There are no breads or pies in the mullioned windows.
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The mullioned windows in both rooms were recently replaced with thermally efficient glass.
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Light pours from black-framed and mullioned Brombal windows and clerestories on three sides.
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The living room continues into a dining room with a large mullioned window overlooking the garden.
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The main entry hall leads to three large formal rooms with arched doorways, oak parquet floors, slatted-wood ceilings and mullioned windows.
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To the left of the entrance is a living room with a gas fireplace, polished ceiling beams and two walls of mullioned windows.
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The bedroom is off the living room and has wood floors, casement and mullioned windows, and a closet with a stacked washer and dryer.
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Or at least on the same floor — all 160,000 square feet of it, with washed concrete floors, giant mullioned windows and curving pillars nearing completion.
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The 40-foot-tall interior space, with mullioned windows and decorative columns, will either become an office or retail space, a beer garden or restaurant.
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She replaced one of the walls — the one that separates the hallway from the living room — with floor-to-ceiling mullioned glass that lends a Modernist geometry.
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Completed in 2007 in a traditional style, it has mullioned windows, wide-plank floors in every room, and old stone and concrete in the foundation and surrounding walls.
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The six guest units include a main-floor suite with a large room with vintage wood floors and mullioned windows, a sitting room and a bathroom tiled in stone.
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Upstairs is taken up by the owner's suite: a room with parallel ribbons of hinged mullioned windows and space for a king-size bed and a large sitting area.
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When I arrived at Oxford, I encountered men whose job it was to sit in book-lined studies with oak panels and mullioned windows and read, write or talk about history.
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In Midtown East, a one-bedroom, one-bath apartment with tall beamed ceilings, mullioned casement windows and built-in bookcases, in a prewar building with a doorman and live-in super.
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The owners, who bought the building about 25 years ago, converted it to a house, while retaining many early details, including large mullioned windows, exposed beams, pine floors and pressed-tin ceilings and walls.
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In Hell's Kitchen, a 1,890-square-foot loft, with two bathrooms, 12-and-a-half-foot ceilings and large, mullioned windows, in a mixed-use industrial conversion with a part-time doorman and roof deck.
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To one side of the entry hall, through a mullioned glass door, is a spacious living room with a wood-burning fireplace, tall windows and double glass doors that open to a deck overlooking the front yard.
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Size: 2417,5043 square feet Price per square foot (for the main house): $2504 Indoors: Wide, antique fir floorboards, open-beamed ceilings that have been raised to accommodate modern heights and mullioned windows that wrap around corners define the character of the farmhouse.
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As a student at the Slade School of Fine Art, she became involved with the movement to protect and restore the historic area, and for the past 15 years she has lived and worked in the same Georgian house, with a mullioned ground-floor shopfront.
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Here Antlers' many-mullioned windows seem oblivious of weather, the glass plastered with peeling team mascots and political stickers, the walls dense with important persons in black-and-white, most already forgotten, their capped smiles wide and white, their hair styles reflecting each decade: a visual medium.
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The 9,390-square-foot main house, which has high-pitched roofs, tall chimneys and a turret with a spire and mullioned windows, was held by the family of the original owner, Lucy Victoria Oldfield, until the mid-20th century, when it served as a preparatory school, before being sold to a third owner, said Mr. Hoyle.
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The façade is completed by two single mullioned windows.
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The portico has three round arches on columns and is surmounted by a balustrade. The central doorway has a round arch and on each side are two mullioned and transomed windows. On the first floor is a central doorway with a mullioned window above and arched niches in each side. The other bays contain mullioned and transomed windows.
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The third floor and first attic storey have mullioned windows.
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It has four bays, and contains mullioned and transomed windows.
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Its windows are either mullioned or mullioned and transomed, and there are two towers, one of which has two storeys, the other three. Many of the parapets are embattled. Around the building are terraces with bastions.
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Douglas added tall rubbed chimneys, mullioned windows and a steep pyramidal turret.
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The other windows are mullioned. The presbytery is listed at Grade II.
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It has a central porch with a balustrade, and three-light mullioned and transomed windows on each side. Above the porch is a two-light sash window. The parapet is plain, rising in two steps to the projecting wings. These have three-light mullioned windows in the lower level, three-light mullioned and transomed windows in the upper level, and a single-light window in the gable.
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Its lower storey has an elliptical- headed doorway, and in the upper storey is a four-light mullioned window. Each lateral bay has a four-light mullioned window in the lower storey and a three- light mullioned window in the upper storey. A tall rubbed brick chimneystack rises from the left side of the roof. Diagonally from the right corner is the inn sign.
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The middle four houses have projecting one- or two-storey canted bays containing windows which are either mullioned, or mullioned and transomed. Large ribbed brick chimneys rise from the roof. The architectural style has a mix of Gothic and vernacular elements.
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The portal has a mullioned window, and three arches surmounted by small busts. The square Romanesque bell-tower has increasing mullion arches as it rises. Above the entrance portal is a mullioned window. The baptismal font was sculpted by Giovanni Morello.
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The south face has a mullioned and transomed window and three crow-stepped gables.
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The entrance front faces southwest and is almost symmetrical, with seven bays. The lateral bays project forward, as does the central three-storey porch. All the windows are mullioned, or mullioned and transomed. The lateral bays have bay windows, the upper floors of which are canted.
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These are in two storeys with mullioned windows. The west front has a massive appearance with a three storey bay to the north. This has mullioned and transomed canted windows, a crenellated parapet and a pyramidal roof. To its right is an octagonal four-storey crenellated tower.
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The church has a simple façade, in crude stone blocks. Over the central portal are two small mullioned windows, surmounted by a small frame dividing the façade in two and a rose window. On the left is the massive bell tower, also in stone, with a square plane: each of the sides has a row of thin mullioned windows, except for the top floors, which have a larger single- and double- mullioned windows. The top is pyramidal in shape.
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The porch is lit by mullioned side windows, its interior containing a stone bench at each side.
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Each of the bays contains a gabled dormer. The entrance doorway is in the second bay from the left. Above it is a niche containing the figures of two girls holding an inscription. The windows are mullioned or mullioned and transomed, those in the upper storey having stepped heads.
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The side facing Lower Bridge Street contains three casement windows, and that facing Shipgate Street has two similar windows and a doorway. The upper storey is timber-framed, with close studding. On the side facing Lower Bridge Street are two five-light mullioned windows, above which are two blank gables; that facing Shipgate Street has two two-light mullioned windows, above which are two gables, each containing a four-light mullioned window. The rear of the building is clad in brick.
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The west elevation features a variety of sized mullioned windows with cusped tops. On the south elevation of the hall there are large mullioned windows. The eastern elevation incorporates the main body of the hall via a link building projecting west which according to Pevsner was the kitchen. Link to this projection and running north there is a range of two storey brick and flint domestic and utility buildings with a set of four gable fronted dormer with mullioned windows.
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The bell tower, dating to c. 1450, has numerous friezes and a triple mullioned window with marble columns.
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Today it has a portico supported by columns and pilasters, and a façade with mullioned windows and merlons.
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Facing the road is a canted bay containing mullioned windows. The lodge is entered from the pedestrian walkway.
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Elsewhere the house is in Jacobean style, with windows that are mullioned and transomed, or just mullioned. In the cellar is a large slab inscribed "This must stand here forever, Richard Broster 1757". The house is recorded in the National Heritage List for England as a designated Grade II listed building.
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Beneath the middle gable is a five-light mullioned canted oriel window, and under the outer arches are four- light mullioned casement windows. Internally there are two swimming baths. The larger, the Atlantic, long, is deep enough for diving, and is surrounded by galleries. The other bath, the Pacific, is long.
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Mullioned windows in a decorative lozenge pattern included above light mullioned windows to bring in more light through the windows for the pupils to read right up to the eaves. There was ventilation in the roof. The hall range was flush had 2 storeys and 3 bays. Gable ends lent themselves to additions.
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The building has three bays; from the left, the first two bays contain seven-light mullioned windows. Above the window in the central bay is a dormer gable that contains a three-light mullioned window. The right bay contains a modern patio window. Between the left and central bays is a decorated brick chimney stack.
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Behind this are seven mullioned and transomed windows, and there are similar windows in the middle storey. Above these is a cornice and three shaped gables containing mullioned windows. The gables have stone copings and finials, and contain heraldic panels. Flanking the middle part of the central block are three-storey slightly projecting wings.
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The side façades are also decorated with blind arcades and, on the southern side, by two mullioned windows and a rose window, while the northern side as two double and one quadruple mullioned windows. The bell tower, standing at 59 m, was mostly built in 1230-1239, although the floors above the second one were completed only in the 14th century under bishop Giacomo Tura Scottini.Page at mondimedievali.it, by Stefania MOla As is typical in Romanesque structures, the openings (in the shape of mullioned windows) become wider in the upper floors.
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In the upper storey are two four-light mullioned windows. On the left side is a three-light oriel window with a four-light mullioned window above, and in the merlon above this is a niche containing a statue. On the right side is a blocked arch in the ground floor, a single- light window above it and a four-light mullioned window in the top storey. In the angle between the gateway and the newer building, on the left, is a square turret that is taller than the rest of the gatehouse.
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The windows are mullioned and a number of them are in canted, two-storey bays. The stables extend to the northwest.
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The church has undergone numerous refurbishments, including a major reconstruction in the 16th century. The belltower still retains the Romanesque mullioned windows.
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The right bay has two storeys plus an attic gable. On the ground floor is a five- light mullioned and transomed window and above this is a five-light mullioned window. In the gable is a three-light window surrounded by lozenge panels and brick diapering. The parish room on the extreme right has three bays divided by buttresses and contains arched windows.
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The presbytery is elevated and accessed by two steps. Under the high altar are two sculpted lions, which were originally placed at the sides of the façade. The presbytery ends in a semicircular apse. Light is provided by two double mullioned windows in the eastern and western walls and by single mullioned windows in the main walls and the apse.
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The tall 10th-century bell-tower, which doubled as watch-tower, is a Romanesque structure with mullioned windows.Carta Archeologica del Piemonte, entry on church.
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Also in the style of Nicholson. Built in 1845. Tudoresque, with mullioned and transomed windows. Buttresses crowned by turrets on either side of the porch.
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The halls in the north-western angle of the church were built in 1909–10, also by Chalmers. Piend-roofed, with mullioned and leaded windows.
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The side windows are mainly 19th-century replacements of earlier windows, and are mullioned. The east window has three lights and contains Decorated-style tracery.
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The left bay has a single-light window in the lower storey and a five-light mullioned window with semicircular arches in the upper storey. Between the storeys is brick diapering with plaster infills. In the gable above the window are square plaster panels surrounded by brick. The right bay projects forwards and has five-light mullioned arched windows on both storeys; it is without decoration.
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This is constructed in red ashlar sandstone with a red tile roof. It is in one storey and its south front has five bays. Each of the central three bays has four-light mullioned and transomed window under a stone-coped gable with a finial. In the left bay is an arched doorway and in the right bay is a four-light mullioned window.
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In the angle between the bays is a single-story porch with a four-light straight-headed mullioned window. There are two tall brick chimney stacks.
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Circa 1989 it was converted by Bovis Homes Group into grand residential apartments, retaining the original stone mullioned windows, ornate ceilings, wood panelling and impressive fireplaces.
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The facade has a formal Renaissance classicism. The bell-tower has mullioned windows. Presently the church is closed. Behind the main altar is a baroque organ.
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To the left of the façade is the late-baroque external entrance to the Chapel of the Miracle. The tall 13th-century belltower has Romanesque mullioned windows.
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There is a similar balustraded balcony to the drawing room to the south of the porch. The porch windows feature metal grilles with scroll and leaf decoration. Gardens and former stables To the north of the porch is a two-storey mullioned and transomed window flanked with pilasters, and most of the windows to the main façade are also mullioned and transomed. The service wing features a single-storey octagonal bay.
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The east window has three lights and is in Perpendicular style. On the south wall of the chancel is a blocked doorway and a three-light mullioned window.
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The window openings are mullioned, and contain casement windows. There are two single-storey buildings at the rear, one with a gabled roof, the other with a hipped roof.
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Some original brick details of the ground-floor window remain as does the central, 4-shafted, ridge chimney. The rear has wooden mullioned windows dated to the late 19th century and a stair turret with brick parapet. The former Hall, in the centre, contains a square-fronted bay window to the left and a tall wooden mullioned and transomed window to the rear, and late 19th century porch to the right with perpendicular style windows.
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To the right of this is a two-storeyed section with mullioned and transomed arched windows in the lower storey, and mullioned windows in the upper storey. Between these is a row of rectangular plaster panels. To the right of this is a two-storeyed projection, the upper storey being set back from the lower storey. A stair turret to the right of this has a pyramidal roof with a weather vane.
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The windows are all mullioned, those in the middle storey also having two transoms, and that in the upper storey has a transom. Between the windows is brick diapering. At the summit of this bay is a spire with a lead finial. To the left of the entrance bay is a wing containing two mullioned and transomed windows in each storey; the left-hand window in the middle storey is a canted oriel window.
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The house is built in buff ashlar stone. Most of the windows are mullioned and transomed. Its more striking architectural features include castellated walls, towers, turrets, and many chimney stacks.
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At the lower level are four two- light chamfered stone mullioned windows, and at the upper level six similar windows. In the centre of the wall are bronze war memorial plaques.
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The Romanesque church is a small hall ending with a small semicircular apse. The façade has a richly decorated brickwork portal with a Gothic rose window. The façade of the Ducal Chapel has a simple portal flanked by Gothic mullioned windows, according to a model established by Guiniforte Solari, and traces of frescoes of Saints from the 15th century. The current bell tower is a 15th-century enlargement of the original one, with conical cusp and mullioned windows.
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The Old Vicarage is based on an early Tudor building which was expanded and altered in 1640. Adjoining it is the mullioned old bakery, dating from 1733 upon a 17th-century core.
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Mullioned windows decorate the façade. The upper floors are reached by a wooden spiral staircase. Privately owned, it has been listed since 1979 as a monument historique by the French Ministry of Culture.
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The surviving mullioned window of the apse. San Giovanni in Conca is a crypt of a former basilica church in Milan, northern Italy. It is now located in the centre of Piazza Missori.
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The upper stories suggest the palace was built by combining two adjacent properties, since the windows from the upper floors differ with mullioned window on the right, and the joint sit is evident.
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The southern end maintains a moated bridge and shows the original crenellations. The Eastern end has a bifore or single mullioned window. The castle lost a surrounding wall and the interiors are highly modified.
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18 Each storey has small overhangs, with carved corbels (brackets). All three storeys have restored mullioned and transomed windows in oak. The second (top) floor features unusual continuous windows along the entire front.Bethell, p.
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Built in rubble stone with ashlar dressings, the chapel has a tiled roof. Its plan is rectangular. On the east side are four mullioned and transomed windows. The doorway is on the south side.
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The house was designed by S.S. Teulon and built in 1850. Pevsner describes it as a "...picturesque Tudor with an odd lantern with cupola ; handsome gabled with mullioned windows." It is now a private house.
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The 1620 block, built by Robert Wynn, finds its main entrance on the northwest exposure and has a 19th-century three storey gabled porch bay addition. On the ground floor the porch bay has a four-central headed doorway by first floor features of a transformed window and three mullioned windows to the attic. Behind the porch, this doorway retains its original door and latch. On the southwest exposure the bay nook windows on both ground and first floor are of 17th century mullioned construct.
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On the north wall of the chancel are two windows, a squint, and a link to the library. The library has a pyramidal roof, and simple two-light mullioned windows, alternating with tall two-light dormers.
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The main surviving free-standing structure is the two-storey gatehouse leading to the enclosure in which the castle stood. It has a mullioned window in the east wall. It possibly dates to the 15th century.
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The windows are mullioned. There are two chimney stacks, the one to the west containing a decorative panel with the initials "R. B." and the date 1870. Around the lodge is wrought iron fencing with gates.
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The sides and the apse are decorated with Lombard bands. The interior contains a nave and two side-aisles divided by eight cruciform piers, characterized by black and white bands, over which are rounded arches. The nave, covered with cross vaults, is illuminated by several mullioned windows; the wall of the west front has a double mullioned window and an oculus. The north aisle houses a 15th-century sculpture of the Madonna and Child, while at the third pier is a marble pulpit in Gothic style, whose dating is uncertain (perhaps the 14th century).
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In the third band are rich terracotta decorations, while in the middle of the façade is a rose window with concentric decorations, flanked by two ogival double mullioned windows with square frames. The decoration of the façade's summit includes a statue of the "Madonna with Child", between two circles and Lombard bands crowning the upper edge. The bell tower, originally of the same height as the façade, is decorated with mullioned windows, Lombard bands and a cusp. The interior has a rectangular hall, a semi-octagonal choir and a presbytery.
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In 1913 the palace was acquired and refurbished by the Banca di Firenze, who commissioned the architects Ezio Cerpi and Adolfo Coppedè (1913–1915). They roofed the courtyard and added ceramic and stain- glass decorations by Chino and Galileo Chini. In 1931, it was acquired by the Istituto Nazionale della Previdenza Sociale. Mullioned windows and lunette reliefs The rusticated stone bricks made of yellow-ochre sandstone pietra forte on the ground floor give way to pale stucco walls on the second floor (Piano Nobile) with finely decorated mullioned windows with rounded arches.
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The east wing is in Elizabethan style. It contains mullioned windows and gabled half-dormers. On the gable end is a bay window containing sashes. At the rear of the hall are service rooms, closets, steps and passageways.
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Constructed in brick, the church has a tiled roof. It is in four bays with a porch. On the sides of the church are two-light mullioned windows. On the north side is one original window containing Y-tracery.
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The church was built in the 11th century; it has got just one nave and an apse with a mullioned window. Inside the church, there are two frescoes: one picturing Basil of Caesarea and the other (14th century) John Chrysostom.
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At the east end of the chancel is a single 19th-century round- headed window, and there is a similar window in the south wall. On the north side of the vestry is a three-light mullioned and transomed window.
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Window and door frames are made of wood. Walls are built with wood, stucco and limestone. The southern elevation features a limestone wall topped with two rows of limestone blocks. The western portion includes a stone-arched window with mullioned casements.
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From the southern transept rises the bell tower, built in the 12th-14th centuries, with a series of single, double and triple mullioned windows. The last floor was demolished during the rule of Giovanni dell'Agnello (1364-1368), Doge of Pisa.
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Between the doors are three mullioned windows with timber frames; there is another window beyond the east door. Over the west door and the most easterly window is a small gable. In the gable over the west door is a sundial.
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92–93 The double-storied inn has bays built in brick with a roughcast rendering on the upper storey. It has clay tiled covered hipped roofs. Its other architectural features comprise a projecting two-storey porch with oak post- and-rail fence inscribed with a number of sayings on either side, lateral bay with four-light mullioned window in the lower storey and a three-light mullioned window in the upper storey, a tall rubbed brick chimneystack, and the inn sign located diagonally from the right corner. The inn continues to function as a public house and restaurant.
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John-Freeman Mitford Asthall Manor is a vernacular two-storey house with attics, built of local Cotswold limestone on an irregular H-plan with mullioned and mullioned-transomed windows and a stone-slated roof typical of the area. There are records of a house on the site since 1272 when Richard, 1st Earl of Cornwall, owned a house on the site worth 12d. In 1304 the curia, garden and fish pond were valued at 10 shillings. The core of the current building at Asthall was built in 1620 for Sir William Jones on the site of the mediaeval hall.
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There are three apses with a cornice of false arches and mullioned windows. The three naves are divided by rectangular pilasters. The interior has early medieval frescoes discovered first in 1897. Over the next century, a restoration brought to light more frescoes.
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Its frame projects from the wall and is carried on eight corbels. The window has 14 lights, is mullioned and transomed, and contains leaded lights. Below and on each side of the window are timber-framed panels. The top storey is jettied.
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It has a sturdy bell tower with single and double mullioned windows. The interior is on a nave, and houses fragments of 14th-century frescoes (St. Anthony and one Female Saint). Other painting works include a Virgin Enthonred with Child between Sts.
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The principal facade faces south east and features a series of mullioned windows. Inside, many old tiled floors are well-preserved. On the ground floor, the kitchen features a large fireplace and bread oven. The first floor gallery contains an old sea chest.
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A. M. Palmer. The five-light east window of the chancel contains three sections originally installed in the school chapel by Mrs. Ferryman in memory of her husband. The west end of the baptistery and the vestry have mullioned windows of oak.
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The tympanum is decorated with two letters "A" inserted in an "O", and a mullion divides the entrance in two smaller, twin-arched portals. The South side of the apse is decorated by a beautiful, large mullioned window with late Gothic tracery.
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The lateral walls continued without the bichrome decoration. In the interior, the capitals are in the Corinthian and Composite orders, and the mullioned windows have leaves, human and animal motifs, which are perhaps influenced by ancient Roman structures still existing in Lucca at the time.
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The palace in 2015 houses the Department of Historical Sciences and Cultural Goods of the University of Siena.University of Siena, information on palace. The palace, has six ground floor arches made from rusticated stone, now mostly walled. The second floor retains the mullioned windows.
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The chapel is constructed in rubble carboniferous limestone with ashlar gritstone dressings. Its plan consists of a single cell. On its south side is a bell turret with a lead-covered pyramidal roof. Also on the south side is an oriel window with mullioned lights.
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They flank asymmetric round-headed arcades—two to the left and three to the right, all of single-storey height—which sit below plain mullioned windows, balconies and ornately decorated gables. The clock tower was designed by Alfred Waterhouse, the architect of Manchester Town Hall.
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The windows around the church are in varying styles, most of them being mullioned. Three of the doorways have tympana containing carvings of dragons and other items. Inside the chancel are a double sedilia and a piscina. Most of the furnishings are from Cory's restoration.
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It is in two stages, and has diagonal buttresses and a pyramidal roof. In the lower stage is a three-light west window, and the upper stage has three-light bell openings. The parapet is battlemented. The nave contains three-light, arched, mullioned windows.
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It is of the manual action type. Stained glass panels were placed in the existing three mullioned window on the north gable in 1927. As there is no burial ground attached to the church, burials take place at the nearby Old Church yard instead.
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The Manor has retained many original features such as its stone flagged floors, oak-paneled four poster bedrooms, mullioned leaded windows, ancient carved oak doors and beams throughout. The Manor has recently undergone a mammoth horticultural development to restore its once famous knot garden.
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Regilbury Park Farm, in the parish, has a farmhouse which was formerly the ancestral home of the Baber family, one time lords of the manor. Parts of the mansion remain, with mullioned windows in one large gabled wing. It is a Grade II listed building.
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The tower is in two stages with a string course between. In the second stage is a clock face with mullioned belfry windows above it. The summit is embattled. On the south and north front of the church are four windows with elliptical heads.
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The shrine is a Latin cross, characterized by a side wall and an apse hexagonal. The mullioned windows are Gothic style. Inside there are frescoes modern and original chapel of the saint carved in the rock. The church is located after crossing the square.
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Retrieved 6 October 2019 Firs Farm (listed 1985), on Todenham Road south-west from the church, is a late 17th- to early 18th-century rectangular plan two-storey detached farmhouse with wall courses of dressed limestone, and three three-light mullioned windows with central casements on the first floor, and one off-centre from a central door, on the ground. The front face of the building has a stone lean- to up with to the eaves at the left, with inset mullioned window, and a single storey extension as a farm store to the right.Firs Farm, Todenham Road, Todenham, Google Street View (image date August 2016).
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It has a central range and two wings projecting towards the street. It has coped gables and mullioned windows. The house has elaborate scrolled cast iron gates. William of Orange slept in one of the bedrooms for at least one night during the Glorious Revolution in 1688.
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Elsewhere there are square-headed mullioned windows. In the south- facing roof are two three-light gabled dormers. Inside the church is an oak dado, above which the walls are plastered. The authors of the Buildings of England series comment that the church is "surprisingly dismal inside".
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The roof is steeply pitched with slate. The metal-framed windows are mullioned and transomed. The style is a combination of Scottish baronial, Jacobean and French Châteauesque architecture. There are five major towers (three at the front) with pyramidal roofs, and many smaller corner turrets (tourelles).
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This church was erected in the second half of the 13th century. The later bell-tower has mullioned windows and decorative columns. The facade has a large rose window. The interior has some deteriorated frescoes depicting the Incredulity of St Thomas and the Baptism of Christ.
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Crissay-sur-Manse is a commune in the Indre-et-Loire department in central France. It is one of the 'most beautiful villages of France' (an official category). The houses are made from white limestone, with mullioned windows. The village is located on the Manse river.
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Chorus: Sing! boys, sing! Floreat Sodalitas Little matter, well or ill, Sentiment is more than skill, Sing together with a will Floreat Sodalitas 'tas Colchestriensis Second verse: By mullioned panes the ivy climbs, On Tudor masks and faces. So mem'ry adds an evergreen To well remembered places.
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The house is E-shaped in plan with three storeys, attics and basement. Originally, the house probably had the hall on the first floor, and other rooms over a vaulted undercroft. The windows are seventeenth century and are mullioned. In the southwestern corner there is a tower.
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The stone façade is made of stone bricks with a small mullioned window. A large bell-tower arises next to the façade. The semicircular apses differ, with the center one being less decorated. The church contains some of the Romanesque sculptural elements embedded in the walls.
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The façade has three arches, two of them walled up. Above the center rounded arch is a mullioned window. The apse has a sail-like belltower. The interior has traces of frescoes, but houses an 18th-century canvas depicting Life of Santa Illuminata by Giovanni Andrea Lezzerini.
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There are remains of mullioned windows at the higher floors of the castle. The castle has a Sheela na Gig mounted on the outer wall behind the chimney. Across the road lies the ruins of its chapel which was the private chapel of the Catholic lords of Upper Ossory.
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In 1870, it was sold to the town council. For a period it was used as a prison. In the early 1900s, the palace housed a theatre and hall for meeting, modified by Giuseppe Visocchi. The tall facade has three mullioned windows and above three oval rose windows.
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The cathedral has a Latin Cross structure, with a length of 85 m. It has a nave, covered by a barrel vault, and two aisles, with an ambulatory and five apse chapels. The triforium features triple ogival mullioned windows. The apse houses a calvary sculpture from an unknown date.
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In the middle and upper stages are three- light mullioned windows, and above these in the top stage is a clock face on each side. Over these is a cornice and an embattled parapet with a pinnacle at each corner. The tower is a Grade II listed building.
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It is a single storey building in stone with a slate roof. There are three bays along the sides, the end bays projecting forward under gables. The windows have two and three lights and are mullioned. At the left end is a porch that rises to become a bellcote.
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In later years a new keep was added to the right of the tower and this became part of the residence, but with a jail below. At the end of the thirteenth century Count Simone Guidi was responsible for enlarging the mullioned windows to create a more elegant facade.
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The tower is in three stages and has two buttresses. On its west side is a large arch containing a three-light mullioned and transomed window. In the middle stage on the south side is a circular window. There is a string course between the middle and top stages.
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Later, the window was mostly forgotten, coming back in vogue in the nineteenth century, in the period of eclecticism and the rediscovery of ancient styles (Neo-Gothic, Neo-Renaissance, and so on). Compared to the mullioned window, the trifora was generally used for larger and more ornate openings.
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The nave is flanked by two aisle (one on each side). Its roof line is higher than the surrounding buildings. The nave and the transept are decorated with hanging arches of the fifteenth-century. Along the walls are opened Gothic rose windows and mullioned windows from the sixteenth century.
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Over these is a four-light window containing Geometric tracery, flanked by lancet windows. The hexagonal tower is in four stages with louvred bell openings in the top stage. It is surmounted by a broach spire. Along the sides of the church are mullioned and transomed lancet windows.
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The bell openings have two lights. On the south side of the roof of the body of the church is a dormer with a five-light mullioned window under a timber gable. In the south wall of the chancel is a priest's door. The east window has five lights.
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The centre block is of three stories, the wings are of two. The windows are squareheaded, mullioned, and transomed, the parapets battlemented. Blount's Court is also the name given to the suburban public street, of about 100 houses, leading up to the private property surrounding the block of flats.
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Above the windows are headboards inscribed "TUDOR" and "HOUSE". The first floor contains three casement windows. The two top storeys are both jettied and timber-framed. The third storey contains two three-light mullioned and transomed casement windows, with panels containing S-shaped braces on their outer sides.
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The Dominicans arrived in Recanati soon after 1272, and began construction of a church and monastery. The latter no longer exists. This church was first completed in the 14th century presumably at the site of an earlier pagan Roman temple. The brick facade has mullioned windows in Gothic style.
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In 1320, Simone Martini executed for this church the Saint Catherine of Alexandria Polyptych, one of his best known works. The painting has been moved to the San Matteo Museum in Pisa. The church is flanked by a bell tower with mullioned windows, attributed to Giovanni di Simone.
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In the upper section the Ionic pilasters around the mullioned window are fluted and delicately ornamented. And with the table that surmounts it, the composition imparts a refined sophistication. Thus, Dominique Bachelier was able to offer the owner a complete composition which evoked both power and a delicate erudition.
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The façade on via Santa Maria has a brick portico with four heavy doric pilasters and rounded arches. the main wooden door dates to the 18th century. Along the right flank of the church, are Gothic-style mullioned windows with ogival peaks. The stubby bell tower was erected in 1833.
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To the right of this are a round-headed window and a 14th-century two-light mullioned window. In the south wall of the chancel are three windows, with a doorway below the central window. The east window has three lights. The windows in the Hilton Chapel are round-headed.
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The Stores building is now used as a tea shop. Stonycroft, in Station Road, is an 18th-century cottage. It has some narrow stone-mullioned windows, and an interesting stonework panel over the door. Gretton House, in High Street, is Georgian, but has a large neo-Jacobean addition of the 1880s.
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The slate slabs in the porches are the original threshing floor of the barn. The mullioned windows are copied from Compton Wynyates in Warwickshire. The tower-frame, copied from Tandridge Church near Oxted, was made from timber cut at South Park, Bletchingley. The bell was given by Holy Trinity, Wandsworth.
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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.
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Centrally over the gateway is a stone panel containing armorial carvings. Above this are transomed and mullioned windows and at the top is a spirelet (small spire). One each side of the panel are smaller windows. From each corner of the gateway arises a tourelle (a turret on a projecting corbel).
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The tower rises two storeys above the nave. It has three bays, with a stair turret to the north-west corner. The bays are articulated by slender buttresses with crocketed finials above the castellated parapet. Each bay on both stages contains a tall two-light mullioned-and-transomed window with tracery.
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Later changes, made around 1600 made the building a more comfortable residence. Most of the old medieval windows were replaced by the latest Renaissance style mullioned windows, providing much more light. A few medieval windows survive. A new stone staircase was put in, and the six monumental fireplaces were built.
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The George and Dragon pub The George and Dragon pub, another Grade II listed building, was initially built as a simple three-bay Georgian inn. In 1875, John Douglas was commissioned to restore it by Egerton-Warburton. He added tall rubbed chimneys, mullioned windows and a steep pyramidal turret.Hubbard, pp.
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This has an irregular plan, and is in two storeys and five bays. It contains bay windows, the other windows being mullioned and transomed. Inside the cemetery is the one remaining chapel, which originally served the Nonconformists. This is constructed in stone with a slate roof, in Early English style.
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Amery (1981), pp. 106–7. The exterior design of the house is Tudor, with mullioned and transomed windows,Lloyd and Pevsner (1973), pp. 312–3. and twisted brick chimneys. "Elizabethan bricks" were supplied by the Daneshill Brick and Tile Company, an enterprise set up by another Lutyens client, Walter Hoare.
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The entrance is on the north face. Above the projecting arched doorway is a mullioned and transomed staircase window. Over this a two-light window in a gable, flanked by two small turrets. The entrance bay is surmounted by two hipped roofs on each side of which are dormer windows.
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In 1565, this new church was consecrated; it now has external Gothic-style decorations such as a façade with mullioned windows and a central rose window, likely added in the recent centuries. The body of San Lattanzio is said to be buried under the main altar.Achdiocese of Pesaro, entry on pieve.
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The rear is more simple; the windows are mullioned and most are square, except for three bay windows. It has two wings laid out like half an "H", which each have a gable and embattled parapets.See photograph at "Reference Name LCL24620", Lincs to the Past (Lincolnshire Archives). Retrieved 1 April 2015.
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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.
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Another view of the castle The castle stands on a limestone floor overlooking the countryside; famously, one can see all five counties of Connacht. The castle is rectangular with two towers protruding to the south. It has two chimney shafts, each a battery of five diagonal stacks. The windows are mullioned with weepers.
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While the mill is built of red brick most of the 16th and 17th century homes in the village use Cotswold limestone and are adorned with mullioned windows and often with other embellishments such as projecting gables. The name of the village derives form the Old English term "slough" meaning "wet land".
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The internal walls have large mullioned windows. The Great Hall features the original hammer-beam roof. Inside, the residences for the elderly have been modernized. The College is run by a warden, who lives in part of the building that was originally used by the Sackville family on visits to their Sussex estates.
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Tracery can also be found in the five-light window on the south face of the church, whilst another five-light window can be found on the east face. The church hall is similarly styled in ashlar dressings, which have been diagonally tooled, and features two bays of three-light mullioned windows.
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The two side sections have two stained glass, ogival windows. In the upper sectors are blind double mullioned windows and, in the centre, is an equestrian statue of the Roman emperor Trajan. The Loggia was damaged by the Allied bombings during World War II, and was restored in the late 20th century.
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All three bays are surmounted by Dutch gables with ball finials. The gables in the lateral bays each contain a small two-light window; the central bay has an oval window. The west face of the farmhouse also has two Dutch gables and stone mullioned windows. The other two faces are plain.
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Fragments of early wall paintings and wooden mullioned windows have been discovered in the mediaeval timber- framed Church Farmhouse. It is not to be confused with Holwell Court, near Essendon, also in Hertfordshire, or "Hole-well"; the fictional well in which 'wholesome' children would fall as described in the brothers' Grimm Fairy Tales.
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To the left are two small mullioned windows that have possibly been reused from an earlier version of the house. The interior has several original features including rooms with the original oak and pine panelling, various mouldings, a fine marble chimney-piece in mid-eighteenth century style and ceiling cornices of various periods.
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On the corner nearest Fitzgerald and Aberdeen Streets, the stairs to the choir are extended up to a tower containing a belfry. The church bell was imported from England. The windows on the side are mullioned and traceried with the surrounds being made of freestone. The roof is made of Green Welsh slate.
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The O'Donnelly fort was a few miles West of the castle. The building was three storeys high with attics, a cellar, many large mullioned windows and tall chimneystacks. A joist from one of the walls was dated using dendrochronology to about 1282 and may belong to an earlier fort. There are substantial remains.
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The upper storey is jettied with a moulded bressumer. In each bay of the upper storey on both faces is a ten- light mullioned and transomed window, each of which contains leaded lights. Below and to the sides of these windows are panels, most of which are decorated. In the gables are wavy herringbone struts.
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Over the portal is a large marble rose window, flanked by mullioned windows. The façade terminates in a loggia with small marble columns. The bell tower, on the right side, dates to the 14th century, while the octagonal upper part is from the 17th century. The Gothic interior has a nave and five aisles.
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The castle today hosts the hotel Castello Visconteo. The interior rooms with Middle Age frescoes are open for the visit of the hotel guests. The view from the Adda river with its high buttresses characterizes the castle. The façade shows the original mullioned window and, at a lower level, the more recent quadrangular shaped ones.
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The house is built in red brick with stone dressings and a tiled roof. The early parts of the house are partly two-storeyed with gables and partly three-storeyed with flat roofs. The windows are mullioned and transomed. The house is roughly rectangular in shape with an entrance corridor which runs across its depth.
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The facade has some Romanesque sculpted carving in bas-relief. Flanking the mullioned window in the facade are two lions, with an eagle above. A major restoration was pursued in 1693, patronized by Angelo Bonelli. Many of the canvases from this time have been moved to the present parish church of Santi Pietro e Tommaso.
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The crypt houses a reliquary bust of St. Donatus, executed in 1346. The bell tower has a sturdy appearance with five rows of mullioned windows. Internally, the base houses the baptistery. The baptismal font dates to the 14th century, and has panels with Stories of St. John the Baptist by Giovanni d'Agostino (1332–1333).
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The lateral bays have mullioned windows in both lower storeys, and in the attics. Above these are shaped gables. The roof is steeply hipped, and at the rear is a small turret-like roof. Internally, great care has been given to detail, particularly in the staircase, the doors, and the fireplace in the front room.
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The Tudor style of architecture tended to contain mullioned windows, half-timbered work, and warm interior panelling and more comfortable furnishings. Naturally any Tudor style incorporated into this Church would again be of a revivalist nature. Therefore, it would be more accurate to describe the Church as being a ‘Tudor-Gothic Revival’ style of architecture.
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116 Gastard Court is a medieval manor house with 17th-century mullioned windows and buttresses.Osbert Guy Stanhope Crawford, Archaeology in the field (1954), p. 72Nikolaus Pevsner, The Buildings of England: Wiltshire (1951), p. 176 Bath Freestone was mined at the Monk Quarry on Monk Lane, Gastard, where Forest Marble can also be seen exposed.
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The hall is constructed in the Tudor Revival style from coursed squared stone with ashlars dressing with a stone slate roof. The windows are mainly wood mullioned casements with label moulds. There is a small square porch with Tudor arch at the front door. The western side has a square two storey stone bay window.
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Derryhiveny Castle is a tower house of four storeys. There are vaults on all four storeys. The upper rooms have two- and three-mullioned windows with fireplaces, including one with a chamfered lintel, curved downwards at each end and covered by a chamfered cornice. There are also remains of a bawn, wall walk and crenellations.
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The architecture is typical of fortresses built between the 12th and 14th centuries. The main building is square with a tower at each of its corners and stands 3 storeys high. The castle was remodelled in the Renaissance, and large mullioned windows were added. A chapel dedicated to Saint Peter was founded in 1327.
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The top storey has one three-light mullioned window over four arched panels. To the side of it are panels containing S-shaped braces, and above it is a gable with lozenge- and S-shaped braces. The lower two storeys on the south side of the house are constructed in sandstone, with timber-framing above.
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Dawpool was a large house, built in sandstone, and in Tudor style. It was asymmetrical, and its features included gables, bay windows, and large mullioned windows. Inside the house was a large gallery with a barrel vaulted ceiling. The house reputedly cost over £50,000 to build, and the materials used were of the highest quality.
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The bell-tower has gothic mullioned windows, restored in 1733. The interior has a single nave refurbished in 1846-1848 by the architect Luigi Fontana. The chapel of the Holy Sacrament once held the painting of the Last Supper by Nicola Antonio Monti. The main altar was consecrated in 1422 and made with travertine.
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The middle and top storeys contain six two-light mullioned and transomed windows in pairs. The gable is stepped and contains a row of six windows, over which are two more windows. Between these is the date 1884 in brick moulding. In the apex of the gable is the cartouche of the police force.
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Mandaloun of the 17th-century Deir el Qamar Synagogue. The mandaloun () is a term given to a type of mullioned window. The mandaloun is an element of the traditional architecture of Lebanon that first appeared in the 17th-century stately mansions and later in the vernacular houses of the mountains of Lebanon.Kfoury 1999, pp.
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The house is timber-framed on an ashlar sandstone plinth in two storeys. The south wall is brick and the roofs are slate. There are four gables on the east face and three on the north face which overlooks the street. On the ground floor there is a door on the east face and mullioned windows on both faces.
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The passenger building is a rectangular structure on two levels. On the ground floor, there are services for travellers and guests, and upstairs are offices. The ground floor is made of brick and has eleven arches. The upper floor is faced with brick and its front and back walls have eleven mullioned windows decorated with a cornice.
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The palace was erected by Giacomo and Andrea Piccolomini, nephews of Pope Pius II; the designs were requested from Bernardo Rossellino. Construction proceeded between 1460 and 1495. The palace recalls the Palazzi Medici Riccardi and Ruccellai in Florence, with the rough ashlar block surface and mullioned windows. The sculptural additions were completed by Antonio Federighi and Urbano da Cortona.
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It is painted yellow, and consists of three parts. The central part is spread over three floors, with access provided through five arches on each side of the building. On the first floor of this part, there are many rectangular mullioned windows decorated with a cornice. The two lateral parts of the building extend symmetrically from the central body.
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View of Oola castle The castle is a square six-storey limestone tower house. There are circular bartizans on the northeast and southwest corners. The upper windows have hood moulding, and the east and west walls have their original fireplaces. When it was in use, it would have had whitewashed walls, gables crowned with chimneys and mullioned windows.
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The ground floor would have had many shops lining the street and campo.Nevola, page 128. The palace underwent numerous alterations, and the palace as we see it in 2014 is due to a refurbishment in pure original gothic style by the architect Ferdinando Ruggieri. The trifore mullioned windows now appear to be partially blocked by a lower brick wall.
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The attached bell- tower has mullioned windows, showing restoration occurring over centuries. The interior wall of the apse is frescoed with a Redeemer Blessing. Among the other frescoes is a Marriage of St Catherine of Alexandria (early 15th century). The small hexagonal building in front and to the side of the church is the Baptistry of San Giovanni.
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Below and to the sides of the windows are panels. Above these windows is a row of eight panels containing shaped saltire braces. Over this is a mullioned and transomed window to the sides of which are panels with shaped braces; in some of these is pargeting. The bargeboard contains ornate carving and at its top is a finial.
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Stoneleigh House, in High Street, was formerly the premises of parchment makers. Springs were fed under the house into ponds which were used for soaking and cleaning the animal skins for preparation as parchment. Remnants of the drying sheds and other buildings still exist at the rear. Opposite the village green is a stone-mullioned building, Tythe Farm.
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The church has a single-aisled nave terminating in an apse. On the side walls are mullioned windows. The left side of the church opens on the town square. Along the left wall are the remains of later restorations and modifications: three rectangular windows and a single window characterized by the monolithic structure of a lowered bow.
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The square tower on the south side of the church remains largely as built around 950 AD. There are two sets of Mullioned windows on each side (except the east), one above the other, below the stone coursing that marks the belfry. There are two bells in the belfry and the roof is a shallow pyramid.
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Designed on a plan reminiscent of a Greek cross, the facades have a strict symmetry. The building has two floors above a raised basement, with mullioned and transomed windows. Each floor had three rooms with a staircase in the south projection of the cross. The exterior of the building is decorated by friezes of a religious nature.
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The current edifice dates from 1753, designed by Carlo Corbellini; the façade is from 1861. The brickwork bell tower (probably dating from the 12th century) has two thin Romanesque mullioned windows at the base. The church was damaged by Austrian shelling during their successful siege of the city in 1849 during the First Italian War of Independence.
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Engraved on plaques located over the mullioned windows are Latin inscriptions taken from the writings of Giovanni Lecce Camillo Palma. At a height of 72 meters,Cattedrale di Lecce the bell tower offers views of the Adriatic Sea, and on clear days even the mountains of Albania are visible. It leans slightly due to a partly sunken foundation.
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In July 1857, the present building was consecrated. Architect E. B. White designed a structure described then as a “handsome cruciform Gothic building”, which indeed it remains today. Fanned arches with a look of palmettos top its mullioned windows that are framed by latticed shutters. The builders sent to England for the rose-colored glass in the windows.
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Behind this is a stallboard, the paved walkway of the Row, and the restored entrance front to the public house. The top storey is jettied and carried on brackets carved with figures. It contains a canted five-light mullioned and transomed oriel window above five shaped panels. At the sides of the window are close studded panels and pilasters.
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Green Paddocks is constructed in brown brick with red tile roofs; it has two storeys and attics. The entrance front is symmetrical in three bays, with the central bay projecting forwards. The central bay has an arched doorway with a twelve-panelled door. Above this is panelled brickwork and a mullioned window, and over this is a pargetted gable.
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The south-west wing has an oriel window on the upper storey on the north-west side, on four shaped brackets. It also includes a jettied gable with carved bressummer and bargeboards. The windows are mostly mullioned and transomed casements with leaded lights, some with the original 17th-century fastenings. There are some original windows, blocked.
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At the southwest corner is a tall brick tower, mainly separate from the main block. The entrance has a series of asymmetries to the structure. The peaked windows on the second floor are mullioned; the roofline crenellated, as are parts of the fences on the town- side. The northern side has an elevated terrace above the grounds.
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The roofline of the brick palace is topped by Ghibelline battlements. The top floor has mullioned windows. The palace was built in the late thirteenth century by the Pinamonte Bonacolsi on land purchased from Rolandino de Pacis. Pinamonte also bought adjacent palaces and buildings in civitas vetus, including the tower of the cage, symbol of the power of Bonacolsi.
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The ground floor is covered with a barrel vault and the third floor has mullioned windows with columns and carved capitals. The old cloister with three galleries is preserved and of those three, the eastern is incomplete. It was built between the 11th and 12th century. All the gallery columns have capitals decorated with plant and animal motifs.
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The weathervane was added in 1756 by Thomas Bagley of Bridgwater. There is a hexagonal south-east corner stair turret. Stage 2 has small light on the north side and a statue niche on the south. All the faces on the two upper stages 2-light mullioned, transomed and traceried window under pointed arched labels, with pierced stone baffles.
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Façade of the church. View of the interior. San Francesco is a church in Lodi, Lombardy, northern Italy, dating to the late 13th century. Its main peculiarity are the two "open sky" double mullioned windows in the façade, which are the first example of a model often repeated in northern Italy in the 14th and 15th centuries.
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The house is constructed of coursed rubble sandstone with roofs of stone slate. Its plan is H-shaped and it is built on two stories. Most of the windows have mullions and transoms; the hall windows are not mullioned. A garden to the south (front) of the house is enclosed by a wall with a segmental-arched gateway.
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The central bay has a doorway in the lower storey and a three-light window above. The outer bays, which project forwards, have five-light windows in both storeys; the recessed bays between these and the porch have three-light windows in both storeys. All the windows are mullioned and transomed. There are four stone chimneys.
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It is characterized by picturesque massing, rhythmic spacing of mullioned, multipaned grouped windows, and numerous multi- stack chimneys rising from steeply pitched gable roofs. It was built by North Carolina Governor and Congressman Cameron A. Morrison (1869-1953). The Morrison family owned the home until 1981. It was listed on the National Register of Historic Places in 1983.
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The parapets of the nave and chancel are battlemented. There are blocked doorways on the north side of the nave, and on the south side of the chancel. The windows in the nave are mullioned, those in the chancel are in Perpendicular style, and those in the transept are Decorated. Inside the church is a king post roof.
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It houses frescoes of various ages, including a Last Supper and St Blaise healing the Sick by Giorgio Anselmi. The 12th-century façade has a small narthex and two double mullioned windows. It has a single nave with a crypt, which is what remains of the original Palaeo-Christian structure. The crypt has a nave and two aisles.
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The palace was designed in 1451-55 by Pagno di Lapo Portigiani from Fiesole for the Bolognini family, a senatorial family enriched by the trade in silk.Biblioteca Salaborsa, entry on palace. The ground-floor portico, held up by columns with corinthian capitals, is divided from the upper floor by a cornice. The windows above are mullioned with peaked arches.
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Tracery divides the rectangular panels into three openings, a lancet-esque opening with tre-foiled arched head and, above this, two smaller tre-foiled shapes. The openings are glazed with diamond mullioned glass. A timber sill projects from the base of the windows. Along both the northern and southern facades of the buildings are three similar window openings.
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The small stone church was originally built in 1093 to house an eremitic lodging of Benedictines, linked to the Sant’Eutizio di Preci monastery. The apse is semicircular, and the portal has a rounded arch with a mullioned window above. The belfry with two bells is a sail-like projection above the tympanum.Comune of Ussita, brief entry on church.
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Over the centuries various refurbishments were performed but in 1930, it was restored to its Romanesque origins under the guidance of Attilio Rampoldi. The tall Romanesque bell-tower has mullioned windows. The interiors still house a tryptych (1394) by Mariotto di Nardo. Additionally, the church contains a 14th-century altarpiece depicting Enthroned Madonna and Child with Two Saints.
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The upper storey contains a seven-light transomed oriel window, with a small two-light window on each side. Around these windows are panels, some of which are plain, the others arched. The gable is jettied and carries the date 1637. It contains a three-light mullioned casement window with herringbone struts at the sides and above it.
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The rest of the facade is approximately a century newer. The front of the building is built of ashlar blocks of locally sourced oolite. The "Chambre de' Roi", Richard III's room for his stay at the inn, covers the whole of the first floor with the two mullioned bay windows for both ground and first floors at either end.
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The top storey contains a three-light mullioned window, over which is a gable. In the middle storey on each side of the window is a niche with a crocketted spire containing a statue. The lateral bays have a two-light arched window on the ground floor. Above these rises a two-story canted turret carried on corbels.
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The House is an important work of its period demonstrating the Modernist architectural movement of Melbourne during the 20th Century, in which he 'favoured rectilinear modernist compositions, often with protruding bays and timber mullioned window walls shaded by deep eaves'. The practice and Kagan himself were influenced by the works of Roy Grounds, Frederick Romberg and Robin Boyd.
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The lower part starts at the top of each side with blind arches including lozenges. The bell has instead a good plan, with a single mullioned window on each side, and is surrounded by a gallery with small arches supported by columns. The cusp has a pyramidal shape. The polychrome effect was obtained by using stones from different locations.
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The church is dedicated to the patron of the town. The Gothic mullioned window suggests the church was built in the 13th century. It likely coalesced around an aedicule dedicated to the saint, enlarged over the age. The first enlargement occurred in 1524, circa when the fresco of the Enthroned Madonna with Saints was painted behind the altar.
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Along the front are corbels for a machicolation which runs the full length of the centre block. There is a fine central doorway with a hood mould and decorated label stops. The castle has mullioned and transomed windows with good square hood moulds. There are fireplaces in the east wall, the north wall and within the flanking towers.
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Giuseppe Polizzi describes the palace in this way: : Torre De Ballis, whose upper partis well kept, has a rectangular window, divided into three lights by two small columns and a mullioned window in the posterior façade, besides a beautiful frame with Machicolation, sustaining the merlons. Doors with elliptical arches, surrounded by gothic shape leaning on small moulded corbels.Giuseppe Polizzi: I monumenti di antichità e d'arte della provincia di Trapani; Trapani, Giovanni Modica Romano, 1879, p.61 Palazzo De Ballis, after the last restoration Palazzo De Ballis, seen from via Madonna dell'Alto On the first floor the square tower has a window with an architrave and small corbels; on the second floor, there is a three-light-window inserted into a round arch; on the eastern side of the court yard there is a mullioned window.
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Kidderminster Register Office is the former Register Office for the town of Kidderminster, Worcestershire, England. As such, it was a designated venue for the performance of civil marriage ceremonies. The listed building was formerly part of King Charles I School. The wedding room is over high, and has a beamed and vaulted oak ceiling, oak panelled walls and stone-mullioned high arched windows.
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On the first floor are two casement windows. The ground floor window frames and leaded windows date from the early 20th century, the doorway is older. The entry to the yard separates the pub and shop. The shop front in the left-hand gable has a doorway next to a canted oriel window and a two-light mullioned and transomed window above it.
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Ascoli Piceno's passenger building is a two-storey structure, comprising three sections. It is made of brick and painted brown. The central section of the building has six mullioned windows topped by arches, and its first floor windows are decorated with cornices. The ground floor of that section houses services for passengers, but the first floor is not accessible to the public.
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It was built between 1900 and 1903 by architect Lorenzo Porciatti. It is a Gothic Revival building with the facade decorated by ogival mullioned windows and merlons. It houses the seat of the Province of Grosseto and was named after the ancient family Aldobrandeschi, since it was erroneously believed this was the location of the Aldobrandeschi's castle during the Middle Ages.
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The fortified town of Saint-Justin has the typical rectangular central square covered with arches and surrounded by half-timbered and stone houses with mullioned windows. Under the arcades, there are many shops, providing a walk for pedestrians and shelter from sun and rain. The town has three octagonal towers and a walkway along the ramparts and the tower wall.
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Stafford Borough Council - In Touch with the Past In 1615 he purchased the neglected Caverswall Castle. He built a mansion house retaining the old castle walls, to a design, it is said, of Robert Smythson or John Smythson. The three storey house has five bays each with stone mullioned and transomed windows. There is a castellated parapet and an entrance porch.
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Mullioned windows pierce the walls of the floor above, which was originally richly frescoed.Detached fresco fragments are conserved in the museum. and three tabernacles, the work of Filippo di Cristofano, 1412, frame the Madonna and Child, Saint Lucy and Saint Peter Martyr, patron of the brotherhood. The mid-14th century statues were installed here when the two confraternities joined in 1425.
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The nave is illuminated by tall mullioned windows of Gothic design and three rose windows. Unlike Alcobaça, the church of Santa Clara lacks a prominent transept. The nave used to be divided in two parts, one of public access and the other reserved for the nuns, separated by a dividing wall. An elevated choir, now lost, used to house Queen Isabel's tomb.
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One of the pulpits. The most striking external feature is the bell tower (mid-12th century), with small arcades and mullioned windows, standing 56 m high and in Arabic-Norman style. It contains 8 large bells. The façade has a Romanesque portal with Byzantine-style bronze doors from Constantinople (1099), with 56 panels with figures, crosses and stories from Jesus's life.
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The tower, which was built in the first quarter of the 16th century, rises two storeys above the nave. It has three bays, with a stair turret to the north-west corner. The bays are articulated by slender buttresses with crocketed finials above the castellated parapet. Each bay on both stages contains a tall two-light mullioned-and- transomed window with tracery.
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The top stage contains a three-light louvred bell opening on each side, and above them a string course with gargoyles. At the top of the tower is an embattled parapet, and it is surmounted by a pyramidal roof with a weathervane. Both aisles have two cusped, tracery-less, three-light windows and above them are three three-light square-headed, mullioned windows.
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Two Norman houses lie on the street, Jew's House and Norman House, the latter formerly known as "Aaron the Jew's House". Both display characteristic Norman mullioned windows. Adjacent to and above the Jew's House stands Jew's Court, said to be from the Norman period but not displaying any obvious Norman features. There are some jettied half-timbered houses towards the top.
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The Joseph Mitchell House is a Gothic, single-family home in Philadelphia, Pennsylvania. It is part of the Tulpehocken Station Historic District. Samuel Sloan allegedly designed this example of a Gothic villa, a style Andrew Jackson Downing popularized. The exterior has a crenellated tower, a slate roof, gingerbread trim and Queen Anne mullioned windows, and the facade is made from Wissahickon schist.
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The transept is elevated relative to the nave, and leads to a pentagonal apse with gothic mullioned windows. The entrance to the Crypt of St Eustachio is from the outside of the church: it contains a cycle of frescoes from the 14th century depicting the Life of the saint and attributed to the Maestro di Offida.Tourism of Marche, description of the church.
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It contains a mixture of 12- and 16-pane sash windows, and two Venetian windows. On the courtyard side is a two-storey timber-framed porch bearing a long inscription dated 1581. The east wing is timber-framed, with close studding, on a rubble stone plinth. It contains mullioned and transomed windows, a small oriel window, and 12- and 16-pane sash windows.
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In the centre of the main front is an arched doorway with the date in the spandrels of the arch. Above it is a panel inscribed with the name of the building. To the left of the door is a mullioned and transomed window and to the right is a shop window. In the corner is the door leading into the shop.
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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.
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The living quarters are on the south, west and east sides. The south front, with views towards the Beeston and Peckforton Hills, is the main front. It is symmetrical with five bays, all of which are gabled. The central bay has a large semicircular projection in two storeys with an eleven-light mullioned and transomed window behind which is the great hall.
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The bell tower stands as a separate building. It is 62 m-high and was begun in 1045 and completed in 1178. It is stylistically Romanesque like the church, having a central vertical belt of alternating tuff and brickwork bands. It is divided in floors by cornices and small tuff arches, and rises to a double-storied bell chamber with triple mullioned windows.
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A hall was built for Edmund Starkie in 1576. It is thought to have been of a typical design for the period, approximately wide and of two storeys with a central hall, and mullioned windows. Wings at both ends projected at the front and rear. The central hall was about by with entrances at either end of a passageway at its western side.
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City Hall was designed as a modern Broletto with a massive freestone civil clock tower linked to the ancient Palazzo Tentorio and its park. Old Town is formed by streets called cuntrada, of different ages. Structures feature a variety of portals and other particulars such as mullioned windows, ogives, ribbings, tower-shaped garrets and the Old Theatre. Façade of St. Stephen's parish church.
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The jambs are of large flat stones, at right angles to the wall. The form of the jambs is Roman in origin. An example of this can be seen in the Bath House of Chesters Fort on Hadrian's Wall. Windows at low level on the south are mullioned with baluster shafts and arched lintels, and the window apertures themselves are cross-shaped.
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Details. Photo by Paolo Monti, 1969 The façade of Palazzo Pisani Moretta is an example of Venetian Gothic floral style with its two floors of six-light mullioned windows with ogival arches, similar to those found in the loggia of the Doge’s Palace flanked by two single windows. The ground floor has two central pointed arched doorways opening on to the canal.
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A church at site, of medieval construction was replaced by the present church in 1863. The Romanesque architecture campanile, likely from the 11th century still remains. The stone tower has traces of mullioned windown, now closed and a closed arcade. The sober facade of the church has two heavy columns; the interior layout is of a Greek Cross tre navate, con five altars.
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At the level of the Row are painted wood barley sugar balusters with rails. Behind these are stallboards, the paved walkway of the Row, and more modern shopfronts. The third and fourth storeys are jettied, both containing barley sugar pilasters and casement windows of varying sizes. The attic storey is set back, each bay containing a three-light mullioned and transomed window.
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At the front of the first floor is a rail on balusters, behind which is a stallboard, the paved walkway of the Row, and a modern shop front. Above this is a row of five ornately shaped panels. The second floor contains a three-light mullioned and transomed casement window, with two panels on each side. The top storey is jettied and gabled.
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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.
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The small rear façade, which faces a small garden with a well at the center, features two quintuple mullioned windows with parapets in correspondence of the piani nobili, while at the ground floor there is a single opening divided by two columns. The interior has somewhat dilapidated frescoes by Louis Dorigny, a Diana and Endymion by Jacopo Guarana, and stucco decorations.
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The façade on the canal is similar: it has four arcades at the bottom and five couples of rectangular mullioned windows at the upper floors. The two only decorative elements are 16th century statue of the Justice (second floor) at the corner, and a bas-relief with a Lion of St Mark (1848), dating to the short lived Republic of St Mark (1848).
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This led to the discover of 14th-century frescoes by Lorenzo and Jacopo Salimbeni. The church has a nave arranged from east to west, with an entrance through a pointed Romanesque portal at the base of the 14th-century belltower. The bell-tower has a stone base, and made of brick superiorly with mullioned windows.Marche Beni Culturali, entry on abbey.
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Bank Buildings is Gothic in style. It is constructed mainly in ashlar stone with some brickwork, and with roofs of Westmorland green slate. The former bank building stands on the corner of the streets and is symmetrical in three storeys with three bays. The central bay has an arched doorway with a three-light mullioned and transomed window in the middle storey.
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In the first floor of the front facing the street is a three-light mullioned and transomed casement window, with a single-light transomed window on each side. In the top storey is a three-light casement window. Below this window, and to each side, is blue brick diapering. Between the storeys, and over the top window, are stone bands.
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The former bank is set at the north corner of Craig's Court and has three large gables decorated with a raised grid pattern similar to the work at Amen Court, perhaps alluding to the timber-framed gables of Elizabethan buildings. Below the gables there is an impressively wide expanse of mullioned and transomed windows for each of the upper floors. An extension was added to the corner under a smaller gable in 1900, designed by J. H. Christian. Also in an attractive Shaw style were two large convalescent homes which Christian designed, the first at Folkestone in Kent (1881, chapel added 1888) and the second, the Surrey Convalescent Home at Seaford, East Sussex (1888–91, demolished in the 1960s), both had the usual bold display of heavy mullioned and transomed stone windows, big gables, tall chimneystacks and dormers.
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Constructed of white limestone, it has two rows of three-mullioned Romanesque windows and a polygonal cupola. Beside the church stands a column erected in 1845 memorialising the celebrations for the third centenary of the opening of the Council of Trent. The interior of the church consists of a single nave. Along the sides are a series of chapels with marble altars in the baroque style.
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Several wings then project forwards from this central block, each with a large gable end. Simpson also designed the chapel in 1906, a sanatorium in 1908 and a library in 1911. Hubert Worthington worked on a dining room extension in the 1960s. St Mary's Hall, a private school affiliated to Roedean but closed since 2011, has a symmetrical façade with prominent gables and mullioned windows.
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Many of the museum's treasures are displayed in antique rooms moved to the museum. For example, the armor is in one of several rooms featuring gothic ribbed vaulting form medieval buildings, magnificent renaissance furnishings are displayed in rooms roofed with decorative wood-beamed and mullioned ceilings form the 14th and 15th centuries, and the baroque objects in rooms with 16th century wood paneling and decorative ceilings.
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Above is a V-shaped stone moulding with two carved bosses and an intricately carved quatrefoil containing a dragon and foliage. The word "bank" is incised above the entrance. There are two stone mullioned and transomed windows on the ground floor, which each consist of five two-light units with pointed arched heads. A two-unit "window" to the left of the main entrance is blocked.
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This dates from the late 15th century and is possibly the most complete Medieval merchant's house in Wales. Stone built with three storeys and the roof consists of five bays of crucks. At the third floor level a lateral chimney stack and a mullioned window are corbelled out and there is a large cylindrical chimney stack to the north. There is some painted decoration inside.
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The south (garden) front also has five bays, three of which project forward and two of these are canted. The front again contains mullioned and transomed windows and each bay has a gable with a ball finial. Tall brick chimneys rise from the roofs. Internally, the entrance hall has two fireplaces with panelled overmantels; one of the panels carries a carving of the Molyneux arms.
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To the right of the porch are two- light Decorated windows, and a two-light mullioned window. On the north side are two-light straight-headed windows. The east window of the chancel has three lights. On the south side of the chancel are a lancet window, and a two- light Decorated window, and on the north side is a two-light Perpendicular window.
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It is illuminated by a mullioned window on the landing between the two flights of stairs, an element common to much of Codussi's work. The final major architectural changes were made during the 18th century. Following the fall of the Venetian Republic in 1797 the schools were suppressed by a Napoleonic edict. However, during the 19th century San Giovanni Evangelista was one of the ones re-constituted.
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To the east, there are old two to four-floor houses, the oldest of them built in the early 16th century. At No. 2, there was a Roman sculpture. At No. 89-90, there was a statue of a Madonna and Child, but the child disappeared in 1902 and the Virgin five years later. At No. 100, the mullioned windows were created in the 13th century.
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The remains of the keep were destroyed and the chapel built in its place, the works being carried out by the architect of historic monuments, Charles Winkler. The chapel was completed in 1895. Winkler also restored the residence at the south of the site which had been rebuilt, with mullioned windows in the 16th century. He added a staircase turret and a neo-Renaissance balcony.
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Behind the façade, they are separated by an alley which, through a sottoportego, or portico-tunnel, connects to the central portal. The two sub-palaces share numerous decorative features with the annexed Ca' Foscari. They have an L-shaped plan with four floors, the upper ones having mullioned windows. At the piano nobile they form a six-arches arcade with an interwoven motif of multi-lobes circles.
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The trifora has three openings divided by two small columns or pilasters, on which rest three arches, round or acute. Sometimes, the whole trifora is framed by a further large arch. The space among arches is usually decorated by a coat of arms or a circular opening. Less popular than the mullioned window, the trifora was, however, widely used in the Romanesque, Gothic, and Renaissance periods.
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The aedicula containing the inscription The palace is built in Chiaramonte Gothic architecture. Its façade is characterized by a number of mullioned windows decorated with flower motifs. It also has a palline losanghe cornice, similar to the one found at Palazzo Falson in Mdina, Malta. The portal is topped by an aedicula containing a marble slab with an inscription and the date of construction.
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Over the main figures, inscribed within Gothic-style small arches and twisting columns, are other figures of saints; in the upper frame is an Annunciation within a mullioned window, surmounted by the Eternal Father. The frescoes in the choir are from 1307, with stories of the History of the Passion, attributed to the Master of 1310. The church houses also a 13th-century crucifix.
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A two-tiered palline losanghe cornice separates the ground floor from the first floor. This cornice is similar to the one found at the nearby Palazzo Falson. The more recent upper floor is characterized by four ornate mullioned windows, and a one- tiered palline losanghe cornice is located at roof level. A number of coats of arms can be found on both floors of the façade.
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Number 15 has a modern shop front in the lower storey, and a six-light mullioned and transomed casement window above. Beneath and to the sides of the windows are square panels. Over the window is a hipped roof with a gable containing pargeting. In the ground floor of number 17 is a doorway over which is a stone lintel inscribed with the date 1874.
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The hall was completely transformed in 1854 when it came into the possession of Henry Isaac Dixon (1820-1912) of Page Hall. Dixon was part owner of the Britannia metal manufacturing company James Dixon & Sons of Cornish Place. Dixon rebuilt and extended the hall in a subtle and sensitive style, introducing more light into the house by replacing the original mullioned windows with larger areas of glass.
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The façade was designed by Dante Viviani and has sculpted decorations by Giuseppe Cassioli, Enrico Quattrini and Viviani himself. The south side of the church is from the original medieval building, in sandstone. In the middle is a 14th-century portal in Florentine style, with two porphyry columns taken from an ancient temple. The polygonal apse, with double mullioned windows, dates to the 13th century.
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The gatehouse has two storeys, with an archway in the lower storey. The upper storey contains a niche for a statue, which is flanked by a single-light window on each side. The single-bay gabled lodge to the right has a red tiled roof, and mullioned and transomed windows. The South Lodge is half-timbered on a sandstone plinth, and has a red tiled roof.
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It is situated at an altitude of 1,551 m (5,089 ft). The village church, of the 11th century and in Romanesque style, is dedicated to St. Clement. It has a rectangular bell tower with mullioned windows decorated. Above the town, in the forest of Pal, in 1982 was inaugurated the ski resort of Pal, now grouped with the Arinsal ski area forming the Vallnord.
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Its lower storey is timber- framed with plaster panels on a stone plinth. The upper floor is jettied and is plastered, and is painted to give the appearance of timber-framing. Towards the right end of the lower storey is a doorway and to the left of this is a long mullioned and transomed window. In the upper floor are three casement windows that were inserted later.
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Chelsea Place was a restaurant at 147 Eighth Avenue in New York City's Chelsea district, founded in 1974 and operational until 1992. It was unusual in that the restaurant was hidden in the back of an antique shop. In the back of the store was what appeared to be a large wardrobe with mullioned mirrored doors. Opening the doors, however, revealed a piano bar area.
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To the south of this the house continues for three bays in two storeys and at the south is a three- storey bay, again with mullioned and transomed canted windows, but with a plain parapet. The monograms "JD" and "STD" (for Sholto Theodore Douglas) appear on the building. On the staircase is a stained glass window commemorating Captain Richard Douglas who died in the Peninsular War.
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The building is in four storeys, including an undercroft, whose floor is below street level, and an attic. It extends for one bay down Bridge Street and for one bay along Eastgate Street. At its corner is a flight of seven steps leading from the street to the row level above which is an octagonal turret. Above the steps is a canted, mullioned and transomed, oriel window.
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The Château de Grâne is a ruined castle in the commune of Grâne in the Drôme département of France. The castle stands above the village of Grâne and is largely in ruins. Remains include sections of the curtain wall and a tower. The mounting for an old mullioned window and a spiral staircase are visible, as well as vaulted cellars from the 13th century.
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The Carli Mansion (; ) is a mansion in Koper, a port town in southwestern Slovenia. It is named after the family of the historian and encyclopedist Gian Rinaldo Carli, who was born in it in 1720. It is an example of the Baroque architecture, with a balcony in the piano nobile, decorated with a three- mullioned window. Its inner court, decorated with frescoes, has a fountain from 1418.
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The mullioned windows were blocked up and replaced by larger sash-windows, the roof level was raised and the grand central staircase was installed. In 1829 the hall was sold due to the bankruptcy of William King's son, John, and was bought by Thomas Clapham of Giggleswick. The Clapham family lived at Austwick Hall until 1928 and were responsible for planting the woodland and developing the gardens.
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The door is in dark wood, and dates to the 14th century. The bell tower has an appearance similar to that of the façade, with frames in cotto and small arcades at the bases of the double and triple mullioned windows. The latter are surmounted by small circular windows. The interior is rather sober, with few decorations, aside from the extensive fresco decoration of the Giottesque school.
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This Gothic Revival building has mullioned windows and symmetrical gabled bays; it is no longer in educational use. Hellyer's next works were also on the Isle of Wight. On the road between Ryde and Appley he designed Sturbridge House in 1861–62 as a private house, again with a central tower reminiscent of Osborne House. The building is now a hotel called Appley Manor Hotel.
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It also displays the 17th-century Wunderkammer of Ludovico Moscardo. The design of the 15th-century Palazzo Miniscalchi, with the elegant portal and second story mullioned windows is attributed to Angelo di Giovanni. His workshop was also active in the churches of San Tomaso Cantuariense and Sant’Eufemia. The faded facade frescoes were painted in the 16th century by Michelangelo Aliprandi and Tullio India il Vecchio.
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The building is an L-shaped plan, with a ground floor, a mezzanine and two piani nobili. The latter, differently from the others, have a façade in Istrian stone. The left side of the façade is shorter, and thus the portal and the central openings of the floors are asymmetrically placed. The floors have eight windows, the four central ones joined to form a quadruple mullioned window.
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All these windows contain simple Perpendicular-style tracery. On each side of the vestry is a flat- headed two-light mullioned window. Inside the church are a Perpendicular-style reredos, an octagonal font, a brass lectern, and a brass chandelier. The two manual organ was installed in 1964, having been moved from a Congregational church in Warrington; it was made by Hall of Kendal.
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The upper section is rendered with roughcast stucco. The facade of the building is symmetrically composed around a central round arched opening giving access to a recessed porch. The arch is surrounded by brick voussoirs, a large rendered keystone and several more regularly spaced overscaled rendered voussoirs. Flanking the archway on the ground floor are two vertical hung sash windows with timber framed and mullioned glass panels.
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They have one central bay and lateral four-storey turrets. The central bays contain two-storey canted bay windows, above which are pierced stone parapets, three-light mullioned windows, and shaped gables with pierced ogee finials. The turrets have bands between the stages, single-light windows and ogee caps with finials. Projecting forward on each side of the central block are two-storey service blocks.
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The church was built in the first decade of the 14th century, completed in 1327, along with the adjacent Franciscan monastery. It was built putatively atop the ruins of an Ancient Roman theater. The external structure retains some late- Romanesque features including a polygonal apse, but also have Gothic mullioned window above the portal. The stone façade is plain except for the round white stone main portal.
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St Chad's is constructed in sandstone rubble with a slate roof. It incorporates older fabric dating from about 1300 and from 1602. The plan consists of a nave and chancel in one cell, a north aisle, a north vestry, and a north porch. Along the side of the aisle are three two-light mullioned windows, with a single-light window in the angle with the vestry.
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Wrexham Road Farmhouse in 2010 The farmhouse is built in brick with stone dressings and has two storeys plus attics. The entrance front faces south and has three bays. The central bay projects forwards and includes a doorway with a single-light window on each side. The other bays, on the ground floor, and all bays in the upper storey, have five-light mullioned windows.
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The church was founded in the 12th century, putatively with a facade defined in 1195 by Binellius.Handbook of Central Italy, by Karl Baedeker (1904); page 77. Separate from the nave, in a small garden is the square campanile, with mullioned windows. The interior of the church had been embellished over the centuries, but a 19th-century reconstruction led to the more spare interior seen today.
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In the 12th century it was held by the Camaldolese monks. The church has a nave and two aisles. The façade is preceded by a portico supported by pilasters and a central columns. The second row has mullioned windows and decorations with lozenges and small circular windows, with ceramic basins by Islamic masters (11th century; the originals are in the National Museum of San Matteo).
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This is particularly the case in Gothic cathedrals and churches where stained glass was set in lead and ferramenta between the stone mullions. Mullioned windows of a simpler form continued to be used into the Renaissance and various Revival styles. Italian windows with a single mullion, dividing the window into two equal elements are said to be biforate, or to parallel the Italian bifore windows.
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The origins of the house are medieval, evidenced by its moated site, but nothing remains of the medieval structure. The name translates as "the grove of the fortress". The present building dates from two periods, of around 1630 and 1670. Sir Cyril Fox and Lord Raglan, in the third of their three-volume study, Monmouthshire Houses, describe Llwyn-y- gaer as "important" and include a photograph of an ovolo mullioned window.
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Palazzo Marsili-Libelli, Siena The Palazzo Marsili Libelli is a Gothic style urban palace localized on Via di Città #136-142, in the Terzo di Città, in the city of Siena, region of Tuscany, Italy. The palace is adjacent to the taller Palazzo Marsili with a crenellated roofline and mullioned second and third story windows, and which stands at the corner of Via di Città and Via del Castoro.
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He went to look at it after a friend had written to him of its flagstones, lavender, mullioned windows, orchard and stream.Jean Moorcroft Wilson, Siegfried Sassoon: the journey from the trenches : a biography (1918–1967) (London: Routledge, 2003), p. 255 The explorer Bill Kennedy Shaw lived in the village in the 1930s and 1940s, at his parents' house, King's Orchard.Burke's genealogical and heraldic history of the landed gentry (1965), p.
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The Covets transformed the castle, surrounded with ditches, into a Renaissance residence with mullioned windows. On 8 August 1660, Antoine de Covet, marquis de Villars, had the barony of Montibould established in the county. Deeply in debt, his grandson Jean- Baptiste de Covet, was forced to sell the seigneurie of Montribloud to his creditor, Pierre Nicolau, alderman and treasurer of the town of Lyon. on 24 January 1754.
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At its base is a bressummer carved centrally with "•T•C•1664" (the initials are those of Thomas Cowper), on each side of which are carved patterns. The top storey has a ten-light mullioned and transomed casement window containing leaded lights. Below the window are eight panels containing wooden carvings, and two similar panels are on each side of the window. Above the window are quadrant-braced panels.
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The Hotel was six storeys high which included a basement. Many of the front elevation windows were mullioned. Over the front entrance to the Hotel there is a balcony with intricately sculpted brick latticework. This exterior decorative brickwork is known as Costesseyware,The History of Gauged Brickwork Retrieved 29 July 2013 with the materials for this work being supplied from the brick works of George Gunton in Costessey.
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Reredos with cresting and canopy date from 1923. At the west end of the nave is one of the church's original box pews. The organ loft has a three-light mullioned window. There is a stained glass window of 1874 in the south aisle and the east window dates from 1927 incorporating some earlier glass and the Ridgway arms in the tracery at the head of the window.
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The original castle consists of an angular, Neo-Gothic three-story building, with two circular turrets, roofed conically in grey slate, mullioned windows, and colonnaded galleries. A new extension, dating from 1967, consists of two low detached blocks and a seven-story block, and a detached restaurant. The modern office buildings are of reinforced concrete frame construction, extensively glazed with steel sun blinds, connected by glazed steel walkways.
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St John's is constructed in ashlar buff sandstone with a Welsh slate roof. Its plan consists of a three-bay nave, a one-bay chancel with a side chapel, and a south porch. The bays of the nave are divided by buttresses and they have two or four-light mullioned windows with arch-headed lights. The east window has three round-headed lights, the central one being taller.
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A note in the museum says that it was built for Katherine Infield, widow of Richard Infield of Gravetye Manor. The building materials, the composition and the ornaments of the main facade are identical to the ones of Gavetye Manor. It is approximately H-shaped, built of ashlar, and has prominent mullioned windows and a gabled roof laid with Horsham stone slabs. Old panelling remains in some rooms.
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The 19th- century windows on the south side of the church contain Decorated-style tracery. A fragment of Foxe's house remains on the south side of the church. At the east end is a blocked round-headed Norman arch, which was originally the chancel arch. Inserted into this is a blocked three-light Perpendicular window, and above it in the gable is a blocked mullioned window remaining from Foxe's conversion.
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Some roofs used a hand made Belgian peg tile which is very difficult to match when repairs are needed. The Conservation Areas Design guidelines explain that "privet hedging, grass verges, street trees and the provision of small cottage gardens" and "the widespread use of wooden mullioned window frames (both sash and casement), brick façades, pitched and gabled roofs, small dormers and panelled doors reinforce the cottage character of the estates".
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Centrally at the summit is another spire with a lead finial. To the right of the entrance bay are three mullioned and transomed windows in each storey, plus a two-light window in the gable. Between the lower and middle-storey windows is a frieze containing shields with the arms of the twelve former shires of Wales. Centrally between the middle and top-storey windows is the Grosvenor coat of arms.
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The settlement's present appearance dates from the early nineteenth century. Thomas Bateman rebuilt the entire village in the 1820s, incorporating the mullioned windows of earlier buildings to retain something of its traditional appearance. The small parish church also dates from this period, and Bateman rebuilt Middleton Hall as his own residence. Bateman's grandson, the archaeologist also named Thomas Bateman, lived in the village, and built Lomberdale Hall as his residence.
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The castle has a rectangular shape, flanked at each corner with a square tower. The architecture of Renaissance style, with a particularly striking façade with its elegance: mullioned windows and pediments, arches alleviating lines, masks, carved balcony. The façade as a counterpoint to the massive roof to the frame chestnut shingles, three stories high. The interior is characterized by a staircase of an elegant openwork arches, serving all floors.
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The house, built around a quadrangle, open at the south west corner is built of rendered brick with stone details and a slate roof. The three-storey frontage has five unequal bays with stone mullioned windows and crosswing gables. There are canted three-storey bay windows in two of the crosswings. The central three-storey porch bay has a studded oak door with Doric columns, pediment and a fanlight.
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Today it houses the military command. On the facade, intertwined arches dance atop elegant mullioned windows; above the entrance, the coat of arms of the Sclafani family is proudly displayed, as well as an eagle (signifying the family's noble heritage) by the sculptor Bonaiuto Pisano. 240px The large Triumph of Death fresco (1446) that was originally located in the court of Palazzo Sclafani now hangs in the Palazzo Abatellis.
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Castle Shane (the country house) consisted of a four- storey tower with corner bartizans and a main three storey block. The mansion burned down in 1920 and very little of it remains. The house had three centre bays with three sided bays to each side with mullioned windows, curvilinear gables and neo-Tudor chimneys. All that remains is part of a three-storey bay window and gable end.
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Entwistle was originally a township in the chapelry of Turton which was part of the large ecclesiastical parish of Bolton le Moors in the hundred of Salford. Entwistle Hall is a 16th-century farmhouse which dates from the time of the Entwistle family. It is a Grade II listed building. The south facing front of the Hall still has many Tudor features including mullioned windows with dripstone headings.
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English Renaissance: Hardwick Hall (1590–1597), a classic prodigy house. The numerous and large mullioned windows are typically English Renaissance, while the loggia is Italian. Burghley House, completed in 1587 Wollaton Hall, Nottingham, England completed in 1588 for Sir Francis Willoughby by the Elizabethan architect Robert Smythson. Elizabethan architecture refers to buildings of a certain style constructed during the reign of Queen Elizabeth I of England and Ireland from 1558–1603.
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From the west side there is access to an area called "Foresteria." A staircase leads to the castle tower or male. The continuous tower with a wooden gallery from which a mullioned window with the emblem of Abbate can observe the south side of the country. The Abbate family commanded the castle from 1283 to 1397 after Palmerio Abbate campaigned with Geovanni Procida during the War of the Sicilian Vespers.
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Chaffeymoor Lodge, located in an Area of Outstanding Natural Beauty at Chaffeymoor, is a large 17th-century house which retains original features including stone mullioned windows, large fireplaces and exposed beams. The extensive grounds include mature gardens, an ornamental pond, a croquet lawn and a lake, are recommended by The Royal Horticultural Society. The nearest railway station is in neighbouring Gillingham. Trains run on the Exeter to Waterloo line.
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Coflein describes the building as a double-house, although sources agree that it appears to have been a single dwelling from its earliest construction. The building is white-washed and of two storeys with a roof of Welsh slate. It is constructed to an L-plan. Newman notes the "fine array" of mullioned windows and the plaster ceiling in the upstairs parlour, decorated with "sunflowers and fleurs-de-lys".
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The station building was designed by William Tite as a royal station with a stone-faced frontage with a mullioned and transomed main window, gables and a multi-arch entrance. The main booking hall was decorative but is now a wine bar. There is a spacious concourse under the train shed at the head of the platforms. The two platforms extend a considerable distance beyond the train shed.
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The façade (finished in 1348) is hut-shaped, with mullioned windows and visible brickwork with white stone decorations, and divided into three sectors by two semi-columns. The entrance portal is in white marble, and is surmounted by a lunette with marble sculptures of the "Madonna with Child between the Saints Ambrose and John of Meda". At its sides, two Gothic niches houses statues of the Sts. Peter and Paul.
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The palace has a square plan, and sits above a series of terraces corresponding to the building's lower floors. The façade on the square is in stone, with round arched windows in the upper part, placed in couples separated by lesenes. Above them are the merlons, supported by ogival arches. The lower part features mullioned windows enclosing the Gothic-style portal, with a 16th-century fresco in the lunette.
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The central block is in brick with stone dressings, and has a symmetrical three-bay front. In the centre is a bolection-moulded doorcase surrounded by unfluted Corinthian half- columns, and a broken pediment containing an armorial shield. Above the doorway is an oval window, and the other windows on the front are mullioned and transomed. At the top of the front is a cornice with blind oval windows and finials.
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On the west side, the street starts with a seven-floor building of the 1970s. On the east side, there is a row of stone buildings of the 19th century, with five storeys. Between the rue Grenette and the luxurious hotel Horace Cardon, the street is narrower, with on the west, a row of Renaissance-styled houses with mullioned windows. The street ends with a modern home and a garden.
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He also widened the wings, and built new stables and service courts to the north and south, creating a symmetrical structure. The main part of the house was recessed and, together with the wings, a large forecourt was created. The front of the house itself was refronted in Jacobean style. Mullioned windows replaced sash windows, and a ground floor loggia, and turrets with ogee caps and shaped gables were added.
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Above, a tablet with pilaster surround with the arms of James I, and above again, two two-light mullioned windows. Over them, there is a stepped gable containing a clock. On either side of the main arch there are two walkway arches, those to the right original, with hoodmoulds. The North side has a plainer central arch, flanked by a single walkway arch to left and two to the right.
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To the right of the central section, along Exmouth Street, is a row of four shops, stepped downhill, that are all similar to each other. They have two storeys, the lower storey being in brick with stone dressings, and the upper storey in stone. The lower storey has a modern shop front under an elliptical arch. The upper storey contains three pairs of two-light mullioned and transomed windows.
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Along the top of the front is a balustraded parapet on corbels. The roof is steeply pitched and has two small dormers. To the left of the central section along Grange Road West are two two-storey shops, similar to each other, with modern shop fronts on the ground floor under elliptical arches. In the upper storey of each are three pairs of two-light mullioned and transomed windows.
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There is a three-light mullioned and transomed window in both storeys of the left wing, and in the lower storey of each of the other bays. Between the windows in the right bays are buttresses. Above and between the middle two bays is a dormer containing a three-light window. Across the front of the building between the storeys is a band of decorative lozenges in brick and painted plaster.
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Light is provided by narrow single mullioned windows, six in each side plus another in the apse and two at the end of the aisles. On the southern side is a bell tower, whose upper part is missing after crumbling down in an unknown date. It has a square plan and is decorated by false columns and Lombard bands, which are also present on the church's external sides and apse.
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The campanile, which is richly decorated with three orders of arches and lodges with mullioned windows, still serves as the main entrance to the church. Significant later additions to the church include the Baroque façade which today faces onto the piazza. In the late 19th century, historically-minded restorers attempted to return the church to its original state, although many elements of the Baroque modifications remain.Kitzinger, Mosaics, 42ff.
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The Doyleys built the manor house in the latter part of the 16th century. It is thought to have been L-shaped, but after Sir Edward Page-Turner bought the manor in 1749 he had the south wing demolished and the surviving wing turned into a farmhouse. In 1838 the house's oak panelling was sold. In 1860 the house was modernised and its Elizabethan porch, gables, stone roof and mullioned windows were all removed.
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Another entrance was made for cattle to enter at a later date but this has been blocked up. Several of the windows have also been filled with stone. On the north-east face there were two-light chamfered mullioned windows on each floor while on the north-west wall they were one- and two-light windows. It has over 200 pigeon holes, which were installed after the original construction, possibly before 1780.
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The Sala Capitolare (Capitular Hall) is decorated with a triple mullioned window with richly decorated capitals. Typically French in inspiration is the ambulatory with radial chapels. In Italy this scheme is known only in Santa Trinità of Venosa and the Cathedrals of Acerenza and Aversa, all in southern Italy, and in Santa Maria of Piè di Chianti, Marche. The ambulatory housed the pilgrims to pray the Martyrium, the place where the Saint's relic are placed.
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The main facade on Piazza Broletto has a tall clocktower with an awkwardly place coat of arms. The niches hold the statue of Virgil and the Virgin. The palace shows the evidence of reconstruction across the centuries with walled up arches of prior windows, interrupted by newer construction. At the Corner, a large arch, with mullioned windows are the Arch of the Arengario, that links the building to the town archives or Masseria.
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The modern church reproduces the ground plan of the ancient building. The façade, in the limestone cornice, is divided by thin pilasters into five bays, not reproducing the previous ornamental arches in the roof eaves. The central bay contains the neomedieval portal with archivolts, over which is a lunette covered with a sort of porch. The left side - also made of limestone - is marked by four pilasters and pierced with mullioned windows.
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The sides have mullioned windows. The tall interior has a nave and two aisles, divided by longitudinal ogival arches whose columns have Corinthian capitals. The counter-façade has nine windows on three rows. At the high altar is the Tarlati polyptych, representing the Madonna and Saints, by Pietro Lorenzetti (1320), while traces of frescoes with St. Dominic and St. Francis (attributed to Andrea di Nerlo, mid-14th century) can be seen inside the church.
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The abbey has a white façade with balanced volumes, flanked by a square-plan bell tower with three floors, having (starting from the lowest) single, double and triple mullioned windows. The façade has vertical relief in Lombard-Romanesque styles. The interior is on the basilica plan with a nave and two aisles, divided by seven round arcades with triangular piers. The triumphal arches (the central one is now missing) led to the presbytery.
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Beneath the chancel, the vestry has a door with a Caernarvon arch, and a two-light mullioned window. The east end is buttressed and contains a triple lancet window. At the west end are four lancet windows with trefoil heads, with a quatrefoil window above, and an entrance doorway leading to an internal porch. St John's Church, Cotebrook, from the east The font is octagonal, and is carried on eight clustered shafts.
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The fortified house is a long rectangular three-storey building, with two polygonal towers on the north-west and south-west corners. It is early Jacobean in style, featuring high gables, stepped battlements, and mullioned windows. The wings of the house project from the centre of the south and north walls, with the entrance in the north wing. The design of the house was to provide a field of fire around it entirely.
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The oldest parts of the Château de la Roche-Jagu were built at the end of the Middle Ages. The rear of the building, overlooking the river provided defence from a walkway. The house consists of a single building whose entrance is through a door surmounted by a niche. The first floor still has its stone mullioned windows but the second and higher floors are set back and the roof has been extensively reworked.
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This consists of a shop on the ground floor over which is the dining room of Chester City Club. It was designed by H. W. Beswick and built between 1898 and 1899 for Charles Brown. Above the shop the building is externally expressed as two storeys, each of which is jettied. The lower of these storeys has a full- length mullioned and transomed window and the storey above has a three-light window.
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This dates the house back almost 400 years now, and some of its key features such as its original three light mullioned window still remains to this day. Furthermore, there was once a school, named 'The Free School' in Newbiggin which was founded by Elizabeth Withay in the year 1748. This was endowed with 3 acres of land, and rented at £7 a year. This would equate to around £596.12 in 2005.
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The church has an imposing façade commanding the square with the same name; the slender forms betray a residual Romanesque influence, although the decorations are undoubutably of Lombard Gothic style. The façade is divided into five vertical compartments by six pilasters surmounted by spires. The three central sectors have a portal each, remade by Giuseppe Marchesi in 1854. Over the portals are four large ogival mullioned windows and an elaborated rose window in brickwork.
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The Abbey Church (12th century), dedicated to St. Michael, has a notable portal and a Norman-style bell tower with mullioned windows. Renewed starting from 1590, it received a cylindrical cupola in 1650. It lost its autonomous prelature status on 5 August 1910, when it was united (as a mere title) with the Metropolitan Archdiocese of Acerenza–Matera, but since its split the abbacy is united with the Metropolitan Archdiocese of Matera.
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Begun by the Augustinians in 1260, it is one of the few Gothic buildings remaining in the city, after the numerous demolitions in the 19th century. It has a typical façade with bichrome stripes in white marble and blue stone, with a large rose window in the middle. Notable is the ogival portal with, in the lunette, a fresco depicting St Augustine by Giovanni Battista Merano. At the sides are two double mullioned windows.
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The church was begun in the 13th century, but the present church was altered over the centuries. The present main entrance is a façade on the right nave, which has both Romanesque and Gothic elements, and has a single portal. The belltower, detached from the church likely reutilizes a former private watchtower, now complete with mullioned windows. the interior is divided into a nave and two aisles by alternating pilasters and columns.
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All the faces on the two upper stages 2-light mullioned, transomed and traceried window under pointed arched labels, with pierced stone baffles. The clockface is under the east window. During restoration work the parapet of the tower was examined and a stone was discovered with a carved date of 1731 which suggests that the decorative parapet may have been added then. The tracery on the north side has been marked out but never cut.
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The loom shop was marked by the long multi-light mullioned window that became common in urban settings. Three- storey terraced cottages are now referred to as Weavers' cottages. Most extant cottages in the north-west date from the late-18th and early-19th century when weaving had ceased to be a sideline. They were adapted or built specially at a time when spinning technology was sufficiently advanced to supply the needs of the weavers.
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The timbering is covered with roughcast on the first storey of Warwick House. Regent House retains eight of the original wooden mullioned windows on the first and second floors, which alternate with 18th-century sash windows. The main doorway of Regent House is on the corner and is flanked by columns. Warwick House has an 18th-century doorway to the right side of the façade; its windows are all 18th-century sashes.
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The house has two storeys in some places and three in others, is L-shaped, and has stone mullioned windows. During the 18th century it was owned by the politician Francis Gwyn, who inherited it from his father, Edward Gwyn. On Francis's death it passed to his son, Edward Prideaux Gwyn. Although the fabric of the house is mostly of the 16th and 17th centuries, it was enlarged and refurbished during the Georgian period.
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Faenol Fawr, Bodelwyddan. Doorway dated 1725 and mullioned windows with 18th-century sash windows above. This house with crow stepped gables is almost certainly the house built in 1597 for John, Lloyd, the registrar of the diocese of St. Asaph, and then, on the basis of the date over the front door extensively altered in 1725 or slightly earlier. The house is 'H' shaped with a further extension to the rear or west side.
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The hospital closed in 1992 and all the buildings were demolished soon afterward. His last work for which a date is known, was a school at the top of St. John's Road in Ryde, built in 1883 and now used as a community centre. Like his school at nearby Green Street, it has mullioned windows and tall gabled bays. Another of his later works in Ryde, although the date is not known, was Appley Towers.
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The façade was realized in 1538-1547 by Jacopo Sansovino, who had also designed the Palazzo Corner on the Canal Grande. It is in white Istrian stone and has wide round arcades. The lower floor has six arcades supported by seven pillars, in correspondence of which are the Ionian and Corinthian semicolumns of the upper floors. These have the same number of windows at the sides, while at the center are two quadruple mullioned windows.
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The central column between the doors has high-reliefs with St. Dominic, St. Peter of Verona and St. Thomas. The architrave has three statues: the central and larger is Madonna with Child of Venetian school, while the other represents St. Anastasia and St. Catherine at the Wheel. The side sections of the façade, corresponding to the aisles, have large stainglassed mullioned windows, flanked by two square belfries. The hunchback, work by Gabriele Caliari.
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The façade received a Gothic mullioned window and the bell tower was also modified. From the same period the first chapel comes, in Italian Gothic style, in the transept's left arm. The right transept was completed after the conquest of Cagliari by the Aragonese, and two additional chapels were built. Mausoleum of Martin I of Sicily In 1618 the presbytery was elevated in order to build a sanctuary for several relics of martyrs.
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The palace has a longer façade on the Ruga (alley) degli Osei and a shorter one on the Canal Grande. The former has a portico with 37 arcades, whose ceiling, with cross vaults, is covered by frescoes, most of which are preserved in a good state. The two upper floors, divided by two thick frames, feature 37 mullioned windows with undecorated stone frames. At the top, is a notched frame in correspondence with the attic.
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Standing on a sandstone outcrop that forms a plinth, the building is constructed in coursed sandstone, and has a grey slate roof. It is in two storeys with the entrance on the north side. The porch has a segmental arch flanked by colonettes with trefoils in the spandrels, and a triple lancet window on the right side. To the right of the porch is a two- light mullioned casement window, and a projecting stone chimney.
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The interior consists of a nave flanked by two aisles. The central nave and the left aisle end both with an apse with a small window. The right aisle's apse has probably been demolished to make room for the bell tower, an elegant structure with mullioned windows in its upper section. The inside of the church is divided into a nave and two aisles by rectangular pillars with rounded arch; the ceiling is a truss.
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The church dates from the 12th century, with a larger chancel added during the following century. A chantry chapel was built on the south side of the church in 1311. There were further alterations in the 15th century, and again in the 19th century, including a new roof in 1806. In 1845 the Lancaster architect Edmund Sharpe replaced the former sash windows in the nave and chapel with mullioned windows in Perpendicular style.
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The doorway is in the central bay; over this is an oriel window supported by wooden columns under a gable. To the left of the door is a five-light mullioned window. A pair of small outbuildings with hipped roofs are attached to the left side of the house. The south aspect of the house has a canted window in the lower storey under a jettied timber-framed upper storey supported on wooden brackets.
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The Palazzo delle Vedove (Italian for Widows' Palace) is a palace in Pisa, Tuscany, Italy. The palace, built in the 12th–14th centuries, is sited land which in antique times was the domus of the Bocci family of Pisa. Detail of the medieval edifice can still be seen in the exterior, including a marble quadruple mullioned window partially covered by a rectangular window. On one of the sides was once a portico.
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Two towers have arrowslits and appear to be from the 13th century, as do their curtain walls and the lower parts of the western building. The latter was remodelled during the 16th century and has mullioned windows. It contains chimneys and a spiral staircase in the tower. The entry building must be from the beginning of the 17th century, and still has traces of the chains and the platform of the old drawbridge.
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Behind the church is located the St. Agatha Chapel, a small Romanesque chapel built around 1063 by the monks. It was built to celebrate the conquest of the city of Palermo in that year and dedicated to the Saint, who was martyred in Sicily. However, the first written attestation of the chapel's existence is from 1132. It is an octagonal structure in brickwork, featuring pilasters, arches including mullioned windows and an unusual pyramidal cusp.
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Façade of San Sisto San Sisto is a church in Pisa, Tuscany, Italy. It was consecrated in 1133 but previously it had been already used as the seat of the most important notary act of the Pisan commune. It was built in a Pisane- Romanesque style in stone. The façade is divided in three parts divided by pilaster strips, with a mullioned window and arches in the upper part which continues on the whole exterior.
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The corner of the building between the streets is angled with an arched doorway in the ground floor. The upper storey is jettied and carried on consoles over pilasters flanking the door. This storey contains a mullioned three-light sash window over which is a cornice and a carving of the Chester City coat of arms. Above this a Baroque-shaped gable containing a two-light window and at its summit is an obelisk finial.
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The rectangular one-story brick building rises from a granite foundation to a hipped roof covered with slate tiles and a decorative ridge cap. The main block's fenestration consists of double-mullioned semicircular windows. A small wing on the north facade has hexagonal slate shingles and a Palladian window on its gable face; a chimney rises from its roof. It is complemented by a similarly-faced cross-gable on the south side with louvered oculus.
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The main front has three bays with timber framing in its upper storey and attic. The central bay projects forward towards the lane and contains a porch. In its lower storey is a three-light mullioned casement window on the left and the porch, which is recessed and framed, is on the right. The upper storey contains a three-light window and in the gable above it is a two-light window.
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A church at the site was built in its present layout by the 12th century. The facade is simple and lacking decoration; the Stucco surface derives from recent centuries. The single nave leads to an apse with three mullioned windows. In 1468, the church lost the title of parish church to the nearby church of San Michele, now renamed Santi Michele e Lorenzo Much of the decoration was transferred to the new parish.
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The porch has a round-arched doorway, and the door to the church has a plain tympanum. To the left of the door is a square-headed window and to the right are two lancet windows on each side of a window with a pointed arch. At the west end is a lancet window, and in the north wall is a two-light mullioned window. The chancel is lower and narrower than the nave.
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The basilica has a façade in undecorated sandstone, with three bays corresponding to the interior's nave and two aisles. The central one has the main portal, surmounted by a triple mullioned window. The façade is topped by a tympanum also divided into three parts, the central one featuring a lozenge. Near the pilasters flanking the portal are two old columns, leading to the hypothesis that the church once had a portico or similar structure.
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George Dowdall built a strong gatehouse, Althumney House near Navan, County Meath; it was a building of the 15th century that was later enlarged and fortified by other Dowdalls. In 1630 a long, narrow gabled mansion with large mullioned windows and an oriel window was added. Today, it lies in ruins near the River Boyne. The tower house had four storeys, with an attic and four projecting corner turrets of different sizes.
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The street frontage has four mullioned windows, doors being placed between the first and second, and third and fourth, windows. A tablet above the two central windows reads "Built 1729 in pursuance of the last Will of Mr W Roncksley". In 1754, a school room was added; this was extended in 1968 to include a kitchen and toilets, and was again modernised in 2009. It is currently used for a Sunday school and social events.
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The castle has a rectangular plan, on three floors, with a height of 34 m. Originally, it had Ghibelline-style merlons, of which today only remains can be seen. Notable is the colour effect created by the dark shade of the stones and the frames of the Gothic-style mullioned windows, in white limestone. The first-storey houses several service chambers and the Chapel of St. John, decorated with precious 13th-century frescoes.
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The Cox- Craddock is built of brick and has a "symmetrical composition, 12:12 windows framed by a stone keystone and flat brick arch above and a stone sill. Three pedimented dormers with round-arched Gothic-mullioned windows pierce the front of the sidegabled roof. A pedimented portico forms the prominent central entry; the door is framed with sidelights and a transom." Hugo Kuehne's design also included a porte cochere which was not built.
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The village was owned as outlying farmland of Evesham Abbey. The settlement is distinguished historically by an unusual system of land ownership. In the 16th century, following the Dissolution of the Monasteries (and Evesham Abbey) in the 1540s, the manor was sold to the tenants and a new class of land-owning yeomen was set up. Some of them built the houses still standing here, either of stone with mullioned windows or timber-framed.
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The Vicarage is today isolated below the village although it was formerly in the village. It is a beautiful building from the 16th century with mullioned windows. The Town Hall is located in the former presbytery and contains a small but remarkable fireplace with plasterwork from the 18th century: a rare case of chimney plasterwork in a commoner's house. During the 19th century several mills were in operation on the shores of the Largue and the Aiguebelle.
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It has mullioned windows and a gabled staircase turret on the west side. Nearby is a sixteenth-century tithe-barn with a hammerbeam roof, also a listed building but falling into disrepair. In 2008, Historic England funded the erection of scaffolding and temporary repairs to the structure, but by 2016, a permanent repair had not been made. About to the east of the manor house is a field barn which is also a Grade II listed building.
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This church is first documented in 998, when the Marquis of Tuscany, Ugo, donated this church the Abbey of Marturi. In 1046, it is cited as being under the Pieve di Sant’Agnese a Castellina in Chianti. The stone façade of the church is simple but decorated in foliated reliefs on the round portal. The mullioned window above the portal has a mysterious dedication to R, S, A, Ω. The apse has columns with decoration with human and animal forms.
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Lyveden Manor House, now also known as Lyveden Old Bield, the once grand principal house of the estate, had belonged to the Tresham family from c.1450. Today, little remains and what does was probably built by Thomas Tresham's grandson Lewis. The gatehouse has been removed to Fermyn Woods Hall, and the staircase was transported to America, where it was incorporated in the Edsel and Eleanor Ford House near Detroit. One wing remains with mullioned windows.
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Wyatts' windows are stone mullioned, of irregular placement, and of three- and four lights.Entrance to Phillip's Farmhouse, Todenham Main Street, Todenham, Google Street View (image date July 2009). Retrieved 7 October 2019 Farther north, at along the road to Fosse way from its junction with Todenham Road, are two farmhouses, one with a listed barn. Home Farmhouse (listed 1985 with its attached row cottages) dates to the late 18th- to early 19th century, its cottages to the 19th.
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The structure is still known as, and marked on maps as, "The Chapel". The east wall retains a stone-mullioned two-light window of the "Transitional" style between Norman and English Gothic architecture (a style also employed in the substantial parish church of New Shoreham, St Mary de Haura Church, in the late 12th century). The north and south walls each have one small Norman-era lancet window. The entrance door is in the west wall.
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The church of San Bartolomeo is a Romanesque building from the 11th century, in limestone. The interior has a nave and two aisles. San Leonardo (14th century) has a façade mixing Gothic and Romanesque elements, and a side mullioned window with vegetable decorations influenced by the Apulian architecture of the period. Villa de Capoa, recently restored, is a noteworthy garden with statues and a wide variety of plant species, including sequoias, Norway Spruces, cypresses and Lebanon Cedars.
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There are three windows on the ground floor and three half-dormer windows in the roof. There is a stone inscribed "HP 1640" above the left, mullioned window. The entrance hall has a straight staircase and wooden partitioning on either side separating it from the parlour on the right and the kitchen on the left. In the parlour, the fireplace has been blocked up but there is a window seat below the window in the rear wall.
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The church was built in sandstone, without external decorative elements aside from the Lombard bands of the upper edges of the walls, present on every side. The central rose window of the façade was restored in the 20th century, replacing the Baroque window. In that occasion were also restored the triple mullioned windows of the bell tower, which has a height of 32 m. The interior has a nave and two aisles, divided by sturdy columns without decorations.
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Built in the Greek Cross layout typical of churches of Byzantine cult (11th century), the church, originally dedicated to St Catherine of Alexandria, was reconsecrated to St Leo in the 13th century by bishop Guglielmo di Bisignano. The layout has elements of both Romanesque and early Gothic architecture. For example, the bell-tower has mullioned windows. In the 17th century during the Sanseverino rule of the region, the church was heavily ornamented in a Baroque fashion.
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The front façade has towers with corner turrets, gargoyles and traceried windows; its garden front has mullioned bay windows and brick gable (facing roof walls) with crocketed heraldic beasts. Indoors, the main corridor is rib vaulted with staircase hall and a multi-storey wide bay window with stained glass of royal coats of arms. In the 1970s critic Jennifer Sherwood summarised its architecture as a "Nightmare Abbey". Hermon's only daughter was Frances Caroline Hermon who married Robert Hodge.
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The 1890–91 extension on the east side of the original part of the hall mimics the same style but adds a series of tall chimney stacks and mullioned windows in the gables. The hall-cum-drawing room was redesigned by Lutyens in 1911 in an imitation early Georgian style, with enriched panelling and an overmantel with a pediment. Elsewhere in the house, some of the panelling is said to have come from Admiral Beatty's flagship.
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The castle consists of a home of the late 16th century which has a wing whose foundations date from the old castle at the end of the 13th century. The thickness of the walls, the quality of the stones, the refinement of their dressing, demonstrate the use of particularly competent stone cutters and land surveyors. The 16th-century part of the building is decorated with mullioned windows. Renaissance architecture is also present in the entrance door and fireplaces.
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The architectural details of both buildings are Renaissance, though much use is made of mullioned bay windows and strapwork decoration in parapets, and elaborate Flemish gables. The interiors at Hatfield are well preserved with much original carpentry work, especially in the Great Hall. Both houses have grand staircases with cantilevered wooden steps, arched balustrades with carved figures on the newel posts. The staircase at Blickling was moved in the 18th century and additional flights added to make it symmetrical.
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Its existence is dcumented as early as 1061. Founded by the family Buzzaccherini- Sismondi and originally dedicated to Saint Martin, it once had a hospital annexed to it. The Romanesque façade, dating to the early 12th-century shows some of the typical features of the Pisane medieval architecture, such as the blind arcades, the lozenges and the use of bichrome stones (present also in the city's cathedral). The upper section is crowned by a large mullioned window.
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The west range is timber-framed on a stone plinth with a Kerridge stone-slate roof, a stone ridge and a massive lateral stone chimney. It has two storeys and two bays with a central gable. In the left bay is a five-light window in each storey and the right bay has a four-light window in the upper storey with a door in the lower storey. All these windows are wooden, mullioned and transomed.
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Cunningham & Waterhouse, pp. 135, 265 In Leeds Waterhouse designed (1895–98) a bank and offices for the Williams Brown & Co. Bank, (now known as Greek Street Chambers) on Park Row. The ground floor is of polished dark grey granite with mullioned windows and porch with Ionic columns, the two upper floors are of banded red brick and buff terracotta, the roof is slate. There are low square towers with pyramidal roofs on two of the corners.
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The opposite side are lofted stables, connected to the tackrooms by a single-storey row of coach-houses. The entrance faces north and has four bays with a lateral chimney protruding to the left that are partly corbelled over the ground floor. The roof has three gabled dormers over a pedimented, 2-storey, rectangular bay window. The other windows are small- paned casements in freestone mullioned and transomed surrounds; the first- floor windows with flat moulded labels.
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The fortifications include a massive square keep with a high round tower on one side, an assortment of buildings and defensive works. Mullioned windows in the old seigniorial residence and the interior murals in the vault and the western building date from the Renaissance. The military architecture of 13th and 14th centuries is evident from the use of a natural defensive site with a double enceinte. It was an important local seigniory which exploited nearby silver mines.
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The house is built of sandstone to a double-pile plan, and is of two storeys with gables above. The eastern, entrance, front may once have been symmetrical with a northern wing matching the southern one. Historic England's listing states that the wing was constructed but later torn down, while Pevsner suggests that it may never have been built. The windows are mullioned and the roof has an "impressive row of six diamond-shaped red brick chimney stacks".
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Casa Álvarez-Buiza, a private house and commercial complex, was built in the San Juan district by Adel Franco Pinna between 1918–2. The building located on the Plaza de La Soledad once housed the offices of the Bank of Spain. Artistic elements include the use of lime, brick and colorful ceramics with an Andalusian influence. Casa del Cordón is a private house, built in the late Gothic style of the early 16th century, and has mullioned windows.
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The embattled gatehouse tower with the lower attachment to the left is of Lovett's time. To the west, a large courtyard house with over forty rooms accumulated under later owners in the Lovett and Shirley families in the 16th and 17th centuries, of which only a fragment survives. It still has mullioned windows with arched lights, suggesting 16th rather than 17th century. Inside is a fireplace with a broad frieze of simple geometrical motifs above the four- centered arch.
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The manor house is enhanced by the mullioned windows on both floors to the front and the oriel windows of the porch in the centre of the facade. The gallery on the first floor features two carved stone chimney pieces and a ceiling and frieze of Elizabethan plaster-work. The U-shape of the manor house surrounds a small courtyard that abuts the north of the castle's bawn. The manor has two floors and a gabled attic.
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The castle was substantially rebuilt in the 15th century, the current windows replaced primitive arrow slits and the wall between the towers was perforated by mullioned windows, evidence then of building next to this part of the enclosure. The South curtain wall is today replaced by a terrace and an outer defensive wall with two small round towers can still be discerned. In the 17th Century a pavilion, was constructed at the back of the Southeast Tower.
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In the frazione of Montefioralle is the church of Santo Stefano, with a late 13th-century Madonna with Child and a 15th-century Trinity and Saints. Also in the hamlet is a house which, according to the tradition, belonged to explorer Amerigo Vespucci. In the nearby is a Romanesque Pieve with narthexed façade and two mullioned windows. Church Santa Maria Castello in Panzano At from the centre of Greve is the castle of Verrazzano, sitting on a high hill.
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The façade is articulated by pilaster strips, blind arches, oculi (small circular windows), lozenges and mullioned windows. In the interior the intarsia pavement lies over a crypt with groin vaults and Roman capitals, perhaps the relic of an ancient market loggia later turned into a Christian temple. It houses a Roman sarcophagus, remains of frescoes and a Crucifix on panel from the 13th century. In the rectory are frescoes from the 13th and 15th centuries and 18th century stuccoes.
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69 Its most noteworthy features include: cross-beamed ceiling in the parlour which has not been disturbed since the late fifteenth century or early sixteenth century; striking original sixteenth century mullioned and transomed windows; back-to-back stuccoed fireplaces on both floors and chimney stacks of Tudor origin; fine Jacobean dog-leg staircase with turned balusters and newel posts with ball finials. The latter is the last major addition to the house, which remains largely unaltered from the original.
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The museum of art of the church houses the Zadar Polyptych, an early work by Venetian painter Vittore Carpaccio. The bell tower was built in two stages. The ground floor and first floor were built in 1452 during the reign of Archbishop Vallaresso, while the upper floors date from 1890 to 1894 under design by the English architect and art historian Thomas Graham Jackson. The three upper floors, with four sides, are decorated with double mullioned windows.
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The oldest wings of the palazzo nuovo maggiore, whose porticos are now walled up, give onto the west and south sides of the large southern courtyard, which has a fountain in the center. There are fine capitals in the style of Antelami on the mullioned windows on the first floor, above all, those of the four-mullioned window on the left, which has a round lobate window in the lunette, with twelve figures representing the months of the year. Another thing to notice is the reconstruction of the ancient wooden staircase, which in medieval times led to the great hall of the Maggior Consiglio (the organ of government) on the first floor. The palazzo nuovo minore is on the east side of the courtyard and bears this name because it was finished later (1232) than the first building on the west side. During the first 20 years of the 15th century a loggia was added by the Malatestas with four elegant slightly pointed arches and ribbed cross-vaults.
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In about 1840, stepped gables and mullioned windows were installed, resulting in a symmetrical front in neo-Jacobean style. The rose garden was designed by Edward Kemp in 1849; it was his first recorded commission. In 1697 the estate was bequeathed by William Domville to his nephew William Mascie of Sale who then left it to his sister Anne Taylor. The estate eventually passed into the hands of the Reverend Mascie Domville Taylor and on his death in 1846 was sold piecemeal.
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The sober facade, of smooth stone, has three stories, with mullioned windows with round arches on the second floor. Unlike earlier Gothic palaces, which often afforded transient wooden scaffolds for either balconies or awnings, this palace has a solid protruding ceiling cornice near the roofline with classical busts putatively of Roman emperors. The interior courtyard had a scenic stairwell leading to second floor. It faces a square with a statue of the Sienese scholar Sallustio Bandini (1882) by Tito Sarrocchi.
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The palace was built perhaps by Lorenzo di Bicci (although other scholars have attributed it to Filippo Brunelleschi) for Niccolò da Uzzano. It was finished around 1426. After his death a few years later, it was acquired by the Capponi family It has a 15th-century late-Gothic façade with a sober rustication at the lower floor, surmounted by irregular rows of mullioned windows (some closed and replaced by rectangular openings). The plan is nearly square, with a central courtyard in Renaissance style.
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Construction of this church was begun in the 13th-century at the site of a small castle-associated church called Santa Maria in Castello. The church has undergone various restorations over the centuries, and its facade now has an eclectic neo-classical style. In prior centuries, the church had been owned by the nearby Abbey of Farfa and had been elevated to a collegiate church. The Romanesque-style multi level bell-tower with mullioned windows stands apart from the church.
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The Renaissance south façade has several mullioned windows and dormers surmounted with pediments. Several rooms still have plafonds à la française (French-style ceilings: joists the same width as the spaces between them; see Plafond à la française in French Wikipedia). The second range of buildings, known as Château Bouscary, is to the south and has a round tower. In the courtyard, the entrance gateway is composed of segments of a circle, with sculptured framing in the form of a lopped tree.
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It was not until 1772 that the bishopric of Susa was created from the territory of the abbey, previously a territorial abbacy, and at that point the abbey church was made the cathedral of the new diocese. The cathedral is a Romanesque style building. The façade has terracotta decorations and is joined to a Roman gate of the 4th century, the Porta Savoia, to the south. Halfway along the south side stands the campanile, with six levels of mullioned windows.
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The sixth bay, probably the site of an earlier transept, contains a three-light window. On the north side of the church is a porch, with one bay to the west and three bays to the east, all with two-light windows. In the north transept, the north window has three lights, and the west window two lights. The north wall of the vestry contains a four-light mullioned window and a doorway; the east wall has two two-light windows.
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Interior view The west front of the cathedral measures 22 metres at its highest point. The lower, older, part is elaborately ornamented; the upper part contains only the rose window, and was restored after the Turkish raid of 1566. In the lower part are seven blind arcades with double mullioned windows, each different from the others, and decorated with acanthus leaves and human figures. The central arcade, which is bigger than the others, has a portal surrounded by small columns.
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The two- storied Dodderidgian Library (Latin: Bibliotheca Doddridgiana) with wooden mullioned windows was built in 1667 in the north-east corner of the chancel.Pevsner, p.151 The Dodderidge Library was founded in 1664 by the widow of John Dodderidge (1610-1659), of Barnstaple and of Bremridge in the parish of South Molton, MP for Barnstaple in 1646 and 1654, who donated or bequeathed her husband's library to the Corporation of Barnstaple. He was the son and heir of Pentecost Dodderidge (d.
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Hallfield House is constructed from deeply coursed, squared gritstone with a stone slate roof. The building has four bays and consists of three storeys with an attic. Most of the windows in the main house are mullioned. One of the highlights of the interior is a 17th-century plaster overdoor in one of the downstairs rooms which is decorated with lilies and roses, the room also has a frieze adorned with fish, fruit and mermaids playing harps under an ornamental cornice.
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Another daughter and coheiress married Robert Eyre and inherited Holme in 1658. The original entrance front to the south has three storeys and three bays, the central one projecting to create a full-height entrance porch, and the outer bays having canted bay windows to second-floor height. The windows are transommed and mullioned and the parapets are crenellated. To the rear is a plainer three-storey four-bay block and to the right a late 17th-century lower block of three bays.
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The edifice has a Gothic style portico and loggia in the façade; not usual for the Milanese Gothic structures is the white and black marble decoration: this, more common in Genoa at the time, is perhaps a homage to Matteo Visconti's wife, Valentina Doria. The two loggias are surmounted by a series of triple mullioned windows, housing statues. These were realized by Ugo da Campione and his son Giovanni, by other masters from Campione d'Italia and Tuscany, in the 14th century.
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The architectural historian Sir Nikolaus Pevsner described the first quadrangle as "small and pretty, especially because of the variety of its ranges". He noted the part- Elizabethan and part-Jacobean architecture on the south side, where Price's building stops – the join between the two, he pointed out, is "easily visible" in Market Street.Pevsner, p. 142 The windows in the first quadrangle, he noted, were Elizabethan in style, with mullioned windows and arched lights, arranged symmetrically, whereas the hall windows were Gothic in style.
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San Pietro in Vidiciatico is a Roman Catholic parish church located in the neighborhood of Vidiciatico, which belongs to the township of Lizzano in Belvedere in the Province of Bologna, Italy. The present church was erected in the 1882-1884, to replace a Romanesque-style church built in 1393. Of the old church only the apse portion remains with a mullioned window. The adjacent square bell-tower was built at a site that likely was part of an ancient castle tower.
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By the beginning of the Stuart dynasty the Prichard family had prospered and the house was extended in 1628 by David Prichard (the father of Colonel Edward Prichard) to demonstrate their status. The Grand Staircase now allowed easy access between floors and two of the rooms used by the family were panelled in oak. Other changes to the interior included a "4-centred arch" above the staircase. Mullioned windows were also added, with leaded glazing being a 20th-century addition.
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Belltower of the church with exterior Porta Ternana in foreground Santa Maria Assunta is the main Roman Catholic church, located on Via Roma (once Via Sabina) near the Porta Ternana in the town of Calvi dell'Umbria, province of Terni, region of Umbria, Italy. The church was initially built in the second half of the 13th century. The original facade faced the gateway into town, and now represents the Gothic-style mullioned windows along Via Roma. in the 1580s, the bell tower was erected.
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The tiny church of St. Cuthbert at Corsenside, between the road and the river, contains a Norman chancel arch. The age and dedication of the church makes it probable that this was one of the spots where the body of St. Cuthbert rested during the flight of the monks from Holy Island, 875-882 AD. They probably came here from Elsdon; and continued by way of Bellingham, Haydon Bridge, Beltingham, etc. The neighbouring house with small mullioned windows is a 17th-century building.
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It is in Yorkshire stone and has a slate roof. The library has one storey, a front of three gables with ball finials, a central porch with an arcaded parapet, an elliptical-headed doorway, and mullioned and transomed windows with elliptical heads and hood moulds. The museum and art gallery have two storeys, a four-bay central block, a three-bay gabled block to the right, and a diagonally-set gabled block to the left. On the gables are panels of carved figures.
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The nave and chancel were each shortened by about half, either side of the central crossing, of which the southern member, extending into the cloister, was removed. Upper floors and stone mullioned windows were added above the outer aisles, and a semi-circular bay window was also added to the north side of the nave. The great window at the north end of the northern transept was built in, and replaced with several smaller windows.Alterations as described by VCH Glos, vol.
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In the left projecting gable is a porch, the windows are mullioned and transomed, and at the rear is a semicircular stair turret with a conical roof. The stables, now used for other purposes, are in brick with a storey band, and have tile roofs with parapeted gables. They have a single storey and lofts, and a U-shaped plan with a main range of three bays. The windows are casements with segmental arches, and there are doorways and loft openings.
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The chapel is situated between living chambers and from the location of the door, it shows that it was accessible from both sides and served as the last chamber in this floor. Church services could be viewed by the residents of the house from the adjoining chamber through a horizontal mullioned window. Example of polychromy in a niche in a private oratory Inside, the oratory exuberated with many architectural details. The most significant include a trefoil niche in the east wall.
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San Giovanni in Conca ruins include the only extant example of Romanesque crypt in Milan. It houses archaeological findings which illustrates the church's history. Over the crypt are remains of the apse walls, with a single mullioned window and blind arches typical of the Milanese Romanesque. Artworks from the church which are now in the Sforzesco Castle include, apart the two aforementioned funerary monuments, two figures from an Annunciation (11th century), some Romanesque capitals and frescoes from the 14th century.
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The walls include fragments of Roman edifices (especially in the eastern side) and has ogival double mullioned windows. The terrace has two turrets. The other main body of the fortress is the Palazzo dei Governatori Pontifici ("Palace of the Papal Rectors", or governors.Benevento was an exclave of the Papal States until the early 19th century This edifice has the main entrance on the eastern side, with a staircase leading to a rear garden which is at an upper level than the nearby road.
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The palace has two floors, over a double-height rusticated basement with a mezzanine and entresol, in a symmetrical façade on the Grand Canal. The ground floor has a large portal in the center featuring a mascaron and tympanum; there are two minor entrances at the sides. The two ashlar upper floors are divided into three sectors by Ionic and Corinthian pilasters and separated horizontally by a wide entablature. In the center are triple mullioned windows featuring paired Doric columns and parapets.
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In 1873 Carpenter was employed by the owner Viscountess Clifden to recreate the Elizabethan house incorporating the little that remained of it. Although Carpenter's house was only an eighth the size of the former palace, the completed Elizabethan-style mansion was an architectural success. The many gabled stone new house, with tall ornamental chimneys and mullioned windows was approached through the original tripartite arches of the former palace. In 1887 Carpenter returned to Holdenby to design the great panelled entrance hall.
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The church has two bell towers. The oldest one, named after Charlemagne, is the surviving one of the two originally flanking the first Romanesque church (the other ceased to exist in the 14th century). Begun in the early 11th century, it has a square plan with six levels separated by friezes with Lombard bands and double mullioned windows. The new bell tower (70 m high) started in 1590 and completed (with a modified design) in the 18th century, has an octagonal plan.
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At the crossing of nave and transept is the octagonal dome, a 30 m-high asymmetrical structure supported on squinches, in the Lombard- Romanesque style. It is reportedly the earliest example of this form in Lombardy. The façade is decorated by numerous sandstone sculptures, of religious or profane themes; they are however now much deteriorated. The façade has five double and two single mullioned windows and a cross, which are a 19th-century reconstruction of what was thought be the original scheme.
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The church of San Niccolò, of Romanesque origin, has a nave and four aisles divided by columns and semicolumns, with two semicircular apses with mullioned windows. The central portal is from the early 14th century, while the portico is modern. It has 17th-century frescoes by Rustichino and, at the high altar, one 14th century Madonna of the Sienese School. The collegiata di Santa Maria Assunta was consecrated in 1161; of the original Romanesque edifice, the façade remains with the bell tower.
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Rainwater head, Dowsby Hall dated 1630 Rainwater head or Launder box dated 1630 drains the gulley between the parallel ridges on the north side. Four southern bays of the original seven bay east front demolished in late18th century leaving three northern bays. Mullioned windows, some of which have recently been re-fenestrated, having been previously blocked with brick. Projecting moulded cornice above corbelled out bay window at third floor level above the canted or bay oriel windows of the first and second floors.
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Corder House was constructed for a local drapery company, Corder's, owned by Alexander Corder. It is four storeys high, including the attic. The building has a ground floor panelled fascia and a cusped arcaded frieze with roll-moulded coping. The projecting canted bays on the arcaded first floor are flanked by narrow lights with Gothic capitals to the pilasters and the elaborate heads over the central lights of the canted bays; all are with paired, mullioned cusped overlights and a dripstring.
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The façade, built in 1460–1464, has sloping sides and is in brickwork, divided in three parts by two pilasters strips. The two side sections have quadruple mullioned windows, while the central has a large rose window. The portal is surmounted by a pointed arch with white stone decorations portraying, on the summit, St. Christopher, the Madonna and the Archangel Gabriel by Nicolò di Giovanni Fiorentino and Antonio Rizzo. Under is a tympanum, in porphyry, supported by circular pilaster strips.
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The older part of Athlumney Castle is a tower house (caiseal), with three storeys with a spiral staircase and holes for floor beams remaining on the first floor level. The later Tudor fortified house is also three storeys high, with four sets of widely spaced mullioned windows. It had large corridors and its ground floor kitchen provided heat for the first floor where the Lord and his family lived. The doorway is cut limestone and there is an oriel window in the eastern wall.
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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.
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From the kitchen there is access to the room which served as the lord's dining room (also accessible from the staircase in the courtyard). This room occupied the rest of the waestern part of the floor. The hall was heated by two large brasiers located in the corners and was connected to the kitchen on the north side of the castle by a hatch. The room was lit from the outside by mullioned gothic windows and from the courtyard by a fourteenth century quadrifora window.
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The lower part is in turn divided into three sections: the middle one houses the portal, which is surmounted by a rounded arch in two colors and a finely sculpted motif in the frame. The upper section has a small double mullioned window. The church has a nave and two aisles with wooden ceilings, separated by round arches; these are supported by columns from older Roman edifices. The capitals are instead contemporary of the church, aside from two (including one acting as holy water font).
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On the north front, bay 1 is the end of the eighteenth century addition and has a blind Venetian window while bay 2 has an oriel window, the two arched windows having tracery and diamond leaded panes. Bay 2 is separated from bay 3 by an angled buttress, and further full height buttresses separate bays 3, 4 and 5, which each have similar windows. Bay 6 has a projecting porch and is separated from bay 7 by another buttress. Bay 7 has twentieth century mullioned windows.
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At the lower level is the western portal with a depressed Tudor arch, recently restored, above which rises a traceried window framed by a brick course. The tower rises in two stages, the first having a square-topped mullioned window in the Tudor style. The belfry level has a large rounded-headed opening with Classical details, including rusticated voussoirs, Ionic pilasters and a brick entablature. The tower is topped by a crenelated parapet, and pinnacles in the Tudor style dating from the 19th century.
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The ground-floor shop windows are all flanked by pilasters and topped with moulding detail including a keystone-like feature that reaches the string course. The mullioned and transomed first-floor windows have horizontal heads with brick keystone detailing. The two attic storeys each have a row of circular dormer windows in the steep roof, the lower set being decorated below with festoons of fruit and flowers, which differ in detail from window to window. The drainpipe heads are all inscribed with 1911 in a lozenge pattern.
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The left one is holding a dragon, symbol of Evil, in his paws, while the right one is holding a bear, which in turn is biting a bird's neck. On the façade are also two tombs: the more recent one (mid-14th century) is by Bonino da Campione. The façade of the northern arm of the transept (late 13th century) also has a narthex; and its columns also have two lions at the base. It is characterized by a sequence of mullioned windows and rose windows.
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Retrieved 6 October 2019 At the south of the village approximately south-west from the church, around the junctions of Todenham Road and the roads to Great Wolford and the Fosse Way, are nine Grade II buildings. Two conjoined houses, nos. 19 and 20 Main Street (listed 1985), dating from the late 17th to the early 18th century, are of dressed limestone, and two-storeyed with mullioned casement windows, with the front facade at right angles to Main Street. A dormer window, a porch at no.
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The north central Norman tower was demolished to allow the building of the great baronial palace, with three large mullioned windows, flanked and guarded by two massive towers. Into the wall, next to one of the towers, were hidden spaces for falconry, inaccessible and devoid of light, as the emperor had prescribed in his treatise De arte venandi cum avibus. Finally a rescue tunnel was built, which reached the open countryside to Bitetto. During the years of Hohenstaufen domination the castle consisted of nine towers.
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It appears that at this time, the downstairs storerooms were converted into a kitchen and a parlour. A new roof was put on and the rooms upstairs were remodelled with a new internal staircase. Externally, the most obvious addition from this period are the large rectangular mullioned windows. At this time, the house was probably owned by John Digby of Seaton, whose nephew, Sir Everard Digby was a friend of Robert Catesby and was executed in 1606 for his part in the Gunpowder Plot.
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The fondaco (a word of Arabic origin meaning "store-house") has a square plan and has three levels facing a central courtyard. The courtyard contains a medieval well and is currently covered by a steel-glass structure. The façade has, at the lower floor, five large rounded arcades which enclose a portico where once the goods were unloaded from the Canal Grande. The second floor has a long row of double and single mullioned windows which, at the upper floors, are paired by smaller quadrangular windows.
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The present castle consists of a very robust square keep, lit by mullioned windows. This keep from the early 15th century dates the construction, or reconstruction, of the castle.Ministry of Culture Of the surrounding walls, the only remains are a round tower and stretch of wall and part of a moat still filled with water. Also from the same era are a round staircase tower with small square windows and, in the south east, a doorway opening into the courtyard whose lintel is decorated with an escutcheon.
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The mullioned window at the top is from the twentieth-century restoration while the large oculus is fourteenth century, the result of Bishop Stephen from Carrara to adorn the structure. Along the aisles, simple and unadorned openings from various periods: single and double windows of Romanesque, Gothic and an oculi windows from the sixteenth. The Palladian windows open in the seventeenth century were buffered in the nineteenth century. The early medieval apse, with a blind arches, a gallery, and a large central niche, was reconstructed in 1852.
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The apse dates back to the original 12th-century construction: it features a medieval mullioned window and a late-16th-century choir by the Neapolitan artist Scipione di Guido. At the end of the north transept is the Chapel of the Holy Crucifix, by Domenico Mazzola (1577). It houses the tombs of members of the Aragonese branch of Sicily, including Kings Frederick III and Louis, John of Randazzo, and Constance. The northern aisle has several 17th-century paintings of saints, including one by Borremans.
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It consists of two storeys plus an attic, with two wings. The central bar of the H runs west to east, and contains the south-facing hall. Further to the east, continuing the line of the central bar, is an additional wing, originally the service quarters, which contains the only remaining walls of Hatchard Smith's demolished villa. The south, garden front of the house has four gables, one on each wing and two in the middle; at the centre is a two- storey, mullioned, polygonal bay window.
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At a later date there were three tailors and a milliner. At one time Souldern had three lace-making schools and in 1851 there were more than 30 lace-makers in the parish, but the trade declined towards the end of the 19th century. Numerous houses in Souldern are built of local pale Jurassic limestone and date from the Great Rebuilding of England between the mid-16th and mid-17th centuries, some with stone-mullioned windows on the lower floor and attic dormers upstairs.
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Translated by Janet Seligman, Stewart Spencer Published by Frances Lincoln ltd, 2007 Shaw designed Adcote in Tudor style and used the local building traditions to give the house a sense of continuity with the past The house is built of local sandstone with tall chimneys, pointed gables and mullioned and transomed windows. Its features include a Great hall with a Minstrels' gallery, William De Morgan tiled fireplaces and stained glass windows by Morris & Co., after cartoons by Walter Crane.The Buildings of England Shropshire by John Newman, p97.
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The frontage to Station Road is a symmetrical composition featuring the central Town Hall, with two wings – the library to the left and the King's Hall to the right. Everything is of two storeys and constructed of local ashlar stone with mullioned windows and steep, hipped slate roofs. The main entrance is recessed within Ionic columns and topped with a pediment. The roof ridge contains a central clock turret, containing an illuminated hour-striking clock and bell installed in 1907 by Potts & Sons of Leeds.
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The eastern chapels and transept are covered by Gothic stone rib vaulting, while the nave aisles are covered by a simple wooden roof. It is likely that the original plan called for the whole church to be covered by stone vaulting like other Portuguese cathedrals built at the time, like the Cathedral of Guarda. The aisles of the nave are separated by arches of pointed profile supported by columns of octagonal cross section. The south transept arm is illuminated by a large mullioned window with Gothic tracery.
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It is 21 feet in height, with a handsome carved oak staircase and galleries, and is lighted by the mullioned window already mentioned, filled with choicely designed stained glass, bearing heraldic devices. Off the main staircase is a flight of stairs leading to the Ladies' Bower, a pretty room over the porch. Further on is a winding staircase carrying the visitor to the billiard room. Still higher are the bedrooms and corridors, from which peeps of the hall may be obtained through charmingly designed arcades.
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Curved mullioned mirrors on one side of the room balance the windows to provide symmetry and reflect light in the room. The large rectangular withdrawing room found at the front of the house has soft gray walls and white wainscoting that offsets the multilayered gilded cornice molding. The windows are surrounded with tall slender pilasters and overhanging entablatures, that add dimension to the walls. With windows on three sides, the room was utilized primarily during the day to take advantage of the daylight and breezes.
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The façade was originally embedded in the city's walls, but later the first three bays were abandoned and a new façade was obtained by closing one of the internal arches with a new wall. The nave is characterized by arches which, at the sides, have double mullioned windows at the sides. The pillars which do not support the arches are prolonged by blind columns up to the clerestory. The longitudinal arches (those separating the nave from the aisles) are supported by semicolumns which form the pillars.
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Dokett Building was designed by Cecil Greenwood Hare and built in 1912 from thin red Daneshill brick with Corsham stone dressings and mullioned windows. It stands on the former site of almshouses which were maintained by benefaction from former President of the college Andrew Dokett. The almshouses were demolished in 1911 to make way for the new building. On the demolition of the almshouses, a fund was made available for the payment of pensions – always to eight women, in accordance with the will of Dokett.
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The older St Stephen's Church Fyling Old Hall is in Fylingthorpe not far from the Fyling Beck and was leased by the abbey in 1539. It is built in sandstone with a slate roof and mullioned windows. Sir Hugh Cholmley sold Fyling Hall in 1634 to Sir John Hotham whose descendants held the estate including the hall and mill until the 18th century. The moor within the parishes of Fylingdales and Hawsker-cum- Stainsacre is managed by the ancient Manor of Fyling Court Leet.
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Among the other churches found inside and outside the town walls are Sant'Agostino, Santa Clara, Santa Illuminata and San Fortunato, the latter, built in the 4th century over the tomb of Fortunatus of Spoleto and renovated in the 15th century, had frescoes by Gozzoli and Tiberio d'Assisi. The 13th century Palazzo Comunale ("Town Hall") has a mullioned window from the original edifice and a 15th-century portal. Also notable are the gates in the walls, including Porta Sant'Agostino, Porta Camiano and Porta Federico II.
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The north and south facades have five evenly spaced round headed arched openings separated by shallow smoothly rendered pilasters. The windows are composed from two strips of four top-hinged hoppers filled with diamond mullioned glass, above which is placed a semi circular window glazed with a leadlight panel depicting a rising sun. The transepts of the church, on the north and south facades feature similar, but smaller, versions of the eastern parapeted gable. Doorways are formed in the semi-octagonal recesses centrally located on the transepts.
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There are smoke louvre trusses in the roof and original fireplaces in several rooms. In the 16th century, the Dean and Chapter of Salisbury Cathedral let the house to a number of secular tenants. Around that period the north end of the house was extended with a large brick cross-wing, out of proportion to the original house. This extension has two large mullioned and transomed windows and a staircase from the ground floor to the attic, with oak balustrades around two newel posts.
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Retable The church was built in dark basalt stone by Pisan workers (the island in the Middle Ages was under strong influence from the maritime Republic of Pisa). The façade is divided into five sectors and has a salient-shaped façade. In the middle is the portal, surmounted by a double mullioned window. The whole exterior of the edifice is characterized by false columns (lesenes) and Lombard bands; on the right are the remains of the square bell tower, which is missing the upper part.
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The new upper storey was built in ashlar stone separated from the old rubble walling by a moulded string course. The old floors were removed and the walls raised to 45 feet to the top of the battlements. The narrow windows were blocked up, and replaced by large three, four, and five-light mullioned and transomed windows, transforming the appearance of the old part of the building. During the 17th century the cruck buildings were clad in stone and the structure remained unchanged until the 19th century.
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The side walls are divided into blind arches with Lombard bands, but have few decorations otherwise. More numerous are the features of the apse, with semi- columns supported by plinths and ending in leaf-shaped capitals, Lombard bands and six single-mullioned windows (the three lower ones lighting the church's crypt). In the interior the aisles and the nave are divided by seven columns with arcades, made of material from ancient settlements of the area. The aisles are covered by groin vaults, while the nave has trusses.
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It is a rare surviving building of its type (a mid-19th century, 3-level, Georgian-style, detached timber town-house) in Brisbane, and is important in illustrating the principal characteristics of its type, including the town-house form with the entrance set to one side of the house; attic rooms with dormers; wide vestibule and narrow, steep internal staircases; early joinery (French doors, narrow- mullioned windows, simple stick balustrading to the staircases); early exterior decorative detailing; and early, formerly detached, kitchen wing. The place is important in demonstrating the principal characteristics of a particular class of cultural places. It is a rare surviving building of its type (a mid-19th century, 3-level, Georgian-style, detached timber town-house) in Brisbane, and is important in illustrating the principal characteristics of its type, including the town-house form with the entrance set to one side of the house; attic rooms with dormers; wide vestibule and narrow, steep internal staircases; early joinery (French doors, narrow-mullioned windows, simple stick balustrading to the staircases); early exterior decorative detailing; and early, formerly detached, kitchen wing. The place is important because of its aesthetic significance.
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In 1295, while Giano della Bella was potestà of Pistoia, it was decided to build a residence for the magistrates or elders of the city. Previously they had been housed in a palace at via di Sracceria. In the present spot near the Pistoia Cathedral, land and houses were purchased from a number of families: Bellanti, Lazzari, Cremonesi, and othersTolomei mentions Sinibuldi and Taviani.. By 1345, the three ground floor arches were erected, and the great hall in the main floor (piano nobile) was being built. Construction was completed in 1353 with mullioned windows.
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The façade is made with regular joists in travertine and is the result of a restoration of the 1920s. Inside, the baptismal font (also in travertine) and parts of the 14th-century fresco are adorned with figures of saints. The portal is surmounted by a bezel and a double, very elaborate mullioned window, above which is another, smaller window in the shape of a cross. To the left of the bezel, one of the stones forming the wall has an inscription that testifies to the date of consecration.
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The stone palace, with its tall first floor, mullioned windows with trefoil decoration in upper floors, was restored in the 1960s and is now home to Banca CR Firenze. Among the most notable members of the Tolomei family was Pia Tolomei, who lived in the thirteenth century. In 1295, however, she was supposedly murdered by her Guelph husband from the Maremma, who wished to remarry. Her story was popular in the 19th century as a symbol of faithfulness to principles in the face of treachery and self-interest.
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The imposing three story building seen today shares the general site of the prior Palazzo Pretorio, and reused the main portal, some of the first floor mullioned windows (four on the left), and elements in the ground courtyard. The original building was a single story in height with a courtyard, stables, and barracks. It was erected in the 1367 to enlarge the Podesta's apartment and that of his men. By 1842, the building was in need of major structural repairs, and the city elected to build the present building in an imposing, but anachronistic style.
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A mullion wall is a structural system in which the load of the floor slab is taken by prefabricated panels around the perimeter. Visually, the effect is similar to the stone mullioned windows of Perpendicular Gothic or Elizabethan architecture. The technology was devised by George Grenfell Baines and the engineer Felix Samuely in order to cope with material shortages at the Thomas Linacre School, Wigan (1952) and refined at the Shell Offices, Stanlow (1956), the Derby Colleges of Technology and Art (1956–64).Architects’ Journal (1960), “Technical College”, Architects’ Journal, (March 17) pp 441–448.
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Above the arches the reception rooms have large mullioned and transomed windows. This Jacobethan building sits incongruously in the corner of the Market Square next to the classical county hall and opposite a bow fronted regency public house with an ornate entablature. However, this siting of opposing styles of architecture, and constant change is the essence of character of an English market town. The agricultural depression which occurred from the 1870s resulted in a steep decline in the value of grain, the corn exchange never realised the profits its builders intended Hanley, Hugh & Hunt Julian.
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It is a stone house with stone slated roofs, twisted chimney stacks and mullioned windows. Throughout the life of the building, many architectural alterations, additions, and renovations have occurred so that the house is a mish-mash of different periods and styles. The Tudor stable courtyard to the north of the house has retained many of its original features including the brewhouse and bakehouse. The house later passed into the hands of the Talbot family, and during the 19th century was the residence of William Henry Fox Talbot.
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The hall is typical architecturally of many large yeoman farmers houses in South Yorkshire with well proportioned mullioned windows with diamond-shaped leaded lights. The hall faces south-west away from the road and takes in the extensive view across the Mayfield valley towards the Peak District. It is built in the shape of a letter L from course squared locally quarried stone with ashlars dressings. The 1620 datestone is above the front door, the outbuildings run at a right angle to the main house and include a carriage house.
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The building locates at the confluence of two canals and has two facades. The side on the Rio di Noale or Noal has a monumental façade of the late-Gothic style. The ground floor has an impressive water portal and is decorated by small arched lancet windows, while the two noble floors offer heptaforas and numerous other openings. The most valuable and visible elements of this façade are the balustrated polifora of the first noble floor and the angular mullioned windows at the both edges of the structure.
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The cathedral measures by and is built on the ground plan of a Latin cross. The façade reveals the different influences which inspired the anonymous architect: the blind arcades in the lower part, decorated with circular openings and lozenges, the loggiato in the middle part and the surmounting tympanum are in Pisan Romanesque style. The large ogival mullioned window and the three spires show instead a Sienese influence. The central portal flanked by two lion columns has five panels dating from the early 13th century illustrating the legend of Saint Cerbonius.
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Government House was built between 1902 and 1906 as the official residence of the Governor of the Transvaal Colony. The Cape vernacular style was taken on as a national building style promoted not only by the Cape coteries but also by proponents of Dutch-speaking republican independence or of Afrikaner nationalism, notably the Dutch Pretoria artist Jacobus Hendrik Pierneef. Over the next few decades most public buildings in South Africa were designed with versions of Cape Dutch gables, with fanlights, mullioned windows, and brass escutcheons, to differing degrees of cost and credibility.
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The range on the east side of the middle court has no roof and is four storeys high. Its southern elevation has a doorway at ground level on either end, three sets of four- light windows towards the right end and six pairs of two-light windows at the left end. The range on the west side of the middle court is three storeys high, has no floor or roof and dates from about 1540. Its northern elevation has three sets of four-light mullioned windows which are centrally placed.
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Previously at 40-42 St Ann Street, where it had been founded in 1860 by Dr Richard Fowler, FRS, it transferred to its current site in 1981. The original three-storey building, with mullioned and transomed windows, ornate plaster ceilings and a fine oak-balustraded staircase, houses the main temporary exhibition gallery with the ceramics gallery above. The arms of James I's eldest son, Henry Frederick, Prince of Wales, can be seen in a window in the Wedgwood gallery upstairs. The director of the museum is Adrian Green.
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The chapter house follows the typical design of the Cistercian monasteries, being located in the center of the cloister's eastern wing and separated from the sacristy by the end of the church's transept. The orientation of the room admits the morning light through three windows opening in the eastern wall. The entrance from the cloister is through a Romanesque portal framed on either side by a large mullioned window of equal height, the three openings forming a triple arcade. The hall has a square plan, divided into nine cross vaulted sections by four central columns.
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Numerous fittings at Fulbroke were brought to embellish Compton Wynyates, including the huge bay window full of heraldic glass, which looks into the courtyard from the great hall; also from the castle came many of the mullioned windows with vine-patterned ornamentation. It was at this time (c. 1515) that the great entrance porch, chapel and many of the towers were built. In fact, this was the start of the many additions over the next ten years which were added to the house with no thought of symmetry, height or regularity.
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A porch in the angle between the main gable and the southern wing has painted lozenges resembling quatrefoils. The main hall has two first-floor four-light wooden mullioned casements; the range to the left has a restored fourteen-light mullion and transom window, with a three-light window immediately to its right. The range of the cross-wing on the right has ten-light mullion and transom windows at the ground floor and twelve-lights at the first floor. The interior has some exposed timber work showing the house's original construction.
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Further on, a representation of Herodias' daughter bringing John the Baptist's head to Herod, with the decapitated body in the background. To the left of the fireplace, between it and the square-headed and stone- mullioned window, is an oak partition, panelled and carved, surmounted by a plaster partition between it and the ceiling, and over the door are the initials "I. T." Inside the partition is a room referred to as a chapel, though it has the appearance of an ordinary parlour or drawing room, with nothing ecclesiastic in its features. The c.
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Stella Hall was a large building, essentially Elizabethan in character, but with an 18th-century south front. Older sections showed mullioned windows and other Elizabethan architectural features whilst the 18th century windows and south front were the work of the architect James Paine, designer of Axwell Hall on the other side of the district. The Hall, Drawing Room and library were of Paine's design but the former Roman Catholic Chapel was older. Stella Hall has had a long history that goes back as far as 1143 when there was a nunnery on this site.
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The Gothic portal (15th century) has a varied sculptural decoration, featuring images of Saint Peter and Saint Paul on the jambs, and of Christ seated between the Virgin, Saint John and Saint Blaise on the tympanum. The tower has an octagonal plan, and, like the church, is made in brickwork, part of which are decorated. The lower section is not visible from the exterior, as it is currently embedded within the church: it has an Arab- style frieze. The upper floors have Mudéjar-style decorations, mullioned windows and small arcades.
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The Eastgate Street face of the bank has a four-light mullioned and transomed window with a basket arch on the ground floor. On the first floor is a five-light oriel window, above this is a six-light window with casements and the whole is surmounted by a gable with a carved bargeboard. Set at an angle on the corner between the streets is the doorway with a moulded basket arch over which are three ogee arches. Curving round the corner on the first floor is a three-light window.
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Only its western wing remains, with its unmistakable straight-headed mullioned windows with round-arched lights under hood moulds, although attached to the south-west corner of this wing is the basement of a square tower which presents evidence of 14th-century work. The house was later sold to the Baron Brougham and Vaux who made some alterations. One member of the family, Henry Richmond Brougham, had a new facade built in 1744–1748. It is eleven bays long, with a pedimented three-bay centre, and a walled front garden with coupled Ionic columns.
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The sides of the house beyond the verandahs and the rear are walled by corrugated iron. The front and sides have regularly spaced casement windows divided by mullions into a large central pane of light blue glass with two smaller panes of plain glass below and above it. At the rear is a row of similar windows on the ground floor but the upper floor has three double-hung windows of mullioned plain glass. The ground floor is entered by a front door on the truncated southwest corner.
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Very representative of the Renaissance architecture of the neighborhood, the street is wide in front of the City Hall of the fifth arrondissement which is the former Jesuit college, and much more narrow in its northern part. There are two restaurants. At the corner of the rue de la Fronde, a statue of St. Anne can be seen, and four small old houses are open by ten arches aligned on the western side of the street. The No. 2 is a building constructed in the Middle Ages/ Renaissance with three floors and mullioned windows.
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It would be over a millennium before a window glass became transparent enough to see through clearly, as we think of it now. Over the centuries techniques were developed to shear through one side of a blown glass cylinder and produce thinner rectangular window panes from the same amount of glass material. This gave rise to tall narrow windows, usually separated by a vertical support called a mullion. Mullioned glass windows were the windows of choice among European well-to-do, whereas paper windows were economical and widely used in ancient China, Korea and Japan.
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The castle had the typical Visconti castle's structure: a quadrangular layout, with an internal courtyard and portico, and four towers, one on each corner. Bricks were the primary construction material, while the stone was limited to structural or decorative elements, as the slender columns of the mullioned windows, the brackets (beccatelli), or the Biscione on the facade over the old entrance. To the castle had some inclination the duchesses of Milan. Here (as an alternative to Cusago) had a stable residence Agnese del Maino, mistress of Duke Filippo Maria and mother of Bianca Maria Visconti.
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The > basement is built of rough hewn brownstone. A flight of stone steps, > converging towards the top, leads to a wide arched doorway, supported by > four finely carved pillars of red sandstone, with Corinthian foliage and > floral designs in terra cotta. To the right of the entrance the building is > flanked by a huge circular tower, rising from the basement to a point just > above the fourth story, where it terminates in a conical roof. There are > four rows of arched and mullioned windows in the tower, with panes of bent > glass.
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Its cart shed, a dilapidated ironstone structure retaining several stone-mullioned windows, was once a large house carrying the inscription 'H.N. 1651 T.W.' on a stone now built into the wall of the field behind. This was probably the chief messuage of the manor belonging to Henry Nevill and occupied by his tenants, the Watson family. The older houses in the village are of ironstone and include a thatched cottage south of Drayton House in which part of a cruck blade has been re-used as a principal rafter.
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The bank was originally operated under the style Wilkins & Co. and developed steadily, opening up branches in Merthyr Tydfil, in 1812, and Cardigan, Carmarthen and Haverfordwest, in 1832. The branch at Brecon is now the site of Lloyds Bank.Haslam, R., 2001, Pevsner Architectural Guides, The Buildings of Wales, Powys, Penguin Books/University of Wales Press The branch at Cardigan was located on the High Street next to Lloyds Bank, in a building ‘sizeable, but not grandiose, red brick above a stone mullioned bank front, with pretty stained glass’.Lloyd., T., Orbach.
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Examples from the great Edwardian architects, Charles Rennie Mackintosh, Edwin Lutyens and Charles Voysey became a major influence in domestic design. Macintosh had made sketches in Hever and Chiddingstone during a bicycle tour in the 1890s, noting particularly the Dower House at Chiddingstone (now demolished). The tradition of Kentish oak mullioned and leaded windows, tile hanging and elaborate roofs was assimilated into the ‘Arts & Crafts style producing a series of country houses admired by discerning patrons. The houses, mostly built in the Edwardian period, were known as ‘Butterfly’ houses.
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The plain Gothic-style brick two-story structure is located in the town center, next to the parish church of San Vito Martire. Construction took place in 1369, commissioned by Stefano Porro, an ambassador to the court of Bernabò and Galeazzo Visconti, who was made a palatine count by the Holy Roman Emperor Charles IV in 1368. The outside appears dilapidated. The entrance to the single nave is through a stairwell dipping below the right of the façade, above is a mullioned window with an ogival window frame.
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According to the chronicler Bonincontro Morigia, the church was begun in 1357 over a pre-existing Franciscan convent. The original edifice was subsequently enlarged and enriched with a choir, a sacristy and a bell tower in 1421. In 1610, by order of archbishop Charles Borromeo, the barrel-vault was added, and the mullioned windows were closed. In 1756, architect Giovanni Battista Riccardi added a frame at the base of the vault and several stucco fake columns, reconstructed the high altar in marble and gilded bronze, and opened several chapels.
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In the upper storey of each bay is a five-light window, in the lower storey of the left bay is a four-light window and in the lower storey of the right bay is a six-light window. All these windows are stone and are mullioned and transomed. In the middle bay is an arched doorway. The timberwork in each gable is different; in the left bay it is heavy with close studding and a middle rail, in the middle bay the timberwork is light, and in the right bay it is herringbone.
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In the early 19th century, the house was given a long facade in an attempt to provide some uniformity and some classical grandeur. However even here, the architecture does not remain faithful to a single style. At the centre of this facade is a much altered Tudor gatehouse, probably built in the 16th century as a portal to the 14th-century manor house. In order to create the long facade, the existing stables, to the right of the gatehouse, were converted to domestic use and given seven bays of Gothic mullioned windows.
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The final cost, £30,000 (), may well have hastened the end of the great prosperity of his branch of the family. The house, built in the Jacobean style in red brick with blue brick reticulation and stone mullioned windows, was the first in the parish to have electricity and to have a central heating system. Like his father, he became a Justice of the Peace and Deputy Lieutenant and in 1891 High Sheriff of Hertfordshire. In later life, he was for two years, 1906–1909, Prime Warden of the Worshipful Company of Fishmongers.
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Today, the ruins include both the tower house with its arrow slits (or "loops") and the four walls of the adjoining manor house with their mullioned and transomed windows. The latter features a Trompe-l'œil effect, as the windows of the upper floors are smaller, creating an illusion of greater height. Some of the remains of the outbuildings and the walled gardens/deer park can still be seen. Unlike many of the castles in Ireland, Leamaneh is unmaintained and due to its poor state of repair not accessible.
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Following this he was instructed by Prince Albert to carry out work on Windsor Castle. This included replacing sash windows with lancets and mullioned windows and rebuilding the Clewer Tower. Salvin designed Peckforton Castle in Cheshire for John Tollemache, 1st Baron Tollemache as a recreation of a castle of the time of Edward I. In 1852 he started work on the restoration of Alnwick Castle in Northumberland. This included replacing one of the towers with a larger tower, the Prudhoe Tower, creating a porte-cochère, replacing windows and replanning the interior.
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Alston Station was well provided with a trainshed roof, originally arc-shaped but replaced in 1872–3 with a pitched roof, and buildings having ornate chimneys and mullioned windows serving the single platform. Beyond the platform the line terminated in a turntable although this was removed before the end of steam. Other buildings included an Engine Shed, Goods shed, snowplough shed, signal box and other miscellaneous buildings including a smithy. One unusual feature of the station was that the original platform was constructed to be only high, although this was later increased to .
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In the archway is a pair of tall cast-iron gates. Most other windows are wood-mullioned and transomed with leaded panes; to the far left is a two-storey convex curved window reaching up to the eaves. To the right of it is a semi-elliptical recess, in which a low three-sided plinth to the left supports similar, but has smaller windows with a seat to the right. The left return has a weather boarded gable to the right over two tall windows similar to that at the front.
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In the upper storey, above the porch, is a panel containing a triple lancet window. To the right of this is another lancet window and the voussoirs of a blocked arch. In the east end of the building is a segmental-arched window in the ground floor, a three-light mullioned window with intersecting tracery in the upper floor, and a coped gable. At the west end is a high-level segmental-arched window in the ground floor, a buttress at the southwest corner, and a coped gable with a gabled finial.
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Both abbeys retained their estates here until the Dissolution of the Monasteries in the late 1530s, when they were required to surrender them to the Crown. After the dissolution, Nutley's land at Barton was granted to the same secular owner as the adjacent manor of Chetwode, and the two descended together until the 20th century. Part of the manor house is 17th century and a stone on the west gable is inscribed with the date 1635.Pevsner, 1973, page 61 Surviving 17th century features include some mullioned windows, a fireplace, staircase, and panelling.
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Fausto Lechi, Gaetano Panazza, La pittura bresciana del Rinascimento, exhibition catalogue, Bergamo 1939, p. 178 In 1958 Gaetano Panazza called the work "a most delicious little panel, despite some heaviness in the cloud surrounds the Holy Spirit. It is one of Moretto's most successful creations, intimately poetic and rich in serene religiosity, silvery and cold in tones tuned and subdued, in which dark pearl predominates. The solution of the double-mullioned window is Lombard, perhaps with some Leonardesque sense, that lets us see the blue landscape in the background".
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Set back from the road itself, the buildings are noted for their arched doors, blind fanlights and sliding sash windows.Moscardini, p63 A later addition were the Soarer Cottages, which were constructed by William Hall Walker (later Baron Wavertree) in 1896. These model cottages were built adjacent to a series of polo stables, which are today known as Grange Mews, that had been constructed for Walker in 1895. The Soarer cottages were designed in Tudor Style with an open front courtyard and built from brick, with panelled stone-mullioned windows.
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The tour mounted several set pieces. Depending on venue size, the backdrop consisted of a stained glass tableau that depicted Jesus flanked by figures impaled on spears or, alternatively, Saint Michael the Archangel slaying the dragon during the War in Heaven from the 9th verse of the twelfth chapter of the Book of Revelations. For smaller venues, the band used a crumbling mullioned and traceried Gothic cathedral window. The stage design also included a pipe organ and a set of stairs from which Manson descended to start the opening piece.
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The church of Santa Maria della Rocca is considered one of the main architectural features of the whole Marche region. It is located on the westernmost tip of the town, surrounded on three sides by ravines that enhance its size. It is a large brickwork construction in Romanesque-Gothic style, designed by a master Albertino in 1330 on a pre-existing Benedictine church. The façade, looking towards the countryside, has fake columns; on the town's sides are three tall polygonal apses with fake columns in white stone, mullioned windows and Gothic Lombard bands.
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Iron Bridge Lodge is built in two storeys with attics and a single-storey extension, the lower storey being in red brick and the upper storey jettied and timber-framed. The main part of the house has two bays facing the river. In the lower storey, the left bay has a two-light mullioned window and in the right bay is a similar window with four lights. In the upper storey each bay has a four-light oriel window with a small two-light window in the attics above.
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Behind the altar is a mullioned window opening towards the interior of the cathedral, sided by two decorative lozenges which can be seen also on the exterior walls of the apse, and are typical of the Pisane Romanesque style. The right room houses instead a characteristic mitre-shaped fireplace. From the narthex is also accessible the true interior of the church, which has a nave and two aisles divided by columns, with a semicircular apse. The nave is covered by wooden trusses, while the aisles are groin-vaulted.
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Glendower Historic Mansion (105 Cincinnati Ave.) is another fine example of the Greek Revival design as well as is its neighbor, The Pillars (119 Cincinnati Ave.), no doubt because the original owners were brothers-in-law bent on one upping each other. Almost concurrent with the Greek Revival movement, elements of the Gothic Revival also began to emerge in homes around Floraville. The most notable example is The Cropper House AKA The Gables (229 Cincinnati Ave). Typified by its pointed arches and gingerbread-ike trim, the mullioned windows contain 108 separate panes of glass.
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Mullioned windows, known as biforas at the Palazzo Medici Riccardi, where Fakhreddin spent the last year of his exile. In 1608, prince Fakhr-al-Din II of Lebanon concluded a secret economic and military alliance with the Grand Duke of Tuscany against the Ottoman hegemony. Alarmed, the Ottomans dispatched the Muhafiz of Damascus to mount an attack on Lebanon in order to reduce Fakhr-al-Din's growing power. Fakhr-al-Din chose to seek exile in Italy from 1613 until 1618 where he was hosted by Cosimo II de' Medici, Grand Duke of Tuscany.
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Ragette 1974, p. 9 Fakhr-al-Din stayed in pope Leo X's apartment at the Palazzo Vecchio and later in the Palazzo Medici Riccardi; he was also received by Cosimo II in the Palazzo Pitti where he was exposed to Florentine architecture particularly the biforas, a type of mullioned windows that garnered the facades of the Florentine Renaissance palaces.Chehab 1994, p. 117 Before returning from exile, Fakhr al-Din appealed for a long list of artisans at the court of the Medici but only four came to Lebanon.
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Around these windows is timber-framed panelling. The frames over the porch contain the inscriptions "The profit of the earth is for all; the King himself is served by the field", and "Every house is builded by some man, but he that built all things is God", the latter being a text taken from the Epistle to the Hebrews. The lateral bays each have a mullioned window in the ground floor. The return to the left of the main front has a gable containing a window and timber-framed panelling.
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There are two two-storey wings, one opposite the farmhouse, the other at the rear, and a smaller single-storey wing behind the farmhouse. The upper storey of the wing opposite the house has timber framing in the upper storey; otherwise the buildings are in brown brick with blue brick diapering. In the gable at the end of the wing opposite the farmhouse facing the lane is a two-light mullioned window surrounded by panelling. Douglas submitted his design for this building and for Wrexham Road Farm at the Royal Academy in 1888.
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Construction on the present-day Koessler Academic Center, also known as Berchmans' Hall, was started in 1918 by George F. Rand, Sr., founder and former president of Marine Midland Bank. The facility was originally built as a private residence in the Jacobethan style, with gables, steep green slate roofs, chimney pots, and mullioned windows. The building was sold in 1924 to the Masons, who converted it into the Buffalo Masonic Consistory. The Masons made several additions to the building, including a large marble foyer, a pool, Turkish baths, bowling alleys, and locker rooms.
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The present house represents a refronting and extension of the earlier manor house. The recessed centre with a castellated parapet is flanked by single- bayed gabled cross wings. The windows are mullioned and transomed and the off centre entrance porch has Ionic columns beneath a unique frieze of four plants copied from woodcut illustrations in The Great Herball. Within the walled garden stands a single two-storey pyramid-roofed garden pavilion originally taller with castellation and one of a pair which flanked the surviving arched and castellated entrance gate into the enclosed front garden.
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The Great Hall originally had two storeys but, in the mid-17th century, John Batt's grandson removed the ceiling and inserted a gallery and a large mullioned and transomed window. It was the main thoroughfare for the house linking the wings and hub of domestic life. It was a reception room for visitors, tenants and businessmen and large gatherings. It is sparsely furnished and uncluttered. The table is placed at one end of the room as it would have been towards the end of the 17th century, rather than in its earlier position in the centre.
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The hammer beam roof trusses with their carved tracery and mullioned windows with their stone tracery were authentic English decorated style detailing that were new to the Colony at the time. The spire and its features, engaged buttresses, correct moulding, and finial, were correct to new Victorian Gothic Revival and likewise new features to the Colony. At the time of its completion the building was of a superior quality with a high standard of craftsmanship in its fittings. Its font communion rail, windows, and the enormous stone flagged floor of the nave are all of particularly fine craftsmanship.
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He served as High Sheriff of Devon in 1891, and as Deputy Lieutenant and JP and was a Major in the 4th Battalion, Devonshire Regiment. In 1885 he sold the former Bourchier manor of Holne on the River Dart to Hon. Richard Maitland Westenra Dawson (1845–1914), 3rd son of Richard Dawson, 1st Earl of Dartrey.(name corrected) In the same year of 1885 he made substantial improvements to Tawstock Court, most notably to the two long wings extending westwards, forming a long narrow courtyard, which received terracotta mullioned windows and dressings, probably made at Lauder & Smith's Barnstaple pottery.
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Local housebuilder J.T. Chappell executed Waterhouse's design, which was an elaborate Renaissance Revival-style red-brick and terracotta edifice with plentiful stonework and ornately mullioned and transomed windows featuring tracery and coloured glass. A prominent clock tower supplied by Gillett & Johnston's predecessor company Gillett & Bland rose from the roof. The building was destroyed by fire on 9 January 1966, leaving only the west side standing. Restoration was considered, but by the 1960s Victorian architecture was considered old-fashioned and unworthy of preservation, and the remains were demolished by 1971 to make way for a replacement building.
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Though Christian is often referred to as being a church architect he also designed about 120 houses, mainly for wealthy gentlemen. Many were built in a heavy Tudor style with large stone mullioned and transomed windows, steep roofs with dormers and tall brick chimney stacks and displaying decorative timber-framing and tile-hanging. One of his earliest was Market Lavington Manor in Wiltshire (completed in 1865) for Edward Pleydell Bouverie (1818–89) a Liberal MP, Church Estates Commissioner and from 1869 an Ecclesiastical Commissioner. The house has an impressive gabled exterior in red brick with blue brick diapering.
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The church has the typical structure of the Cistercian basilicas, with a nave and two aisles separated by ogival arches and wooden ceiling. The main façade is characterized by a large marble portal (called Portale della Luna, "Moon portal"), decorated with high-reliefs and other re-used material. On the southern side are the Portale delle Donne ("Women's Portal"), also with marble decorations, and the bell tower, which is now shorter than originally and which was also used as a defensive structure. Opposite to the façade are three apses, with arcade decorations and mullioned windows of Arabic influence.
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A mullioned window before the restoration in a photo by Paolo Monti In the 15th century, Francesco Sforza consolidated the castle with the imposing buttresses, elevated over the Muzza canal and brick-made. The castle later passed to the d'Adda family and then to the Borromeo family, which motivates the name of Borromeo Castle occasionally given to it. In the following centuries, lost its military importance, the castle was used for different purposes: warehouse, prison, and recovery for homeless people. In the 20th century, restoration works were undertaken, bringing back the castle to its original features.
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Fitz House, the largest in the village, was built in the mid-17th century in dressed limestone and with mullioned windows; a left wing was added in 1700 and converted from a wool store to living accommodation in the 1920s. Close to the house is a 15th- century thatched barn. According to Wilson's Imperial Gazetteer of England and Wales (1870–1872): A small school was built in the village around the 1870s, and in 1893 the average attendance was 52. After it was closed in 1936, children attended schools in Dinton or Wilton; the building remains in use as the village hall.
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The eaves cornice has a corbelled trefoil frieze. The attic windows have faience surrounds, similar to the first floor arcade, two trefoil-headed transom lights over mullioned lights, each window is in a high gable with round-headed niches in a banded faience decoration and moulded coping. Between the gables there are bracketed corniced shelves carrying faience elephants under bracketed gables with trefoil bargeboards with a crocket decoration and elaborate finials. The round oriel corner turret has nookshafts like the other first floor arcades but with arcaded central lights and blind arches, below a band of linked, splayed shafts and large eaves gargoyles.
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The entrance for the visitors of the basilica is on the south side, almost entirely hidden by the ancient Bishop palace (today nuns monastery); it can be reached from the jetty through a renaissance portal and a vaulted stair. The basilica has three apses (one entirely hidden by the sacristy); the central one is constructed with ashlars and decorated with a Lombard frieze. The octagonal lantern tower dates to Romanesque period, but modified in the late 18th century. The bell tower is near the apsides and it is decorated with mullioned windows in the upper part.
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The cloister is on a quadrangular plan, whose sides, of different lengths, correspond to different, successive ages and construction styles (12th-15th centuries). The oldest sector, on the south, shows the original, sober Romanesque-Cistercian canons: it has three spans formed by three piers, with three rounded arcades supported by columns with undecorated capitals. The eastern wing is also in Romanesque style (early 13th century), and has five spans divided by four pilasters, The arcades form triple mullioned windows with, in the mullions, small rose windows with decoration in Arabic style. The capitals of the columns have vegetable motifs.
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K6 Telephone Kiosk, Todenham Road, Todenham, Google Street View (image date August 2016). Retrieved 6 October 2019 At south-east from the Old Reading Room, and on a private drive off Todenham Road, is Downbank Farmhouse (listed 1960). Dating to the late 17th to early 18th century, it is a rectangular plan two-storey house with wall courses of dressed limestone, mullioned casement windows and gable end chimney stacks. The house has single-storey extensions added in the 19th century: at the left red brick, at the right stone.Downbank Farmhouse, Todenham Road, Todenham, Google Street View (image date August 2016).
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The south range has two storeys plus attics and is entered by a porch on its north side. The façade of the north (entrance) front is irregular, and consists of five bays, three of which project forward and are surmounted by gables of different sizes with ball finials. The front also includes mullioned and transomed windows, a dormer, and a pair of round-headed arches in ground floor of the right bay. The outer doorway of the porch has a Tudor arch with the Molyneux arms carved above; it is flanked by small single-storey turrets.
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This was achieved by the adoption of several features of the famous façade of York Minster, including abandoning the paired "Magdalen College" windows in the uppermost stage in favour of large mullioned windows framed by a flamboyant arch rising to the level of the ornate parapet. The nave is like those of 15th-century churches in Suffolk.These are more strongly modelled than at York, and meet the obliquely set pinnacle above them in a continuous upward-sweeping movement. Another such flamboyant moulding rises from the tall central window to overlap the gable in a manner both complex and inventive.
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All that remains of the ruins of Belvidere Hospital is the imposing, Administration Building, in classical style and of the same grey sandstone. Red sandstone flats in Tollcross Road Overlooking Tollcross Road, and set in its original grounds, is Tollcross House, built in 1848. It was built (of gray ashlar) for one of the partners of Clyde Iron Works, James Dunlop. The architect was David Bryce who also designed Fettes College in Edinburgh and Balfour Castle in Orkney which shares with Tollross House the Scots Baronial style of crowstepped gables, circular towers with conical caps, massed chimneys and mullioned windows.
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Bell tower The abbey includes a church with a short bell tower, a cloister and a capitular hall, featuring both Gothic and Romanesque elements. For the construction sandstone and bricks were used to give a bichrome appearance to the exterior (such as in the upper façade), a feature common also in Liguria and Tuscany in the Middle Ages. In the Romanesque façade, two of the three original portals are still existing. The upper part also features small columns with arches, with a mullioned window in the middle, with Christ flanked by the archangels Michael and Raphael.
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Under the loggia is a 14th century rose window, with 15 rays and, at its center, a basrelief depicting the Agnus Dei. At the left of the rose windows are three coat of arms: the center one belonged to 16th century emperor Charles V, while the other two date from the 16th century restoration works. Further to the left is a mullioned window with Eastern art-like decorations from the original Frederick II's building. The façade is completed by a 14th centuryl portal, included within a prothyrum supported by two columns that have, at their base, two sculpture of lions (1533).
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His son Thomas, for services to his country, was created Baron Wallace of Knarsdale. The family also owned Featherstone Castle, and Hodgson described Knarsdale Hall as having declined in importance -- a gentleman's place of the 17th century now and for a long time since occupied by the farmer of the adjoining grounds... The garden walls have lost their trimness, the malt kilns and the brewhouse are gone. Today, however, the stone buildings on top of a high mound dominate the scene and are strongly built. The mullioned windows seem to have been inserted into an older hall.
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In 1598-1614 the medieval choir was demolished, the side chapels were modified and the original apse was replaced by a Baroque tribune surmounted by a dome designed by Jacopo Lafri, while the main aisle was covered by new cross vaults. The decoration of the tribune ceiling was also undertaken, and paintings in the same area and in the main chapel were added. In 1721 a statue of Saint James the Great, by Andrea Vaccà, was added to the façade. The medieval mullioned windows, replaced by Baroque windows, were restored between 1952 and 1966, and the vaults over the aisle were removed.
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In many respects the style of the houses varies greatly, but consistent features are a love of glass, a high elevation, symmetrical exteriors, consistency between all sides of the building, a rather square plan, often with tower pavilions at the corners that rise above the main roofline, and a decorated skyline. Altogether "...a strange amalgam of exuberant pinnacles and turrets, native Gothic mullioned windows, and Renaissance decoration."Williams, 209 Many houses stand alone, with stables and other outbuildings at a discreet distance. Glass was then an expensive material, and its use on a large scale a demonstration of wealth.
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The first floor has chamfered stone-mullioned casements with stopped hoods and the ground floor has metal casements to ground floor, all with leaded panes. The original central doorway, door and door surround has been repositioned in the early century extension and comprises a studded plank door with decorative hinges within a roll-moulded Tudor-arched surround with raised, carved spandrels, and thin pilasters to either side supporting rectangular pediment. Banks Farm is another classic Cotswolds stone farmhouse with elements dating back to the 17th-century. It has two stone plaques on the front bearing witness to major rebuilding, in 1736 and 1784.
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The low arcaded ground story is of rusticated stone, and at one time housed little shops. Above are two stories with Doric and Ionic columns separating large mullioned windows, and a fourth story forming an open gallery. The richly ornamented central section, which rises above the eaves in diminishing stages, holds female statues representing Justice, Prudence, and the Virgin Mary, and bears the coats of arms of the Duchy of Brabant, the Spanish Habsburgs, and the Margraviate of Antwerp. Renovations during the late 19th century by architects Pierre Bruno Bourla, Joseph Schadde and Pieter Jan August Dens drastically modified the interior.
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A statue and the plaque of the street The montée du Gourguillon has a length of 400 meters with a climb of 53 meters, which represents a slope of just over 7.5° on average. The street is wholly paved and has no sidewalk from its bottom to its intersection with the montée des Épies and has at regular intervals (every 10 meters) small steps over its entire length. The street is pedestrian but the residents can move and many cars are parked. Houses of the 15th century with decorated mullioned windows with fantastic animals and grotesques are still visible.
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A part of the old priory building survives today as Cowick Barton, now a public house, the modern address of which is Cowick Lane, St Thomas, Exeter. The priory building was rebuilt by Lord Russell in the 1540s, possibly as a residence for the bailiff of his vast Devon estates granted to him by the king, consisting chiefly of the lands of Tavistock Abbey. The present building is made from red Heavitree stone and is shaped in the form of an E, characteristic of the Elizabethan period. It retains most of its period stone mullioned windows.
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It subsequently passed to the town council which has used the town hall as its meeting place since it was formed in 1978. A major refurbishment was carried out in 2017; the refurbishment works, which entirely related to the main hall, included removal of the stage, sanding and re-varnishing the flooring and installing traditional lighting. The building is constructed of stone and has two stories, with chimney stacks and rows of mullioned windows on the long elevations. At the northeast end are two flights of stone stairs leading to an enclosed landing, above which is a large circular clock.
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Tait, P. 69 Work commenced in 1887, the plaster that had hidden the half-timbering since the 1660s was stripped off, and the sash windows replaced with wooden mullioned windows more appropriate for an Elizabethan building built 1586. The Society for the Protection of Ancient Buildings attempted to stop this, but failed. Internally the only major change was the insertion of five tie rods into the roof of the Hall. The builders for the work were Holland, Hannen & Cubitts; heating was by W.W. Phipson and D.O. Boyd, with the iron work in the hall by Hart Son Peard & Co. The work cost £9,900.
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The church is currently located on the site where the patron saint of the town, San Marone, was believed to be martyred in the 2nd century AD. The church was established in the 9th century to store his relics. The ancient church and the surrounding hamlet were nearly destroyed in the medieval period by the townsmen of Fermo. The church was rebuilt in the 19th century with a Gothic Revival-style under the designs of Giuseppe Sacconi. The brick facade is decorated with a central rosette, and the windows are narrow, except for a mullioned series in the belfry of the bell tower.
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The house was completed in 1583 by the Elizabethan Lord Chancellor, Sir Christopher Hatton, who refused to sleep a night in the mansion until Queen Elizabeth I had slept there. It was one of the largest prodigy houses of the Tudor period, rivalling in size both Audley End and Theobalds, and was reputed to occupy approximately 78,750 square feet (7,300 m²), although this probably included the two great courtyards around which it was built. The facades were symmetrical, with mullioned windows and open Doric arcades, reflecting the Renaissance style of architecture gradually spreading from Italy. Hatton died in 1591.
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Amanda Lillie, Florentine Villas in the Fifteenth Century: An Architectural and Social History (Cambridge University Press) 2005:239 and fig. 195. The square The palazzo has mullioned paired windows (bifore); the radiating voussoirs of the arches increase in length as they rise to the keystone, a detail that was much copied for arched windows set in rustication in the Renaissance revival. Its dominating cornice is typical of the Florentine palaces of the time. The palace was left incomplete by Simone del Pollaiolo (il Cronaca), who was in charge of the construction of the palace until 1504.
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The windows are glazed with diamond mullioned glass in varying shades of blue and green forming geometric patterns. Notable fittings in the church include the marble high altar, confessional boxes, stations of the cross, a shrine to Our Lady of Czestochowa and statues in the side altar recesses. The high altar is of white marble with green marble detailing and is centrally placed within the chancel below a "rose" window glazed with coloured glass depicting a crown and cross within a circle surmounted by a fleur-di-lis. Two timber confessional boxes are found at the rear of the church.
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From the guide of the Comune di Narni. After the fall of Venetian Republic in 1797, it was passed down through the family of Giovanni Brandolino and became the property of the Brandolini Counts, an ancient family from Forlì. In the first half of the 16th century Antonio Maria Brandolini (1476–1522), commissioned skilled engineers to enlarge the central part of the castle in Sansovino style, adding Venetian Gothic double and triple mullioned windows. In 1700 the Brandolini family commissioned Ottavio Scotti, architect and Count of Treviso, to design and build an extension to the southern part of the castle.
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Starting in 1404, Pierre Terrail undertook the construction of his residence in a place called Bayard, near Pontcharra. Even if it were only a strong house, the building he made was however far from being negligible: illustrations of the 19th century show a residence protected by four round towers, raised on three levels of mullioned windows. The terrace gives on the valley of Grévisaudan and its marvellous views, opening on vast territories: Jura mountains, those of Vercors plateau, massif of Belledonne and Chartreuse mountains. Pierre II, Pierre Terrail's son, took the title of Lord of Bayard.
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As part of the Tudor suppression of Irish Monasteries at the end of the 16th century, the Augustinians were driven out of Adare and had moved to Limerick city by 1633. Many of the features of the friary are very well preserved, particularly the small 15th century cloister and sedilia. The garth is small and square, and the piers are relatively narrow and buttress-like, with boldly moulded plinths repeated along the base walls. The arches between them are relatively high and four-centred and the triple openings are set centrally in the walls, with unglazed mullioned windows.
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Its lofty gables, cupolas, 48 chimneys and mullioned windows are good examples of the period style. Two large weathervanes were designed, overlooking the hall's turrets, in the shape of the letters M and I for Meynell Ingram. The 114 ft Long Gallery runs along the north side of the house, and was typical in Tudor homes, as a place where the family, particularly during bad weather, could walk, play music, or sit and talk. The private chapel at the east end of the Long Gallery was built in memory of Meynell's son, by his widow, Charlotte Wood.
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The church shows clear influences from the workers who were called to build it, and which belonged to the Lombard and Pisane schools. The portico, inspired by French models, has a lower storey with three rounded arcades, two of which included mullioned window (the left one closed). The middle arcade leads to the narthex, which has six groin vaults supported by cruciform piers. On the narthex' right side is a staircase leading to the upper floor with three rooms, the central of which, provided with an altar, was the private chapel of the bishops of Bisarcio.
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George Basevi designed the Hall in the Early Tudor style in 1836, "with mullioned windows and a cross above the central gable", and the Marquess of Bristol donated nine acres of land to build the school. Rev. Henry Venn Elliott founded the school for the "daughters of poor clergy" in 1836. Elliott chose to locate the Hall in Brighton because "the Prince Regent had made it a popular place to live", and Elliott believed there would be many wealthy families in that locale seeking governesses. Early school registers, however, do not show many graduates were thus employed.
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A curved outside staircase still provides access to the three upper floors of this little tower so it can be explored. It has mullioned windows and is noteworthy for its finely carved fireplace with a joggle voussoir arch and its tall round chimney. The rounded chimney may be a later improvement. It is broadly similar in size and layout to Clara Castle in Clara, but differs in that the gable-end walls are carried up one story higher than the other two walls and form to elongated turrets with their won rampart walls at the highest part of the building.
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The multi- gabled three-storey house has wooden mullioned and transomed windows and is a "calendar house", reputed to have 365 windows, 52 rooms (on the first two floors), twelve chimneys and seven external doors. The central hall has a 52-panelled stained-glass window depicting the months of the year, signs of the zodiac, birds associated with the months and agricultural activities of the months. The Ripley family sold the house for educational purposes in about 1950. The building was badly damaged by a fire in 1996 but was fully restored and continues to be the centrepiece of Bedstone College.
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The Steads were to become substantial landowners throughout South Yorkshire and owned the Onesacre estate for over 400 years until the year 1794, they were also connected to the nearby Hillsborough House and Burrowlee House. It was Nicholas Stead (1583-1639) and his son Thomas (1619–86) who instigated the building of the gabled and mullioned Onesacre Hall using the master mason John Hawley of nearby Thorn House Farm to construct the hall. The building was done in two phases the first being 1630 -1640 and the second between 1660 -1670. In 1672 the Steads were taxed on six hearths at the hall.
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The right front portion of the roof at its curb is cut inward of the lateral ridgebeam to expose a small, second-floor balcony above a beveled side bay. A large, pedimented front gable includes an off center, mullioned spider web window. With Dr. James C. Davies and his family moved to Boise from Emmettsburg, Iowa, in 1904, first occupying a house the Idaho Statesman referenced as the Randall residence at 12th and Washington Streets. Dr. Davies purchased a lot from E.C. Cook one block east of the Randall residence, and he ordered construction of the 10-room Davies House.
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The remaining part of the original Oxnead Hall The house was originally built for Sir Clement around 1580, but was remodelled by Nicholas Stone, for Sir William Paston, between 1631 and 1632. At its zenith the house had seventy-nine rooms, but under the Earls of Yarmouth it declined until by 1744 it was described as ruinous.Pevsner and Wilson, 1997, p 636 A two-storey service wing, with mullioned and transomed windows, is all that remains of this Hall. Pevsner comments that the west front ‘displays a nice pedimented doorway and a moulded platband between the floors.’ A nineteenth-century extension has been added and the Hall is occupied.
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The crossing tower is supported on four pendentives which are decorated with small columns over corbels; these reach other corbels in the lantern tower where are sculptures (from Antelami's school) representing symbols of the Four Evangelists. Beyond the crossing is the chancel, with the presbytery and the rectangular choir, which is illuminated by a large rose window and three mullioned windows, and has wooden seats from the early 16th century. Artworks include the funerary monument of abbot Thomas Gallus (early 14th century), with a fresco of Lombard school. In the first chapel in the left arm of the transept is a 15th-century painted crucifix.
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The very latest innovation, sash windows, was used on both floors. The semi-basement and attic storey used the more old-fashioned mullioned and transomed windows, indicating the lower status of the occupants of these floors. It was clearly emphasised from without that the two main floors of the house were purely for state and family use, and the staff and service areas were confined to the semi-basement and attic floors. This concept of keeping staff and domestic matters out of sight (when not required) was relatively new and had first been employed by Pratt in the design of Coleshill House in Berkshire.
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Detail of the dilapidated Barnes Hospital clock tower (pictured 2011) The Barnes Convalescent Hospital was built for the Manchester Royal Infirmary between 1871 and 1875 by Lawrence Booth of the architecture firm of Blackwell, Son and Booth of Bury and Manchester. It is noted for its architectural distinctiveness and as an early example of a purpose-built convalescent hospital. The building was designed on a cruciform plan in the French Gothic Revival style, constructed of red brick and blue brick with ashlar and terracotta dressings, and the roofs are covered with Welsh slate. The building was richly decorated with ornamental brickwork, pointed arched and mullioned windows, decorative ridge tiles.
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Aslet and Power, 162-164 Confusingly, it was then promptly named "Queen Anne style", when in reality it combined a revival of Elizabethan and Jacobean design details including mullioned and oriel windows. The style later began to incorporate the classic pre-Georgian features that are generally understood to represent "Queen Anne" in Britain. The term "Queen Anne" for this style of architecture is now only commonly used in the USA. While in Britain the style remained closer to its Tudor roots, in the USA it evolved into a form of architecture not instantly recognisable as that constructed in either the Tudor or Queen Anne period.
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Above the portal is a double mullioned window with a bas-relief of the "Archangel Michael Defeating the Devil", and above it, a 16th-century rose window with twelve radiating columns. This is in turn surmounted by the Sedente ("Sitting One"), an enigmatic figure which has been variously identified as Robert III of Loritello (who funded the construction), while at the top of façade is a statue of the Redeemer. The bell tower, in a different style, most likely formed part of the medieval city's walls. The interior is divided into a nave and two aisles, ending into three apses, with an orthogonal transept.
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There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window.
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The later wing, also started in the 16th century, protruding in a westerly direction, is about 38 metres in length. It has a gable-roof and a plain parapet relieved on both fronts at intervals by small open stone arches surmounted by short pinnacles and having the form of a prick spur. The wing is lighted by rows of square mullioned windows which have red sandstone dressed quoins, and above the windows over the doorway is a square tablet enclosing a weather-worn coat of arms. Projecting from this wing was a further wing, now gone, balancing the Pele Tower to form an open courtyard.
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An account of a boy's experiences of living at the Orphanage between 1928 and 1933 can be found online. Of the original buildings only the porter's lodge off Knights Hill now remains, its curving Dutch-gables, red brick with black diaperwork and mullioned windows echoing the design of the main 3-storey institution. The Arnold & Jane Gabriel Home was built on the Wolfington Road frontage of the orphanage in 1910; it was converted into Julians primary school in 2012, which now features a colourful modern extension to the original building. The charity that operated the orphanage in West Norwood retains an echo of its previous location in its current name Norwood.
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The church has a façade divided into three parts by two fake columns, with a central triple mullioned window with marble columns; the small bell tower on the right is in Spanish style and is a late addition dating to the Spanish rule of Sardinia. on the left of the façade is inserted an early mediaeval marble slab from another edifice, perhaps portraying Christ entering Jerusalem, or a clash of knights. The apse is decorated with small corbels, and is surmounted by a large pediment. The interior, showing the granite construction of the basilica, is on a nave and two aisles divided by columns and piers.
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King Edward the Seventh. La Chambre le Roi at the time of Richard III extended for the whole of the first floor of the Inn, with the two mullioned bay windows for both ground and first floors, that can be seen here, at each end of the room. In 1812, Lord Brownlow sold his property in Grantham to William Manners, including another pub, The Angel Inn, which had taken its name from stone carvings of angels on the front of the building. The gateway arch of the Angel Inn, as it stood in the 19th century, was older than the rest of the front of the building.
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The recent restoration project of the church was finished at the end of 2017 and also addressed the needs of the last Quinquennial Report. The project was principally funded by the Heritage Lottery Fund, and also included the repointing of the external walls of the chancel and north and south transepts of the church, the relining of the organ roof above the vestry, renewal of the guttering, and the restoration of the mullioned window in the south transept. The most recent project followed two previous restoration projects, over the last 10 years or so, to restore the tower, and to repair the nave and roof of the church.
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The church tower, known in the local dialect as Ciribiciaccola, starts from the dome area at 9 meters, with two octagonal sections of 4.14 and 12.19 meters, and a final conical one of 11.97 m. The upper point, in correspondence of the tip of cross which lies over a globe, is at a total height of 56.26 m. Each of the sections is divided into two area with Lombard bands in different shapes, with carved frames and white pinnacles. The double, triple or quadruple mullioned windows are in Candoglia marble, the same used for the Milan Cathedral, while the single ones are in cotto.
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The interior of the nave is covered with three domes, a transept of great length with lofty towers over the north and south ends, and an apsidal choir with four chevet chapels. At the crossing with the transept, is a larger dome over pendentives, which has replaced the original one destroyed in the Protestant siege of 1568. Once lighted by two lantern towers, the transept has maintained only the northern one (Abadie also modified it, and moved the medieval sculptures to other locations), characterized by several orders of mullioned windows. The semicircular choir is flanked by small apses and covered by a half dome.
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Sunset over Lough Gill with Parke’s Castle in Foreground The castle had extensive and sensitive restoration carried out at the end of the 20th century by the Office of Public Works. The window glazing was reinstated, and local artisans restored the timber stair and the mortise and tenon oak roof, using techniques of the 17th century. The walls of the original bawn were a spacious pentagonal defensive area, with the O'Rourke tower house placed in the centre of the courtyard. The stones of O’Rourke’s tower were used to build the three-storey manor on the eastern side, eventually adorned with mullioned windows and diamond-shaped chimneys.
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The present cathedral is the result of a long series of rebuildings and repairs over the centuries. The first cathedral of Terni was built, according to local tradition, over a pagan temple by the first bishop of Terni, Saint Peregrine, in the 2nd century. Tradition states further that Saint Anastasius, bishop of Terni from 606 to 653, built another cathedral on the site in the 7th century. Repair works between 1932 and 1937 (to plans by Marcello Piacentini) uncovered in the present crypt three apses and the remains of a rose window between two mullioned windows, each of two lights, from this earlier structure.
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The façade, in brickwork, is asymmetrical and is in a typical Romanesque style, with the exception of the large Gothic entrance portico supported by small columns with lion sculptures at the base. Other features include the large central rose window and two Renaissance double mullioned windows, similar to those designed by the school of Giovanni Antonio Amadeo for the Certosa di Pavia. There is also a niche housing the bronze statue of Saint Bassianus, a copy of the 1284 original in gilded copper, now inside the cathedral. The massive bell tower, built in 1538–1554 to a design by Callisto Piazza, remained unfinished for military reasons.
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Several of the paths on the street are open to visitors. At No. 4, there is a façade of the sixteenth century, at No. 6, a façade of the fifteenth century, at No. 10, two staircases placed side by side and a gallery (this traboule signed an agreement with the city of Lyon for its opening), at No. 14, the gothic façade of the Mayet de Beauvoir house, built in 1516 decorated with protruding flowers, mullioned windows, arches, medallions, a statue of the Virgin, and at No. 18, a nice staircase and a building with an arched driveway with rib vaults that fall on caps adorned with angels, devils or animals.
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Ambo The remains of a palaeochristian church, which predates by some centuries the establishment of the bishopric, have been discovered underneath the present building. The existing church however is a Romanesque building of the late 11th-12th centuries, influenced by the Basilica of San Nicola in Bari. The west front is divided into three parts and has three portals (the central one of which is sculpted with plant motifs and scenes from the Old Testament), four mullioned windows and a rose window flanked by sculptures of animals supported by small columns. The interior has a nave and two aisles, and is also notable for its sculpture.
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In 1671 his son, the historian Sir Peter Leycester, 1st Baronet (1614–78), enlarged the house, adding a staircase and an upper storey. He arranged for the exterior to be encased in brick in Jacobean style, with a mixture of mullioned and round windows, and a porch with statues of lions. In 1674 Sir Peter replaced the chapel adjacent to the hall, designed in a mixture of Gothic and Jacobean styles, and a tower was added to the chapel in 1724. After the new house was built in the 1760s, the Old Hall continued to be furnished, and the chapel was used for family worship.
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Leaded glass windows were replaced with steel mullioned windows with concrete spandrel panels and new rendered masonry surrounds, while pointed arched windows to the side walls were replaced with triangular head windows. Originally consisting of three double-storeyed height rooms extending in turn to the west, north, and further out to the east, the building has been divided into two storeys. The ground floor has been partitioned for administrative offices, and the first floor now serves as a meeting area. The fine and impressive timber roof structures of the three major rooms remain visible on the upper floor, being composed of exposed timber blade trusses on quarter-round impost blocks.
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In addition, many Christians (Mozarabs) lived in Moorish territories and were allowed to practicise their religion and build churches. Asturian architecture and Mozarabic art influenced Christian buildings in the future Portuguese territory, as seen on the few structures that have survived from this time. The most important of these is the Church of São Pedro de Lourosa, located near Oliveira do Hospital, which bears an inscription that gives 912 as the year of its construction. The church is a basilica with three aisles separated by horseshoe arches, a narthex on the façade and mullioned, horseshoe-shaped windows of Asturian influence on the central aisle.
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The new front projects further forward than the previous, so that the older turret of the north wing became less obvious, as three-quarters of its mass was absorbed into the enlarged hall. The west front has two large mullioned double-height windows flanking the principal entrance. The present glazed Gothick castellated porch (G on plan) was added in 1722, when the existing 15th-century porch was moved into the garden, given an extra storey and transformed into a clock tower ("H" on plan). The hall's central open fire, was replaced by a fireplace complete with chimney, so that it became possible to place a second floor above the hall.
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The massive west front is divided into five parts by six lesene (applied strips), each of which is surmounted by a tabernacle housing a statue. The façade has several mullioned windows with, in the centre, a large rose window framed by a motif inspired by Roman antique ceilings, decorated with rosettes, masks and star motifs. The rose window Frescoes in the Theodelinda Chapel The façade is considered Romanesque in its structure and Gothic in its decoration. Typical of the latter is the porch, with 14th century gargoyles on the sides and the 13th century lunette with the 16th century busts of Theodelinda and King Agilulf.
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View from site of Colcombe Castle southward towards Colyton town Pevsner doubts the building having been a true castle or indeed having been fortified at all. Few remains survive on the site now occupied by a farmhouse and farmbuildings called "Colcombe Abbey Farm". (The appellation "Abbey" appears to have no historical significance as no Abbey is known to have occupied the site.) Only one small building, now converted to a house with Grade II listing, displays signs of ancient construction, namely its mullioned stone window. Hoskins reported this to contain "a splendid kitchen with a fireplace nearly 20 feet across with a private room above".
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The Charles and Theresa Roper House, also known as Hilan Castle, is a historic residence located in Newport, Oregon, United States. Built in 1912–1913 to evoke a castle in the Scottish Highlands, it features such Medieval-inspired elements as a crenellated parapet, mullioned windows, a rounded corner tower, and a cantilevered turret. It is one of very few examples of the Castellated Gothic Revival style in Oregon, other than local armories. Its first owners, both English immigrants, were locally notable figures: Charles Roper was a professional photographer whose work comprises an important documentary record of central Lincoln County in the 1910s and 1920s.
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Moorish mullioned window in the Alhambra of Granada Mullions may be made of any material, but wood and aluminium are most common, although glass is also used between windows. I. M. Pei used all-glass mullions in his design of JFK Airport's Terminal 6 (National Airlines Sundrome), unprecedented at the time. Mullions are vertical elements and are often confused with transoms, which lie horizontally. In US parlance, the word is also confused with the "muntin" ("glazing bar" in the UK) which is the precise word for the very small strips of wood or metal that divide a sash into smaller glass "panes" or "lights".
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Archaeologist for pleasure and antiquarian, Alessandro restored and extended the castle in the same way he did with the "Casetta Piceller", a 14th-century chapel situated in Collestrada, restored and re-adapted into a little country-house. Casetta Piceller Restoration works were directed by Filippo Lardoni and Alessandro Arienti. On 23 November 1849, the bishop Vincenzo Gioacchino Pecci (he will become Pope Leone XIII) inaugurated the castle. Alessandro Piceller did not only restored the ancient medieval building but he enriched it with many artistic and architectural elements (bas-reliefs, statues, a little rose, balconies, mullioned windows and so many other objects from different historic periods.
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Bingham Towner's 1954–55 church, a "pleasant little building" of yellowish-buff brick, with a steep shingled roof and designed in the Vernacular style, was small and unpretentious: Nikolaus Pevsner described it as "modest indeed", even after its porch and sacristy were added in 1966. The "fine oak porch" gave some more emphasis to what was "just a simple rectangular box". The mullioned leaded light windows gave an unecclesiastical appearance reminiscent of a Tudor Revival house. The new church was designed to be wider than its predecessor, which meant the pitch of the roof (originally planned to be as steep) had to be flattened to avoid affecting nearby houses.
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The former John Nixon Memorial Hall of 1912, by an unknown architect, contrasts with Kemptown's small-scale stuccoed terraces with its broad arched-windowed, red-brick façade and the Neo-Jacobean free-style treatment of its gabled roofline. It was used as a church hall, as was the Edward Riley Memorial Hall in Carlton Hill (now the Sussex Deaf Centre)—a brown-brick building with a steep clay-tiled roof and high flint walls around it. The Ralli Memorial Hall near Hove railway station introduces a red-brick Renaissance theme to the formal gault-brick villa architecture of the area. A distinctive balconied porch and prominently mullioned and transomed windows also contribute to the building's character.
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In 1355, it was assigned to Bernabò within the division among him and his brothers Matteo II and Galeazzo II. Between 1355 e 1370, Bernabò, who had received the eastern portion of the Visconti territories, built a defensive line along the Adda river. As part of it, he strengthened and enlarged the castle of Cassano d'Adda, giving to it its definitive shape. The porch with pointed arches in the courtyard and the mullioned windows on the western facades are attributed to Bernabò's period. The wall structure was mainly made up (as can be seen in the unplastered parts) of Adda pebbles alternated with brick rows, a building technique commonly used in medieval fortifications located near the rivers.
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18th century mansion built of Bath stone, with Italianate alterations The number of mansions, old country houses and stately homes is a marked feature in Wiltshire. Few parishes, especially in the north west of the county, are without their old manor house, usually converted into a farm, but preserving its flagged floor, stone-mullioned windows, gabled front, two- storeyed porch and oak-panelled interior. Place House, in Tisbury, and Barton Farm, at Bradford-upon-Avon, date from the 14th century. The best examples of 15th-century work are the manor houses of Norrington, in the vale of Chalk; Teffont Evias, in the vale of the River Nadder; Potterne; and Great Chalfield, near Monkton Farleigh.
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The façade seen from the lake The façade of the church is visible from the lake or from the square in front, which now is part of the monastery of Benedictines nuns. It is in Romanesque style, despite the modifications occurred in the 16th century, that include a pronaos and a serliana window on top of it. Two pilasters frame the entrance up to the roof: they divide the façade in three allowing to foresee the inner structure of the church; in the center part there are a crossed window and a Lombard band running along the roof. The two lateral parts end with towers (12th century) with mullioned windows and cotto archivolt.
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Saint Clement church in Vezza d'Oglio The church of Saint Clement () lies in the territory of the Vezza d'Oglio comune in Valcamonica, Brescia province. It can be reached by following an unpaved road from central Vezza until reaching a spur of rock offering a wide view on the underlying valley. Only the bell tower, adorned by a double row of mullioned windows, remains of the original medieval structure; the body of the church was rebuilt in the 16th century. It is believed that a religious guest accommodation was located in the neighborhood of the church, which, although itself located some height above the valley bottom, once lied on the hillside transit route.
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The style of the timbering also suggests a 16th-century date, and there was, in 1968, a loose date-stone on site inscribed with the year 1505. All that survived in the late 1960s, when the Hall was recorded in detail before its demolition, was a two-storey, two- bay timber-framed range with stone walling to the ground floor, and diagonal timber ‘stud’ walling with a stone slate infill (partly replaced by bricks) at first-floor level. The ground floor stone walling was an original feature of the building (there were no peg holes or mortices to show that it replaced earlier timbering), though the windows in it were timber-mullioned.
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Houses inside the walls photographed by Paolo Monti in 1970 The castle, which during the years of administration by the Basilica had maintained its original lines, lived a period of decay between 1806 and 1875. In fact, it emerged the problem of filling the void produced by the loss of feudal rights, and finding new sources of revenue for the maintenance of the Basilica of San Nicola and the Chapter. Therefore, the outer ring was opened with more doors and gates to obtain windows to be used as workshops, houses, barns and shops that provide income to the Nicholas Chapter. The gap was bridged, the tunnel blocked, the mullioned windows were defaced and turned into balconies.
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It was released from their influence in 1437 by Jacques of Anjou. The castle had only a few modifications during the following centuries. It was altered in the 15th century by Jacques d' Armagnac who added mullioned windows to make the keep a more pleasant place to live. At the time of the Wars of Religion between Catholics and Protestants, it was the site of the signature of the Treaty of Nemours in 1585 between Catherine de' Medici and the Duke of Guise, which ratified the progress of the Catholic League and urged Protestants to leave the kingdom, before “good” King Henri IV finally put an end to the quarrels nearly a century later with the Edict of Nantes.
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The style is similar to Forde House, Newton Abbot, circa 1610 :"This fair house of Netherton which Sir Edmund Prideaux built, though no longer fair, is the place of residence of his lineal successor Sir Wilmot - and with him it bids fair to fall to the ground for the mansion and the family will probably perish together. They both totter and to neither is there a prop of support" ... "Surrounded by paltry offices and deserted gardens, its mullioned windows block'd up to save a trifling tax, and deprived of the groves that once overhung it, naked and forlorn, little is the consequence which it possesses, and for ever has it ceased to arrest the admiration of the traveller".
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The elevation is symmetrically composed and defined by a decorative parapeted gabled, where a moulded capping follows the curves and notches of a Cape Dutch gable outline. Featured on the elevation are several groups of round headed arched openings; a porch/loggia is formed by a recess separated from a wide concrete stairway by an arcade of three arched openings supported on large cast iron columns; centrally located on the facade above this is a doubled arched opening with a lightly-framed Juliet balcony flanked by groups of three arched window openings. Centrally placed near the apex of the parapet is a large diamond mullioned "rose" window. Surmounting the apex of the gable is a masonry Latin cross.
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The window openings which line the principal facade have fixed louvre timber shutters. Many features of the original home, Adderton, remain extant including its facade to the south east, with early window openings and doorway over which is an elliptical fanlight fitted with a stained glass panel. The half-glazed entrance door opens onto an entrance vestibule, flanked to the north and south by parlours, and screened from a central hallway running parallel to the facade, by an elliptical arced opening fitted with a four panel glazed timber screen. Each parlour is fitted with a marble fireplace and two finely mullioned 12 paned vertical sash windows, one panel of which is stained.
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Randwick Post Office is a two-storey dark red double brick building of stretcher bond construction, in Free Classical style, with tuck pointed ashlar sandstone facing to street facades up to first floor balustrade level. It has a predominantly hipped, complex terracotta shingled roof, fanned over the eastern faceted bay, with a crowning louvred gablet at the centre. Two brick and sandstone chimneys with terracotta pots penetrate at the north and south sides of the main building, with a third to the northern single-storey section. There are pediments over the south and east stone mullioned windows on the ground floor, with an arcade to Alison Road and a continuous dentilled string course running through the pediment base level.
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This existing building was probably constructed by Henry Jones for Randolph Wykes and is built of limestone ashlar with stone mullioned windows and a slate roof. It is of two storeys with attic and cellar, laid out to a double depth plan. The house was gutted by fire in 1917 and remodelled after that date. The description on the Historic England website was issued in 1985 and is based on external inspection only. Historic England’s description states that the building is 18th century. However, this is not consistent with the statement in “An Inventory of the Historical Monuments in the County of Northamptonshire” that “Haselbech Hall was built just before 1678 for the Wyke [sic] family”.
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Besides the entrance to each bedroom is a Pre-Raphaelite portrait in bas-relief on the wall, including one of Jane Morris. Enclosed areas... The gardens, seven in all, are enclosed areas (chambres verts – "green rooms" of plants) surrounding the house on the south and east sides. Gertrude Jekyll, their creator, mixed colours and scents together in order to design a unique atmosphere in each of them. The layout of the gardens relates closely to the rooms within the house; for example, the two stone seats set in niches in a yew hedge at the end of the White Garden mirror the arrangement of two small closets and a large mullioned window at the opposite end of the music room.
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Elizabeth I herself built almost nothing, her father having left over 50 palaces and houses.Summerson, 23 Outside court circles styles were much more slow-moving, and essentially "Tudor" buildings continued to be built, eventually merging into a general English vernacular style. When the style was revived, the emphasis was typically on the simple, rustic, and the less impressive aspects of Tudor architecture, imitating in this way medieval houses and rural cottages. Although the style follows these more modest characteristics, items such as steeply pitched-roofs, half- timbering often infilled with herringbone brickwork, tall mullioned windows, high chimneys, jettied (overhanging) first floors above pillared porches, dormer windows supported by consoles, and even at times thatched roofs, gave Tudor Revival its more striking effects.
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The Dower House is a detached rectangular plan two-storey ashlar-faced house with a 1717 datestone. Opposite the church, on Todenham Road, is the Old Reading Room, or Church View (listed 1960), an 18th-century dressed limestone semi-detached building with a 1713 datestone, mullioned windows and gable dormers, which was further extended in the 18th and 19th century.Church View and Old Reading Room, Todenham Road, Todenham, Google Street View (image date August 2016). Retrieved 6 October 2019 Opposite the Old Reading Room, set against the churchyard wall and forming an L-plan with The Farriers public house, is the single storey red brick Blacksmith's Shop (listed 2008), a blacksmith's forge, dating to about 1757, which was extended in the mid- to late 19th century.
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Abbess Grange is a neo-Elizabethan house at Leckford, Hampshire, England designed by Sir Banister Fletcher, a British architect, in 1901 for George Miles-Bailey, on the site of a former grange of St. Mary's Abbey, Winchester. The house consists of a two-storey main block with attic and a projecting single-storey billiards hall on the left, and is built on a levelled platform cut out of the hillside. The Dutch-gabled right-hand three bays of the main block project forward and have, in the centre, an Ionic porch with pairs of column supporting a heavy entablature. Over the porch is a seven-light mullioned and transom window, and to either side is a three-light Ipswich window.
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The hotel retains elements representative of the Gothic style, especially for the parts built by Huc de Boysson, but also Renaissance elements, in the parts added by Jean de Cheverry. In the first gothic courtyard, on the first floor of the tower a large Renaissance-style mullioned window was opened in 1535: the columns and the mullion were replaced by three caryatids and the pilasters are covered with arabesques. The second courtyard was formerly the garden of Huc de Boysson, and on the east side of the courtyard, in the part which belongs to the Hotel de Boysson, there is a remarkable window: the Gothic frame is overloaded with scorching scrolls of Finely carved thistles. The arcaded gallery is supported by columns of stone Doric style.
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The property is built over four storeys, featuring several separate cellars, ground floor, first floor and extensive attics in the roof. The house, which has eight bedrooms, still retains the very wide fireplaces in both the kitchen (stretching across most of one wall) and the drawing room. The property is of thinly bedded coursed measured sandstone with ashlar dressings, coped gables, quoins, gable and end ashlar ridge stacks with moulded caps and a stone slated roof. To the north elevation there is a central gabled range with tall chamfer mullioned window set centrally at each floor level beneath a drip mould; the ground floor with four window lights, the second floor with three window lights and the attic floor with two.
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It is obvious from the materials and architectural features of the remaining structure that the building was constructed, at least in layout if not in ornament, to the latest Renaissance fashion. The lower or ground floor level is built of thin limestone blocks, is very plain and has small mullioned windows, meaning it was probably used as the domestic area of the house, where the servants would have worked, but probably not slept. The upper level is built in red brick in English bond and most probably constitutes a piano nobile, a principle still very much new in Northern Europe at the time. Brick at the time, although having been used previously, had rarely been in use in British secular architecture before this period.
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Of the Gothic building, the nave, aisles and the façade are in white (marble) and black (slate) stripes, divided into three sectors by fake columns with Lombard bands; in the center is a large rose window, while on the sides are two double mullioned windows. The façade includes a late Roman sarcophagus with an Allegory of the Autumn, which originally was used as the tomb of Lamba Doria, who had taken it to Genoa from Korčula in Dalmatia. At one time, large chains, which once had protected the harbor of Pisa and which had been obtained as booty after the victory at the Battle of Meloria (1284), were draped across the facade. In the 19th century, they were returned to Pisa.
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The house is primarily composed of protruding bays and timber mullioned window walls, shaded by deep eaves, stone and brick construction with concrete elements. The upper level constitutes most of the glass with glazing at the rear and lower level, it is one of the most significant design elements of the house as it floods most of the upper level with natural light. The house does not demonstrate a Pitched roof, in place it uses a raked flat roof with an overhang on the front facade for shading onto the entrance. Two storeys in height, the upper level is primarily living quarters and dining where the lower level is non living space and the lounge with access to the back yard.
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An original manor house dates from 1662 and existed prior to the current one, and was described by Jonathan Couch in his History of Polperro (1871): "At the top of the eastern hill ... is the neat old manor- house of Killigarth, with its antique square-headed and granite-mullioned windows, its respectable arched doorways, and massive chimneys ... The house has on the second stage, a fine room, now used as a sleeping apartment; but, from its dimensions and the labour bestowed on its decoration, evidently once the state room of the house."Couch, Jonathan (1965) The History of Polperro. Newcastle upon Tyne: Frank Graham; p. 21 In 1872, the original house was demolished and a new house was built using the same stone, as shown by the building's date stone.
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The church is preceded by a small churchyard surrounded by a wrought iron gate onto which both the church and the rectory. The façade of the church of Christ the King is divided into two sections by a horizontal cornice in stucco: the lower is the portal, supported by two Corinthian columns and topped by a lunette mosaic depicting Christ Blessing; in the upper one, there are the window with round arch and cornice supported by two shelves decorated with a pattern hanging arches. To the left of the facade of the church, there is a bell tower with a belfry with three mullioned windows that opens to the outside. To the right of the church, however, is the rectory, on two floors, with four rectangular windows on the facade.
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In 1978, the local An Caisleán Gaelic Athletic Association club (now St James Gaels GAA club), took possession of the castle's coach-house and renovated it to give them a clubhouse, hall, kitchen and changing rooms with adjoining showers. By the mid-1980s the castle was a ruin with fallen roofs, missing windows and partly collapsed masonry. In 1986 Peter Pearson, an artist working with An Taisce, the national trust for Ireland, set up a local committee and got FÁS (Foras Áiseanna Saothair) the state training authority, involved in a conservation and restoration programme. All work was carried out by hand; the construction of a 15th-century medieval oak roof over the great hall, mullioned stone windows, lime mortars for building stone and plastering and wood carving in oak.
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On low medieval stage the family fortifications splashed the Cantabrian geography with buildings designed to defend the coast and protection against war of the bands It is isolated towers built between the late 12th century and early 15th, which meet certain military function and watchtower over the territory. Its respond to a style Gothic, in many occasions late, and did not show up in urban centers. Its have, as common features, square plants and walls of masonry with reinforcements of ashlar, narrow windows and mullioned or ensaetadas, usually a single entry and wood floors. Usually it has three to four floors, being the services in the lower (cellar, salting), a banquet and reception at the first and stately premises on successive; The main staircase was located near the entrance and was usually of wood.
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The Tavern is a brick, two storey building, sitting close to the road overlooking the Jane Brook and Railway Reserve Heritage Trail. It has large verandas and balustrades on both floors across most of the south and west facing frontages which contributes to the building's impact on its surroundings. The timber veranda detailing has arched underside veranda beams together with unflamboyant ladder friezes; the dominant projecting roof gables over the front veranda; the remnant of rough cast render combined with brickwork on the chimney are of a later 'Bungalow' style, whilst the rendered bands of brickwork, rendered sills and lintels, the double hung timber windows, Georgian mullioned in the top sash and the odd surviving elements of stained glass all express the building's character from the federation period.
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The façade is broken by two gabled bays to the left, and one to the right, the right side of the building terminating in the Great Hall. While the whole exterior of the building, with its glowing sandstone, battlemented roofline and array of glinting leadlight windows give an imposing effect on top of the hill, it is the Great Hall that is regarded as the finest part of the design. The interior is loosely based on that of the Great Hall of Westminster, having a magnificent hammer-beam roof and a large mullioned and transommed window at each end. The windows of the long sides are placed high above an ornamented course in order that portraits may be hung beneath them, except at the south western corner where there is a large oriel window.
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The current building was dedicated by the patriarch of Aquileia and acted as the private chapel of Verona's ruling Scaligeri family, located beside their family cemetery (the site of the 13th-century Scaliger Tombs). The church has a small tuff bell tower (with three baroque bells) in a purely Romanesque style, with mullioned windows and a brick-covered spire. Around 1630 the three-nave interior was altered to the Baroque style, though a restoration at the end of the 19th century restored the original Romanesque interior, divided by columns with "sesto rialzato" arches, and with an "incavallature" roof supported by transverse arches, as at the basilica of San Zeno. There are two lateral apses in tuff and cotto, and a central apse with two early 14th-century frescoes.
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The two-story structure, standing on a hill about 87 feet above mean low tide and approximately a half-mile back from the beach, contained two instrument rooms on the ground floor and another instrument room on the second floor, where soldiers used azimuth telescopes to look for enemy shipping on Block Island Sound. The soldiers looked through the fire control station's characteristic mullioned observation slots — long, narrow windows with vertical supports. The ground floor also contained a kitchen, mess hall with an 8-by-4-foot mess table, latrine complete with urinals, duckwalk, and showers and barracks equipped with six double-decker bunk beds and a drinking fountain for the soldiers stationed there. Five space heaters, fed with coal, provided heat, and a 5-kilowatt gasoline generator in the basement supplied electric power.
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The house was in bad shape, and was littered with beer bottles and other trash from vandals and squatters who had broken into it during the five years it stood empty. After purchasing the house, the Lindleys cleaned up the place, adding a couple of bedrooms and a bathroom in unfinished attic space on the second floor and replacing the iron rungs from the first floor to the second with a staircase. The house remained close to its original and distinctive Army design, however, retaining the narrow slot windows, or mullioned observation slots, that had been installed in its three instrument rooms for spotting enemy activity. Today, iron rungs still lead up an interior wall to a crow's nest, once disguised as a fake brick chimney on the roof.
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Almost every house along the high street is more than 100 years old, from the Georgian architecture Gothic toll house at the western end to the groups of medieval barn, dovecote, and early Georgian stable range which go with the manor house, which dates from the 17th century, and Home Farm. Near the toll house stand the fine almshouses of 1612, built for the use of eight elderly villagers by two sons of Marshfield, Nicholas and Ellis Crispe, who had gone to London and made their fortunes largely through the West Indies trade. They endowed the houses with funds to provide a free residence, garden, and £11 yearly. Many houses date from Tudor era and Stuart times (a few were originally timber-framed) and have gables and mullioned windows.
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XLIII, Antelias, 1974, pp-296-310 Along the south and north sides there are tympanum portals adorned with dentils with inscribed an arch, modeled with a banded cornice based on two columns with acanthus leaves capitals.G. Cubinasvili, Razyskanija po armjanskoy achitektury, Tiflis, 1967, pp.90-94 The west facade is characterized by two windows like the ones on the principal facade, with different decorative elements and, in the high part of the facade, with a three-mullioned window that lights the nave. The sculptural decorations, realized with the technique of bass-relief on the architrave and capitals in the apse and on the head of the arcades, give importance to the emblematic and apotropaic motive of the Maltese cross (with four identical limbs) inscribed in a medallion, sometimes decorated with animals and/or trees.
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It adjoins the remains of the former family chapel, which was pulled down and rebuilt in 1860. The two priest holes within the building, used during the 16th and 17th centuries to conceal Catholic clergy, are located in the east wing in a void under the turret, and in the south wing behind a chimney stack in the old study. In the 20th century, when Lady Rasch, widow of the 16th Baron Petre, moved the family back to Ingatestone Hall, she began a major project to restore Ingatestone Hall to its original Tudor appearance. The works, overseen by the architect, W.T. Wood, included replacing alterations to the building with reproductions of Tudor period features, notably the re-instatement of mullioned windows on the west side of the building on the ground floor.
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The composition of Minor Canonries (1878–80) that Christian designed as residences for canons of St Paul's Cathedral, London in nearby Amen Court is in the manner of Norman Shaw's Domestic Revival architecture, inspired by original Elizabethan and Jacobean buildings. Here Christian provided a careful design in red brick, beautifully set along the court, with large mullioned and transomed windows; patterned gables and tall chimneys; a tower topped by his usual pyramidal roof and elegant shell hoods over the doors. The court is entered through a pretty gateway, also in red brick, with a Tudor style arch which has an oriel window above on both sides. In a similar Elizabethan style is the bank (1884–86) that Christian designed for Messrs Cox & Co, bankers to the army, in Whitehall, Westminster, though here the building is faced in stone.
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Philip Reinagle painting of the "Carrow Abbey Hunt", 1780 The foundations of the priory date to 1146, but the rooms mostly date to the early 16th century and late 19th century. The priory is built from knapped flint studded with red brick, brick dressings and plain tiled roof. It is built in 2 storeys and in three parts, with the former parlour on the left, the former hall in the centre and the late 19th century wing on the right. The former parlour, also known as the Prioress’s Parlour and Guest chamber, contains wooden mullioned windows to the left and a small oriel window to the right of first floor. On one of the Tudor doors are the wooden spandrels with the letter “Y” and a gun, which was the rebus of Isabella (Elizabeth) Wygun, the last but one Prioress of Carrow.
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For the right wall, which features a double mullioned window, Pinturicchio adopted an illusionistic perspective, painting two fake symmetrical windows, one with a blessing Eternal Father and one with a dove, an early Christian symbol of eternal life. The wall contains also two scenes with episodes of the life of St. Francis of Assisi: The first is the Renunciation to the Patrimony, characterized by an oblique perspective, which takes advantage of the piers of the arches, having a grotesque decoration; the second depicts St. Francis Receiving the Stigmata, featuring in the background a view of the Verna Sanctuary over a rocky peak. Under the real window is an illusory opening with five characters: among them is an aged friar, perhaps the convent's prior, and a lay figure that resembles him, perhaps an administrator of the basilica. The Funerals of St. Bernardino.
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It displays extensive half- timbering above a red brick ground floor with stone dressings and the steep roofs have large gables and dormers and clusters of tall brick chimneys.'Thwaitehead' the house Ewan Christian built for himself in Well Walk, Hampstead, in 1881–82 Christian's own house, 'Thwaitehead', named after his mother's home village in Lancashire, was built by him in 1881–82 on an excellent site in Well Walk, Hampstead, overlooking Hampstead Heath. (The view was obscured in 1904 when The Pryors – large Edwardian mansion blocks – was built opposite.) The house is picturesquely designed in red brick and is set at an angle to the corner of the road with large stone mullioned windows and a tile-hung projecting bay. The reddish-brown tiled roofs of different levels have hipped dormers and massive ribbed chimney stacks (in dark grey-brown brick to match the roofs).
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Oates, p.131” They only wanted the house if it was haunted. Legend has it that the inhabitants of Lyng don’t know they’ve encountered the ghost until long afterward. Mary reflected on the legend with a new “perception of its significanceOates, p.129” because of her husband’s disappearance. The Boyne’s were nouveau riche because of a business deal made by Ned and were looking for a place to pursue their dream of a life of leisure. They wanted to sit “in the thick December dusk, by just such a wide-hooded fireplace, under just such black oak rafters, with the sense that beyond the mullioned panes the downs were darkened to a deeper solitude.Oates, p.131” Mary recalls that her husband seemed withdrawn and worried earlier in the month but she did not question him about it and he did not reveal why he was upset.
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Detail of the gable Window in Bad Windsheim The wall elements were pre-fabricated at the MAN factory and then bolted to a steel frame construction which was erected on-site on top of a brick foundation and a thermal insulation layer of fiberglass mats was located between the outer steel sheets and hardboard inside, with an insulation value similar to that of a thick brick wall according to historic advertising brochures. The outside of the steel walls were painted with a solvent-based lacquer as a means of corrosion protection. The architectural design resembled conventional stone buildings: The perforated facade with a gable roof and mullioned windows with shutters were "quite plain, but cosy and with all objectivity something for the German mind" as required in the specification by the architect Hans Schneider on behalf of MAN in 1949.Johannes Kottjé: Wohnhäuser aus Stahl: Zeitgemäße Architektur für lichtdurchflutete Räume.
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Padiès, south façade The Château de Padiès is a mansion built on the site of a former castle, located in the outskirts of the village of Lempaut in the département of Tarn in southern France. The Château de Padiès is a unique Renaissance château complex set in the Lauragais, the land of PastelCouleur Lauragais: Petite histoire du Pastel — the Pays de Cocaigne — Cathar country and the land of the Troubadours. The Lauragais has often been likened to Tuscany, to where the blue “pastel” produced from the woad grown here was exported in the 15th century. The architectural and cultural influences came back (perhaps in part through Queen Catherine de' Medici, whose hunting pavilion is half an hour from here) and is very evident in the Padiès “renaissance” façades with their finely carved mullioned windows populated with fantastic mythical beings, lions' heads and symbols of plenty.
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Crucifixion by Giovanni Angelo D'Antonio The brick church was erected in the 13th century; the bell-tower, rising near the apse, dates from the 14th century. The façade has two mullioned windows and a sculpted stone portal, with a bas-relief in the lunette depicting the Assumption of the Madonna. The interior houses painting depicting a Madonna and Child with Saints by Antonio and Giangentile di Lorenzo, a 15th-century Madonna and Child with Angels by Lorenzo D’Alessandro (father of Antonio and Giangentile), and a Holy Trinity (1530) painted by Paolo Bontulli from Percanestro di Serravalle. It also houses a wooden processional standard depicting the Annunciation and Crucifixion by Giovanni Angelo d'Antonio and a Madonna della Misericordia (1494) by Pietro Alemanno, as well as panels from a polyptych depicting Saints by Niccolò Alunno and 15th-century wooden statues for a presepio or nativity scene by unknown Tyrolese artisans.
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M E Quick, Railway Passenger Stations in England Scotland and Wales—A Chronology, The Railway and Canal Historical Society, 2002 The station was built in a grand style, designed by the architect William Tite, and it remained "quite unrivalled in the whole of the North West. Victorian Tudor in style, its clock tower and lantern had on one side the nine-bay entrance arcade with elaborate buttressing and mullioned windows".Joy, page 71 The cost of the Citadel station was supposed to be equally borne by the L&CR; and the Caledonian, but the latter had seriously over-reached itself financially in search of expanding its network in Scotland, and the initial opening cost of £60,000 had been entirely funded by the L&CR.; By 1854, the total cost had escalated to £178,324, and by this time the Caledonian had almost made up its fair contribution.
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The church is constructed in ashlar stone and brick, with a tiled roof and on its exterior timber framing with rendered infill; its interior is brick-faced throughout. The church's layout consists of a narthex at the west end (comprising its narthex at ground level, and a two-level tower above), a three-bay nave with a south porch and a vestry projecting to the south, and a chancel. The projecting west front of the narthex has a central window with four casements and a two-light window on each side; above the window is a timber-framed gable, and the lower stage of the tower contains a bay window with four mullioned and transomed lights on the front and similar two-light windows on the sides; above the bay window is another timber-framed gable. The top stage consists of a brick belfry with louvred bell openings.
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Corsia Sistina, the octagonal tower The Corsia Sistina (Italian for "Sixtine Aisle"), erected for the will of Sixtus IV after grieves, sacks and fires, is the main building of the hospital. Surmounted by an octagonal tower, the Corsia is an immense hall, 340 ft long and 40 ft wide, divided into two sections separated by a lantern: the two rooms were called "Lower Wing" and "Upper Wing". The lantern, that puts the rooms into contact, has two levels: on the outer side it shows two- and three-mullioned windows, ascribed to the architect Giovanni Pietro Ghirlanducci from Parma, while the internal side is decorated with shell- shaped niches, housing statues of the Apostles, and barrel-vaulted intradosses with coffers, arguably due to the florentine architect and ébéniste Giovannino de' Dolci. In the middle of the lantern rises an altar, probably the only Roman work by Andrea Palladio; behind the altar formerly there was a pipe organ, whose music gladdened the ill during their stay.
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The great liturgical east altar window on this back end consisted of five lancets topped by a great circular mullioned Rose Window: In all, the altar window contains 1400 panes of glass, and was the greatest such window in the United States in its day. St. Paul's Troy, New York, 2009 St. Paul's Episcopal Church in the Hudson River town of Troy, New York closely resembles Town's Trinity Church except that it was built using a different type of stone of a different color: the building contract specified that the new church was to be a copy of Ithiel Town's Trinity Church in New Haven. While Ithiel Town may not have been on site at any time during St. Paul's construction, it appears he authorized the use of his original design for Trinity, given the accuracy of the replication.Pierson, William H., Jr., Technology and the Picturesque, the Corporate and Early Gothic Styles, American Buildings and Their Architects, Vol.
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Mansion front facade detail When the Hampton estate first opened to the public in 1949, the mansion's kitchen was converted into a small restaurant. Known as the Tea Room, it was operated by a concessionaire for the next 50 years, serving lunches featuring Hampton Imperial Crab (backfin lump meat from the blue crab, baked and seasoned with spices) and other Chesapeake Bay seafood delicacies, served with a glass of sherry. A local newspaper columnist described the Tea Room as "offering gentility ... a fireplace nearly as big as a wall and mullioned windows with sills that are nearly thick. The view is rolling lawns ..." When the Tea Room was closed by the National Park Service on January 1, 1999, officials said they did so because of the potential fire hazard posed by operating a kitchen in the main park building and the possibility of insect or rodent damage to historic items in the mansion, as stated in the General Management Plan adopted by the NPS the previous year.
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Arthur Llewelyn Davies in 1905, with his sons Nico (in arms), Jack, Peter, George, Michael (in front) J. M. Barrie (as Hook) playing with Michael (as Peter Pan) in 1906 London barrister Arthur Llewelyn Davies and his wife Sylvia moved with their five sons in 1904 from Kensington Park Gardens in London to live in Egerton House. By this time, the family had become close friends with the Scottish author and playwright J.M. Barrie, who had based his Peter Pan on stories he had made up for the children while they lived in Kensington (the character of Peter Pan was based on the boys but named after Peter Llewelyn Davies). Barrie's play, Peter Pan, or The Boy Who Wouldn't Grow Up, debuted at London's Duke of York's Theatre in the same year. A visiting friend of the family described Egerton House as "a beautiful Elizabethan house - huge nurseries & a schoolroom with mullioned windows which occupy the whole length of the rooms - odd-shaped bedrooms with beams & sloping floors".
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The range is of dressed limestone, limestone rubble and tile roofs, with one cottage with some red brick infill in English garden wall bond. The farmhouse and its immediate cottage and the cottage at the right end of the range are of two storeys, with a one-storey residence with stable door entrance and ground to eave picture window between. The farmhouse, at the left of the range, is of three bays, the centre of entrance door and window above, those to the left and right of ground and first floor windows, all stone mullioned of four quartered lights with casements and hood moulds, the ground floor right only being a range of single lights.Home Farmhouse and cottages, off Todenham Main Street, Todenham, Google Street View (image date July 2009). Retrieved 7 October 2019 On the opposite side of the road to home Farmhouse is Dunsden Farmhouse (listed 1960). The rectangular plan detached house, in dressed limestone with limestone slate roof, dates mostly to the late 17th century; a datestone on a rear wing giving 1647.
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Starting from the first tower the entire palace was completed in a second phase, following the model of the medieval tower house. The house had an inner porch and was a multifunctional structure given that its surface has both small windows (for defence) and large mullioned windows (for halls and dwelling rooms). Later, during a third building phase, the multivalent function of the palace was stressed. On the ground floor there were the stables, on the first floor the home of the Cardinal and on the third floor a large Assembly Hall covered by a roof supported by three stately pointed stone arches typical of Gothic architecture.Enrico Pavone testifies that the same method of construction can be found on the ground floor of the Palazzo della Ragione in Anagni (completed in 1165), in the refectory, infirmary and other places of Fossanova Abbey (consecrated in 1208) and that the arch of Casamari Abbey (consecrated in 1217) shows remarkable similarities with that of Gottifredo Palace (see “Progetto di restauro del palazzo Gottifredo in Alatri”, in “Bollettino di Storia e Arte del Lazio Meridionale”, IV, 1966).
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Gray's almshouses are the largest in Taunton, being in length, as stated in Joshua Toulmin's 1822 history of Taunton. The building is of two-storeys, with matching mullioned windows on each level, with three entrances. Above two of the entrances are displayed sculpted coats of arms: those of the Merchant Taylors Company and those of Robert Gray, namely Barry of six azure and argent, on a bend gules three annulets or,See image on his monument in the Church of St Mary Magdalene, Taunton being a differenced version of the arms of the prominent and ancient Anglo-Norman noble House of Grey, branches of which held many peerage and other titles in England, including Baron Grey de Wilton (1295), Baron Ferrers of Groby (1299), Baron Grey of Codnor (1299,1397), Baron Grey de Ruthyn (1324), Earl of Tankerville (1419, 1695), Earl of Huntingdon (1471), Marquess of Dorset (1475), Baron Grey of Powis (1482), Duke of Suffolk (1551), Baronet Grey of Chillingham (1619); Baron Grey of Werke (1623/4), Earl of Stamford (1628). There are nine chimney stacks, each with two chimneys set diagonally.
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Penne (, meaning 'feather') is a village and a commune in the Tarn department of the administrative region of Occitanie in southern France, formerly known as the Languedoc-Roussillon and Midi-Pyrénées region. In the absence of literary works describing this little-known village, indications of its medieval character can be found in various travel articles and guides, such as the Penne Tourism and Holiday Guide which states: > The village extends along the rocky outcrop under the protection of its > medieval castle ... The village has retained its authenticity, its narrow > streets lined with timbered houses and wooden corbels, ancient grain > measures, its Androne, its mullioned windows and doors. The mountainous and hilly terrain, coupled with poor soil, make for a local economy that is precarious. Younger generations continually move away from the area, to make a better living in Paris and other major cities.Barraclough, C 2004, 'Where the local patois has no word for stress: A world away from urban bustle, Colin Barraclough explores the 'real' France of Quercy Blanc', Financial Times, 14 Aug.
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He said. :"But the view of the old Manor-house pleased me even still more as I approached it. Its battlemented tower, with large mullioned windows boarded up, and converted into a dovecote; the arched entrance below, with the family escutcheon over it, and the beehives seen within it ; the broken walls ; the old yew trees about it ; the part converted into a tenement covered with ivy, with its ancient porch supported on two stone pillars ; the simple garden; the orchard; the walks clean swept; the lofty trees overhanging, — realized all that the poetry of rural life has feigned or imaged forth from such beautiful realities as this. As I stood and gazed on it, in silent admiration, the man who lives in the part tenanted came out with a corn measure, and whistling his pigeons, they flew down around him in the orchard, and completed the picture."Howitt, William 1842 “Visits to remarkable places;old halls, battlefields, and scenes illustrative of striking passages in English history and poetry.” P, 391.
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In 2004 Jonathan Beckett released the song 'She's a Vampire', written in 1998, it was released as part of a home-produced five-track EP. Beckett's music attracted the attention of Paul Simpson of The Wild Swans who stated: > "I'm a sucker for musical beauty, lyrical sadness and outsiderism, and they > don't come more beautifully outsider than Jonathan Beckett. For me, > stumbling upon Jonathan's music is a bit like chancing upon the ivy-covered > remains of an architecturally significant stately home while out walking in > the woods; a little decayed, ever so slightly scary perhaps, but beneath the > ivy lie elegant mullioned windows, intricately carved stone bestiary and > secret doors in the oak paneling." Later, In June 2010, Beckett released an E.P. which shared the name of the song 'She's a Vampire'; this also featured the song 'Between Two Worlds', which was originally released in 2003 on a home-produced album named Start Point. She's a Vampire was released on the same record label that The Wild Swans were on: Occultation Recordings, as Simpson put Beckett in contact with Nick Halliwell - the owner, the E.P. was later re-released on Echolocation Records as a download.
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This profusion of large, mullioned windows, an innovation of their day, give the appearance that the principal façade is built entirely of glass; a similar fenestration was employed at Hardwick Hall in Derbyshire. However, despite the Dutch gables, a feature of the English Renaissance acquired as the style spread from France across the Low Countries to England, and the Gothic elements, much of the architectural influence is Italian. Statues of the Nine Worthies in niches on the piers of the Long Gallery (upper eastern facade) The windows of the second-floor Long Gallery are divided by niches containing statues, an Italian Renaissance feature exemplified at the Palazzo degli Uffizi in Florence (1560–81), which at Montacute depict the Nine Worthies dressed as Roman soldiers; the bay windows have shallow segmented pediments – a very early and primitive occurrence of this motif in England – while beneath the bay windows are curious circular hollows, probably intended for the reception of terracotta medallions, again emulating the palazzi of Florence. Such medallions were one of the Renaissance motifs introduce to English Gothic architecture when Henry VIII was rebuilding Hampton Court and supporting the claim that the English Renaissance was little more than Gothic architecture with Renaissance ornament.
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