenever he could in Italy, making sketches of architectural details, lettering, farm carts, landscapes and village scenes. Many of these are now at Owlpen Manor in Gloucestershire.

The diptych is highly illusionistic.Borchert, 61 The predominant colours are multi-layered shades of white and black, intended to mimic stone sculpture creating a sense of living statues. The painted frames and mouldings are very early examples of trompe l'oeil, with faux spoken inscriptions. They contain the words of the Angel and Mary (from Luke 1: 26–38), and read; by the Archangel: Hail, full of grace, the Lord is with thee, and from Mary: ('Behold the handmaiden of the Lord; be it unto me according to thy word.

St Mary's Cathedral in the Victorian Gothic style In the 1860s, architecture in Sydney focussed more on style than consideration of the building's function in relation to its setting and climate. An increase in Italian immigrants influenced residential construction which manifest itself in a growing popularity of surface ornamentation, plasterwork, squared massing, arcades and loggias, and square towers. The simplicity of early colonial architecture was replaced by decorative facades using ornate cast iron with higher ceilings featuring elaborate mouldings. The Queen Victoria Building in the Victorian Romanesque style.

The Throckmortons owned the Buckland estate since 1690, living in the manor house but it was Sir Robert Throckmorton, the fourth baronet of Coughton, who commissioned John Wood (the Elder) of Bath to design the new Buckland House as a shooting lodge and weekend retreat. John Wood, the Younger substantially revised the plan and added the distinctive octagonal pavilions to the sides of the house. The final house is illustrated in the 1767 volume of Vitruvius Britannicus. The house includes features such as marble fireplaces, exquisite mouldings, cornicing and painted ceilings.

The ground floor is finished in rusticated bugnato ashlar, the first floor, separated from the second with bas-reliefs of heraldic symbols, has windows crowned with garlands and decorative mouldings. Some of the rooms still have period decorations, the most famous of which is the gallery decorated with frescoes by Martin Knoller and stuccos by Giocondo Albertolli. Rinaldo's room, also decorated by Knoller, was inspired by Torquato Tasso's epic poem Jerusalem Delivered.Attila Lanza and Marilea Somarè, Milano e i suoi palazzi: porta Vercellina, Comasina e Nuova, 1993, Vimercate, Libreria Meravigli editrice, p. 156.

The square planned columns are paired flanking the central Richmond Street bay. The pilasters support a detailed entablature with a projecting cornice with stylised Corinthian order detailing, including dentil mouldings and modillions (or small scrolled bracket giving the impression of supporting another projecting moulded band of the cornice). Surmounting the cornice of the building is an Italianate parapet, formed by a balustrade of elongated urns separated with panels aligned with the pilasters on the face of the building. On the parapet over the two central bays are flat rendered brick panels.

Metamorphic or dual purpose furniture was also popular for bachelors who typically had smaller lodgings and had to make use of their limited space. A library table that turned into a set of steps would also be useful in a larger house that did not want the steps constantly on view. It is often thought that the Wellington Chest must be a piece of campaign furniture because it was named for the 1st Duke of Wellington. The vast majority were not made with travel in mind as they have over hanging mouldings or bases etc.

To the east of the garbha griha is the moulded platform of a Nandi-mantapa, featuring the image of a seated Nandi. The temple also features a pranala, a stone structure used to drain out water used during devotional activities, and an antarala, or foyer, connecting to a mantapa with a ruined entrance porch. The river goddesses Ganga and Yamuna are still visible at the entrance to the mantapa. The temple sits on a raised platform, with five layers of mouldings, decorated with 8th-century carvings of horses, elephants, lions, peacocks, and flowery vine designs.

The principal entrance is through the tower at the west end. The piers and arches of the nave are very Early English, hardly removed from Norman. Two of these arches on each side, divide the nave from the aisles; those of the south side are supported by an octagonal pillar, and those on the north rest upon a massive round pillar, with foliage mouldings. Three decorated windows of three lights, one being in the east end, light the south aisle; and two modern sash windows have been inserted in the north aisle.

It is built of sandstone quarried from the banks of the Wingecarribee River, and features four equal bays running east–west with a northern porch and southern vestry. The stonework is laid in ashlar coursing with simple hood mouldings to windows and relatively small buttresses to corners along north and south sides. A small gabled porch with boarded doors is located on the north elevation. The west elevation features a single lancet-headed window with stone tracery, stained glass and a small stone belfry with a conical roof at the apex of the gable.

The shaft is usually surmounted by a plain or decorated capital. A variety of decorative designs are employed, including foliage, emblems like thistles and roses, armorial shields, and mouldings of the egg-and-dart type. Preston Cross in Prestonpans Five crosses: at Edinburgh, Dundee, Perth, Aberdeen and Preston (modern Prestonpans) were supported by a drum-shaped understructure, known as a cross-house, with a platform reached by internal steps or ladder. In the case of Aberdeen's late 17th-century cross the platform is supported by a series of open semi-circular arcades.

Above this is a smooth faced marble step capped with cyma recta mouldings and a leaded unveiling inscription on the front face. This is surmounted by a marble plinth carved to represent chamfered blocks and capped with a simple cornice. Rising from the plinth is the pedestal comprising recessed square plates of a finer marble with engaged pillars at each corner. The recessed plates bear the leaded names of the 292 local men who served in the first World War, including the 38 fallen whose names are recorded on the front face.

The clerestory windows are glazed with green tinted cathedral glass. There are some windows of two lights in the aisles, and a three-light one at the east end of the north aisles. The chancel arch is pointed and well proportioned. Beneath it is a low screen, coloured in the mouldings and panels, with green and red on a white ground, and a pair of highly finished solid gates of brass enriched with enamelled work, and supported by two brass standards, tufted with flowered finials representing the sun-flower.

The gaps were filled in between 1880 and 1885 when smaller terraced houses, mostly of two storeys and featuring the canted bay windows and decorative mouldings characteristic of Brighton's Victorian residential architecture, were built. Although building plots were mostly developed individually by small-scale builders, the Stanford family stipulated the general layout and appearance of the houses; builders could work to their own designs, but only within these limitations. The later houses were mostly built of cheap brick or bungaroosh—a low-quality composite material—which was then faced with protective render.

The works included the addition of a substantial residence in 1892. The original postal service in the town dates back to 1873, with the establishment of a weekly mail service between Bourke and the Cobar Mine. The post office's relationship to the historic Cobar Council Chambers to the north, enhances this aspect of significance. Criterion E: Aesthetic characteristics Cobar Post Office, although an altered and evolved building has a strong visual presence in its streetscape context, enhanced by the unpainted face brick exterior and contrasting white rendered bands, decorative mouldings, dressed stone sills, and detailing.

27 The Hoysala emblem (the sculpture of a legendary warrior "Sala" fighting a lion) is mounted atop one of the Sukanasi. Of the four towers, three are undecorated and they look stepped pyramidal with a pile of dented horizontal mouldings with the kalasa on top. The fourth tower is very well decorated (which is typical of Hoysala designs) and this is the tower of the main shrine that houses the Lakshmi Devi image. Doorjamb and lintel relief decoration in Lakshmidevi temple at Doddagaddavalli The mantapa is open and square.

Many of the original interior of the building has been lost but the plaster ceiling mouldings and the fireplace are original, as are the wooden side cupboards, the window panels and window seats. It was the venue for the first post-war meeting of the Congres Internationaux d'Architecture Moderne in 1947.CIAM Conference, Bridgwater, Somerset Number 9 was purchased by Bridgwater Borough Council in 1966, which then passed into the ownership of Sedgemoor District Council in 1974. Number eleven Castle Street was acquired as part of the arts centre in 1982.

In each portion, except the second from the west, are pointed windows of three lights, with elegant tracery in the sweep of the arch; in the remaining division is a pointed doorway, with a trefoil head and pedimental canopy. The clerestory exhibits five small pointed windows, and the finish is an embattled parapet. The transept, though much mutilated and defaced, is an interesting specimen of early architecture. It has heavy buttresses at the angles, and in the centre is an elegant recessed doorway, the mouldings resting on dwarf columns.

The main, double height theatre block is set back from the street frontage behind an 80 ft X 40 ft (24.4m x 12.2m) forecourt lined along the sides by arcaded walkways which terminate in small shops on the street frontage. The blocky massing of the front facade is symmetrical, centred on a large semi-circular arch over the main entrance. This features a scalloped Moorish soffit and enriched label panel and mouldings. The arch is set in an ornate central tower with the entrance reached via a grand flight of steps.

Plan of Corinium Dobunnorum By the mid-70s CE, the military had abandoned the fort and the site became the tribal capital (civitas) of the Dobunni. Over the next twenty years, a street grid was laid out and the town was furnished with an array of large public stone buildings, two market places, and numerous shops and private houses. The forum and basilica were bigger than any other in Britain, apart from Londinium's. The basilica was decorated with beautifully carved Corinthian capitals, Italian marble wall veneers and Purbeck Marble mouldings.

God dividing the waters, showing the illusionary architecture, and the positions of the ignudi and medallions The first element in the scheme of painted architecture is a definition of the real architectural elements by accentuating the lines where spandrels and pendentives intersect with the curving vault. Michelangelo painted these as decorative courses that look like sculpted stone mouldings. These have two repeating motifs, a formula common in Classical architecture. Here, one motif is the acorn, the symbol of the family of both Pope Sixtus IV, who built the chapel, and Pope Julius II, who commissioned Michelangelo's work.

The richness of the 13th-century tracery is accentuated by the presence of ornate, crocketted drip-mouldings around the windows; those around the perpendicular windows are of simpler form. The façade of the cathedral is dominated by a large deeply recessed eight-light window in the Perpendicular style, above a recessed doorway set in a screen- like porch designed, probably by Seth and George Derwall, in the early 1500s. This porch formed part of the same late 15th-century building programme as the south transept, central and southwest towers, and cloister. Neither of the west towers was completed.

Here lies the door of which I have just spoken: mouldings divide it into compartments; it is provided with hinges worked in the thickness of the block which composes the stone. This crypt, of small extent, contains a sepulchral chamber divided into three parallel arched loculi, with cut stones regularly worked between them. They are only seen by introducing a light across three small openings in the wall of the chamber. According to an ancient tradition, one of these compartments is the tomb of St. John the Baptist, and the others those of the prophets Obadiah and Elisha.

The monument comprises a bronze statue of the Marquis de Lafayette about high, standing on a French marble pedestal with four faces decorated with classical mouldings, accompanied by seven additional bronze statues, all larger than life size. The monument rests on an base of American granite on a slight mound of grassed earth, within a circle of granite kerb stones with a diameter of about . The statue of Lafayette faces south towards the White House. He is depicted in civilian dress with a long coat bearing the badge of the Society of the Cincinnati, boots, and wig.

1958 Pontiac Parisienne Sport Coupe The Parisienne entered the production lineup as a sub- series within the Laurentian line in the 1958 model year. Parisienne became a separate model in 1959. For most of its life, the Parisienne was the Canadian nameplate for the top-of-the-line model sold in GM of Canada's Pontiac showrooms. Parisiennes were distinct from other Canadian Pontiac models by their standard features: the luxuriousness of upholstery fabrics; standard equipment such as courtesy interior and trunk lights; bright trim mouldings in the interior; distinct exterior accent chrome pieces; and availability of two- and four-door hardtops and convertibles.

The doors in this section of the building are four panelled with bolection mouldings on the horizontal edges of the panels and chamfered vertical edges. Above most of the doors but separated by two sections of timber slab, are operable transom windows, aligned with the ceiling line. A fireplace is found in the eastern corner of this section, formed by white washed bricks which project from one of the principal rooms onto the verandah space and taper towards the ceiling. A slender chimney, of unpainted cream bricks, projects from the roof and is crowned with a simple corbelled top.

Each wing > bay has a triple window, the centre light taller than its neighbours, > embraced by a label moulding which echoes the stepping of the gables. Single > pointed lancets with mouldings akin to that on the front door light the > gables. Above the steep tiled roof rise two chimneys with a pair of > diagon¬ally set stacks apiece. Nowadays it appears that the almshouses rival > the inmates in their decayed circumstances, for, while the black and white > paint-work is tidy, the facade shows an alarming inclination to land at the > feet of those who stand in front to admire it.

The verandah is now gauzed in and there is a modern flat roofed addition to the east with large glass sliding doors. The first stage has plastered walls (the construction is not known) and beaded edge boarded ceilings with simple timber mouldings at the wall junction. The main rooms have black stone mantelpieces, the material is not clear as some of the marbled pattern appears to be painted. There is a rear addition to the first stage with the external walls in face brick laid in English common bond and with a hipped corrugated iron roof.

Additional bracing is provided by two flying wires and two landing wires on each side. The wings fold for transport. The fuselage of the Sherwood Ranger has an aluminium tube structure, with ply formers and spruce stringers, and is fabric covered apart from glass fibre mouldings in the engine and cockpit areas and forming the rear decking. The nose is quite slender; the separate open cockpits are in tandem with the forward one a little behind the leading edge of the wing and the other under the trailing edge, where a slight upper wing cut-out improves the pilot's view.

Wickham House (as seen from Upper Edward Street), 2015 Wickham House is a five storey building, with an attic, of rendered brick with reinforced concrete floors located towards the eastern end of Wickham Terrace, overlooking the city centre. The ground floor features two shops either side of the entrance to the building on Wickham Terrace. The Wickham Terrace facade, with three bays has restrained Georgian details including oriel windows with decorative mouldings, a centrally located balcony with rendered balustrading and brackets and moulded string course. Rectangular double hung sash windows, with multi- paned upper windows and moulded architraves, define each storey horizontally.

The curved building has sea views and windows at "child height". Thomas Lainson's building of 1880–81 was in a Shavian interpretation of the Queen Anne style, which he and his sons used again in later buildings in the area (such as the Belgrave Hotel of 1882 and in their work on the Vallance Estate in Hove in the early 1890s). The three- storey building is mostly of red brick with some terracotta dressings. Lainson made extensive use of ornate decorative mouldings on the east-facing main façade, which is not symmetrical and has a Dutch gable.

At its simplest, baseboard consists of a simple plank nailed, screwed or glued to the wall; however, particularly in older houses, it can be made up of a number of mouldings for decoration. A baseboard differs from a wainscot; a wainscot typically covers from the floor to around 1-1.5m high (waist or chest height), whereas a baseboard is typically under 0.2m high (ankle height). Plastic baseboard comes in various plastic compounds, the most common of which is UPVC. It is usually available in white or a flexible version in several colors and is usually glued to the wall.

Carved and inlaid Late Baroque supraporte in Toruń, Poland An "overdoor" (or "Supraporte" as in German, or "sopraporte" as in Italian) is a painting, bas- relief or decorative panel, generally in a horizontal format, that is set, typically within ornamental mouldings, over a door, or was originally intended for this purpose. The overdoor is usually architectural in form, but may take the form of a cartouche in Rococo settings, or it may be little more than a moulded shelf for the placement of ceramic vases, busts or curiosities. An overmantel serves a similar function above a fireplace mantel.OED first citation, 1882.

There is significant public debate around why Auckland's housing is so expensive, often referring to a lack of land supply, the easy availability of credit for residential investment and Auckland's high level of livability. In some areas, the Victorian villas have been torn down to make way for redevelopment. The demolition of the older houses is being combated through increased heritage protection for older parts of the city. Auckland has been described as having 'the most extensive range of timbered housing with its classical details and mouldings in the world', many of them Victorian-Edwardian style houses.

A continuous cornice surmounts both tomb and doorway, of vine foliage and mouldings, crested originally by the Tudor flower, only a part of which now remains. It is broken on each side by four angels holding shields. On the north side are two single angels supporting the arms of Cheney, at the west corner are two angels holding a larger shield quarterly of four, 1 and 4 Cheney; 2 and 3: A cross fleurie (Paveley). On the south side the single angels display the arms of Paveley, and the pair at the end Cheney impaling Paveley.

On his return to Britain he had a spell training and working as a teacher in England, before settling in North Wales in 1968 and starting a business - Snowdon Mouldings - manufacturing climbing helmets.Peter Donnelly, ‘Anthoine, Julian Vincent (Mo) (1939–1989)’, Oxford Dictionary of National Biography, Oxford University Press, Sept 2004; online edn, Oct 2006. Anthoine was a good technical rock climber and made a number of first ascents in North Wales, the best known of which was The Groove on Llech Ddu, a crag on the north side of Carnedd Dafydd. However, it was for his mountaineering that he is best remembered.

Sometimes there were mouldings of about 10 cm wide in the middle of the weapon to further improve grip and to prevent it from slipping because of sweaty hands. The soliferrum was an extremely effective heavy javelin. The weight and the density of its iron shaft, its small diameter and its narrow tip made the soliferrum an excellent armour-piercing weapon when it was thrown at close range, enabling it to further penetrate heavy shields and armour. Unlike the falarica, the soliferrum remained in use in the Iberian Peninsula under Roman rule until the end of the third century AD.

This site was first excavated by a team from the Department of Archaeology, University of Calcutta in 1962 under the direction of S.R. Das. Amongst the findings, the most significant one was a monastic sealing bearing the legend Shri Rakta(m)rttika (Ma)havaiharik arya bhikshu (samgha)s(y)a (of the community of venerable monks residing in the Shri Raktamrittika Mahavihara). The other significant findings are terracotta figurines and ornamental stucco mouldings including human heads. Two other sites close by have been excavated at Rakshashidanga (in 1929–30 by K.N. Dixit of the Archaeological Survey of India) and Nil Kuthi.

The details of the tracery and mouldings are late 13th and early 14th century English Gothic. There is a small gallery over the chapel, originally designed to enable invalids from the infirmary to hear Mass. The chapel is covered by a high wooden roof Many of the sanctuary furnishings are believed to have been designed by Blackett in the 1860s, including the Blessed Sacrament shrine, which is made of Bondi Gold sandstone, the tabernacle, cedar choir stalls and pews. The walls of keyed sandstone were originally covered in plasterwork with Pugin-like decoration, but the plasterwork was completely removed in 1963.

An unknown organ builder (possibly the young Andreas de Mare) extended the instrument in 1542 in the style of the Renaissance (the year is inscribed on the case-work); by then the organ had three manual departments. The manual compass (as typical for the time) was F,G,A-g2,a2 and the pitch was 1 1⁄2 tones above Schnitger's pitch. The facade of the Hoofdwerk and Bovenwerk dates from this period, embellished with pilasters, mouldings and decorations covering the Gothic structure; the summit of the casework was formed of a gabled frontispiece. Andreas de Mare repaired and extended the organ from 1564.

Just behind Mary, Durst has carved a dove in which form the Holy Spirit was said to have descended on Mary. Mary replied to Gabriel with the words "Behold the handmaiden of the Lord, let it be to me according to your will" Luke 1:26-38. It is believed that the conception of Jesus took place at this moment and the "Festival of the Annunciation" is held on 25 March, exactly nine months before the birth of Jesus is celebrated. Durst was commissioned to carve birds on the terminals of the Winchester Cathedral Drip mouldings round the windows.

The Breakfast Creek Hotel is an ornate, richly detailed building which assumes landmark status in the Breakfast Creek townscape. It contains some rich internal detailing, including cedar stairs, coloured and etched glass, decorative mouldings, and coloured tiles. The Breakfast Creek Hotel survives as an integral element in a grouping of culturally significant places at the junction of Breakfast Creek and the Brisbane River, including Newstead House (1846) and Park, the Temple of the Holy Triad (1886) and Breakfast Creek Bridge (1889). The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.

The arcading contains pointed arches, which arise from the intersections of interlaced round arches, just as in the cathedral's chapter house. The similarities in the arcading, and in the two buildings' decorative patterns using a variety of motifs like chevron and nailhead, support the dating of the archways to about the same time as the chapter house, in the 12th century. The southern side of the carriage gateway is the most elaborate, with the archway having four courses of moulding. The postern gate has carved mouldings around the northern arch but is unvaulted and otherwise plain.

Florentine cassone with gilded pastiglia panel, 15th century Gesso pastiglia was very widely used on cassoni from the inception of the form in the 14th century. Early decoration tended to be repeated motifs derived from textile designs. Early cassoni were mostly either entirely painted or entirely decorated in gilded pastiglia, but by the 15th century painted panels were inset in elaborate pastiglia surrounds of mouldings - many of the paintings have now been detached and hang in museums. The subjects used for decorating cassoni in either medium had considerable overlap with those on white lead pastiglia caskets, with a heavy bias towards mythology.

At the entrance of the mosque, the parapet that previously fringed only the central bay now ran across the whole length of the frontage. The parapet features an architrave, a frieze with mouldings and panels, a balustrade and Islamic cresting echoing that found on Masjid Sultan. The courtyard that used to lie between the entrance gate and the prayer hall was covered, with part of it converted into a gallery extension. Originally single-storeyed, the prayer hall has been extended to two storeys, with a gallery on the upper floor, and capped with a huge jack roof.

Occupying the north western corner of a triangular site near the intersection of Victoria and William Streets, the former bank is a single-storeyed building, slightly elevated on stumps, with chamferboard walls. Rectangular in plan, this timber framed structure is distinguished by a restrained ornamental facade of asymmetrical design which faces Victoria Street. The Victoria street facade consists of a parapet wall marking the western alignment, a wide skillion roofed awning which covers the footpath in front of the building and an attached entry porch on its northern side. The parapet wall is decorated by timber mouldings forming a simplified entablature.

Before the paint - the north side brickwork in 2009 The hotel is a two storey Federation Free Style building and has landmark qualities. The first floor verandahs and balustrades still overhang the footpath and have not been removed as has been the fate of most of the hotels throughout the state. The verandahs wrap around the street frontage from Nichol Street to Jacoby Street, terminating at a projecting "residents" entry featuring narrow, arched windows and door. The corrugated iron roof is painted red and has a simple hipped form punctuated by two, relatively tall brick chimneys with decorative rendered mouldings.

Facing west with three spacious windows, his studio is the largest, grandest and best lit room in the chateau; like the library downstairs, it still has its original highly ornate seventeenth century sculpted plasterwork and mouldings, but all rendered in bright white. Picasso also brought in two industrial lamps to guarantee the quality of light. Commentators have said that Picasso tried to recreate at Vauvenargues the same conditions as in Spain: the intense light, the brilliant primary colours, the austerity and the rugged setting. The bedroom of Jacqueline has a simple bed in the defiant yellow and red colours of the Catalan flag.

St Joseph's Roman Catholic Cathedral is a substantial sandstone building with traditional cruciform plan, comprising a nave, side aisles, transepts, apsidal chancel and two towers flanking the western front of the building. The cathedral is constructed from rockfaced coursed sandstone, with smooth faced sandstone detailing including coursing, mouldings, window and door surrounds and tracery. The principal facade of the building, the west front, is symmetrically composed and comprises a central entrance, a large traceried window above, several smaller openings and all flanked by two large towers. The towers are surmounted by broach spires, constructed from ashlar sandstone.

The Covin is a kit car replica of the Porsche 911 Turbo created by Tim Cook and Nick Vincent in the early 1980s. The name Covin came about from CO (Cook) and VIN (Vincent) to produce COVIN Performance Mouldings. Early models of the Covin were based on a shortened Beetle floorpan/running gear but later used its own Covin chassis and VW Type 3 running gear. The company was sold in the 1990s to DAX and later moved to new owners GPC and was relocated to County Galway in Ireland where up to now the Covin has not been produced again.

One altar is dedicated to Saint Michael de Sanctis, the other dedicated to Saint John Baptist of the Conception. Between these, and arranged in groups of four, sixteen columns carry a broad and continuous entablature. The arrangement seems to refer to a cross plan but all the altars are visible as the two central columns in each arrangement of four are placed on the oblique with respect to the axial ordering of the space. This creates an undulating movement effect which is enhanced by the variation in treatment of the bays between the columns with niches, mouldings, and doors.

A description of the newly completed building described the style as "Italian Gothic", probably reflecting the face brick and stone dressed mouldings of the exterior and the classical elements over the building. The building is a substantial example of a late Victorian Italianate influence. The central part of the building is divided into three bays, a central bay projects from the southern face of the building and is lined on the ground floor of this face with a porte cochere. The porte cochere comprises rusticated corner columns and round intermediary columns supporting an arcade with castellated parapet.

The building's new role brought a fresh round of modifications, the larger upper rooms were subdivided by thin wooden partitions, but care was taken to preserve the skirtings and ceiling mouldings. The idea of restoring Booloominbah was floated and some furniture in an appropriate style was bought for several of the rooms. The construction of new buildings also affected the way in which Booloominbah was viewed by the student and staff population. The University became divided along Faculty lines and moved into separate buildings, there was no longer large meetings of staff or students in Booloominbah.

While generally in reasonable condition, the external stonework of the church, like the front fence, shows sufficient evidence of both general weathering and specific problems to warrant attention. Chief among these concerns is the evidence of rising damp and salt attack in stonework around the base of the building and particularly at the west end, most notably in and around the porch area. Associated with this is evidence of stone decay and loss of joints. On the tower there is also evidence of quite significant stone weathering and loss of joints, with mouldings around the top of the structure being affected.

Additional metal tie rods link the horizontal hammer-beams. The walls generally are of plain rendered masonry with a painted finish with face stone used for window and door surrounds, the latter featuring carved mouldings to the gothic-arched heads supported on tied pilasters. The east end of the church features a symmetrical layout of three such doorways, the two smaller openings on either side fitted with timber doors and fixed boarded "fanlights" and the larger central arch filled in with modern sawn stone facing (c. 1970s-80s) as the backdrop to the central timber cross.

East arcade between the chancel and south chapel The nave arcades run through to corresponding chancel arcades separating the north and south chancel chapels from the chancel. The chancel three-bay north arcade is 14th-century Decorative, with piers quatrefoil in section separated by right-angled projections running full length, and with flat raised fillets along each face. The capital gadrooned (convex and concave) raised acabi mouldings follow the lateral line of the cusped piers. The 15th-century arcade arches springing from the piers are also of a continuous Decorative multi-faceted moulding with a flat under-face.

A conventional shoulder-wing design with conventional empennage, no component of the BJ-1 exceeds 18 ft (5.5 m) in length, in order to facilitate building and storage in a domestic garage. Construction throughout was of wood, apart from a few mouldings (like the nosecone) made of fiberglass. The BJ-1 Dyna Mite first flew in 1966. The rough building sketches from Ben Janssons prototype design from 1963, were refined by Hank Thor and the BJ-1B Duster plans were released in 1971 featuring a lighter weight, extended wingspan and a lower canopy that required the pilot to fly it semi-reclined.

There could be an overlap of religion, politics, social meanings added to an iconography of warfare. “Practitioners of violence” are called warriors, just an identity who performed their social acts depending on their society. These social acts ranges from bull-leaping, boxing, hunting, sports, combat, fighting and more. Malloy divides the art relating to warfare in Bronze Age Crete into four categories “glyptic art circulating in both social and administrative contexts; stone and ceramic portable art for repeated intimate consumption (dining/processions); coroplastic/bronze figural art for religious activity; and frescoes and relief mouldings fixed in architectural settings”.

Graham McRae with Steve Bond of Gemini Plastics imported a replica Le Mans McLaren M6B styled GT mould in 1968, The cars were made and sold by Dave Harrod and Steve Bond of Fibreglass Developments Ltd, Bunnythorpe as the Maram. McRae went on to make a very good Porsche Spyder replica in the 1990s. A number of new companies entered the market in the 1980s - Almac 1985, Alternative Cars (1984), Cheetah (1986), Chevron (1984), Countess Mouldings (1988), Fraser (1988), Leitch (1986), and Saker (1989). Some recent ones are Beattie (automobile) (1997), which became Redline in 2001, and McGregor (2001).

1946 Chevrolet Fleetmaster Sport Sedan. This example has the additional triple fender mouldings which were a feature of the Fleetline sub-series models The Series DK Fleetmaster was introduced as the top trim level model in the 1946 Chevrolet range, along with the lower level Series DJ Chevrolet Stylemaster. The Fleetmaster, which replaced the "prewar" Chevrolet Special Deluxe, was powered by a Straight-six engine driving through a 3 speed manual transmission. It was offered in 2-door Town Sedan, 4-door Sport Sedan, 2-door Sports Coupe, 2-door Convertible and 4-door Station Wagon models.

Galaganatha Temple, facing east, built around 750, in the finely evolved rekha-nagara prasada style of architecture contains a sculpture of Lord Shiva killing the demon Andhakasura. The temple, built on a plinth with three highly ornate mouldings, comprises a garbhagriha or sanctum which a linga and a vestibule (antarala), both surrounded by a closed circumambulatory path (pradakshinapatha), a hall (sabha–mandapa) and an entrance porch (mukhamandapa). The most striking feature of the temple is its well-preserved northern superstructure (rekha-nagara shikhara), topped by amalaka and kalasha. The sculpture housed in this pavilion is that of Siva slaying Andhakasura.

The central entrance is flanked by pilasters, which have fluting to the lower section of the shaft, supporting a triangular pediment surmounted by a moulded ornament at the apex. The pediment and cornice have egg and dart mouldings, the architrave has dentils, and the pilasters surmount tall pedestals, which flank entrance steps with low wrought iron gates. The arches have expressed imposts, extrados and keystones, and are surmounted by a frieze with moulded swags. The paired arches either side of the entrance have a central granite column with an Ionic capital, surmounting a tall pedestal flanked by a moulded balustrade.

A blocked square-headed doorway to left of the tower arch gives internal access to the tower stairs. Inside the nave is a 14th century stone octagonal Font with round-headed panelling around the bowl and heavy mouldings below, all sitting on a panelled pedestal. There is a large Royal Arms of George III above the tower arch which is curved in shape, it was thoroughly cleaned in 1993. A shouldered-arched doorway leads to a square stair-turret with stone steps for the tower, it is decorated with raking coped top projects flush with nave wall.

The Former Dunne building, a rectangular masonry building with a tiled gable roof, consists of an undercroft with three storeys of classrooms above. Located to the east of, but in line with, the Chapel, it faces Northumbria Road across Ross Oval. Continuing the architectural style established by the Main Building and the Chapel, the Dunne Building has an arched arcade on either side of a projecting central bay and an attached semi-octagonal stair tower as the principal features of its main or northern facade. The rendered masonry walls of the arcade are detailed with simple plaster mouldings.

Ileana Burnichioiu ("1 Decembrie 1918" University in Alba Iulia). The mosaic was discovered in August 2003. Further excavations also identified a complex of monumental buildings (a 23m x 8m two-level palace/port, two churches, a tower with a well, palisades, ditches and other construction components—portal, frieze, colons, mouldings, capitals, window enclosures, arches—local and imported ceramics, sculpted pieces, coins, book binders, adornments, fragments of apparel pieces, bronze vessels, knives, crossbow bolts, spurs, glass panes, plates, dishes and pots, candles. The area was the witness of the discovery of a well, shedding light on the reason for its name.

Short buttresses reaching only to mid-window level are employed at the eastern corners of the chancel and between the windows. The tower, rebuilt in the Perpendicular style of the 15th century, is of two stages with angle buttresses. It has a square-headed lower west window of two lights with three- centred heads, and pointed belfry openings with uncusped Y-tracery. The south porch has a beautiful 14th-century doorway with continuous mouldings under an ornate niche with a figure of the Virgin and Child, all left over from the original two-story porch and all reset within 18th-century brick.

The hall door is surrounded by mouldings, and on the back wall are the remains of painting, consisting of Buddhas. In the shrine is an image, and small ones are cut in the side walls, in which are also two cells. In a large recess to the right of the porch is a seated figure of Buddha, and on his left is Padmapani or Sahasrabahu-lokeswara, with ten additional heads piled up over his own; and on the other side of the chamber is the litany with four compartments on each side. This is evidently a late cave.

Coach builders, such as Boonaker, provided bulletproof variants as well as fitting 2.5 V6 Turbo engines. For a time, the President of France used an armoured limousine variant of the Renault 25, with some special modifications. Not least of these were two extra fuel injectors fitted into the sill mouldings on either side of the car at the 'B' Pillar position. These were directly connected to the engine fuel system through a switch in the passenger compartment that would, if the engine was running, simultaneously pulse high pressure jets of neat petrol and ignite them as a deterrent.

On plan, the temple has a vimana and jagamohana measuring 20.40 metres in length and 9.60 metres in width, with the ganthiala measuring 0.60 metres. While the vimana measures 9.60 square metres, the jagamohana measures 10.80 metres in length and 9.60 meters in width. The temple is pancharatha. On elevation, the vimana is in rekha order that measures 13.50 metres in height from pabhaga to kalasa.. With fivefold divisions of the bada, the temple has a panchanga-bada measuring 5.40 meters. At the bottom the pabhaga has five base mouldings khura, kumbha, patta, kani and basanta that measures 1.24 meters.

Single storey Federation Bungalow style house, built in 1913, with surrounding gardens. The house includes a collection of post-war furniture, artworks and books that were purchased by Patrick White. ;Interiors The internal alterations made by Patrick White and Manoly Lascaris were similar to their approach to their previous residence at Castle Hill in 1953 and combined several popular ingredients of modern interior design of the 1950s and 1960s. White and Lascaris retained the floor plan but removed the remaining Edwardian features and prior decorations, including the Edwardian glass doors, joinery and ceiling mouldings, infilled fireplaces, wallpaper, carpet and faux marble chimneypieces.

The intention was to produce these using new injection moulding techniques they had developed, with the fibreglass injected at high pressure between male and female moulds. This had been successful on small mouldings, but proved to be unreliable on the larger car bodies and eventually normal fibreglass lay-up techniques were adopted. Official production of fully assembled saloon cars commenced in February 1959, with a provisional retail price in the UK of £317 before Purchase Tax. With the exception of the four- seater Reliant Regal, this made it the most expensive three-wheeled car on the market in the UK at the time.

Victoria Fountain The Victoria Fountain is located in the centre of the southern enclosure of the Old Steine Gardens.My Brighton and Hove – Old Steine – The Victoria Fountain and the War Memorial – extracted from the Encyclopaedia of Brighton by Tim Carder, 1990 The fountain is thirty-two feet in height and includes a large, cast-iron pool with a rim decorated with egg-and-dart mouldings. Originally, the pool was filled with water lilies and goldfish. Sarsen stones in the centre of the pool were first found in the Steine by workers digging a trench in 1823.

The front facade of the building, described as "Domestic Gothic" in style, features contrast concrete and stone trim, label mouldings, hood moulds, and decorative banding. The vertically proportioned timber casement and double hung windows are rectangular or with pointed facade forming an axis which is reinforced by the placement of a decorative gable with central oculus and an octagonal fleche above the line of the doors. The fleche and three brick chimneys are located along the main ridge of roof. The verandah, which has paired timber posts and a simple timber balustrade on the first floor level, runs between projecting gable-fronted bays.

The main elevation is a simple Regency front, whilst the sides, less ambitious but perhaps more pleasing, have large curved bays, running through the two floors. The general impression given by the design is of quietness and good taste, the severely stuccoed walls being relieved only by the somewhat stiff mouldings run in the plaster work and the elaboration of the entrance. The rear of the house is unstudied and lacks the neatness of the other elevations. The interior has some splendid rooms, the stair hall being one of the finest and perhaps the best, of such things in Australian Colonial architecture.

The owners have undertaken some minor works including the removal of metal grill gates at the top of the steps to the colonnade entrance, and replaced these with slate grey, steel framed doors with full glazing panels. Dividing the public area from the Long Room is a moulded archway and a panelled cedar counter. The Long Room is a double-height symmetrical space with semi-circular clerestory windows to each side, decorative pressed metal ceiling, and plaster mouldings to the opening surrounds. The interior of the building has plaster walls and varnished cedar joinery including doors, architraves and skirtings.

The entrance has double timber panelled doors with fanlight surrounded by a sandstone moulding and keystone. A deep string course crosses above the entrance between the pilasters at eave height, with a metal coat of arms positioned centrally above. The clock tower is square in plan with a clock face, surrounded by sandstone mouldings and framed by pilasters with a deep cornice above, to each side and a convex hipped sheet metal roof. The lower wings either side of the tower have parapet walls and continue the eave height string course and top ledge of the sandstone base.

The half-built west tower and upper parts of the two western transepts were completed under Bishop Geoffrey Ridel (1174–89), to create an exuberant west front, richly decorated with intersecting arches and complex mouldings. The new architectural details were used systematically to the higher storeys of the tower and transepts. Rows of trefoil heads and use of pointed instead of semicircular arches,H Wharton (ed.) Anglia Sacra, sive collectio Historiarum, partim recenter scriptarum, de Archiepiscopis Angliae, a prima Fidei Christianae ad Annum MDXL, 2 vols. (London, 1691) results in a west front with a high level of orderly uniformity.

The vehicles were painted Santorini Blue with special decal graphics on the sides. They also featured "colour-coded wheel arch mouldings, spot lamps, spare wheel carrier, free style alloy wheels, stainless steel A-frame Bullbar, two-tone solid paint, Willards welding and side runners" as well as "leather seats, radio and CD player, leather steering wheel and gear lever as well as a cooler box." Each was randomly numbered between 1 and 50, as 24 50th Anniversary edition 110s were also built, but with a diesel engine. The special 110 was called "Safari" and was painted in a limestone green colour.

The styling is completely different from the Dash body, with a rounded roof dome and deep double-curvature windscreen with plastic mouldings under the windscreen to make it look deeper, and large circular headlights and circular front indicators, it also has a separately mounted destination box. The body was primarily built on Dennis Dart SLF and Volvo B6LE. It was given a mild front end refresh during 2001. It sold quite well, and buyers included Stagecoach (which includes 90 on B6LE), FirstGroup, Arriva and Newport (which operated some on 8.8m Dart SLF chassis) and many more.

It is so large that it can easily accommodate the house of the Notre Dame of Paris or St Peter's of Rome. The woodcarvings, the zellij work and the stucco mouldings are of elaborate and highly impressive design; the wood used for carving is cedar from the middle Atlas mountains, the marble is from Agadir and granite is brought from Tafraoute. The prayer hall is built to a rectangular plan of length and Earlier in this article, under "Architecture and Fittings" it is said that the whole building is 200 m long. So there is an error, somewhere.

Rectangular windows with pointed arch motifs run between the projecting bays, and the rooms are accessed via timber double doors. Rendered masonry dressings include toothed window surrounds, hood mouldings, cornices with dentils, and copings. The upper level classrooms at the ends of the east and west wings feature timber arched braced trusses springing from semi-circular impost blocks, diagonally boarded timber ceilings with exposed rafters, and timber cornices with quatrefoil motifs. The four classrooms either side of the Great hall on the upper floor and several on the ground floor have sheeted ceilings with dark timber coverstrips.

The rooms at Mount Vernon have mostly been restored to their appearance at the time of George and Martha Washington's occupancy. Rooms include Washington's study, two dining rooms (the larger known as the New Room), the West Parlour, the Front Parlour, the kitchen and some bedrooms. The interior design follows the classical concept of the exterior, but owing to the mansion's piecemeal evolution, the internal architectural featuresthe doorcases, mouldings and plasterworkare not consistently faithful to one specific period of the 18th-century revival of classical architecture. Instead they range from Palladianism to a finer and later neoclassicism in the style of Robert Adam.

Decorated Gothic similarly sought to emphasise the windows, but excelled in the ornamentation of their tracery. Churches with features of this style include Westminster Abbey (1245–), the cathedrals at Lichfield (after 1257–) and Exeter (1275–), Bath Abbey (1298–), and the retro choir at Wells Cathedral (c.1320–). The Rayonnant developed its second 'international style' with increasingly autonomous and sharp-edged tracery mouldings apparent in the cathedral at Clermont-Ferrand (1248–), the papal collegiate church at Troyes, Saint-Urbain (1262–), and the west façade of Strasbourg Cathedral (1276–). By 1300, there were examples influenced by Strasbourg in the cathedrals of Limoges (1273–), Regensburg (c.

The hook of the crane was then passed through the head of the lewis and the stone was ready for lifting. From this solid abutment there sprang an elegant bridge with four arches supported on three substantial river piers, apart. Its overall length was and was intended to take a road carriageway. Few voussoirs (wedge-shaped stones from arches) have been found, but there is sufficient other evidence in the form of cornice blocks, grooved to take vertical parapet slabs, and angled mouldings, to show that the bridge was of stone, although others state that the second bridge had a timber superstructure.

Dundrennan Abbey Dundrennan Abbey, in Dundrennan, Scotland, near to Kirkcudbright, was a Cistercian monastery in the Romanesque architectural style, established in 1142 by Fergus of Galloway, King David I of Scotland (1124–53), and monks from Rievaulx Abbey. Though extensively ruined (the transepts are the main surviving parts), Dundrennan is noted for the purity and restraint of its architecture, reflecting the austere Cistercian ideal. It is also built from very hard-weathering grey sandstone, so the original architectural forms and mouldings are well preserved. Mary, Queen of Scots, after the Battle of Langside, spent her final night in Scotland here, in 1568.

Polymers are susceptible to environmental stress cracking where attacking agents do not necessarily degrade the materials chemically. Nylon is sensitive to degradation by acids, a process known as hydrolysis, and nylon mouldings will crack when attacked by strong acids. Close-up of broken nylon fuel pipe connector caused by SCC For example, the fracture surface of a fuel connector showed the progressive growth of the crack from acid attack (Ch) to the final cusp (C) of polymer. In this case the failure was caused by hydrolysis of the polymer by contact with sulfuric acid leaking from a car battery.

Semi-octagonal recesses are found as small entrance vestibules on the transept ends, as the sanctuary and vestry of the church, as altar recesses in the side chapels flanking the principal altar and in a baptistry toward the eastern end of the southern facade. The burnt-orange terracotta-tiled roof is generally gabled with hips to the polygonal projections. The building is constructed from re-inforced concrete the exterior is rendered with textured stucco, except to mouldings which are smoothly rendered. Dominating the building visually is a large square planned tower abutting the eastern end of the northern facade.

The tower, which extends for has long narrow rectangular openings on its shaft and shallow balcony-like sections of concreted balustrading supported on decorative moulded corbels. These balconies are found on each of the four sides and are accessible by door openings on the top level of the tower. Heavy mouldings define the upper limits of the tower above which is a bell shaped cupola roof clad with copper sheeting and surmounted by an illuminated Latin cross. The principal eastern facade faces the Brisbane River, looking toward the bend where the Bulimba and Hamilton Reaches converge.

The walls and floors of the chamber and antechamber were plastered with lime. The wall carvings of various deities The walls of both the terraces are decorated with mouldings and terracotta plaques which testify the high excellence of terracotta art flourishing in the region during Pal period (8th to 12th centuries). The plaques depict many Buddhist deities like Buddha, Avalokiteshvara, Manjusri, Maitreya, Jambala, Marichi, and Tara, scenes related to Buddhism, some social and hunting scenes, and a few Hindu deities like Vishnu, Parvati, Ardhanarisvara and Hanuman. Many human figures, like those of ascetics, yogis, preachers, drummers, warriors, archers, snake charmers, etc.

Attached to the vestibule that connects the shrines is a well designed open mantapa with two rows of pillars. The outer row of pillars are 16 faced while the inner row of pillars are lathe turned with bell shaped mouldings, a style popular with both Western Chalukys and Hoysalas.This is a common feature of Western Chalukya-Hoysala temples, A Concise History of Karnataka, pp 117, Dr. S.U. Kamath The ceiling of the mantapa is flat and the inner ceiling is well carved with lotuses in them. The central ceiling has the carving of Tandaveshwara (dancing Shiva) with eight dikpalakas (guards).

Generally the office levels reflect fitouts undertaken by the various tenants. For instance, the foyer on the fifth floor has an "Art Deco" theme, designed by the Department of Public works around 1996. Lift lobbies are also given some distinction according to tenant requirements such as the lobby on the tenth floor, which is finished with a panelled timber dado. However, the ceilings of the lift lobbies are uniform, with coved sides and a flush ceiling decorated with plaster mouldings in a "Gothic" motif similar to that found in the ceiling of the early board room on the seventh floor.

The triptych retains its original frames, which are both ornate and serve to protect the piece from the effects of light and smoke during travel and when in situ.Nash (2008), 239 The inner frames have recessed mouldings and are carved with gilded inscriptions, and the top corners of the two wing panels each bear a carved set of coat of arms. The lettering and phrases in Latin serve a dual purpose. They are decorative, similar to margins in medieval manuscripts, and set the context for the imagery; van Eyck would have expected the viewer to contemplate text and imagery in unison.

Tara Hall and Old Wellington in the 1840s A rare groin vault ceiling arches over the main entrance hall and intact 19th-century plaster ceilings with mouldings unique to each room are found throughout. The manor contains a total of seven fireplaces venting through five chimneys. On the ground level, the east side of the structure contains a double length salon which converts with three 10 foot tall folding doors into a parlour and a morning room. There is evidence that the morning room opened onto a greenhouse or orangery, possibly a late Victorian addition, since removed.

The post office's relationship to the historic Cobar Municipal Council Chambers to the north, enhances this aspect of significance (criterion a). Aesthetically, Cobar Post Office, although an altered and evolved building has a strong visual presence in its streetscape context, enhanced by the unpainted face brick exterior and contrasting white rendered bands, decorative mouldings, dressed stone sills, and detailing. The aesthetic value and presentation of the building also derives from the impact of the asymmetrical parapeted single storey "screen" in front of the large gable roofed, double height structure, and the rendered Italianate-styled arched entryway with pediment above.

The clerestory windows are plain pointed single lights, -with mouldings of three orders; the transept windows the same. Below each clerestory window is a single, recessed, narrow niche, or blank window, in the place of a triforium. There is a very pretty rose window in the western gable of the nave. The rest of the exterior is classicized;; the cimborium, or dome over the cross, is very mean; its curtailment was another of the poor architect's death-blows; and the rest consists of the usual vases, flower-wreaths, knobs, pots and pans, and spikes, and scent bottles of so-called Italian art.

Described as the "most elegant building in Townsville", the playful use of ornament and variation of window openings contributed to its "picturesqueness of design and gracefulness of outline". The fenestration on each level was addressed differently, varying from simple arches on the ground level to gothic forms on the third level. Other features included a truncated pyramid roof on the tower surmounted by an elaborate wrought iron structure with flagpole, Boyle's patent ventilators, an octagonal chimney and ornamental cornices and mouldings, especially on the tower. Brisbane contractors Madsen and Watson were engaged to construct the building for a sum of .

The two-story house, the first built in America in a Gothic Revival style, had a hip roof and dormers with steep roofs, and was approximately 75 ft in width and depth. Other Gothic elements included scalloped bargeboards on the eaves, and windows with label mouldings and other Gothic characteristics. The interior plan of the house was similar to the one that Latrobe used in John Harvie's home in Richmond, Virginia, and later, the John Markoe House in Philadelphia and the Pope Villa in Kentucky. The front of the house featured a portico, and a two-story entrance hall.

At the start of the 1990s, the town of Cabestany decided to make as much of the sculptor's work as possible available. Also, in 1993, after consultation with the inspector general of historic monuments, the town created a scientific committee composed of eminent French and European figures to select which of the Master's sculptures they found the most important and most representative. With their advice the town initiated the creation of mouldings taken from various works. , over 60 castings had been realized by sculptor Alphonse Snoeck using a method agreed upon by the national director of historic monuments.

Three face brick chimneys with terracotta pots punctuate the upper-floor roof, and two painted chimneys punctuate the rear additions to the ground-floor section of the residence. Fenestration is largely symmetrical to the front facade, and the openings of the ground-floor front facade retain original elliptical fanlights with rendered mouldings and keystones. The ground-floor projecting sills are painted a tan colour to match the column capitals and bases, and the window elements are painted dark green. The upper-floor French doors and windows to the front facade are also symmetrical and original, excepting the more recent, outer screen doors.

A race at the Royal Turf Club The club covered about of land between Phitsanulok, Rama V, Si Ayutthaya and Sawankhalok Roads, and featured facilities including, in addition to the racecourse, a golf course (the Royal Dusit Golf Club), a swimming pool, tennis courts, a fitness centre and dining services. One of the original buildings on the site is the multi-purpose hall, believed to have been King Vajiravudh's royal stable. However, it is more likely to have been an indoor dressage practice arena. The building is of a rectangular floor plan, decorated in Neoclassical style with stucco and mouldings.

The tower's pitched roof has sheet metal tiles in a fish-scale pattern, crowned by a pressed metal cornice, featuring decorative mouldings and lions heads. There is also a small central pediment motif above the eaves of the south face. It is this tower which imparts to the building its unusual Victorian Second Empire style. Of almost equal interest is the treatment of the remainder of this front, which includes fine panelled and patterned boarding, notched and bracketed barge boards, eaves soffits, scalloped friezes and a radiating design over the semicircular windows, decorated window lintels and a prominent "keystone", all done in cut and fretted timber.

Located at the mouth of the Singapore River, the Empress Place Building's imposing Neo-Palladian exterior with timber-louvred windows and pitched clay tile roofs caught the attention of immigrants and visitors sailing into Singapore harbour. A 1905 Singapore guidebook says of Government Offices and its neighbouring buildings, "Apart from the cities of India, there is, perhaps, no place in the East which boasts such a handsome group of [government] buildings as viewed from the sea." Inside, the rooms are stately, with high ceilings, handsome Doric columns and exquisite plaster mouldings and cornices. Elegantly proportioned, the building is laid out symmetrically along a central axis.

In continuation of the legacy of the Satria Neo R3 Lotus Racing, Proton introduced the 2011 R3 Satria Neo on 8 February 2011.2011 Proton R3 Satria Neo Officially Launched In Malaysia LIVE LIFE DRIVE. Available only in bright red, it costed RM79,797.00 and featured a built-in 2-DIN navigation system, the first in Proton's history. It was fitted with the old Satria Neo CPS bodykit mated to new R3 Design 16-inch alloy rims, R3 front and rear spoilers and side mouldings in addition to leather upholstery and various other R3 extras on the interior. Its handling and performance attributes remained unchanged over its Lotus Racing sibling.

Typical decorative mouldings include standard features of Classical architecture such as columns of various orders, pilasters, parapets, cornices and capitals. Stucco façades were not always well-regarded: writing in 1940, Louis Francis Salzman considered that stucco "hides what architectural features [the buildings] may possess and produces dull uniformity, entirely lacking in character". Brick was often used for 19th- century houses, for both walls and chimney-stacks (11 Grand Avenue, Hove pictured). Brick buildings are common throughout the area. Pale gault brick is characteristic of some mid-19th-century residential developments, such as the area around Grand Avenue in Hove and the Valley Gardens area of Brighton (both conservation areas).

100 Hoover workers were shifted from the C5 production line to work on replacing the faulty mouldings on returned vehicles. Barrie Wills admitted that Sinclair was also taking the opportunity to "adjust stocks" in the light of the C5's poor sales. When production resumed a month later it was at only 10% of the previous level, with 90 of the workers being transferred back to the washing machine production lines. Only 100 C5s were now being produced a week, down from the original 1,000. Over 3,000 unsold C5s were piled up in storage at the Hoover factory, with additional unsold stock in 500 retail outlets nationwide.

British Listed Buildings HSBC Bank, Rhayader AberystwythPost Office In small country towns such as Rhayader in Radnorshire the local architect, Richard Wellings Thomas built both the Kington and Radnor Bank of 1904 and the town's Post Office of 1903 using Ruabon Terracotta. The Bank has heavy classical mouldings while the Post Office for the upper storeys uses the local stone with terracotta dressings."Scourfield and Haslam" (2013), 408–9 Terracotta was a popular material for building Post Offices, as at Denbigh and particularly the Post Office in Great Darkgate in Aberystwyth. The later was the work of T E Morgan, completed in 1901, and has an attractive mosaic fascia.

The well-heeled residents of the Eastern Suburbs have erected some impressive monuments here. Many of the iron grave surrounds are intact and form a neat catalogue of designs. National Trust Restoration Appeals – Helping the community to fund important works: St Jude's in Randwick includes the 1865 church, the 1862 original Randwick Borough Chambers, the 1870 Victorian Gothic rectory, 1899 parish school hall and 1850s historic cemetery. Works over time have included repairs to the stonework of the church, rectory and parish hall, and conservation of walls, pillars, window mouldings, slate roofing, bells, clock tower, organ, timber, tiling, pressed metal, flooring, paths, stone paving, ceilings, fencing and stained glass windows.

The Church of St. Nicholas is the Church of England parish church of Thelnetham and part of the United Benefice of Stanton. Dating from the 14th century, it is said to have been built by Edmund Gonville, founder of Gonville Hall, later Gonville and Caius College, Cambridge, who was rector here from 1320–1326. Many older features remain including a simple octagonal font, the doorways and stairs to the rood loft behind the pulpit, a 14th century arcade, and arches with octagonal piers and quarter-round mouldings. The chancel and south aisle both have medieval stone altars with recut consecration crosses which were reinstated during the 1895 restoration.

It became the favourite royal residence and the political capital of the kingdom under Charles' son, King Louis XII. At the beginning of the 16th century, King Louis XII initiated a reconstruction of the entry of the main block and the creation of an Italian garden in terraced parterres where Place Victor Hugo stands today. This wing, of red brick and grey stone, forms the main entrance to the château, and features a statue of the mounted king above the entrance. Although the style is principally Gothic, as the profiles of mouldings, the lobed arches and the pinnacles attest, there are elements of Renaissance architecture present, such as a small chandelier.

Modern styles juxtaposed with historic styles; right The Monument in the City of London provides views of the surrounding area while commemorating the Great Fire of London, which originated nearby. Marble Arch and Wellington Arch, at the north and south ends of Park Lane, respectively, have royal connections, as do the Albert Memorial and Royal Albert Hall in Kensington. Nelson's Column is a nationally recognised monument in Trafalgar Square, one of the focal points of central London. Older buildings are mainly brick built, most commonly the yellow London stock brick or a warm orange-red variety, often decorated with carvings and white plaster mouldings.

The oldest parts of the present house were said by John Britton (1771–1857) to have been built about the middle of the 14th century. Britton believed the main entrance porch, consisting of a semicircular arch, with Norman-style cable mouldings, to be of ancient date, brought from some neighbouring church, or even Plympton Castle. Due to subsequent alterations the building is difficult to date accurately and Pevsner states it to be "irritating for the historian" as it incorporates a multitude of imported period features and materials, giving it "a superficially convincing instant patina". The house was described by Polwhele in the 18th century as "ruinous".

The building consists of two late Norman archways, a carriage gateway and a smaller postern gate for pedestrians, surmounted by a late Perpendicular gatehouse, with an adjoining tower. The unweathered appearance of the archways led to a public debate between 19th century commentators as to whether the archways had been rebuilt since the 12th century, but the prevailing view, as argued in the 19th century by George Edmund Street, is that they are probably the original ones. Both the north and south arches of the carriage gateway are densely decorated with carved mouldings. Inside is a ribbed vault and walls with carved interlaced arcading.

The Pre-school centre is a classic example of the 'Melbourne Regional style' of the 1950s, with its boldness in structure, geometry and colour. The Burwood Pre-School is a single-storey building, comprising a large central playroom with a distinctive zig-zag roof. Framed up with diagonal steel members in a scissor-like configuration, the zigzag roof essentially comprises three contiguous butterfly roofs, forming three small gables with an upward-sloping skillion at each end. On the north facade, the gable ends are expressed as three diamond- shaped panels and two half-diamonds, each enlivened by concentric rows of flat timber mouldings to create an eye-popping optical effect.

Hence the real greatness of Elmes' achievement". Charles Herbert ReillyHemm (1949), p46 "Judging from his numerous perspective sketches, Elmes had the ability to rapidly design a building in perspective; not only did he prepare numerous sketches of the exterior, but also perspective views of the interior of the great loggia, and various other features. His full-size details, although Classic in spirit, are essentially modern in character; every suite of mouldings received due consideration as to its placing, and its ultimate relation to the scheme as a whole. Nothing could surpass the beauty of the Neo-Grec ornament selected for terminating the dominating attic.

Images of the parshvadevatas (attendant deities) are placed in the central niches of the outer wall (bada) on three sides: the eight-armed Durga slaying Mahishasura on the south; the six-armed goddess Chamunda standing on Shiva on the west and an empty niche on the north, which probably had a goddess figure that was stolen. The lintel of the attendant deity niche has Gaja Lakshmi figurines. The frames of the niches are decorated with scrollwork and kirtimukha motifs and two female attendants accompany each niche. The uppermost part of the outer wall has ten horizontal mouldings, ornate with scrollwork, kirtimukha and lotus and floral motifs.

This limited edition of 50 sedans was available between June 1990 and June 1991 exclusively for the Holden dealer group in Canberra. Codenamed "8VK19 A9W", it was based on a Commodore Executive but upgraded to the S pack. In addition to body coloured wheel covers, bumper bars and bonnet garnish the car also featured the HSV 8 Plus grille, SV3800 red and silver pin stripes and Challenger decal pack on driver's side of the bootlid and trailing edges of rear doors below the body mouldings. It was only available in Alpine White and the interior featured a black Calais steering wheel, rear headrests and Challenger badge in dash pad.

The door and windows are framed by modest mouldings, and there is a half-round opening (presently filled with a louver, but originally with a window) in the gable above. The west facade is also three bays wide, with a more elaborate but false entrance at its center, framed by pilasters and topped by an entablature and cornice. A modernized ell extends eastward from the main block. The house was built about 1810 for John Treadwell, a Farmington native who was then serving as Governor of Connecticut; however, there is no evidence he ever actually resided here, since his residence was always listed as Farmington.

245 a plaster ceiling with exotic fruit and flower mouldings with the arms of Pringle of Galashiels (five escallops on a saltire) dated 1650 painted on the wall, and a wooden barrel-vaulted attic apartment which is expressed on the roofline.RCAHMS Inventory of Monuments in Edinburgh, Edinburgh HMSO (1951), p.96 Notable people associated with the house include Scotland's first eminent portrait painter George Jamesone, the English spy and writer Daniel Defoe, who was instrumental in the passing of the 1707 Act of Union with England, and Archibald Constable, proprietor of the Encyclopædia Britannica. Moubray House is designated a Category A listed building by Historic Scotland.

T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), , pp. 15–16. The style can also be seen in the East end of Elgin Cathedral, which incorporated typical European Gothic mouldings and tracery. The Apprentice Pillar in Rosslyn Chapel, one of the most elaborate surviving examples of the late Gothic style A more elaborate style known as decorated Gothic, applying ornamentation to vaults and pillars, particularly using curved motifs, began to be adopted in the thirteenth century and was characteristic of Scottish church building in the fourteenth century. It was used at Dunblane Cathedral, built in the thirteenth century, particularly to decorate the nave and East end.

The festive external appearance of the building is due to its Art Nouveau mouldings, intertwining decorations, elliptical attic and elegant bas-reliefs. The two front façades feature rich and original decor with pronounced manifestations of the Art Nouveau style: smooth curved lines repeated in window openings, balcony framings, and in the winding lines of the openwork ornament of balconies and friezes. Particularly expressive are the various forms and finishes of the attic, the platbands and the locks of window openings, plaster macaroons, niches with stucco decorations and other elements. The two entrances are decorated with vertical partitioning of the wall, complex parapets and large windows.

The ground floor facade has been altered, with a pebble render finish to the walls and non-original window and door units, some of which are in the original openings. The first floor has timber framed, multi-paned doors with fanlights, most of which have air conditioning units inserted, opening onto the verandah. The second floor has aluminium framed hopper windows in original arched openings which are framed by rendered mouldings and pilasters. The Lake Street elevation has the words HIDES CAIRNS HOTEL along the parapet, and a slightly recessed central bay with a balcony, rendered balustrade and a central flagpole on a rendered scrolled base at the parapet.

One of the Silver Street upper windows is blind, though with its full drip moulding and segmental arch, this may have been intended as a compositional counterbalance to the extra bay at the south end. All upper windows have partly aedicular treatment with segmentally curved stilted drip mouldings, accentuated keystones and a continuous sill that forms part of a ground floor-first floor entablature. The windows are generally double hung sashes. The roof is on a bracketed cornice, with sparsely and irregularly applied brackets in pairs, and in places, as a trio, which is geared to the varied window placements on the Marrickville Road and Silver Street elevations.

It was decorated with wall paintings, stucco mouldings and opus sectile marble polychrome panels. The life-size head of a young man carved in marble, found during excavations in 1964, and identified as a likeness of Nero aged 13 created at, or shortly after, his formal adoption by the emperor Claudius in AD 50 probably originated from the proto-palace. Foreign, probably Italian, craftsmen had to be employed at this early period. This building was not unique in this area as the villa at Angmering was similar in many respects and suggests a number of aristocrats living in the area who must have used the same workforce.

The 1983 model is extremely rare and the only Black Magic to receive the compound rear window. 1983 Crimson Cat - Bright red (code 27) paint with gold striping and Cougar XR-7 TRX wheels set this car apart. Crimson Cat received black sport performance seating with red inserts (code KA). 1984 Charcoal Turbo RS - A Capri RS Turbo that was only available in charcoal upper-silver lower exterior paint with light grey striped rub mouldings, Garrett 60 trim turbocharger, enhanced multiport EFI four-cylinder engine, Michelin TRX package, 5.0 HO Sway bars, 3.45:1 limited slip rear axle, hood scoop, and orange and red lettering and striping.

Moulded timber capitals, neck-moulds and a "gothic-arch" frieze provide decorative interest. The floor is paved with encaustic tiles and stairs provide access on both the front (west) and north elevations. The external walls are generally of warm-red face-brick with darker purple-brown bricks used dressings such as windows heads, the surrounds to the rondel window, window sills and balus Rough-cast plaster is used at the top of the gable of the front bay while the gables to the north east are left plain as befits their secondary status. The two pairs of rendered chimneys feature decorative mouldings and fluting and are topped with terracotta chimney pots.

Individual drawers are usually separated by mid- rails and mid-stiles occur between doors and wherever vertical partitions exist within the cabinet (see image Parts of a face frame). The frame members are generally made from plain rectangular stock but are often visually enhanced through the application of cock beading or applied mouldings. Typically a frame member will be between 25mm to 50mm in width, depending upon the application and the desired appearance of the cabinet. For built in cabinets, it is common for stiles that are to abut a wall to be cut wider than the final size so that these may be scribed to the shape of the wall.

The entrance to the hall would be from the north, and the President's throne would naturally face it. There are two inscriptions in this cave, but neither seems to be integral, if any reliance can be placed on the architectural features, though the whole cave is so plain and unornamented that this testimony is not very distinct. The pillars of the veranda are plain octagons without base or capital, and may be of any age. Internally the pillars are square above and below, with incised circular mouldings, changing in the centre into a belt with 16 sides or flutes, and with plain bracket capitals.

Gilbern Sports Cars (Components) Ltd was founded by Giles Smith (previously a butcher, who died in 2003) and Bernard Friese, a German engineer with experience in glass fibre mouldings, and was one of the few cars to be made in Wales. Friese had made a one-off car for himself and the two partners used this as the basis for the first Gilbern car. The premises were a tiny workshop in Church Village, Pontypridd but when production started the business moved to a new location at the old Red Ash Colliery at nearby Llantwit Fardre. The cars were available at first only as kits but later complete cars were also available.

Smithield Chambers, 2015 An austere, two storey, rendered brick building in a classical idiom, Smithfield Chambers stands prominently on a sloping site to the northeast side of upper Mary Street, Gympie. Stables and a row of earth closets stand to the rear of the property. The rendered and painted front elevation is symmetrical about a central bay which at street level comprises a recessed main entrance with splayed reveals forming a shallow porch opening into the offices beyond. The entrance, now housing a set of modern steel framed doors, is flanked by sash windows with projecting moulded sills and chamfered surrounds enriched with roll mouldings.

The shibi or fishtail-like ornaments at either end of the ridgepole are shaped with stylized scales or feathers, while the front doors of the shrine, on its long side, are approached by means of a small flight of steps. The architectural members of the building and edges of the plinth and dais are ornamented with bronze bands of "honeysuckle arabesque". The base of the building and the dais at the very foot of the shrine exhibit the shape known as resembling an excised bowl that is common on later furniture, altar platforms and railings. The plinth is surrounded, top and bottom, with mouldings of sacred lotus petals.

The standard LNER corridor coach design was finalised in 1923, using a 60 ft underframe, though some for use on the Great Eastern were on 51 ft underframes. The LNER standard coach was in advance of those of the other three of the Big Four by virtue of the Pullman gangways and buckeye couplers. The wooden teak-panelled body with squared mouldings and windows was more traditional than modern, particularly as the LNER persisted with this construction until 1942. In fact, there were few differences in design over the 1923-42 period, apart from an increase in body width to 9 ft 3in after 1927.

But Inigo Jones is also known to have been consulted about the design, and who may be responsible for some of the detail on the south front. In 1616–17 Lyminge was designing Blickling Hall in Norfolk for Sir Henry Hobart, 1st Baronet. Lyminge was buried in the churchyard at Blickling on 8 January 1628. Both country houses are typical examples of Jacobean architecture, brick built with stone mouldings around the windows and doors, with stone string courses and quoins, the central feature of each building is a clock tower, stone at Hatfield House and wood designed and painted to look like stone at Blickling.

Further, sufficient space was now available at the transepts for additional altars for services by several priests on important occasions like Christmas. In the external features the central tower or rather the Roman dome now comes at the centre of the transept imparting a classic form of European architecture. Also on either side of the main entrance in the front, rose towers to serve as belfries. In the treatment of the exterior, typical features of European church architecture were introduced – the Gothic arches, the pilasters and buttresses, the rounded openings, the classic mouldings and stained glass windows making the whole composition completely different from the native architecture.

The fruits of royal patronage were demonstrated by the construction of a large church ( long), built in the fashionable French-influenced Gothic style pioneered by Henry's masons at Westminster Abbey. The high quality and elaborate nature of the church's decoration, particularly its mouldings and tracery, indicate how the machine of royal patronage lead to a move away from the deliberate austerity of the early Cistercian churches towards the grandeur then considered appropriate to a secular church such as a cathedral. Construction of the church proceeded from east to west. The sanctuary and transepts were built first to allow the monks to hold services, and the nave was completed over time.

Picture frame mouldings come in a wide variety of profiles, generally in some sort of L shape with an upward "lip" and a horizontal rabbet. The rabbet functions as a shelf to hold the frame glazing (if any is to be used), some sort of spacer or mat/matte to keep the object safely behind the inner surface of the glazing, the object itself, and backing boards to protect the object from physical damage and environmental pollutants. The lip extends a proportionate distance up from the edge of the rabbet. It restrains materials in the frame and can be used to help set off or reveal the picture aesthetically.

Sandstone quoining is found on the corners of this small projection and around several small lancets on each of the faces. This sandstone quoining is repeated on the facade of the building, around the tripartite lancet windows centrally located above the baptismal projection. Flanking the projection are attached sandstone buttresses tapering toward the roof and demarcating a change in roof line which is more shallow over the internal side aisles. The principal entrance to the building is at the western end of the northern side of the church where a large double door is recessed in a pointed arched opening surrounded by sandstone quoining and mouldings.

Judenstein on postcard depicting a painting from early 19th century Judenstein (Meaning "Jew stone") is a district of the village Rinn, Austria. In 1671, the blood libel cult of Anderl von Rinn emerged, and a church was built around a rock where the child allegedly had been murdered. There is a large stone within the nave of the church which had probably been brought in from elsewhere as there are no other large freestanding stones in the immediate neighbourhood, although there were back when the church was built. The church is lavishly decorated with paintings and mouldings in Rococo style that is said to have been carried out in 1730/40.

A panel van and three-door wagon were also added to the range, bodywork pressings being from the British Vauxhall Chevette/Bedford Chevanne range. Also new was the SL/E version, which used many interior options from the TC "Sandpiper" series, such as the radio/cassette, four-spoke steering wheel, timber dash inserts, velour seat trim, loop-pile carpet, and timber (hardboard) door-trim inserts. The SL/E also received the five-speed manual transmission as standard. Externally, appearance was further enhanced to include stainless steel headlight and grille surrounds, thick stainless steel door window-frame mouldings, and GM-H designed alloy wheels similar to Sunbird SL/E.

Unfortunately, many of the decorative features have been lost over time and as a result of repairs. Decaying features such as a fine Bristol coat of arms on the pediment, figures of putti depicted reading books above the first floor windows, and much of the mouldings and other details, were removed in the 20th century instead of being restored. One of the putti may have survived; there is one on the wall of St Michael on the Mount Primary School on St Michael's Hill in Bristol, which may have come from the library. A west wing, projecting towards the street, was added in the late 18th century.

Chandragiri hill temple complex at Shravanabelagola The Western Ganga style of architecture was influenced by the Pallava and Badami Chalukya architectural features, in addition to indigenous Jain features.Reddy, Sharma and Krishna Rao in Kamath (2001), pp 50–52 The Ganga pillars with a conventional lion at the base and a circular shaft of the pillar on its head, the stepped Vimana of the shrine with horizontal mouldings and square pillars were features inherited from the Pallavas. These features are also found in structures built by their subordinates, the Banas and Nolambas. The monolith of Gomateshwara commissioned by Chavundaraya is considered the high point of the Ganga sculptural contribution in ancient Karnataka.

The outer two are of domestic proportion and the central door is ornamented only by a central post, quatrefoil and the fine mouldings of the arch. Above the basement rise two storeys, ornamented with quatrefoils and niches originally holding about four hundred statues, with three hundred surviving until the mid-20th century. Since then, some have been restored or replaced, including the ruined figure of Christ in the gable. The third stages of the flanking towers were both built in the Perpendicular style of the late 14th century, to the design of William Wynford; that on the north-west was not begun until about 1425.

Sir Clement is buried in the Church of All Saints at Barrow, Suffolk. Against the south wall of the chancel is a tomb-chest surmounted by a low canopy with a flat-arched roof, ornamented within with quatrefoils and Tudor flowers. Externally the canopy has a horizontal frontage carved with quatrefoils (three enclosing shields, two enclosing double roses) between coursed mouldings, crowned above with a frieze of lozenge-formed crinkled foliage between the slender octagonal columnar quoins which rise at the corners as turrets. The front of the tomb-chest has three lozenges enclosing quatrefoil tracery with a heraldic shield at the centre of each.

In 1659 a new brick tower, modelled on St Matthews in Battersea, was erected at the NE corner of the original structure. Among notable interior features are an early brass of 1370, the dogtooth mouldings of the chancel arch and the imposing arcades and foliate capitals of the Nave. To date All Saints has undergone two major restorations, the first in 1847 by the architect Benjamin Ferrey and the second in 1871 under the guidance of Sir George Gilbert Scott. In 1995 the "National Association of Decorative and Fine Arts Societies" (NADFAS) declared All Saints to be one of the finest examples of architecture of its style in the country.

The estate consists of a number of residential blocks which enclose a number of quiet shady courtyards containing mature trees, mostly London Plane trees. The buildings are constructed in dusky red and yellow bricks and the design incorporates classical pediments and stucco pilasters as well as arts and crafts details such as gabled walls, and casement windows on the inner courtyards and decorative mouldings to the large arches on the access ways. In 2013 planning permission was granted for a £14 million regeneration of the Bourne Estate. Matthew Lloyd Architects’ scheme, developed with Camden Council and Tibbalds Planning and Urban Design, provides 75 new homes across two mixed tenure blocks.

The William Street facade has paired tall, narrow, multi-paned timber sash windows, with the end facades having single sashes. The ground floor windows are surrounded by unpainted rendered mouldings with expressed sills and cornices above, and the first floor windows have similar details but with keystone-type heads. The northern end facade has a central chimney, with curved details at first floor height, which is surmounted by a large cornice with double arched flue covers. The southern end facade, the point of connection to the recently demolished post-1899 extensions, has been rendered to suggest floor levels and the position of the original chimney.

The style of this arched city gate, with its ornate mouldings, scrolls and masks was widely copied all over Catania immediately following the earthquake, with many of its features becoming motifs of the Sicilian Baroque. While these characteristics never occur all together in the same building, and none are unique to Sicilian Baroque, it is the coupling together which gives the Sicilian Baroque its distinctive air. Other Baroque characteristics, such as broken pediments over windows, the extravagant use of statuary, curved topped windows and doors and flights of external stairs are all emblematic of Baroque architecture, and can all be found on Baroque buildings all over Europe.

Milburn would have benefited significantly from enhanced crop yields and from the opening of the mines which also occurred at this time (references to the rich Silverband mine on Dun Fell, behind the village, appear from 1709). The scale of the improvement in rural fortunes is demonstrated by the stylish ambition guiding the design of the replacement buildings. Doors are adorned with classical features such as architraves and pediments, and windows are surrounded by elaborate mouldings. It seems likely that medieval structures first began to disappear at this time, the process being consolidated as the improvement in the wealth of the village continued during the 19th century.

Bend stiffeners are conically shaped polymer mouldings designed to add local stiffness to the product contained within, limiting bending stresses and curvature to acceptable levels. Bend stiffeners are generally suitable for water depths of 35 metres or less, and their suitability is highly dependent on currents and seabed conditions at site. Extreme care must be taken when selecting a stiffener, especially relating to the lifespan of the system as these themselves can become fatigued/fragile. As the stiffness of these products are dependent upon the nature of the plastic used, careful testing and QA of plastics should be carefully considered as flaws introduced during material manufacture, processing, machining and molding.

Another, more simple, stair is housed in the southern corner of the building. The chapel, located in north eastern wing of the ground floor of the building is a long room only the north western end of which was originally intended for this use. This end has a coffered timber ceiling with plaster mouldings, grisaille (or non-figured) stained glass panels in tre-foiled lancets and fine timber joinery. A sanctuary, at the north western end of the chapel, is separated by an elliptical headed archway, and houses a small marble altar flanked by single tre-foiled lancets fitted with figured stained glass panels.

Sacred Heart Cathedral 2019 Sacred Heart Cathedral, 1903 The Sacred Heart Cathedral is rectangular in plan and is modelled on a Roman basilica design, with a high ceiling above the nave, aisles on either side and an apse which is framed by a timber arch lined with tongue and groove timber. The tunnel-vault with truss design ceiling is of tongue and groove board. The gable roof is of corrugated iron, and the facade has two turrets and large Gothic windows on either side of the central statue niche. The external walls of red face brick have tuck pointed mortar joints and contrasting cement rendered mouldings.

The verandah posts have been stop chamfered on the edges with two mouldings, a smaller neck mould and a larger capping mould, placed around the post above the stop chamfering, so that the finished verandah post reflected classical influence. A frieze of timber battens defines the lower verandahs on the NNE, SSW and WNW sides of the building extending from under the upper storey. The WNW verandah on the lower level has been partly enclosed using cement breeze blocks which adjoin a two-storey rendered block building that abuts the School House and houses bathrooms for the boarders. The upper level bathroom is at the level of the staircase landing.

The "Little Classic" was an expandable ranch that the magazine had commissioned which it noted featured "...a cornice [that] is pure sculpture - no jackscrews of mingled mouldings [to] confuse its clean profile." The illustrated article also pointed out that "...the porch at the head of the garden is reached through paired French doors from both the living and dining rooms." \- even in this late example of Seyfarth's work the abstracted design and covered exterior living space continued to be important elements of the composition. With a long history of having his work published, Seyfarth was following the example of George Washington Maher, who was widely published during his career.

This is perfectly possible because founders' stamps were handed on from one founder to another and in England there are several cases of the use of medieval stamps at the end of the 17th century. Moreover, in the foreign mouldings and outline of the Dunnottar bell, we see a lingering survival of that continental influence which ever since the English wars in the 14th century had held such sway in Scotland.” The Marischal Aisle (nowadays a Mausoleum), sits in the current church grounds and was first build in 1582 by George Keith, the 5th Earl Marischal of Scotland and founder of Marischal College in Aberdeen.

Chichester HM. 'Cotton, Stapleton, first Viscount Combermere (1773–1865)', (J Lunt, revd) Oxford Dictionary of National Biography (Oxford University Press; 2004) (accessed 20 May 2010) The obelisk is around high, with window mouldings approximately halfway up each side. The base has inset panels of red sandstone on each face; one has a doorway, while the opposite one bears the Cotton coat of arms and a memorial inscription.Images of England: Monumental Obelisk (accessed 19 May 2010) The design is similar to Sir Robert Smirke's monument to the Duke of Wellington, Lord Combermere's former commanding officer, in Phoenix Park, Dublin. The obelisk is listed at grade II.

The leadlights believed to have been transferred from Ferndale have distinctive geometric patterns and have been incorporated as decorative features in internal and external walls and some fanlights. Wall panels are generally accompanied by elaborately carved cedar shelf/brackets, believed also to come from Ferndale. Externally, the "new room" added in 1933 sits comfortably at the corner of the house but has some distinctive details, in particular the concave sweep between the upper eaves and verandah roof levels of the original house, the sweep being clad with cedar shingles. Internally it has a plaster "art deco" ceiling, silky oak joinery and panelling, including panelled doors with crossed diagonal decorative mouldings.

On 3 August 1855, John Leech ran an advertising in the Southern Cross newspaper which read as follows: :John Leech (late of the firm of Richardson and Leech opposite the Royal Hotel, George Street Sydney) Respectfully announces to the inhabitants of Auckland that he has commenced business in High-street, opposite the Wesleyan Chappel as Carver, Gilder, Picture-frame and Looking-glass Manufacturer. Having had considerable experience in the above-named branches, he is quite confident of giving the most perfect satisfaction to those who may favour him with an order. Picture-Frames and Looking glasses re-gilt and re-silvered. Gold Mouldings of every pattern made to order.

Internally, the Masonic Hall of the Maitland Lodge of Unity conforms to the measurements, principles and proportions of double cube construction which is the principle of freemasonry design. The lodge building includes two spaces: a simply designed and largely undecorated ante room that leads to a more ornately decorated temple room. Decorated with a central linoleum floor panel with Masonic imagery (including the 'blazing sun'), the temple has a coved roof, central lantern and triangular "G" icon suspended from the ceiling that symbolises God. The temple is highly decorated with mouldings, cornices, vents and Masonic emblems (including the eight-point star formed by the double cube).

He associated himself particularly with the architect Jean- Baptiste Leroux, who afforded him free rein in designing interiors. The later reaction against the Rococo ensured that most of these crucial works were destroyed through neglect: Pineau's work is amply documented, however, in his surviving drawings and in engravings, witnesses to his delicacy of relief, the extreme attenuation of his mouldings and the free interplay of tendril and interlace (Kimball, p. 163). Individually asymmetrical panels exhibit the Rococo concept of contraste, finding their balance in corresponding features on the other side of a central panel or mirror frame. Pierced rims of expanded shellwork are combined with naturalistic sprays of flowers.

For the mounting of special bodies the 400E was available in chassis only, chassis/scuttle, and chassis/cab form. Within a short while a 12-seater variation of the estate car appeared, this time with longitudinal seats and a fixed step to the rear. In contemporary literature this model was called a '12 seater bus', and the previous transverse seat model was not shown, although it was still listed in the price schedule. In early catalogues of the range a de luxe version of the 15 cwt estate car was shown complete with chrome overriders to the front bumpers, chrome exterior mouldings, chrome window trims and a two tone colour scheme.

Above this doorway are two stories of windows, three in each, and all enriched with the small flower moulding so common in works of the period. The north side of the chancel has also two stories of windows; the upper are filled up and the lower partly open. The east end is similar to the portion of the church just noticed. The church from Market Hill The south side of the church is similar to the north, except in the transept, which has a large pointed window of five lights, with cinquefoil tracery; and beneath it a circular-headed doorway, of simple but particularly deep mouldings.

There is an attached churchyard, which was closed to burials around 1860. In the southeast corner, St Stephen's Chapel and the vestry are the earliest parts extant, with exterior walls of rough flint and rubble, and a separate, steeply pitched, red tiled roof with an ostensibly Victorian chimney. During extensive repairs and changes to the interior of the church undertaken in 1840-1841, old foundations were met with, and it was noted that many stones had the remains of "ancient mouldings", suggesting that this part of the church was constructed on the site of, and using material from, an earlier construction. Interior and exterior evidence indicates that the roof of the chapel was once a lean-to.

The Fusion was manufactured at Ford's Cologne-Niehl assembly and exported to more than 50 countries, including Angola, Australia, Hong Kong, Japan, New Zealand, Singapore and South Africa. Beginning In November 2005, Ford marketed a mildly facelifted Fusion with revised front and rear lights, bumper fascias, side mouldings, door mirrors, brighter exterior color palette, revised interior design with 'soft touch' materials and revised analogue instrument display. Ford of Brazil and a number of Latin American countries marketed a crossover SUV variant as the Ford EcoSport with revised styling and increased ground clearance for light off-roading. The Fusion received Four star NCAP crash safety rating, and was succeeded in November 2012 with the B-Max.

In 1897 the hotel was once again completely rebuilt to the design of Phillip Kennedy, an understudy of German migrant architect Wilhelm C. Vahland, who is attributed to the four storey Second Empire architecture design with basement level and a distinctive tall fifth storey mansard roof. The elaborate "boom style" building features detailed stucco mouldings and a distinctively Australia feature in its Victorian Filigree styled double storey wrap around iron lacework verandah. The entry patio has the hotel's name in mosaic parquetry and the hotel's name is also etched into the glass of the transom light. Part of the ambitious brief was to construct a rival in grandeur to Melbourne's the Grand Hotel (now Windsor Hotel).

Elaborate boiseries in the guild hall of the Zunfthaus zu Kaufleuten, Kramgasse 29, Bern Boiserie (; often used in the plural boiseries) is the French term used to define ornate and intricately carved wood panelling. Boiseries became popular in the latter part of the 17th century in French interior design, becoming a de rigueur feature of fashionable French interiors throughout the 18th century. Such panels were most often painted in two shades of a chosen color or in contrasting colors, with gilding reserved for the main reception rooms. The Palace of Versailles contains many fine examples of white painted boiseries with gilded mouldings installed in the reigns of Louis XV and Louis XVI.

Demand rapidly outstripped production, and until new facilities were built the waiting list ran to two years. In the next decade, the Rogers yard built 500 Contessa 32s, and when production stopped in 1983 over 700 had been built, and had been sold around the world. Between 1973 and 1990, an additional 87 were built under licence by J.J. Taylor of Canada after a hull and deck were shipped out and a set of moulds produced. These 'Canadian Contessas' have various production differences; the tiller was replaced with a wheel, the rig was made 3 feet taller, more GRP mouldings rather than wood were used in the interior, and a coremat cored deck replaced the solid deck.

Decorative stone mouldings run along the walls, articulating the surfaces and defining the three registers of the iconographic programme. In the dome, Christ Pantocrator is surrounded by full-length figures in the drum. In the apse are depicted the Virgin and Child, frontal standing figures of hierarchs and, in the lower register, Saint George painted within a frame, like that of an icon, with his parents in roundels on either side. The cross arms are decorated with representations from the cycle of the Twelve Great Feasts (Nativity, Presentation of the Christ in the Temple, Baptism, Entry into Jerusalem, Ascension, Pentecost, Annunciation) and the walls are painted with portraits of soldier-saints and martyrs.

Protheroe said that John "wanted it to look like something that had evolved ...something that had happened instead of being contrived"; the pair consequently acquired many antiques and objets d'art. Brown described the interior decoration on his 2010 visit as consisting of "capacious sofas – an aura of Aubusson, cut moquette, damask – and deep carpets. There are vases spilling with flowers, elaborately carved tables, every surface covered with exquisite porcelain." The restrictions on building materials after the Second World War meant that Woodside's ceilings are comparatively low at only 8 ft 6in, and to increase the perceived height of the rooms Cooper-Grigg and Protheroe added columns and mouldings and allowed draperies to pool on the floor.

37 The granite and basalt used in the foundations and at the base of the columns came from Harcourt and Footscray in Victoria and the sandstone for the window dressings, doorways and arcading came from Pyrmont, New South Wales. The initial architectural impact is achieved via its lofty ceilings, tall, delicately proportioned columns and low level lighting. The architects achieve a layering effect through the masking of external walls via colonnades (a colonnade denotes a long sequence of columns joined by their entablature which is the superstructure of mouldings and bands which lies horizontally above the columns) often free-standing. The interior (by Frank Loughborough Pearson) reflects liturgical arrangements favoured by the Oxford movement from the 1840s.

The ciprés under the drum dome that protects the Our Lady of the Rosary is made up of twelve Corinthian columns at the base made of marble from Tecali de Herrera, representing the apostles. In the first body some Dominican saints are appreciated, and in the second twelve beautiful solomonic columns covered with roses and lilies that frame Saint Dominic. The saints embedded in the roof niches hold flower clusters, four decorative ribs are embraced by plants and are arranged in the form of a vine. Also, there are mouldings with high reliefs of plants typical of the region, as if it were intended to remind us of the fertility and benefits of this land.

The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. The former Crawford and Co Building possesses a facade design that, in its individual elements and their composition, is uncommon and has always been uncommon. The use of skyline decoration – emu and kangaroo statues bearing shields, picks and shovels; an ornamental central pediment featuring lion's heads, acanthus leaves and egg; and dart mouldings upon a balustraded parapet – plus dissimilar and abundant enrichment to each storey including moulded faces on the keystones of the entrance and ground floor window arches is an idiosyncratic stylist combination. The place is important in demonstrating the principal characteristics of a particular class of cultural places.

Brisbane Associated Friendly Societies (BAFS) Building, lettering and mortar-and-pestle detail, 2015 The BAFS Building is a three-storey building with basement, constructed of load-bearing masonry that accommodates a pharmacy and offices. The building has sculptured, parapetted facades to both George and Turbot Streets which feature carefully detailed Classical and Art Deco-style decorative elements. The bottom half of the building is smooth- rendered and painted in a cream colour, which is also used on the mouldings around the windows and in bands on the corners of the building to simulate quoining. The first floor windows are set within wide arched openings which have exaggerated moulded keystones that connect to the sills of the upper floor windows.

" Henry-Russell HitchcockHitchcock (1954), 336 "Judging from his numerous perspective sketches, Elmes had the ability to rapidly design a building in perspective; not only did he prepare numerous sketches of the exterior, but also perspective views of the interior of the great loggia, and various other features. His full-size details, although Classic in spirit, are essentially modern in character; every suite of mouldings received due consideration as to its placing, and its ultimate relation to the scheme as a whole. Nothing could surpass the beauty of the Neo-Grec ornament selected for terminating the dominating attic. The whole building fulfils the highest canons of the academic style, and is unsurpassed by any other modern building in Europe.

The LMS flush sided coach, of which many examples still remained as late as 1967-8, differed in appearance from its predecessors mainly in the shape of its windows which now exhibited well- rounded corners. All the earlier coaches had, of course, been built with slightly rounded window corner mouldings but by comparison with Stanier vehicles, the Period I and II coach window was almost square cornered. The second major visible difference was also in the window area. During Period I, the favoured method of admitting fresh air was the droplight which was frequently supplemented by and finally (in Period II) in large measure superseded by the Stones and Dewel pattern glass vane ventilator.

The house features fresco cycles in the "Sala delle Sibille" ("room of sibyls"), an original terracotta fireplace bearing the coat of arms of Giovanni Romei in the adjoining Saletta dei Profeti ("room of the prophets"), depicting allegories from the Bible, and in other rooms, some of which were commissioned by cardinal Ippolito d'Este, paintings by the school of Camillo and Cesare Filippi (16th century). Palazzo dei Diamanti, seat of the National Gallery Palazzo Schifanoia ("sans souci") was built in 1385 for Alberto V d'Este. The palazzo includes frescoes depicting the life of Borso d'Este, the signs of the zodiac and allegorical representations of the months. The vestibule was decorated with stucco mouldings by .

The tympanum, above the double door, displays, in half-relief, two scenes from the life of Saint Jerome: on the left, the removal of the thorn from the lion's paw and, on the right, the saint's experience in the desert. In the spandrel between these scenes is the coat of arms of king Manuel I, while the archivolt and tympanum are covered in Manueline symbols and elements. The Madonna (Santa Maria de Belém) is on a pedestal on top of the archivolt, surmounted by the archangel Michael, while above the portal there is a cross of the Order of Christ. The portal is harmoniously flanked on each side by a large window with richly decorated mouldings.

The basement facing that street becomes the ground floor of the building as it extends to the east along Tukayeva Street, where that floor is notable for the austerity and rigour of its rustic design. Also facing Tukayeva Street is the entrance to the building, which is sheltered by a large cast-iron decorative canopy. The two floors above that level face both streets, and are more elegant, with decorative mouldings and, on the top floor, arched windows. Initially, the house's interior configuration was that of a residential building: the main floor, at the Sovetskaya Street level, featured a drawing room, study and a hall, with the bedroom located in the mezzanine.

The main lines of the design consisted of flat hollow mouldings sometimes in the form of interlacing circles (Gatton, Surrey), at other times chiefly straight (Rochester cathedral), and the intervening spaces would be filled in with cusps or sprigs of foliage. It marks the last struggle of this great school of design to withstand the oncoming flood of the new art, the great Renaissance. From this time onward Gothic work, in spite of various attempts, has never again taken a place in domestic decoration. The lines of the tracery style, the pinnacle, and the crocket unequaled as they have always been in devotional expression are universally considered unsuited for decoration in the ordinary house.

The pinnacles, which extend from the angled buttressing strengthening the tower, are surmounted by sandstone fleur-de-lis, a motif which continues throughout the building. The tower features a number of openings repeated on all sides: a cinquefoil rose at the base; above which is a pair of double lancets with fleur-de-lis opening above; two quatrefoil openings; surmounted by two comparatively small tripartite lancet openings and finally, at the top, two larger lancet openings. The building is constructed from coursed rock-faced sandstone with smooth-faced arch mouldings, string courses, copings, parapet detailing, tracery and carvings. The glazing in the building consists of leadlight panels, with stained and coloured glass sections.

Notwithstanding the changed pattern of circulation and use, the external presentation of the building is able to demonstrate key aspects of the original design, particularly the parapeted frontage, hipped roof form, smooth rendered wall finishes and stylised mouldings. The main alteration is associated with addition of the mailroom and loading dock which fronts Powell Street and has involved the extension of the original roof line and is indistinguishable as new work. Elsewhere, changes include the addition of the disabled ramp to east porch and steel-framed awnings over the walkways at the rear of the building. Internally, much of the original fabric and detailing are intact, although largely concealed by new finishes.

Berkeley's first production car was the 'Sports' (type SA322), announced in September 1956 and produced from October 1956 to January 1957. Production began with two prototypes (registered RMJ395 and RMJ946), which were seen being tested with enthusiasm around the neighbourhood of Biggleswade in the late summer of 1956. Stirling Moss drove one at Goodwood in September, and the car was launched to the public at the 1956 London Motor Show – one year ahead of the Lotus Elite, which was also to be of fibreglass monocoque construction. Bond's attractive 2-seater open tourer design capitalised on Berkeley's GRP experience, and consisted of three large mouldings (floor or 'punt', nose, tail) with no conventional chassis.

During the period of 1740-1747 the façade on the Vistula side was reconstructed in the late baroque style (architects: Gaetano Chiaveri, Carl Friedrich Pöppelmann, Jan Krzysztof Knöffel). One of the best sculptors who did work on the castle in this period was Jan Jerzy Plersch, who made the royal decorative frames, mouldings and statues called the Famous Figures, which held the royal crowns on the top of the middle rysalit, of the Saxon elevation, on the Vistula side. The last reconstruction work of this period was finished by late 1763, after the death of Augustus III, when Plersch made the last sculptures and frames with province emblems for the Parliament Hall.

Lastly, a centre console with storage area and coin slots replaced a simple rubber boot. In 2000, the car was given another slight facelift consisting of body-coloured side mouldings, a new grille and reprofiled front bumper with larger indicators, and electrical adjustable side mirrors were equipped for 850cc models.This facelift was available with three variants: 660 EX, 850 EX and 850 EZ. The Kancil received a more extensive restyling in September 2002, featuring rounder headlights, taillights and bumpers; its rear license plate was also repositioned onto its hatch from the bumper below. Its interior features a flushed dashboard with the combination instrumentation panel placed in the middle similar to that of the Toyota Yaris.

During the period of 1740–1747 the façade on the Vistula side was reconstructed in the late baroque style (architects: Gaetano Chiaveri, Carl Friedrich Pöppelmann, Jan Krzysztof Knöffel). One of the best sculptors who did work on the castle in this period was Jan Jerzy Plersch, who made the royal decorative frames, mouldings and statues called the Famous Figures, which held the royal crowns on the top of the middle risalto, of the Saxon elevation, on the Vistula side. The last reconstruction work of this period was finished by late 1763, after the death of Augustus III, when Plersch made the last sculptures and frames with province emblems for the Parliament Hall.

Edward Robinson and Eli Smith visited in 1852 and noted a massive Roman temple had once been located near the village that has been grouped by George Taylor amongst the Temples of Mount Hermon. Robinson suggested the temple was bigger than Nebi Safa and spoke of it having been constructed of stones that were "tolerably large, well hewn, but not bevelled". Fragments of architrave, mouldings and blocks from the temple had been re-used by the villagers making their homes and farmsteads and had been left lying all over the fields, covered in rubbish. Sir Charles Warren also later visited and documented the area as part of an archaeological survey in 1869.

In all cases it should be weathered (have a slanted or curved top surface) to throw off the water. In Romanesque work copings appeared plain and flat, and projected over the wall with a throating to form a drip. In later work a steep slope was given to the weathering (mainly on the outer side), and began at the top with an astragal; in the Decorated Gothic style there were two or three sets off; and in the later Perpendicular Gothic these assumed a wavy section, and the coping mouldings continued round the sides, as well as at top and bottom, mitring at the angles, as in many of the colleges at Oxford.

He also appears to have conducted the country's first architecture school, credited with teaching Robert Henry Eddy, Elias Carter, Solomon Willard, Samuel Shepherd and Ithiel Town. After his first wife died on January 30, 1805, on July 24 he married Nancy Bryant of Springfield, who bore him another four children. "Mouldings at large," from The American Builder's Companion, 1816 Federal style house, from The Country Builder's Assistant, 1797 In 1823 and 1824, Benjamin was elected alderman of Boston as part of the "Middling Interest," a coalition of middle class entrepreneurs and artisans opposed to the Federalists, and who supported Josiah Quincy for mayor. He would help Mayor Quincy and Alexander Parris plan Quincy Market.

A joggle (a portion of the shaft which extends into the base, acting as a joint) about long extends into the base, where it is secured by another bronze dowel. The shaft and crossarm are both octagonal in shape, and the shaft tapers slightly as it rises to give the cross entasis. On the large size version, there are three plain mouldings on the shaft near the base, often reduced to one in smaller sizes, and the three extremities of the cross finish at a plain moulding projecting sideways from the main element. The crossarms are sometimes irregular octagons in section, with four wide faces at front, back, top and bottom, and four shorter faces in between them.

The place is important in demonstrating the principal characteristics of a particular class of cultural places. St John's Church is a fine example of a church in the Gothic revival idiom comprising a number of elements typical of this style including a steeply pitched roof, pointed arches, external buttressing to walls, decorative mouldings, lancet windows and fine stained glass. A number of fixtures and fittings gifted to the church from parishioners reflect the importance of the church to the parish including memorial stained glass windows, church furniture and liturgical items. Designed by leading Toowoomba architect Harry Marks, one of a family of prominent Queensland architects, St John's Church is a fine example of his ecclesiastical work.

Other features of the interior of the main nave are interior pediments with black and gold mouldings and are decorated with paintings which are possibly done by Nicolás Rodríguez Juárez . The church also contains nine life-sized sculptures in wood, as well as other altars in Neoclassical and Plateresque styles. Over the main door is an enormous canvas of Saint Christopher and opposite this, next to the altarpiece dedicated to Francis of Assisi, is a doorway leading to the Medina Picazo Chapel, the work of architect Miguel Custodio Durán, which dates from 1733. This chapel began as the cell, or living quarters, of the daughter of colonial doctor Pedro López after she took her vows to become a nun.

Many were used for tea parties, when tea drinking became fashionable in the eighteenth century. Lewis in A Topographical Dictionary of Ireland (1837) describes the demesne of Ahavrin as small but well planted, and refers to 'an isolated rock at its southern extremity' upon which 'stands a picturesque castellated tower, surmounted by a light and graceful turret'. The OS name book describes it as a tower or turret, built by Captain Crooke on Carrigacnubber rock, generally known as 'Ahavrin Castle', and referred to by Herbert Gilman as the 'Admiral's Folly'. The Archaeological Inventory of county Cork describes it as a ruined square three-storey tower (2m x 2m), having rectangular window opes with hood-mouldings, and an embattled parapet.

The stables present original sandstone external wall facades featuring extant heads and sills to some windows and a hipped slate roof with original eaves including fascias, soffits and soffit mouldings. The south elevation was treated as the prime side of the stables and the crook of the east and west wings enclosed the main stables-related working area. This elevation features window heads and sills to larger first floor window, WWII opening and sill to small window, original window frames and sashes and a recycled small window frame and sash at first floor level. The Western elevation was the least important side of the stables building and was originally a totally blank and recessive facade.

Cunningham & Waterhouse, p. 8 He began his architectural studies in 1848 under Richard Lane in Manchester.Cunningham & Waterhouse, p. 11 He was taught to produce architectural drawings with crisp lines and pale tints, very different from the style he would develop later. He was taught theory by copying extracts from books, including Henry William Inwood's Of the Resources of Design in the Architecture of Greece, Egypt, and other Countries, obtained by the Studies of the Architects of those Countries from Nature (1834) and William Chamber's A treatise on civil architecture (1759), he also traced the designs in Frederick Apthorp Paley's Manual of Gothic Mouldings (1845). The scrapbook he used survives in which he sets out Chambers and Paley's opposing views.

He bought "the lands of Bynnis and Croceflattis wirth the manor place thereof", and the Dalyell family have lived there ever since. Between 1621 and 1630, this Thomas Dalyell rebuilt the original house, and parts of the interior still reflect that period; in particular the north-west portion of the present entrance front, and decoration of the High Hall and King's Room (created in the hope of a visit from Charles I, which never came to be). These rooms still contain examples of some of the earliest cornices and mouldings in Scotland. Thomas Dalyell's more famous son, the Royalist General Sir Tam Dalyell continued the development of the house, adding the first of the towers, and the western range.

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.

Lamb House is a large, two-storeyed, red brick residence with a multi-gabled roof clad in terracotta tiles. Conspicuously situated above the Kangaroo Point Cliffs at the southern end of the suburb, overlooking the South Brisbane and Town reaches of the Brisbane River, The house is an inner city landmark, prominent from many parts of the Brisbane central business district, the river and the Captain Cook Bridge and Pacific Motorway. Queen Anne influences are evident in the timber and roughcast gable infill designs, the ornate cement mouldings to the entrance portico- cum-observation tower, and the elaborate chimney stacks and tall terracotta chimney pots. Verandahs on three sides at both levels have timber posts, arches and weatherboard friezes.

Wells is the first cathedral in England to be built, from its foundation, in Gothic style. According to art historian John Harvey, it is the first truly Gothic cathedral in the world, its architects having entirely dispensed with all features that bound the contemporary east end of Canterbury Cathedral and the earlier buildings of France, such as the east end of the Abbey of Saint Denis, to the Romanesque. Unlike these churches, Wells has clustered piers rather than columns and has a gallery of identical pointed arches rather than the typically Romanesque form of paired openings. The style, with its simple lancet arches without tracery and convoluted mouldings, is known as Early English Gothic.

In the lower part of the sepulchre, four pilasters, richly carved with tendrils, flowers and birds, delimit three niches with a shell cover, within which, from right to left, Saint Damiano, a Madonna and Child with Saint Cosma are depicted. Above it develops the elaborate cover, with a series of mouldings tapered up to the cymatium, which acts as a pedestal for the representation of San Tiziano. The back does not have figured sculptures, but a panel division with mirrors, where the same ornaments of the front are taken up. A refined and precise gilding covers many parts of the ark, in particular the four sculptures with an effective and elegant rendering of the fabrics of the clothes.

This buttress passes through the thickness of the wall, and rises to support the head of the west window, partially blocking it and completely blocking the doorway below. The doorway has a four-centred arch in a square head with traceried spandrels, and its outer mouldings are continuous with those of the window above, so that they form one composition. Two cinquefoiled lights of the window, which originally had a traceried head, are preserved, one on either side of the buttress. The second stage is lighted from the south by a small window with two quatrefoils arranged vertically, and the bell-chamber has on each side a restored window of two trefoiled lights under a pointed head.

At this time, Archer was one of the few English architects to have studied in Italy and become conversant with the Baroque forms of architecture, but many of the details of HeythropThe "deplorable" details, as Geoffrey Webb found them to be in 1925 () taking for examples the "lugged" mouldings round the windows of the ground floor; "a worse device than this is a feature window adorned with a broken pediment, the two halves of which have been reversed and sprout like horns above the window". The British took two and a half centuries to warm to their Baroque architecture. were adapted from Roman precedents through engravings in Rossi's publication, though none was directly imitated.

The architecture of the Austin Home is inspired by the second empire architectural style combined with elements of later Victorian and Edwardian style. The exterior features that it is known for are its bay windows, its brick and stone terrace, the brick chimneys, and the botanically themed carved keystones. The estate ground's oldest building is a wood stable from the mid-19th century, which was attached to the old coach house, and was once used as a gardener's shed until the end of the 1920s. The interior of the house showcases the Victorian and Edwardian components through its floating staircase in the central hall, high baseboards, ceiling medallions, plaster crown mouldings and hardwood floors.

The chancel has 13th-century lancets, some of which have stained glass by Charles Eamer Kempe (one, of St Richard of Chichester, has been described as "of exceptional quality compared with most windows of this period [late 19th century] in Sussex"). The east window of the chancel has stained glass attributed to Thomas Willement. The south aisle, added in the 13th century and unblocked in 1867 during the restoration of that year, has chamfered arches supported on round abaci and octagonal responds. The oldest internal fitting is a 12th-century font of Caen stone, with a round bowl, foliage decoration in the form of honeysuckles, decorative mouldings and an arcade-style motif with scallop-shaped capitals.

Some common features of medieval peasant homes in Southern England were the open hall and the lack of a chimney or upper floor, evidenced by soot from the central hearth. Homes in Kent, Sussex and East Anglia share some interesting architectural traits observable in the roof structure, beam mouldings, crown posts and bracing patterns. Peasant houses in these areas tend to be of good quality, and scholars believe that they would have belonged to a relatively well to do peasant sub-class. Midland houses are simpler, usually cruck houses where the roof and walls are supported by paired timbers called "cruck blades", but also some box-frame houses (though fewer than other parts of England) and earlier aisled houses.

At the same time there was increasing influences from English and continental European designs, such as the Romanesque chevron pattern detailing on the piers in the nave of Dunfermline Abbey (1130–40), which were modelled on details from Durham Cathedral, and the thirteenth century East-end of Elgin Cathedral, which incorporated typical European Gothic mouldings and tracery. In the fifteenth century continental builders are known to have been working in Scotland. French master-mason John Morrow was employed at the building of Glasgow Cathedral and the rebuilding of Melrose Abbey, both considered fine examples of Gothic architecture.J. Wormald, Court, Kirk, and Community: Scotland, 1470–1625 (Edinburgh: Edinburgh University Press, 1991), , pp. 57–9.

The interior of the chapel extension, like the exterior, has a classical design influence with round headed archways and openings, neo-classical painted decoration and classical mouldings. The nave has shallow side aisles divided from the body by a nave arcade of round headed arched openings with moulded architraves and large plaster keystones, all supported on marbelised columns with decorative plaster capitals. The barrel vaulted ceiling of the nave, is punctuated with operable clerestory windows and these are separated by moulded ribs. The sanctuary, which is divided from the nave by a round headed archway supported on substantial red marble columns, is semi-circular in plan and covered by a half domed ceiling.

St Ann's, seen from Ann Street, 2009 St Ann's is a substantial three storeyed rendered masonry building with partial basement. Facing north west and situated on the Ann Street boundary of the school St Ann's is the only building on the site which addresses the street. The design of the building shows an influence of Gothic revival architecture particularly in the detailing of the Ann Street facade where pointed arched openings and mouldings, grouped lancet windows, steeply pitched parapeted gables and repeated use of the quatrefoil motif are found. The building is symmetrically composed about a recessed central bay lined with three storeys of balconies on the front and rear elevations, flanked by transverse wings.

The dedicatory inscription "In loving memory of Francis Morse, 1818–1886, Father, Pastor, Friend" in the form of a pierced cresting, divides the tympanum from the doors themselves. These are formed into panels by mouldings of beaten bronze, with angel bosses at the intersections. On each leaf of the door are five panels, in relief, illustrating the Life of Our Lord, the subjects on the left leaf being “The Annunciation,” with Gabriel appearing at the Virgin's window in the early morning; “The Visitation,” with the Virgin running to meet her kinswoman. Below these come “The Nativity,” followed by “The Epiphany,” and the lowest panel shows the Salvator Mundi on a Cross of branching vine.

Hough, p. 38 However, architect Peter S. Parkinson resisted this push to fundamentally alter the design of the theatre and a sympathetic restoration was instead favoured. Within the auditorium, it was found that the reinforced concrete floor of the stalls was substandard and was completely replaced.Hough, p. 34 Additionally, on one of the upper levels a wall was discovered which was not supported by a beam in accordance with the building plans. The much-maligned supporting pillars were shifted back to improve sight-lines for the audience. The raked stage was replaced with a new flat one, and the proscenium arch widened by and decorated with plaster mouldings of the original arch.

His finding of a message in a bottle and publication of the note with the location of its retrieval provided information to those studying the pattern of ocean currents in the Atlantic. Two of the sixteen lighthouses awarded designation under the Heritage Lighthouse Protection Act as historically significant in Newfoundland, Green Island and Cape St. Mary's, were built under the supervision of Oke. The Green Island lighthouse at the entrance to Catalina harbor was the first lighthouse designed and commissioned by Robert Oke in 1855, after he accepted the appointment as Chief Inspector Newfoundland Lighthouse Service. Oke's designs, with integrated keeper's dwellings, are notable for being well-proportioned and for classic detailing, including strong cornices, pilasters and wide mouldings.

Hosaholalu The vimana, also called the cella, contains the most sacred shrine wherein resides the image of the presiding deity. The vimana is often topped by a tower which is quite different on the outside than on the inside. Inside, the vimana is plain and square, whereas outside it is profusely decorated and can be either stellate ("star-shaped") or shaped as a staggered square, or feature a combination of these designs, giving it many projections and recesses that seem to multiply as the light falls on it. Each projection and recess has a complete decorative articulation that is rhythmic and repetitive and composed of blocks and mouldings, obscuring the tower profile.

Whereas the chest of drawers in its familiar form contains three long and two short drawers, the highboy has five, six, or seven long drawers, and two short ones. It is a very late 17th-century development of the smaller chest. The early examples are walnut, but by far the largest portion of the many that have survived are mahogany, this being the wood most frequently employed in the 18th century for the construction of furniture, especially the more massive pieces. Occasionally the walnut at the beginning of the vogue was inlaid, just as satinwood varieties were inlaid, depending for relief upon carved cornice- mouldings or gadrooning, and upon handsome brass handles and escutcheons.

The size of this arch is in direct contrast to the two low square-topped openings that frame it. The light and shade play dramatically over the surface of the building because of the shallowness of its mouldings and the depth of its porch. In the interior Alberti has dispensed with the traditional nave and aisles. Instead there is a slow and majestic progression of alternating tall arches and low square doorways, repeating the "triumphal arch" motif of the façade.Joseph Rykwert, Leonis Baptiste Alberti, Architectural Design, Vol 49 No 5–6, Holland St, London Façade of Santa Maria Novella, 1456–70 Two of Alberti’s best known buildings are in Florence, the Palazzo Rucellai and at Santa Maria Novella.

Two paintings inside the church The building that stands today is the church that was rebuilt in 1720 by Pedro de Arrieta to replace the church nearly destroyed by the 1629 flood. All that remains of the original 16th-century church is a portion of the roof. The new version mixes elements of 17th and 18th century architecture, and for this reason, La Profesa is considered to be a precursor of much of the architecture of Mexico City in the 18th century. Elements present in this church that would later mark 18th century works include an octagonal window in the choir area with multiple mouldings to decorate it and a recessed facade with steps leading up to the main portal.

The frame was erected at Campbell & Sons' Albion mill yards to test the fit, and the timbers were marked before disassembly. All materials, including cladding and joinery (doors, window sashes, railings, steps, and mouldings) were then despatched to their destination by steamer or train. Brown and Broad Ltd also operated in the pre-cut house market in Queensland prior to World War I, under the trade name of "Newstead Ready-to-Erect Homes", while Rooney and Co of Townsville provided pre- cut houses to North Queensland rural areas. However, the do-it- yourself trend grew after World War II, and pre-cut houses provided one answer to the high demand and high labour costs of the 1945 to 1960 period.

A third specimen contains the well-known group of Kamalatmika or Gajalakshmi, more commonly known in Bengal and Assam as Kamale-Kamini in which two elephants pour water over the head of a goddess from vases held in their trunks. A fourth specimen contains figures of Siva and Durga seated in the well-known conventional posture so common in images of this particular type in northern India. The outlines of the plinth mouldings show that the medieval architects of Assam employed the same motifs and figures as those in other provinces of northern India. Some of these ornaments appear in relief as diamond-shaped and circular rosettes, set in between arabesque work of a type known from the temples of Orissa.

All Saints Church, Woollahra, (1874-82) is Blacket's most ornate design. Many of his larger churches are among Blacket's best known buildings. The designs are extremely varied; Blacket could work in any of the medieval styles, and built larger churches in all of them, while the forms of the buildings range from the aisleless hall of St Mary's, Waverley; to the aisleless cruciform church of St Paul's, Burwood; to the triple-gabled church of St Paul's, Redfern, the aisled church of St Michael's, Surry Hills and the clerestoried church of St Stephen's, Newtown. St. John the Evangelist, Glebe, 1868, is Blacket's most famous design in the Norman style, in which rich mouldings and carved capitals form a striking contrast with the plain round arches.

All models in the range have a "Mistral Maxi Taylor" woven cloth interior; according to Citroën, top European engineers and designers including Donato Coco and Jean-Pierre Ploué were involved in designing the vehicle. Optional accessories are available for the range, including an aluminium roof rack capable of carrying and kerbside lights in the door mirrors. Also available are: and alloy wheels with a choice of two patterns, chrome mouldings for the bumpers and doors, front fog lamps and cruise control, rear parking sensors, automatic lights (standard on some variants), and a speed limitation devicewhich are commonly used for safety reasons or to reduce fuel bills. A seatbelt reminder, which can be added to the passenger and rear seats, is fitted to the driver's seat as standard.

Cromie gave the interior up-to- date features such as inlaid lighting and underfloor heating, and themes such as two-tone colour schemes and wooden fixtures are found throughout. The ground floor has extensive areas of tiling in contrasting colours; most light fittings are partly of wood, and some have multiple branches; the doors are panelled with two-tone wood; some walls have hardwood panels; and pargeting, fluting and decorative mouldings are also visible. The staircase has an ornate chandelier, but its main point of interest is the unusual design of the balusters: a series of right-angled stepped blocks linked by four concentric quarter-circles of bronze. There are other bronze fixtures as well, and some marblework on the ground floor.

Egon Brütsch Fahrzeugbau, usually shortened to Brütsch, was a German automotive design and automaker based in Stuttgart, Baden-Württemberg. Brütsch were best known for producing many microcar designs, but only produced small numbers of each design and the primary function of the company appears to have been that of the development and promotion of each design to sell licences to manufacture to other companies. Between 1952 and 1958, eleven different models of car were manufactured by Brütsch, but the total production of all models by the company is believed to be only eighty-one cars. Many of the bodywork designs were simple two-piece mouldings of polyester reinforced with fiberglass, bonded at a waistline join, which was then covered by a protective strip.

Windows are completely suppressed on the south and the east fronts; the mouldings throughout, though large in size because of the tremendous scale, are extremely refined, cold and quite unornamented." Henry-Russell HitchcockHitchcock (1954), pp311-312 The following is about the Small Concert Hall: "Exquisite in color and covered with most elegant decoration in low relief, this room is above all a masterly exercise in the use of those 'shams' Camdenians most abominated. The balconies are of cast iron designed to look like some sort of woven wickerwork; of iron also are the pierced ventilating grilles along the front of the stage and in the ceiling panels around the central skylight. The delicate arabesques of the pilasters and friezes are papier-mâché.

Special types of planes are designed to cut joints or decorative mouldings. Hand planes are generally the combination of a cutting edge, such as a sharpened metal plate, attached to a firm body, that when moved over a wood surface, take up relatively uniform shavings, by nature of the body riding on the 'high spots' in the wood, and also by providing a relatively constant angle to the cutting edge, render the planed surface very smooth. A cutter that extends below the bottom surface, or sole, of the plane slices off shavings of wood. A large, flat sole on a plane guides the cutter to remove only the highest parts of an imperfect surface, until, after several passes, the surface is flat and smooth.

Upper floors, 2016 The three adjacent two-storey brick shops fronting Brisbane Street present a cohesive group which contribute significantly to the nineteenth century streetscape of this part of Brisbane Street. The two westerly shops are a matching pair of two-storey, gabled roofed brick shops, the details above the cantilevered awning being relatively intact, with cantilevered wooden balconies decorated with cast ion posts and balustrades and curved corrugated iron roofs. The walls are decorated with polychrome and projecting brickwork and classical mouldings in cement render and have small central triangular pediments. The shop front at ground level has been substantially altered with a large glass display window dominating the entrance at Action Realty and the printers shop next door.

The 7-storey court building was built in granite ashlar blocks in 1960 and designed by Palmer & Turner Architects. North Kowloon Magistracy is featured by the Neo-classical architecture and Stripped Classicism, a form of neo-classicism from which most of the traditional mouldings, ornament and details have been elided, visually emphasizing the structural and proportional systems. Although there are a few other buildings of similar design in Hong Kong, the Magistracy building appears to be the only surviving example of this building type and therefore can be considered as a rarity.Conserve and Revitalise Hong Kong Heritage – North Kowloon Magistracy – Resource Kit The building is divided into 3 functional zones and characterized by independent circulation access for general public, magistrates and staff, police and prisoners respectively.

Thus the final report was never submitted, the preliminary report was only published in 1989, and in Indian Council of Historical Research (ICHR) volume on historicity of Ramayana and Mahabharat. Subsequently, in his 2008 book, Rama: His Historicity Mandir and Setu, he wrote, "Attached to the piers of the Babri Masjid, there were twelve stone pillars, which carried not only typical Hindu motifs and mouldings, but also figures of Hindu deities. It was self- evident that these pillars were not an integral part of the Masjid, but were foreign to it." B. B. Lal's team also had K. K. Muhammed, who in his autobiography claimed that Hindu temple was found in excavation and said that left historians are misleading the Muslim communities by aligning with fundamentalists.

The vast majority of the church as seen from the south elevation is of new stone dating from this rebuild in the 1530s. However, the east bay of the north aisle uses stonework dating from the 14th century, and the west bay from the 15th century, suggesting that much of the masonry of the earlier structure was incorporated into the new Tudor building. The smaller windows, rough joint with the tower, lack of embattled parapets, and large sections of arch mouldings which make up the North wall all suggest that this was the case. Within the chancel, a 15th-century sedilia and piscina in a four-arch arcade, and an ogee-arched aumbry are located to the South of the altar and predate the current structure.

It was designed in 1772 by Giuseppe Piermarini who in this instance abandoned the sober and austere style of early Neoclassicism, building an imposing and highly decorated mansion which dominates the street. Here too, the most lavishly decorated part of the facade is the slightly protruding central section with a series of four giant columns, an entablature and a tympanum enclosed by pilasters. The ground floor is finished in rusticated bugnato ashlar, the first floor, separated from the second with bas-reliefs of heraldic symbols, has windows crowned with garlands and decorative mouldings. Some of the rooms still have period decorations, the most famous of which are the gallery decorated with frescoes by Martin Knoller and stuccos by Giocondo Albertolli.

The Sharp home was incorporated into the church's new building, dedicated in 1951. Many of the mansion’s interior architectural details–including marble fireplaces, decorative ceiling mouldings, plaster reliefs on the parlor walls, and a beautiful grand staircase–remain. Through the efforts of the Elyria Historical Association, Lorain County Historical Society, Ohio History Connection, and Washington Avenue Christian Church, an historical marker (Lorain County's 7th and Lorain County's 35th) was unveiled on the Washington Avenue property on September 3, 2020 with approximately 50 people present. Remarks at the unveiling were presented by the Honorable Frank Whitfield, Mayor of the City of Elyria, Mr. Bill Bird, President of the Elyria Historical Association, Ms. Kerri Broome, Executive Director of the Lorain County Historical Society, and the Rev.

After the war Levi met the artist and frame-maker F.A. Pollak and subsequently began to collect examples of antique frames. He later recognised that 16th-century Dutch frames could be dated precisely from the profiles of their mouldings when compared to a sequence of fixed points provided by dated paintings retaining their original frames. This systematic approach was to form the basis for Levi's subsequent career, and in 1950 he set up his own workshop. The intellectual approach adopted by Levi was unusual at that time, given that the Modern movement was increasingly dominating public museums and galleries (for example Franco Albini's 1950 decision to remove the frames from the Old Master paintings in the Palazzo Bianco and display them against white walls).

The tower from the west St Margaret's Church has a chancel, wide nave with a narrow clerestory above and narrow three-bay aisles on the north and south sides, a tall tower (topped with a spire) at the west end and a porch on the north side. The nave, chancel and chancel-arch all date from the 13th century. The aisles and their arcades are largely unaltered from their 14th-century origins: between them they feature various mouldings and designs typical of that period, including chamfered arches, octagonal columns and squinch corners. Many of the windows also date from that century, while others are a century later; trefoil-headed designs predominate, but there are some larger square-headed Perpendicular Gothic windows as well.

Goodman's Buildings is a two-storey rendered brick commercial and residential building with Victorian Filigree details, high parapet and façade which curves around the Parramatta Road and Johnston Street corner. The building houses thirteen separate shops and residences above with renovated shopfronts on the ground floor with suspended awnings and narrow balconies over on the Parramatta Road frontage and wide posted balconies along the Johnston Street frontage. The first floor balconies all feature cast iron lace balustrade and posts which support the corrugated iron roof (ogee profile). Large double hung timber framed windows are regularly spaced along the first floor facades topped by rendered cornice and mouldings and bayed parapet with moulded cement balustrade and decorative urns at the end of each bay.

Photographic evidence indicates the east porch was one bay wide and two deep, behind which the transverse gable (located at a lower ridge height that the one currently) included a separate side entry and steps and windows protected by a shingled sunhood. The rear timber reverse-framed section may be associated with the 1875 building. Gvien the changed pattern of use, the building's original design is limited to the street frontage, specifically the projecting north and west gables, west porch and entry, smooth rendered finish and mouldings, and the east verandah and entry to the extent of the first bay. The extended east wing and south service additions demonstrate the ongoing use of the site but have altered/concealed much of the original interior fabric and detailing.

McGibbon and Ross were of the opinion that the doorway is quite typical of sixteenth and seventeenth century Scottish Renaissance Gothic work as found in several collegiate and parish churches and not necessarily Norman in origin.McGibbon, Page 235 Kilwinning Abbey was being sacked and progressively demolished at this time and stonework may have been removed to build this doorway and also used for the building of the rest of the structure. The Romanesque mouldings at Seagate have been compared with similar work, circa 1573, found at Blairquhan (old) Castle, possibly Maybole, and several other West of Scotland castles.Davis, Page 368 A cesspool was conveniently, but unhygienically located just outside the back door of the kitchen in the courtyard, with a channel running to it from the fireplace.

The interior features decorative stained glass, ornate plaster mouldings and finely detailed cedar staircases, joinery, panelling and fireplace surrounds. The building is approached via a paved drive and turning circle from the northwest, with most of the recently constructed buildings being located to the north, east and south of the building leaving the Cadell Street aspect intact. The grounds contain a number of mature trees, with an in-ground swimming pool to the northwest. Although much of the site has been subdivided and sold for suburban housing, remnants of the original landscaping survive, as does a section of masonry perimeter fence, with iron entrance gates, which extends to the corner of Cadell Street and Park Avenue, returning along the latter.

The north extension was also rebuilt in the early part of the 15th century when the north porch was added. The chancel was rebuilt and shortened before the beginning of the 19th century and, in 1832, it was extended eastwards apparently to its original length and considerably altered. At this date large galleries were erected in both aisles and the tower, the floor being lowered a foot to give headroom under them. The east wall above the chancel arch, and west wall of the tower, were cased in lath and plaster, a vestry was formed at the west end of the north aisle, all the walls were coated with thick plaster and wooden mouldings fixed below the clearstory window and in other places.

The painting feature a mainly vertical architectural setting, under which a high octagonal podium with the Virgin's throne. The base is decorated by tiles (with the Massacre of the Innocents, Adoration of the Magi and the Presentation in the Temple) which simulated antique bas-reliefs and were inspired by the altar of the basilica of Saint Anthony of Padua by Donatello. The base supports columns with mouldings and decorations of garlands, dishes and marble rings, while in the background is a stormy sea. The latter is a reference to the legendary foundation of Santa Maria in Porto, when the Crusader Pietro degli Onesti, after escaping a shipwreck, made a vow to entitle a church to the Virgin Mary in exchange for his miraculous salvation.

A print made for this purpose, typically with extensive graphical projection perspective, is called a vue d'optique or "perspective view", Zograscopes were popular during the later half of the 18th century as parlour entertainments. Most existing ones from that time are fine furniture, with turned stands, mouldings, brass fittings, and fine finishes. According to Michael Quinion, the origin of the term is lost, but it is also known as a diagonal mirror, as an optical pillar machine, or as an optical diagonal machine.Worldwidewords.org In Japan, the zograscope became known as 和蘭眼鏡 (Oranda megane, 'Dutch glasses') or 覗き眼鏡 (nozoki megane 'peeping glasses'), and the pictures were known as 眼鏡絵 (megane-e, 'optique picture') 繰絵 (karakuri-e 'tricky picture').

The interior of this section of the House is largely constructed from unpainted timber boarding, mostly red cedar though some of the ceilings in the internal rooms have been painted. Internally this section of the house is arranged around a central corridor running from the entrance on the east, parallel to the verandah on the north, to another door on the verandah on the east. The hall is divided to form an entrance vestibule on its western end by square planned timber columns, with mouldings articulating the base, body and capital of the columns. The verandah along the western side of the building was infilled and rooms have been formed along this side, with access provided to them from the entrance vestibule.

On the sides of the car were five longer horizontal windsplits ahead of the unskirted rear wheel housing and front fender horizontal mouldings with crests placed above the trailing edge and no rocker sill trim. The limousine and nine-passenger long wheelbase sedan were available once again. The highly expensive and exclusive 4-door Cadillac Eldorado Brougham hardtop marked the return of the name Series 70, but for only two years, as from 1959-60 the Eldorado Brougham was denoted a Series 6900, and it was discontinued thereafter. Announced in December 1956 and released around March 1957, the Series 70 Eldorado Brougham was a hand built, limited car derived from the Park Avenue and Orleans show cars of 1953-54.

In 1338 the councillors of the Old Town bought a large patrician house from the Volflin family and adapted it for their purposes. Over the following centuries the original Town Hall building largely disappeared as a result of renovations and expansion of the building; one external remnant of the original structure still visible today is the Gothic stone portal with mouldings on the western side of the building. The burghers of the Old Town extended the original Town Hall towards the west by buying the adjoining house, and construction began of a stone tower on a square plan. The tower, which was the highest in the city in the Middle Ages, was completed in 1364, and has been largely unchanged since then.

The architectural historian Nikolaus Pevsner wrote of the early 14th-century choir of Bristol that "from the point of view of spatial imagination" it is not only superior to anything else in England or Europe but "proves incontrovertibly that English design surpasses that of all other countries" at that date. The choir has broad arches with two wave mouldings carried down the piers which support the ribs of the vaulting. These may have been designed by Thomas Witney or William Joy as they are similar to the work at Wells Cathedral and St Mary Redcliffe. The choir is separated from the eastern Lady Chapel by a 14th-century reredos which was damaged in The reformation and repaired in 1839 when the 17th-century altarpiece was removed.

The treatment of the top of the dividing pilaster on number 71 is different: it lacks a bracket to the cornice. As with the other 1860s houses, they both have first-floor balconies with foliage-pattern ironwork. The seven houses at numbers 101–113 also have three windows to each of three storeys, and the same general layout and materials. Some details are different on individual houses: there is no rustication to the pilasters at numbers 105 and 107; the cast-iron second- floor window-guards are absent on three houses; some mouldings are altered or absent; one of the pilasters at number 103 is decorated with an urn; and number 101's entrance is in a porch at the side.

The exact origin of lakhori bricks is not confirmed, especially if they existed, or not, prior to becoming more prevalent in use during the Mughal India. Prior to the rise in frequent use of lakhori bricks during Mughal India, Indian architecture primarily used trabeated prop and lintel (point and slot) gravity-based technique of shaping large stones to fit into each other that required no mortar. The reason lakhori bricks became more popular during the Mughal period, starting from Shah Jahan's reign, is mainly because lakhori bricks that were used to construct structures with the typical elements of Mughal architecture such as arches, jalis, jharokas, mouldings, cornices, cladding, etc. were easy to create intricate patterns due to the small shape and slim size of lakhori bricks.

Mazda introduced the 10th Anniversary RX-7 in 1988 as a limited production model based on the RX-7 Turbo II. Production was limited to 1,500 units. The 10th Anniversary RX-7 features a Crystal White (paint code UC) monochromatic paint scheme with matching white body side mouldings, tail light housings, mirrors and 16-inch alloy seven-spoke wheels. There were two "series" of 10th Anniversary models, with essentially a VIN-split running production change between the two. The most notable difference between the series can be found on the exterior- the earlier "Series I" cars had a black "Mazda" logo decal on the front bumper cover, whereas most if not all "Series II" cars did not have the decal.

Designed by prominent regional architect and lodge member John W. Pender, the Masonic Hall of the Maitland Lodge of Unity is an ornately decorated building of the Late Victorian style with stylistic elements of "Arabesque" or "Moorish" influence. Of brick construction with a pitched timber framed roof, the lodge building has a rendered painted facade fronting Victoria Street with highly decorative elements including mouldings, mock domes and Masonic emblems. Fenced at street level with a palisade fence and gates, the lodge building is entered via a raised central porch with horse-shoe arches and ornate symbolic imagery. The lodge building is face brick on side elevations and is topped with a timber- framed roof lantern with glazed pivot windows and timber louvres.

By the 1980s, the European motorcycle industry as a whole was reeling from Japanese competition, causing many companies like NVT (the amalgamated surviving British companies Norton, Triumph, and BSA), Moto-Guzzi, and many others to struggle or disappear completely. Laverda attempted to update their product line by introducing the RGS sports tourer in 1983, with features such unbreakable Bayflex plastic mouldings; fuel filler in the fairing; integrated but removable luggage (Executive version), and adjustable footpeg position. In 1985, came the SFC 1000 sports model - a badge engineered attempt based on the RGS to reprise the hallowed SFC name. Underneath the new skin were engines and technologies that were ten years out of date and overpriced when compared to the lighter, faster, cheaper and more advanced Japanese bikes.

At the north-east corner of the building the range of east facing bays north of the central passage are set lower than the remainder of the building, where the structure is set down to a single storey over a narrower bay of the northern elevations. Externally, the solid elevations are relieved by arched and grilled openings to the principal corner bays outlined by render mouldings and a frieze of screened openings. Cement grilles encircle the entire perimeter and reappear as spaced single openings in the lesser bays of the facades. Some timber joinery features in multi-paned, double-hung and fixed roundhead windows in the bays either side of the western entrance door and in the eastern facade's lower range of bays to the northern end.

By November 1890 the carpentering work was complete and Moppett was left with the wall papering and making and laying of carpets. Early in 1891 Moppett constructed and white- washed a chimney, presumably in the new section as he then went about repairing the other chimneys in the residence complex. From April until May 1891 cedar boarded ceilings, skirtings and other mouldings were erected in the residence. In December of that year Moppett constructed wardrobes and lined and papered the original dining room in the eh first wing of the house. At some time in the early twentieth century the verandahs of the 1890 section of the Tarong residence were extended, also necessitating the replacement of the shingled roof with a low pitched corrugated iron clad hipped roof.

3-door hatchback (LX trim level) Estate (Finesse trim level) Van (1995-2002) Saloon 5-door hatchback (GTi trim level) Interior dashboard of a Mk6 Escort The Ford Escort was revised in January 1995, although it was still based on the previous model. This version had new front lights, bonnet, front wings, front and rear bumpers, wing mirrors, door handles and 4 different front radiator grilles (slats, honeycomb, circles and chrome). At the rear, the Ford logo moved from the right to the centre of the boot, except for the van and some convertible models. The interior of the car was hugely revised too following heavy criticism of the original 1990 car which featured low quality plastics for its interior mouldings - the car now featured an all new dashboard arrangement of competitive quality.

St. John's at Devizes retains its original Norman tower and has Norman masonry in its chancel; while the chancel of St. Mary's, in the same town, is also Norman, and the porch has characteristic Norman stone mouldings. The churches of Preshute, near Marlborough, Ditteridge or Ditcheridge, near Box, and Netheravon, near Amesbury, preserve some Norman features. Salisbury Cathedral by John Constable Early English architecture is illustrated by Salisbury Cathedral, its purest and most beautiful example; and, on a smaller scale, at Amesbury, Bishops Cannings, Boyton in the vale of the River Wylye, Collingbourne Kingston, east of Salisbury Plain, Downton and Potterne, near Devizes. Bishopstone, in the vale of Chalk, has the finest Decorated church in the county, with a curious external cloister and unique south chancel doorway, recessed beneath a stone canopy.

There are numerous polychrome Kangxi 'Famille verte' and Qianlong 'Famille rose' plates in the collection. The collection holds a pair of 'Famille noire' pots which belonged to the Kangxi Emperor. There are also a number of Imperial Japanese pieces in the collection, among them a blue-and-white Arita gendi with Arabian ormolu mouldings, an early 19th-century blue-and-white Arita charger decorated with a floral still life and pomegranates, a large blue-and-white vase decorated with priests and flowers, and many polychrome pieces of Japanese porcelain, such as a number of Imari tea sets and plates and a Kakeimon plate from about 1650 decorated with eight panels and a landscape. The Van Tilburg Collection has many Swatow pots, bowls, plates and chargers representing all the different decoration styles.

Some of the decoration relates to contemporary architectural ornament, with egg- and-tongue (ovolo) mouldings, acanthus and vine scrolls and the like. While the decoration of Arretine ware is often highly naturalistic in style, and is closely comparable with silver tableware of the same period, the designs on the Gaulish products, made by provincial artisans adopting Classical subjects, are intriguing for their expression of 'romanisation', the fusion of Classical and native cultural and artistic traditions. Many of the Gaulish manufacturing sites have been extensively excavated and studied. At La Graufesenque in southern Gaul, documentary evidence in the form of lists or tallies apparently fired with single kiln-loads, giving potters' names and numbers of pots have long been known, and they suggest very large loads of 25,000–30,000 vessels.

The masonry veneer of the ride building itself received a visual upgrade as well, with added texture and detailed mouldings. Alice in Wonderland would once again remain largely unchanged for another 27 years before it closed without warning on July 15, 2010 for maintenance purposes regarding the exterior vine ramp, which was discovered to violate regulations set in place by California's OSHA department as it lacked handrails for workers. The attraction reopened on August 13 of the same year, now with a temporary safety platform featuring side railings installed directly under the vine ramp, as well as a series of tarps "camouflaged" to appear as stylized vegetation curtaining off most of the queue garden. On March 10, 2014, the attraction closed once more to undergo mild refurbishments both outside and inside.

McWhinney and his wife Isabella Todd and family had arrived in New South Wales by 1858, and moved to Brisbane in the early 1860s, where Thomas, who was a plasterer by trade, gained employment with James Campbell. He worked for Campbell for 26 years until his retirement , for most of that time as a foreman, supervising the plastering and designing the mouldings for most of the principal construction work undertaken by Campbell during that period. The cottage at 59 Birley Street is constructed in Flemish bond brick-on-edge ('rat-trap' bond), a form of construction used in other Spring Hill buildings of the 1860s and 1870s (such as Moody's Cottages in Rogers Street). It was a faster and cheaper form of construction, usually restricted to working-class homes and small workshops and stores.

Lee Rubber Building The Lee Rubber Building or Nan Yi Building (Chinese: 南益大厦) sits on a prominent corner in Kuala Lumpur's Chinatown. This four-storey Art Deco building was commissioned in the early 1930s by the Lee Rubber Company, a multimillion-dollar enterprise set up by Lee Kong Chian (1893–1967), a Chinese businessman from the southern Malaysian state of Johor who was known as the 'rubber and pineapple king'. Located at the corner of Jalan Tun H. S. Lee and Jalan Hang Lekir (the former High Street and Cecil Street) in Kuala Lumpur, the Lee Rubber Building was the tallest building in KL when it was constructed. Modernist Art Deco rules this building with its striated lines and mouldings complete with differentiated corner treatment topped with a requisite flag pole.

The display binnacle sits on top of the dashboard in front of the driver to aid production in left- hand drive markets, since it avoided the expense of producing two different dashboard mouldings for LHD and RHD versions. The air vent doubles as a passage for the steering-wheel column, and the "podular" display binnacle can be easily fitted on top of the dashboard on either the left or right-hand side of the car.Top Gear, Series 4 Episode 8 18 July 2004 This concept was not entirely new; it had also been used on the Range Rover and was used again on the Mk.1 Austin Metro, both of which were also designed by David Bache. An estate body had been envisaged, but it did not get beyond the prototype stage.

The central hall is encircled by bedrooms to the east and west, a large lounge to the north, a dining room to the north east, kitchen to the south east and several smaller service rooms to the south, the latter including the southern entry vestibule. The more formal entrance to the house is located on the northern frontage, which also features a metal belfry and weathercock flanked by two red brick chimneys. An unpainted panel system is used throughout the interior as well as the exterior; it consists of an ironbark frame which is expressed, internally and externally, with vertically-jointed (probably cypress) infill panels trimmed with cavetto-section pine mouldings. The central hall, which measures approximately , has a polished beech floor, and a double-pitched, timber-lined ceiling with exposed rafters.

The Spyder equipment package included a two-barrel, Dura-Built 2.3 litre engine, floor console unit, large front and rear stabilizer bars, special shock absorbers, steel-belted radial ply blackwall tires, wheel opening mouldings (chrome), day-night inside mirror, a sport steering wheel (two-spoke), a special instrumentation and "stitched" instrument panel pad with added wood-grain vinyl accents (standard on 2+2), distinctive "Spyder" identification (script fender emblems, steering wheel horn button insert) and Spyder front facia and rear-lock cover. Chevrolet made extensive changes to the Spyder package including separate equipment and appearance packages with separate RPO codes found on the build sheet. The Spyder equipment package was a regular production option (RPO) Z01, while the Spyder appearance package was RPO Z02. The Spyder packages were available on Monza 2+2 sport hatchbacks.

The entrance porch, located, not centrally, but slightly closer to the east of the building, is a pointed arched opening flanked by gabled pinnacles and all surmounted by a pedimented block, in which is a statue niche. The octagonal sandstone and timber tower, to the east of the entrance porch, extends through two levels of the building and is surmounted by a belfry. Openings to the ground floor level of the tower are elongated rectangular windows filled with stained glass, and to the upper level are triangular headed windows, with similarly shaped hood mouldings joined at the intersections of the faces of the tower. The first floor of the tower is expressed with a string course, above which is a moulded course which is repeated above the first floor windows.

The earliest example is found in the Great Pyramid, over the lintels of the entrance passage to the tomb: it consisted of two stones only, resting one against the other. The same object was attained in the Lion Gate and the Treasury of Atreus, both in Mycenae, and in other examples in Greece, where the stones laid in horizontal courses, one projecting over the other, left a triangular hollow space above the lintel of the door, which was subsequently filled in by vertical sculptured stone panels. The Romans frequently employed the discharging arch, and inside the portico of the Pantheon the architraves have such arches over them. In the Golden Gateway of the palace of Diocletian at Split the discharging arches, semicircular in form, were adopted as architectural features and decorated with mouldings.

Originating in the western Doric region of Greece, it is the earliest and, in its essence, the simplest of the orders, though still with complex details in the entablature above. The Greek Doric column was fluted or smooth-surfaced,Art a Brief History 6th Edition and had no base, dropping straight into the stylobate or platform on which the temple or other building stood. The capital was a simple circular form, with some mouldings, under a square cushion that is very wide in early versions, but later more restrained. Above a plain architrave, the complexity comes in the frieze, where the two features originally unique to the Doric, the triglyph and guttae, are skeuomorphic memories of the beams and retaining pegs of the wooden constructions that preceded stone Doric temples.

Lewis and a number of other unions left the AFL two years later to form the Congress of Industrial Organizations. While the Carpenters disdained industrial unionism, they were willing to accept mass production workers into their own union, albeit as second-class members. The Carpenters had fought with the Wood Workers union chartered by the AFL for decades, claiming that any workers who planed wood products that were subsequently used in construction, such as doors, sashes, mouldings and the like, were performing carpenters' work and must be brought within its union. While the Carpenters had never made similar claims on work performed by sawmill workers, much less tried to organize them, the union successfully insisted that the AFL assign the newly created Sawmill and Timber Workers’ Union to it in 1935.

Clerkenwell Priory of the Order of Saint John, January, 2020 In 1878 one of the large painted windows from the old church still survived at the parish church's east end, as did remains of Prior Docwra's church in the south and east walls, and capitals and rib mouldings of the former church underpinned the pews. All that remains of the complex now is Docwra's south gate, largely reconstructed in Victorian times and now known as St John's Gate, in St John's Square, and an Early English crypt remaining beneath the neighbouring parish church of St John. The priory arch stone found its way to Exmouth in Devon where it was incorporated into the structure of the local branch of the St John Ambulance Brigade (see photos and more detail).

It also features tall windows, although the window originally on the front elevation has been removed at some stage and the opening bricked in. In the matching position towards the right or northern end of the main façade is another windowed bay, which also dates from the 1899 alterations and is set slightly forward of the adjacent bays. The final bay at the north end comprises an open porch housing private post boxes with a large open arch on the front façade and a window, which matches those from the 1899 alterations, in the north facade. The somewhat disparate elements of the facade are tied together through the use of a full length, solid parapet with cornice mouldings and a deeply moulded string course, all which returned down the sides of this front "screen".

The Victorian Academic Classical style building consists of three distinct building forms being the centre church structure with splayed southern walls flanked at each end by taller wings, the south wing being the two-storey main entrance and stair towers and the north wing being the three-storey wing containing the vestry and classrooms. The structure consists of load-bearing decorative brickwork in English Bond relieved at the Entrance Wing with sandstone attached columns, carved architraves and pediments to the main windows and doors and string courses, cornice moulds and balustrading at the upper levels. Elsewhere on the other wings, the window architraves, sills and the horizontal mouldings are of painted cement which relieve the face brickwork walls. The ribbed galvanised steel roofing is placed behind horizontal parapets in either pitched or skillion roof forms.

Townsville Technical College after the 1939 additions to the Stanley Street wing Block A is a prominent building being situated on the corner of Stanley and Walker Streets, against the dramatic backdrop of Castle Hill. The two-storeyed masonry building with a metal roof forms part of a group of buildings on the southern side of Stanley Street, including the former Townsville School of Arts and the Sacred Heart Cathedral, that contribute to the aesthetic qualities of views to Castle Hill. Built to the street alignment, the building is composed of three main parts, a truncated corner structure and two flanking wings arranged in an L-shaped plan. The classical design of the facade is evident in the regular arrangement of windows, varied roofline of pediments and domes and classical detailing in balustrades and mouldings.

Until 1957 Harrington designs for lightweight coaches such as the Bedford SB and the Commer Avenger had been unnamed, but in 1958 the Crusader was launched, it used large glass-fibre mouldings for the front and rear panels. It was slightly ungainly in its original form, but the Mark 2 was a fine looking vehicle, updated as Mark 3 with larger, Cavalier-sized side and rear windows. The final Mark 4 was perhaps a retrograde step, but no worse than equivalent Plaxton or Duple offerings of the time. It was built on the above two chassis and the Ford Thames 570E, customers included Northern General Transport Company,RL Kell, Glory Days Northern General, Hersham 2002 Garelochhead Coach Service and Southdown, who took a batch of 15 Commers in 1960.

It was available on SE, ES, and R/T and on SE/ES models, consisted of an R/T wing, R/T wheels, R/T springs, Goodyear NASCAR raised yellow-lettering tires, 'Dodge Motorsports' side decals, white instrument cluster, and R/T steering box. SE and ES cars were an R/T visually except for the lack of dual exhaust, R/T lower mouldings, fog lamps, and R/T exclusive front bumper. The SE and ES only came equipped with the base model's engine and was available with an automatic transmission (unlike the manual- only R/T model), the R/T retained the 150hp Magnum engine. In 2001, there was also a Sport Appearance Package available on SE and ES, which added the R/T wing and 16” wheels as well as other option availability.

The Company's official minutes record the detailed designs, vetted by Inigo Jones, that he drew up, not merely the "plotts" or floor plans and street and courtyard elevations but the "Patterne of the greate gate" in Foster Lane and patterns for the ceiling, wainscoting and the screen in the Great Hall and wainscot panelling in the parlour and the great chamber above it. His surveillance over workmen who found themselves working in a new manner, to which their apprenticeships had not accustomed them, can be sensed in his notation concerning Cornbury Park, where he contracted to "dereckt all the workmen and mak all thar moldes", providing correctly classical profiles for mouldings for carpenters and plasterers. His fee there of £1000 suggested to John Newman that he combined with the surveyorship considerable mason's work.Newman 1971 p. 32.

The San Agustin Church is patterned after some of the magnificent temples built by the Augustinians in Mexico. The present edifice was built in 1587, and completed, together with the monastery, in 1604. The atmosphere is medieval since "both church and monastery symbolize the majesty and equilibrium of a Spanish golden era." The massive structure of the church is highlighted by the symmetry and splendor of the interiors (painted by two Italians who succeeded in producing trompe l'oeil) – the profile of the mouldings, rosettes and sunken panels which appear as three-dimensional carvings, a baroque pulpit with the native pineapple as a motif, the grand pipe organ, the antechoir with a 16th-century crucifix, the choir seats carved in molave with ivory inlays of the 17th century and the set of 16 huge and beautiful chandeliers from Paris.

A three-storey utilitarian building, Bridges Street Market is a reinforced concrete frame structure built in the International Modernist style generally accepted as originated in Germany by the Bauhaus School of Art in the 1920s. The architectural style's main characteristics, which can also be found in the market, include asymmetry, severe blocky cubic shapes, smooth flat plain undecorated surfaces often painted white, the complete elimination of all mouldings and ornament, flat roofs, large expanses of glass held in steel frames on the elevation, and long horizontal streamlined bands of windows. The adoption of reinforced concrete post-and-slab construction with flat slab floors and a flat roof-slab carried on concrete columns has created room for free planning. Partitions could be erected freely as desired, as they played no part in the structure bearing function of the building.

The main defences are entered a little farther on in the same line, through a projecting two-story building which has some fireplaces with very simple and late mouldings. The buildings are of the local basalt, and the masonry is rough rubble; there are, as is so frequently the case, no very clear indications for dating the different parts, which were in all probability erected at different times. A little beyond the entrance there was a tower that formed a simple keep/bastion and to which had been added a gabled chamber in the 17th century, which, though of restricted dimensions, must have been comfortable enough, with blue Dutch tiles round its moulded fireplace, later very much decayed. The keep and the living quarters within the walls were taken down to provide stone for the lighthouse in 1902.

The most remarkable specimen in the collection in the public park at Tezpur, however, is a slab taken from the upper part of the plinth mouldings. It is divided into a number of sunken panels by means of circular pilasters, each containing a male or female, two females or two males. Beginning from the right it find a man fighting with a lion, a male playing on a flute and a female dancing by his side, two males playing on conch shells, a male playing on a drum and a female dancing by his side, a female playing on a lyre and another dancing to her right, a male playing on a drum and another dancing to his left. This slab apparently formed part of a series of similar panels all round the lower edge of the walls of the sanctum.

The hatchback body shell was one of the most spacious of its time and this was a significant factor in its popularity. The space efficient interior was also lauded for the novel 60/40 split rear seat which was standard on higher specification models. The original Mk.1 Metros also featured David Bache's signature "symmetric" dashboard design (also used on the Range Rover and the Rover SD1), where the main dashboard moulding consists of a shelf, onto which the instrument binnacle is simply mounted on the left or the right hand side – this arrangement saves the tooling cost of two separate dashboard mouldings for right and left-hand drive. Initially, the Metro was sold as a three-door hatchback only (as were most of its competitors), with a choice of 998cc (1.0 litre) or 1275cc (1.3-litre) petrol engines.

Within the unit the couplings were semi-permanently fixed with a bar coupling, but conventional couplings were provided at unit ends; in addition were the power jumper for the bus line and an eight-core control cable, as well as the Westinghouse brake pipe coupling. For reasons of style, the units were given a blunt torpedo shaped end with a domed roof at the ends; a new livery was provided, of sage green, with black and yellow lining and mid-brown window mouldings, and the roof was coloured off-white. The width over body was 8 ft 0¾ in (2.46 m), and 8 ft 10¾ in (2.71 m) over handles. An external opal panel was provided at each end of the unit between the motorman's windows, for a stencil plate, a letter indicating the route (which was illuminated at night).

The flanking doors in the west wall of the church, though featuring similar arched heads and tied pilasters, have simple hood mouldings instead of the elaborate frieze. Each of these doors is accessed by two to three stone steps - the central door having been fitted with quite discrete modern steel handrails and the north door having a removable timber ramp with attached handrail to facilitate disabled access. The bays of the north and south walls of the nave are punctuated by pairs of lead-light, stained glass windows set in gothic stone tracery with variety given by the changes in the detailing of the quatrefoil in the spandrel above the main lights. The rear vestry wing has smaller pairs of gothic arch-headed windows without tracery, buttressed corners and a stone finial surmounting the apex of the stone coping on the end gable.

The facade displays typical yet fine Greek Revival details including water leaf motifs on the stone brackets supporting the first floor window cornices, front door fanlight, heavy cornice, stone architrave and mouldings to the upper windows. The interior has a fine timber geometric staircase, polished Cedar joinery, Australian sienna marble chimney piece in the drawing room and other original interior details. The layout of Merchant's House is a representative, yet now rare, exemplar of the late Georgian/early Victorian period townhouse which included kitchen, scullery and cellars in the basement; entrance hall, dining room and parlour on the ground floor; drawing room on the first floor with French doors onto a balcony; and bedrooms on the upper two floors. With its adjoining working store (now adapted) it is an excellent example of a townhouse with associated store from the 1840s.

In terms of towers above the sanctum, they explored several superstructures: shikhara (tapering superstructure of discrete squares), mundamala (temple without superstructure, literally, garland with shaved head), rekhaprasada (smooth curvilinear superstructure also based on squares prevalent in northern and central India), Dravidian vimana (pyramidal style of southern India) and Kadamba-Chalukya Shikhara (a fusion style). The layout typically followed squares and rectangles (fused squares), but the Aihole artists also tried out prototypes of an apsidal layout (like a Buddhist or Church hall). In addition, they experimented with layout of mandapa within the shrines, the pillars, different types of windows to let light in, reliefs and statues, artwork on mouldings and pillars, bracket designs, ceiling, structure interlocking principles and styles of friezes. In some temples they added subsidiary shrines such as Nandi-mandapa, a (wall) and styles of (gateway).

The United Kingdom had to wait nearly three years for the Samara to go on sale, after its launch in the USSR, but sales were reasonably strong when the first versions of the car left forecourts, in November 1987. In a road test conducted by The Motor magazine, it scored more than 5 points out of 10 in most aspects and was praised for having a remarkably extensive list of standard equipment, “impressive” engine, good visibility and performance for its price segment, lowered fuel consumption, being good at cornering and “tolerably quiet”, but also received criticism for having a cheap-looking interior and plastic mouldings and being “very turbulent” on poor roads.The Motor, December 5, 1987, pp. 40–41 The £4,795 price at introduction "was much less expensive" than the competing Peugeot 309 or Ford Escort 1300.

The elaborate decoration on this frame may be made by adhering molded plaster pieces to the wood base Except for the most disposable or temporary displays, the glazing must be held off the surface of the picture in order to prevent the object from becoming adhered to the underside of the glazing, acquiring irreversible color changes due to compression of the media, and/or developing mold growths that otherwise would not occur. This distancing is accomplished with a mat, "spacers" tucked behind the glazing and hidden from view by the lip of the moulding, shadowboxing, sandwiching the glazing between two mouldings, and similar methods. Relieving the glazing is also necessary in order to prevent loose media, such as charcoal or pastel, from becoming smudged. passe-partout (or mat) can be put between the frame and picture.

Models for the bronze lions were completed in 1700 by the French sculptor Bernard Foucquet the Younger (1640-after 1711). Foucquet used stone lions at the Villa Medici in Rome as prototypes for the commission, while the Crown had to melt sculptures taken from Kronborg Castle in Denmark to assemble the required amount of bronze. A wide range of rocks from various regional sources were used for the palace which is discernible in the northern front where hard to cut but more resilient rock is used for the bases and railings (e.g. so called Stockholmsgranit, younger granite found readily around the capital, grey or red in colour), and less compact rock, which is easier to carve but less resilient for more elaborated details – sandstone from Gotland for ornaments and mouldings, and marble from Kolmården for balustrades and bollards.

Dampers, springs and steering were retuned, and the tyres were wide 175/65 Michelin TRX on R 340 alloy wheels. In true Lancia tradition the exterior of the HF was relatively understated: changes were limited to silver "HF" badging on the grille, a deeper chin spoiler, black trim as on the GT, black roof drip rail mouldings, black side skirts with small silver "turbo" badges in front of the rear wheels, the 1982 roof spoiler painted in black, air intake cowls on the bonnet grilles, bronze-tinted athermic glass and 8-spoke alloy wheels. The cabin featured a leather-covered steering wheel and supplementary digital instrumentation with bar indicators; the upholstery material was the usual beige Zegna fabric, and Recaro sport seats covered in the same cloth were optional. About ten thousand Delta HF were made, in a two-year production period.

The site, which was also known as Ashton Fields or Rownham Fields as well as Ashton Meadows, covered and was served by two railway stations Clifton Bridge railway station and Ashton Gate railway station which was renamed Exhibition Station for the duration of the event. The triangular site was bordered by the River Avon on the north, a road called Ashton Avenue on the east and the railway tracks on the west, with a bridge over the other set of railway tracks running across the site. Each of the exhibition halls was built of a timber frame cladded with plasterboard and mouldings made from fibre and gypsum given them a white appearance and it became known locally and in some press reports as the White City. The major buildings included the International Pavilion and a concert hall with a capacity of 5,000.

To the west are more jacaranda trees. The house has two main front rooms (drawing room and dining room) accessed through sliding doors from a central hall, enabling the opening of both right up into a large single ballroom, similar to that of Government House (which Mortimer Lewis had implemented, overseeing the plans prepared by English architect, Edmund Blore. It shows Lewis' architectural trademarks, such as reeded, rather than fluted mouldings in the tops of window cases, floor skirtings are panelled, French doors onto the verandahs (onto the entrance front (north) and garden front (west) sides of the house (these doors were later changed by James Barnet to hung windows). The octagonal asphalt paving blocks on the verandah floors are a trademark of James Barnet, also seen at his Police & Justice Museum near Circular Quay and South West Rocks Lighthouse.

It is impossible therefore to deduce the height of the door-frame correctly, but it is obvious from the length of the lintel and the sill that the height of this door-frame could not have been less than 15'. If the height of the stone door-frame of the main entrance to the sanctum was 15' then the height of the interior of the chamber must have been 20' to 25`, leaving to imagine the total height of the spire or shikhara of the original temple, which must have been considerably over 100'. The majority of the carved stones in the public park at Tezpur are taken from the plinth mouldings and string-courses of the gigantic temple, the door-frames of which have been described above. The string-sources were ornamented with kirtimukhas of various shapes and sizes and sunken panels containing ornamental rosettes and meandering creepers.

The niches and intervening recesses of the second part of the wall are also decorated with khakhara mundis, simhavidalas (a lion-faced beast), Gajavidalas (an elephant-faced lion trampling a lion), jaliwork, scrollwork, sikshadana scene (sages teaching disciples) and kirtimukha (a monster face) motifs, along with the figurines of eight Dikpalas (guardian gods of the directions) and some goddesses. The third part of the outer wall has two horizontal mouldings decorated with alasa- kanyas (beautiful human maidens), scrollwork and floral and lotus motifs. The niches and recesses of the fourth part of the wall are decorated with pidha mundis (a type of niche), simhavidalas, erotic scenes, alasa-kanyas, scrollwork, jaliwork and floral designs, along with figures of the consorts of the Dikpalas, Nagas and their female consort Naginis and various goddesses. The Dikpalas and their consorts are seen with their mounts and aligned to their respective directions.

The line to St Kilda was built by the Melbourne and Hobson's Bay Railway Company, to serve tourists to the seaside resort, with tenders called for earthworks and buildings at St Kilda on 3 November 1856, and the line opened on 13 May 1857. The building was of restrained Italianate design, with face brickwork and stucco mouldings, and originally featured a semicircular portico on the south-western face of the station building. The station had a single platform, with the train shed supported by iron columns trimmed with a timber valence, and a bluestone retaining wall ran along Canterbury Road. An engine depot and carriage shed were built later in 1856. In 1859, MHBRC paid St Kilda and Brighton Railway Company £5,000 to build a loop line from St Kilda to Windsor, the line being extended to Brighton Beach by 1861, on what is now the Sandringham line.

It has a rounded roof dome similar to the ALX200, a deep double-curvature windscreen with plastic mouldings under the windscreen to make it look deeper and a separate destination sign. The ALX300 shares its appearance with the ALX200 midibus body, ALX400 2-axle double-decker body and the ALX500 3-axle double-decker body and belongs to the same family as the ALX100 minibus body. The ALX300 was never as successful as many of its competitors, most notably the Wright Renown on the Volvo B10BLE chassis. However the ALX300 on MAN 18.220 chassis is the favoured full-size single-decker bus of Stagecoach Group in the UK. Despite the arrival of the Enviro300, which is aimed at the same full-size single- decker market, Stagecoach has continued to prefer the ALX300, with further deliveries to the group in the first half of 2006.

Railroads also began acquiring steamship lines in the 1850s, and the Seaboard & Roanoke Railroad, a predecessor of the Richmond, Fredericksburg and Potomac Railroad (RF&P;), acquired a controlling interest in the Baltimore Steam Packet Company in 1851. As competitors entered the field, each line vied to outdo its competitors in the luxurious appointments of their ships' staterooms and dining service. The company acquired newer and larger ships in the 1850s, such as the North Carolina in 1852 and the Louisiana in 1854, the latter at in length being the largest wooden vessel the company would own. A passenger on the Georgia was effusive in his description of an overnight trip in 1853: The North Carolina similarly impressed a Baltimore Patriot reporter in 1852, who described the ship's dining saloon as "having imported Belgian carpets, velvet chairs with marble-topped tables, and white panelling with gilded mouldings".