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"panelled" Synonyms
inlaid inset lined ornamented paneled(US) set decorated enchased graced mosaic studded tessellated tiled adorned damascened embellished empaestic enamelled(UK) enameled(US) festooned faced backed ceiled covered encased interlined papered reinforced stuffed filled packed padded brushed coated encrusted sheathed incrusted layered overlaid overlayed overlay More

1000 Sentences With "panelled"

How to use panelled in a sentence? Find typical usage patterns (collocations)/phrases/context for "panelled" and check conjugation/comparative form for "panelled". Mastering all the usages of "panelled" from sentence examples published by news publications.

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Portraits of old men hung on the dark panelled walls.
The truck contains a custom-designed wood burner and wood-panelled steam room.
THE wood-panelled walls of Rodrigo Moya Torres's study are decorated with hunting knives.
Photos of the phone show a large, wood-panelled console set into a desktop.
He found him in the library, a small, wood-panelled room thick with cigar smoke.
Bradley, who is eighty-seven, was already upstairs, in the club's vast, panelled Map Room.
But it also has figures from the oak-panelled, marble-pillared heart of the Republican establishment.
King-gods sat on panelled thrones covered with fleeces, flanked by nude attendants with three sidelocks.
Inside the hotel, softly-lit white panelled walls bring to mind the interiors of Hollywood spaceships.
The front door opens into a small wood-panelled library that feels like a Renaissance studiolo .
The wood-panelled room had paintings of trains on one wall and of hunting dogs on another.
The panelled walls were scarred with the carved signatures of literary men— Walter Winchell's was the biggest.
I walk into a wood-panelled room and take a seat on a plastic-covered hay bale.
The judges decamped to a wood-panelled room and sat sipping seltzer under portraits of bewhiskered officers.
The boozy, late-night, wood-panelled stuffiness of the place lives on, as recent news stories have shown.
ON A WOOD-PANELLED wall above the judge's bench hangs a red seal featuring the scales of justice.
Le Chapeau Santon is a "Sleeveless panelled woven straw dress in beige," according to its description on SSense.
In the wood-panelled office at the main Piggie Park, a secretary invited me to have a seat.
Children watched soccer on a flat-screen TV; a wood-panelled chamber was stocked with bottles of wine.
A bicycle with airless tires, a solar panelled basket and a GPS tracker isn't your typical mode of transport.
ON A recent Friday afternoon, six young men and women gathered in a large wood-panelled room in Helsinki.
Ramzi's profile picture is of a near-pixellated image of a man with a very precisely shaven panelled beard.
We spoke in a wood-panelled den on the ground floor, which she and Valdez call the therapy room.
Certainly she could be a well-behaved upper-middle-class woman, in elegant shalwar kameez in her wood-panelled house.
It was a business suite, small but luxurious, with dark wood- panelled walls, thick patterned carpet and a mahogany desk.
The fire is believed to have begun on the hotel's first floor, spreading quickly through wood-panelled corridors, police say.
As he sips espresso in his wood-panelled restaurant, he laments the freshness of fish in Britain compared to Japan.
The walls of the elevator are panelled with mirrors; half of the occupants are filming their reflections as we ascend.
The German publisher's Journalisten Club is a suite of wood-panelled rooms filled with antique books, leather armchairs and classical paintings.
At the Columbia Room, a wood-panelled bar with leather chairs, mixologists conjure $16 concoctions of scotch, blackberry shrub and porcini mushrooms.
In Herman and Lizzie's bedroom, on either side of the bedstead, there are two panelled doors, which lead to three tiny rooms.
Four of the prisoners shuffled through the court to Hall 7, a wood-panelled chamber with a ceiling of egg-yolk yellow.
We walked down a wood-panelled corridor, lined with photographs of svelte, cheongsam-clad movie and cabaret stars, to the hotel's ornate dining room.
IN A LEAFY neighbourhood at the foot of Bukhansan mountain in Seoul's northern suburbs sits a large office building with a stately glass-panelled entrance.
The view from the roof-top car park, where SUVs wait under solar-panelled shades, is of terracotta-tiled new suburban houses in all directions.
He sank into the quilted leather of the back seat, the wood and hide bringing to mind a panelled library, the windshield its glowing fire.
It is fitting, therefore, that Kwality's wood-panelled shelves hold bound copies of Excise Law Times, a journal about some of the country's Byzantine taxes.
Housed in a sleek, glass-panelled building, the Audain Art Museum (admission 18 dollars) is a high-culture highlight in the hard-partying ski town.
The new planes also feature stylish new lounges with deep green leather seating, ambient lighting, and wood-panelled walls, where travellers can help themselves to drinks.
"In shipping this is a pure contribution," he said, sitting in his wood-panelled office overlooking Piraeus port, surrounded by oil paintings of 22th-century shipping scenes.
A similar rush was expected this month after package tours sold out, but fallout from the coronavirus has left the resort's wood-panelled chalet hotels largely empty.
Three nights later, shortly after coming offstage at the Armory, Cannavale was alone, sitting beneath a portrait of George Washington, in a narrow, wood-panelled dressing room.
On a recent evening, none were spotted in the low-ceilinged, dark-wood-panelled room, packed with a mix of older wealthy patrons and lovely young strivers.
Steps from the piano is a three-panelled mirror lined with dusty liquor bottles and etched with the words "Rights of Man," Paine's defense of popular revolt.
The heavily designed space, with a vast open kitchen, moody steel-panelled walls, and glaring overhead spotlighting, feels a little like a Las Vegas-styled modern-day dungeon.
Standing on the floor near the desk, between a draftsman's table and a wood-panelled wall, is a large framed drawing, which sunlight has bleached to near-invisibility.
Their gowns are a dark-red velvet, threaded with silver embroidery; the walls behind them are deep red, too, and panelled in dark wood; gold crosses hang behind them.
The wood-panelled tailgate of the 1972 Oldsmobile station wagon dangled open like a broken jaw, making a wobbly bench on which four kids could sit, eight legs swinging.
The sun had set, and Paisley—a vast network of squat buildings, including three recording studios, panelled in white aluminum like an office park—was illuminated by purple sconces.
After 2018, Khama, a keen nature-lover whose wood-panelled office is adorned with pictures of the African savannah, said he wanted to dedicate his time to tourism and conservation.
By 2008, he had opened Alte Borse, a 700-capacity club decked out with a custom-made soundsystem and metal-panelled walls, housed in the Swiss financial capital's old stock market.
When the Grahams return from the funeral to their perpetually gloomy wood-panelled house, most of them seem relieved that the secretive and eccentric old woman is no longer sharing it.
In the Baron, the wood-panelled dining room, the bar stocked with antique bottles, the pink furniture of the high-ceilinged smoking room and the bedrooms all seem worn and tired.
The room had a maximum occupancy of fifteen, so Brooker and Jones, his fellow showrunner, were monitoring the day's progress through a live video linkup in an oak-panelled hall downstairs.
Seen from afar and combined with stereotypes about British deference and stoicism among Europeans who spend too long watching "Downton Abbey", Westminster's wood-panelled frippery looks like a guarantor of establishment views.
That afternoon, rinsing down her wetsuit in the backyard of her youth, Hozoji told me about how she's since moved back into the same modest, wood-panelled home she grew up in.
A glass-panelled dome loomed over the north-facing end of a single room, with luxe bedding and a complimentary drinks tray arranged below, like the furnishings of a tastefully debauched starship.
Worried that the smile would be a distraction, another detective, George White, went to Cole's house with a Polaroid camera and asked him to pose in front of a wood-panelled wall.
A wooden staircase led up to a large bedroom in which the walls, ceiling, and every other surface, including the light-switch cover, had been intricately panelled in the same butter-colored wood.
Supposedly selling more Ricard than anywhere else in Britain, the pub counts Francis Bacon, Dylan Thomas, and Lucian Freud among its former patrons—many of whose portraits hang on its oak-panelled walls.
Models wore snake skin patterns with matching vests or skirts under silk ruffled shirts, laser cut short cocktail coats over high boots, A-line dresses and panelled satin tops and dresses with plunging backlines.
Ræst, which occupies one of the oldest buildings in Tórshavn, has small wood-panelled rooms, giving it the feel of a saltbox house on Nantucket, though it is imbued with a distinctive, near-rancid smell.
BEER: For generations, Czechs have consumed world-beating volumes of beer in the smoky, wood-panelled rooms of their local pubs, all but indistinguishable from each other bar the brand of lager flowing from the taps.
Every Saturday, he sat at a long table in a wood-panelled room in Gul Khana Palace and chaired a committee on procurements, spending several hours reviewing contracts to make sure that they represented clean government.
PRAGUE (Reuters) - For generations, Czechs have consumed world-beating volumes of beer in the smoky, wood-panelled rooms of their local pubs, all but indistinguishable from each other bar the brand of lager flowing from the taps.
Johnson, frowning slightly and staring directly at the camera, sits behind a desk in a panelled room at his official London residence with his resignation letter - which bemoaned the death of the "Brexit dream" - at the ready.
From his wood-panelled office in a neoclassical building that once housed one of Europe's largest colour-film makers, Armin Schenk, Bitterfeld-Wolfen's mayor, says the problems are mostly to do with language, qualifications and uncertainty about asylum.
New Checkers stores, and established ones that have been refurbished, resemble Woolworths outlets with sparse lighting and wood-panelled sections boasting extensive wine and gourmet coffee selections, as well as counters selling quality selections of cheese and meat.
Parliamentary voting in the United Kingdom is an overwhelmingly analogue affair - with lawmakers traipsing down wood-panelled corridors and human tellers totting them up before, in this case, the announcement of another defeat for Prime Minister Theresa May.
"They'll get in order ... every new administration will always start in a way that will seem unclear, but clarity is coming," he said, speaking in his green and wood-panelled office adorned with pictures of past and present Bahraini monarchs.
Choruses of "I Love My Green Bay Packers" and "The Bears Still Suck" bounced off wood-panelled walls like a ball off a receiver's hand, and homesick Wisconsinites ordered delicious "imported" brats buried in sauerkraut and mustard for five dollars.
LONDON, March 4 (Reuters) - Britain's 19th-century parliamentary palace and its hundreds of grand offices and wood-panelled meeting rooms are ill-equipped to deal with the global outbreak of coronavirus, according to some worried lawmakers working inside the building.
Led by Chatsworth House, Britain's historic attractions have made a virtue of the combined experience of subject and setting; Damien Hirst's spot paintings recently brightened up the panelled walls of Houghton Hall, while Jenny Holzer projected text onto the stonework of Blenheim Palace.
At Scarr's Pizza (43 Orchard St., $3.50-$5.25) , which opened in 2016, on the Lower East Side, there are wood-panelled walls, Tiffany-esque light fixtures that look as if they came from the original T.G.I. Friday's, and a framed Mets pennant.
On Wednesday, Castro wore a dark suit in place of military fatigues and sat near Diaz-Canel as an official read out the names of proposed leaders to the 604 legislators gathered at a wood-panelled convention center in a quiet Havana suburb.
"England's smallest town is a pretty little place that plays host to this elegant Arts and Crafts style pub, which boasts an impressive bar and a wood-panelled dining room looking out over the river," the 2020 Michelin Guide gushes in its review.
On March 3, Toubin celebrates with a jam-packed show at Warsaw, the cozy, wood-panelled live room at the Polish National Home, in Greenpoint—though the event's legendary dance contest will still be held, this time Toubin won't spin a single record.
That this is intended to be a homage to the past is signalled by the opening credits that follow the duet with Mr Corden, which depict an old-fashioned TV control room, with wood-panelled monitors and not a computer in sight.
"I will not sit down again with this person because what he has done in past years shows he won't be a partner in the political process," the 59-year-old Serraj said in an interview at his wood-panelled office in central Tripoli.
She went over to her tack trunk, which, in addition to the usual crops and gloves, contained prototypes of a solar-panelled G.P.S. horse collar, a smart purse that lights up when you get a phone call, and a range of Equisafe fabric swatches.
As well as this, a new array of snacks and light meals are on offer which have been specifically designed by chef Neil Perry to be eaten in the expanded speakeasy-style lounge, complete with deep green leather couches, ambient lighting, and wood-panelled walls.
THE HAGUE (Reuters) - In a wood-panelled hall of the ornate Peace Palace at The Hague, lawyers pressing a case against Myanmar for alleged genocide against its Muslim Rohingya minority will next week ask judges to order immediate action to protect them from further violence.
In the low light of wood-panelled speakeasy Senator Saloon in central Shanghai, bartenders Elephant Zhang and Jeremy Yang told Reuters they expected consumers to shake off any price hikes as they mixed classic whiskey cocktails like Manhattans and Sazeracs to the sound of Glenn Miller and Artie Shaw.
Past the barriers at the entrance—Charles's menacingly thorny roses, the lion's-head knocker that guards the door—the dark-panelled Craftsman living room, with its Victorian feel, might stand for her books set in Europe, or for the great nineteenth-century novels she has always loved, with their warmth, humanity, and moral concern.
Perpetually frowning in confusion, but hanging onto his dignity with the help of his smart uniform, neat moustache and jutting jaw, he keeps being called into his superiors' panelled offices for a dressing down, thus raising the question of why Mr Dujardin hasn't yet been cast as Inspector Clouseau in a Hollywood reboot of "The Pink Panther".
The bars and the old cobbled streets fill with enthusiasts of all ages, many of them with no place to sleep, enacting the rituals of performative public inebriation, while in lamplit panelled Stuben the upper crust of Middle Europe convene for private self-congratulation over their good fortune at being here, now, at the center of the Alpine universe.
The eighty-sixth floor of the Empire State Building had an Art Moderne observation lounge containing a panelled "writing room," for addressing postcards, a tearoom, and a "sunset lounge," whose Belgian-marble bar served five kinds of champagne, along with a house cocktail, the Empire State, made with Amstel bitters, orange bitters, French vermouth, Scotch, and dry gin.
Her two-room study is panelled in blond wood and skirted by a private deck; light streams through the windows, which look out on the garden; there is a wall of bookshelves, mostly still bare, except for some essential volumes, and among them was a novel I didn't know, "In Love," by the British screenwriter Alfred Hayes, which was published in the nineteen-fifties.
In a narrow dining room, a farmhouse table stands under an enormous gilt mirror from the early nineteenth century; when I went to the apartment, Michele told me that the mirror had been deaccessioned from the Palazzo Pamphili, which was built for Pope Innocent X. In Michele's bedroom, concealed behind panelled doors, is a large walk-in closet—the kind of place a child might explore if he or she wanted to escape Narnia, rather than clamber into it.
An original section of panelled ceiling is located in the toilets in the rear of the building. Original details include architraves, skirtings and some timber panelled doors.
The oak-panelled hall features two friezes carved in chalk, with classical festoons. The dining room is panelled in walnut veneer. Ceilings have highly decorative plasterwork.Wilhide (2012), pp. 149–52.
A large stone Jacobethan fireplace with pilasters stands in the dining room; the sitting room has a small stone Jacobean-style fireplace. The staircase is in oak with twisted balusters, panelled newels and a panelled spandrel.
With its panelled walls, it became a flagship hostel for the Association.
Above all the interior doors in the office are louvered panelled windows.
Cellars are located below the house. ;Interior: Original cedar joinery, inc. six panelled doors, splayed panelled jambs to the windows and chimney pieces to the first floor; marble ground floor chimney pieces with sandstone mantlepieces; original geometric stair.
The doors are all six panelled with some architraves and panelled jamb linings. The main house is built of sandstone with a slate roof, timber floors(kitchen, scullery, staircase, hall, arcade and verandah are flagged) and oakgrained hardwood joinery.
The panelled ceiling in the chancel dates from the 19th or 20th century.
There is another wooden, panelled door opposite the doorway into the lodge room.
The wooden panelled ceiling was carved by Pietro Giambelli between 1662 and 1670.
Dating from the 17th century it is oak-panelled and is hexagonal in shape.
They are currently under restoration. They have high chestnut panelled ceilings and eighteenth century frescoes.
Some of the panelled mahogany doors had been brought in from a demolished Victorian hotel.
The , panelled, Great Hall with its huge fireplace is the largest room in the house.
Of particular note are the two grand staircases and the wood-panelled second-floor ballroom.
Internal doors are 4 panelled with panels at matching levels in the reveals. The doors to the rear verandah are 6 panelled flush beaded type. Windows are generally 12 pane double hung type but panelled inside to the floor. There are french doors to the side verandahs which have wide architraves reaching to the picture rail line the space below to the head being infilled by a cedar board of ogee pattern.
Timber pews. Cast-iron columns supporting panelled gallery. Communion table in front of timber pulpit with stair access and timber Gothic panelled organ and case behind. A notable feature of the building are the vast array of stained glass windows adorning the sanctuary and narthex.
His son John added the east front in a Renaissance style in 1696 and 1704. It was restored in 1859 and in 1870 the windows were altered. The interiors were entered through a small entrance hall, panelled in oak brought from Letheringham Abbey, Suffolk, into the main hall, by 20, panelled also with a magnificent finely-made Jacobean plaster ceiling. Other rooms included a morning room, situated between the library and dining room (both also panelled in oak).
It has a symmetrical facade with centrally placed panelled door and French windows opening onto the verandah.
The three northernmost classrooms retain early timber half glazed and panelled doors, with interior doors in a similar style also retained between classrooms. Panelled, high-waisted timber doors are also retained. Modern doors to the southern ends of the southernmost classrooms are recent replacements and are not significant.
The nave and aisles have camber beam panelled oak roofs dated 1711. The Legh Chapel has a 16th-century panelled roof. In the Legh Chapel is a brass to Sir Peter Legh dated 1527. This is the only known English monumental brass to combine the military and the sacred.
The sleeve design features the band against a panelled backdrop printed with a large photo of Elvis Presley.
Beneath the west window is a flattened-arch door opening with oak-panelled iron-studded door set within.
The interior of the church is plastered. There is a panelled west gallery carried on four thin fluted wooden columns containing raked seating. There is a three-decker pulpit with a tester, and panelled box pews. The transept was used as a family pew and contains box pews and a fireplace.
The main front rooms have french windows at the sides surmounted by cedar ogee pattern panels above. All reveals of doorways are panelled to correspond with the panelling of the doors. The front door, D1, is 5 panelled, the upper panels now glazed. It appears to be an Edwardian period replacement.
There is a two-storey panelled side extension joining the building to the current St John the Baptist Church.
The central entrance comprises a porch of three archways with a half-timbered ceiling. On the roof is an octagonal fleche which has a copper cupola roof and louvred arcading around the sides. All external windows, many original, are multi- panelled casements. The internal windows are multi-panelled sash windows with hopper ventilating top lights.
The First Floor has a central corridor with rooms opening to either side. The corridor is divided by a pedimented and panelled partition with a pair of glazed French doors, and by an adjacent fibro partition. The first floor interior features moulded timber skirtings and architraves, some panelled doors with toplights, some double hung windows, and decorative metal ceilings and cornices. At the top of the main stair is a hall, divided by a square arch with panelled architraves, and by a fibro partition with a small hatch.
The amenities include libraries and an oak panelled common room. University Hall underwent a major refurbishment, which was completed in 2009.
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.
The house contains walls, some carved heads and a small oak-panelled room dating from the 17th century. In the old tower is an early 18th-century panelled dining room with a late 18th-century marble fireplace. The drawing room's stucco ceiling is 18th-century, and the library and front hall are Victorian.Kettlethorpe Hall archived at archive.
The original double-panelled wood doors, > segmental-headed tripartite ground-floor windows, and square-headed flush- > framed sashes above this, all survive intact.
A short corridor accesses a bathroom at the rear, which has a boarded ceiling with timber cornice, and original panelled door and architraves.
In 2009, The Library of America selected Derleth's story The Panelled Room for inclusion in its two-century retrospective of American Fantastic Tales.
They lived at Madingley Hall for 40 years during which time he transformed it from a panelled Tudor house into a Baroque building.
Early panelled timber doors and moulded timber architraves also exist throughout this level. The ceiling is lined with early, narrow, jointed timber boards.
The beams of the roof can be seen from inside the church. Behind the altar is a panelled reredos from the 19th century.
The materials used include Italian marble and English stone, Honduras mahogany and Australian walnut. Seating is upholstered in Moroccan leather, and rooms panelled in elm, oak, teak and birch. The Lord Mayor’s octagonal parlour is panelled in sycamore with French walnut trim, with the door finished in English walnut. The main frontage of the building is 280 feet long, incorporating a 200ft balcony.
Inside the chapel is a wooden panelled reading desk on a moulded plinth with an ogee cornice. On each side of the reading desk is a flight of three steps with balusters and newels. The reredos is also panelled, the central panel being wider than the outer panels, and with a semicircular head. The reredos is decorated with motifs including garlands and roses.
The tower contains eight bells, five cast in 1792 by Thomas Mears, and three in 1899 by Mears & Stainbank at the Whitechapel Bell Foundry. The church is furnished with straight-backed panelled pews with rounded ends. The communion rail is made from green/brown marble. An octagonal panelled pulpit dated 1917 was given in memory of Richard and Martha Ann Popplewell.
The verandah is timber floored. Paired windows flank the central, panelled door. Windows are timber, sashed, six pane and double hung. Joinery appears original.
This is lit by recessed lighting and has a white ceramic suite incorporating a panelled bath with telephone shower attachment and a pedestal handbasin.
Small paned sash windows and a 6 panelled door with fanlight. Generous grounds and plantings. Cedar joinery. Two storied stone out-building at the rear.
There are 9-pane arched windows on the ground floor with rendered sills. Access is via steel stairs to a landing on the south elevation. Internal: The signal box retains many of its original/early equipment within a refurbished and interiors including plasterboard panelled ceilings, modern light fittings, vinyl floor coverings, modern kitchen facility and cupboards. Early timber panelled walls in the store room still exist.
It is an aim of the Management Strategy to maintain these. The doors are of two principal sorts: a panelled door with six top panes, a panelled door with nine top panes. The windows have multiple small panes, larger glass not being readily available in that decade. The window were, depending on the group, either wooden casement, wooden rising sash or more commonly metal 'Crittall Windows'.
The Library has a panelled ceiling with diamond motifs. It contains imitation Jacobean panelling and a Jacobean fireplace from the now-demolished Marton Hall. The Study also has a panelled ceiling, and in this case includes a circular central motif. The Private Dining Room contains a 19th-century marble fireplace, and the Ground Floor Bedroom has a coffered ceiling and a Victorian-baroque fireplace.
But the more general custom in chest decoration was to employ tracery with or without figure work; Avignon Museum contains some typical examples of the latter class. A certain number of seats used for domestic purposes are of great interest. A good example of the long bench placed against the wall, with lofty panelled back and canopy over, is in the Musée Cluny, Paris. In the Museum at Rouen is a long seat of a movable kind with a low panelled back of pierced tracery, and in the Dijon Museum there is a good example of the typical chair of the period, with arms and high panelled and traceried back.
We went up a paved path between the roses, and straight into a very pretty room, panelled and carved and as clean as a new pin.
The church organ was installed by William Hill & Sons in 1912. Its loft is located at the west end of the building, and is painted and panelled.
The house is finely detailed throughout with five panelled doors and baronial style marble fireplaces. Remarkable Arts and Crafts chimneys and quality decorative woodwork complement the house.
Inside the church there was originally a horseshoe gallery, but this has been reduced in size to a curved gallery. This has a panelled front and is carried in slim cast iron columns. Around the church is a dentilled cornice, the ceiling is panelled, and the windows have moulded surrounds. At the west end is a plastered Corinthian architraved opening with a modillion cornice and an inscribed frieze.
The street elevation at ground level has three separate entries and windows. To the western end is a four-panelled door with tilting fanlight beside a small vertical sliding sashed window. To the centre is a similar door, with "Plumb's Chambers" painted to the fanlight, and a group of three windows beside. To the eastern end is a timber shopfront which angles back to the recessed entry of panelled French doors.
Cast-iron columns supporting panelled gallery around three sides. Communion table in front of ornately carved timber pulpit with stair access and timber gothic panelled organ and case behind. The Church Hall was designed by Malcolm Ross and constructed in 1903. This provided much needed space with a Large Hall, Small Hall, Kitchen and Toilets and originally contained the Church Officer's accommodation, now extra hall and office space.
The internal walls are wallpapered, the ceilings panelled, doors four panelled and the staircase is cedar. The joinery throughout is painted and the fireplaces and mantels are cast iron. Upstairs there are lining boards on the walls and ceiling and four bedrooms, two with timber balconies and cast-iron fireplaces. The servants' wing consists of three rooms and a verandah and is connected to the kitchen by a short, covered way.
Beyond to the south is a carved oak staircase with fluted and foliated balusters, a York motif, standing on steps with scrolled panelled ends. The staircase is supported by a Corinthian column and may have been moved at some point. The floor is paved with black and white marble squares. There is a panelled drawing room leading to an enormous ballroom occupying the western of the two wings added .
The first floor contains a kitchen at the rear, large offices opening onto the front and side verandahs, plaster ceilings, painted timber joinery and panelled doors with fanlights.
The panelled ceiling, above the floor, features Tudor roses and lions, and the stained-glass windows show the coats of arms of the Kings of England and Scotland.
Above the chapel stands the session room and, above that, the wood-panelled choir room; the latter is accessed by screened cantilevered wooden staircases in upper the west vestibule.
The cement-floored basement is divided into two mechanical rooms and a storage-mechanical room. The two end rooms have their original ornamental, two-panelled doors with patterned panels. The second floor has hardwood and linoleum floors and two side by side detention rooms with their original barred and panelled entry doors, replacement sinks, and toilets. There is one office room and a long eaves room across the east which is used for storage.
The style was commonly used in houses, train stations, life-saving stations, and other buildings from the era. The Stick style did have several characteristics in common with the later Queen Anne style: interpenetrating roof planes with bold panelled brick chimneys, the wrap-around porch, spindle detailing, the "panelled" sectioning of blank wall, radiating spindle details at the gable peaks. Highly stylized and decorative versions of the Stick style are often referred to as Eastlake.
Internally, the ground and first floors of St Mary's are similar in plan. The entrance is made up of an elaborate set of paired timber, panelled doors with large fanlight and breezeway assemblies which contain coloured glass and leadlighting. The front entrance of St Mary's, along the northern facade opens to an entry foyer with a pressed metal ceiling and timber panelled doorway and architraves. Rooms open on either side of the entrance foyer.
Medallion of Charles I dated 1735. Large panelled room over entrance hall. Fine mid C18 open staircase with open string, closely spaced, turned balusters, column newels and swept, moulded handrail.
Several carving reference knights templar origins The panelled choir stalls date from 1882, while all the other furnishings are 20th-century. The stained glass includes windows by Clayton and Bell.
The freestanding belltower stands on what is left of a former castle. Unusual for an Evangelical church is the elaborate Baroque painting on the wooden galleries and the panelled ceilings.
The east window consists of five stepped lancets. On the south side of the chancel is a priest's door. The interior has been altered, but three panelled galleries have been retained.
There is a 19th-century panelled pulpit which may contain fragments of an earlier construction. The parish is part of the benefice of Winsmoor within the deanery of Crewkerne and Ilminster.
It has lath and plaster ceilings internally with cedar staircase and joinery. It has ten rooms with lift ceilings. The exterior is English bond brickwork. The internal doors are six panelled.
The vaulted ceiling expresses the original octagonal "tent" form, which is extended north and south over the additions and the ceiling follows the roof line and is panelled with timber boarding. Doors are panelled in the Edwardian style and the windows consist of clear glass lower panes and multi-coloured small glazed panes at the top suggesting the 1920s period. This design, coupled with the rear room having windows and a stuccoed masonry wall, suggests that when originally built the kiosk was open at the sides or had a form of opening screens for day use. The rear of the building has a series of kitchen and store spaces with tiled and skillion roofing above panelled timber or rendered brick walls.
The main entrance has three arched doorways through which is the ceramic tiled entrance foyer. The upper storey features a panelled foyer and auditorium, with a stage and fly tower. The hall has an elliptical arched fibrous cement ceiling, supported on piers panelled with walnut and decorated with plaster fluting and volutes. The lighting system is a combination of many copper framed pendant fixtures with opal glass, and a system of concealed trough lighting providing indirect illumination.
Earlier in the conflict, John, Duke of Berry was taken hostage in England. The ongoing war provided many opportunities for cultural exchange, as evidenced by the fireplace in the ducal palace in Poitiers and the panelled, screen-like upper parts of the west façade of Rouen Cathedral. Tracery patterns of the 14th century are either rich, flame-like forms inspired by the English Decorated (e.g. west façade of York Minster) or the "panelled severity" of English Perpendicular style (e.g.
The Sculpture Gallery, also by Blore, also has a panelled ceiling, and consists of a corridor along the sides of which are arched niches. Most of the sculptures in the gallery were collected by Edward Davies Davenport, and consist of ancient copies of famous Greek sculptures. There is also the face of Charles James Fox by Joseph Nollekens, and a pair of Dancing Girls by Antonio Canova. The Saloon is by Salvin, and again has a panelled ceiling.
It is built of stone, with a (non original) timber shingle roof and has a simple, Doric, timber portico. It has small paned casement windows and six panelled doors set in panelled jambs with elaborate architraves. The entrance door is a wide pair of French windows with Georgian glazing. The wide entrance hall with a timber, cantilevered stair, beneath which a door with a semi- circular fanlight leads to the rear of the house, is particularly fine.
In this way a varied but harmonious townscape, with attractive detail of porches and interior panelling,Example. The panelled room from No. 26 Hatton Garden, long preserved in the Victoria and Albert Museum (The Panelled Rooms Vol. V: The Hatton Garden Room (Victoria and Albert Museum)) is now considered not fully authentic, see N. Humphrey, 'The New British Galleries at the V&A;', Conservation Journal April 1998, Issue 27. grew up on a rectangular grid of new streets.
The main structural walls are fourteen inches thick with internal panelled reveals. It has six-panelled cedar doors and cedar chimneypieces. There are seven bedrooms, including two attic rooms (in very original condition), and maid's room over the old kitchen. On the first floor, at the street front, a single room runs the full width of the house, divided into two rooms and a hall by removable cedar floor-to-ceiling panelling incorporating a hinged door leaf.
Accessed : 2010-01-26 The three panelled armorial panel may have carried the full conjoined arms at the top and the standard coat of arms of Montgomerie and Drummond at the bottom.
The main entry is framed by sidelight windows and panelled stiles, and is topped by a decorative panel. On October 7, 1983, it was added to the National Register of Historic Places.
There is a vaulted basement. The hall, on the first floor, is panelled; its ceiling is finely plastered. The entrance is by the stair-wing. Some of the windows have been enlarged.
An eighteenth-century staircase and several six-panelled interior doors have survived. Substantial ceiling timbers remain at the rear of the main building as do other features that related to the earlier building.
The present house, of Georgian style, is three-storied with grey stucco. Its entrance, originally on the south side, was moved to the west front and features two 5-panel doors, framed by stucco pilasters dating to 1899. Interior features include a stone staircase, a wrought iron balustrade, and Adam style stucco. The home contains at least three different panelling elements: some of the wall panels are painted, there is a panelled dado, and some of the panelled mahogany doors include inlay.
The interior of the first floor comprises four central classrooms, separated from an eastern and a western classroom by two narrow store rooms. The walls and ceilings are lined with flat sheeting, and most walls have rounded cover strips. Vertical members of the structural system are evident on the north and south walls, between pairs of windows. Two sets of original bi-fold timber panelled doors between classrooms are retained, as well as single panelled timber doors between some rooms.
Chancel altar chest tomb of unknown origin Within the chancel are two 15th-century stone chest tombs, one either side of the altar. The tomb at the north is panelled with quatrefoils enclosing plain shields; that at the south panelled with cusped ogee arches and plain shields. There are no inscriptions, and no information on their origin. Brasses on chancel burial slabs are to Oliver St John (d.1497), his wife Elizabeth (d.1503), and Elizabeth's former husband Henry Rochford (d.1470).
Internally, The Paragon restaurant retains its inter- war art deco interiors. The front section has a panelled timber shop fitout and timber booth seating with panelled timber walls and plaster moulds of classical figures. Original chairs with the "P" motif for the restaurant remain in service. The rear rooms of The Paragon are fitted behind the adjacent shops and feature a ballroom/dining room lined with timber veneers with a coved plaster ceiling to the south influenced by the decor of ocean liners.
The former Council Chamber has glazed French doors with semicircular fanlights leading onto the recessed verandah; a moulded cedar chimney piece; and two panelled cedar bulkheads to the Town Clerk's room, one of which still has its hinged panelled cedar dividing wall. Fixed to the south wall is a timber post, a remnant of a rail which has since been removed. The windows generally to the side wall also have semicircular heads. These rooms have boarded ceilings with fretted roses.
The upper level has a similar layout to the ground floor, and a similar high boarded ceiling with three fretted roses, panelled doors and double hung windows. At the western end, the panelled entry doors have a ceremonial knocker and peep-hole. The hall contains furniture specific to its use as a Masonic lodge, including black and white lino centrepiece, floor, pews, thrones, podium, certificates and decrees. The layout is in accordance with Masonic practice with the Grand Master to the east.
The pier contains Pacific Park, a family amusement park with its solar panelled Ferris wheel. The brightly lit wheel can be seen from a distance and has been turned off during the Earth Hour observance.
The Council Chamber with its tiered gallery and vaulted ceiling remains essentially intact. The Queensland Maple timber furnishings and panelled dado are original. An ornamental cast plaster ceiling is a feature of the Banquet Hall.
Wide moulded reredos arch and gallery. Rear raked gallery with curved and panelled front; pews on both floors retained. Vestibule has glazed panels to partition and swing doors with quarry glazing incorporating Art Nouveau motifs.
Walls and ceilings are lined with fibrous cement sheeting joined with cover strips and floors are lined with carpet. Internal doors are panelled timber. Cornices and picture rails are simply detailed and formed from timber.
At the same time the interior of the first floor was remodelled. A panelled, arched ceiling to the rear half of this floor is decorated in modelled fibrous plaster with angels, harps and Australian floral motifs in gold relief. The walls are panelled in silky oak; the floor is hardwood. Lead light panels in the ceiling and one end wall depict the four counties of Ireland and the Queensland coat of arms, while other leadlight windows are located in the north- east side wall.
The kitchen on the lower ground floor contains the original range and dresser and the former scullery retains the original ovens and washing copper. Interior features include an oval-shaped vestible with curved panelled doors, a marble fireplace, decorated plaster ceilings and a geometrical stone cantilever staircase, with a mahogany handrail and wrought iron balustrading. The gate piers, quadrant walls and flanking piers include panelled central piers with pagodal caps, and one with iron lamp at its apex. A bridge over the River Sheppey predates the house.
Interior consists of panelled shutters to windows and panelled dado and central cupola. Llangrove Cottage was bought by the Reverend John Jones who added a large room which was used for public worship and it became known as the Langrove Congregational Church. In the garden, it is said lie several gravestones and somewhere under the front doorway is the Jones family vault where some of the family, and the children who died young, are buried. This ceased to be a place of worship 20 October 1968.
The chancel is slightly lower than the nave. It has one window on each side, and a triple lancet window at the east end. Internally there is a west gallery, box pews and a panelled font.
The bodies were made by Carbodies Limited of Coventry. At first panelled entirely in aluminium in 1925 and 1926 aluminium was reserved for the lower part of the body and mudguards and scuttle were then steel.
The building is divided horizontally, with rusticated sandstone forming the outer walls up through the second story, and yellow brick above. A broad cornice and wide panelled brick frieze, pierced with ventilation holes, tops the building.
Bernstorff Slot - Neoclassical architecture . Retrieved 23 January 2010. The palace's many rooms were modest in size and intended primarily for domestic use rather than for display. Most are panelled with parquet floors, large mirrors and decorated ceilings.
The hall was built using hand-made red bricks, with a tiled hipped roof. Its interior features several panelled rooms, one of which is a library with a marble fireplace, and another has an Adam-style fireplace.
Solid panelled timber entrance door (with low arch and transon light). The name and construction date of 1876 is on the central decorative parapet. At the present time they are painted a dark chocolate with white trim.
A modern single storey extension was made along the East Street frontage in the late 1970s, consisting of four individual tenancies. Until 1981, the interior of the main building had been timber panelled and included a solid timber counter while the main entrance was a panelled timber door. These were all removed by the Bank of Queensland who also added steel frames for signs to the exterior. The bank was sold in 1987 and after again being leased as offices for Rose Jensen solicitors, became a stationery shop in 1997.
The verandah is now cement-paved and external walls have been given a rough- cast rendered finish.Sheedy, , 3-4 Internally the plaster walls show some evidence of dampness but otherwise the condition of the building appears to be very good. The front door is six-panelled with a rectangular fanlight over, internal doors are four-panelled, windows are two panes of double hung sash pattern and there are paired French windows opening onto the balcony. The building has been used as a self-contained dwelling for approximately 26 years.
The bishop's throne dates from 1340, and has a panelled, canted front and stone doorway, and a deep nodding cusped ogee canopy above it, with three- stepped statue niches and pinnacles. The throne was restored by Anthony Salvin around 1850. Opposite the throne is a 19th-century octagonal pulpit on a coved base with panelled sides, and steps up from the north aisle. The round font in the south transept is from the former Saxon cathedral and has an arcade of round-headed arches, on a round plinth.
The house is built from granite ashlar, Pentewan stone ashlar and stucco, and features hipped slate roofs and rendered stacks. The central doorcase is arched with a pulvinated frieze, and contains an 18th-century central panelled door with sidelights. In the interior, the central east room of the house is panelled with pine wood, while the central south room features arcaded screens and Roman-style Ionic entablatures, with rococo arabesques adorning the fireplace wall. The main staircase of Trewithen House is cantilevered, and set in a semi circular open well.
The arena itself was wood panelled. The architect was Kenmure Kinna. Aside from boxing, it hosted wrestling matches, pop and rock music concerts, political hustings and trade union meetings. It closed in 1985 and was demolished in 1987.
The doorway is round-arched with a chamfered surround and timber panelled double doors with a date plaque above. The boundary walls are of random stone but the gate piers are of ashlar sandstone, supporting cast- iron gates.
The following room is the living room with the adjacent panelled Georgian architecture library. The long West Gallery is 100 feet long. Here some of the most important paintings were hung. Next to it is the Enamels Room.
A Vertiko is a kind of storage furniture, oriented to the vertical. It usually has two panelled doors. Above these, there is usually a drawer and a flat top. Often, it has a pediment as an additional feature.
Inside, the bay divisions are marked by fluted Corinthian pilasters. A west gallery with a panelled front containing the organ is supported by Tuscan columns. The shallow vaulted ceiling has an elaborate frieze terminating in shallow segmental coving.
The chambers contains many finely crafted elements and timber joinery including walls panelled in silky oak and floors finished with tulip and rose gum parquetry, dais, meeting table, swivel oak meeting chairs and public seating and map cabinet.
The north wall is a surviving part of the original, larger church. Inside it has an oak-panelled, three-decker pulpit-cum-lectern with a Jacobean canopy, which is still in use.A Church Near You. Retrieved 25 May 2015.
An extensively molded surround frames the segmental arched main entrance. It has panelled reveals and a transom with a single light. The double doors have decorated panels below double-light hinged windows. They open onto the original floor plan.
The Woman with No Name is a 1950 British drama film directed by Ladislao Vajda and starring Phyllis Calvert, Edward Underdown, Helen Cherry, Richard Burton and James Hayter. In the United States it was released as Her Panelled Door.
There are six-panelled doors and french windows with small wooden panels at the base and small glass panes held in fine wooden glazing bars. The mouldings of the architraves and chimney pieces are typical of Colonial Georgian design.
Part of it has been divided into flats, one of which is a holiday let. Visitors to Fountains Abbey can view the oak-panelled stone hall and an adjoining exhibition room, and there are plans to restore the chapel.
The reredos is made of panelled oak. Also in oak are the pulpit, the organ case and the lectern. The octagonal font is in stone. On the nave walls are memorials in alabaster to former vicars of the church.
Timber verandah columns with french doors opening onto verandah. Unusual french door cases with external architraves and panelled reveals. Evidence of a central underground water storage cistern in rear courtyard. Morpeth House is the earliest building in the group.
Panelled ceilings with splayed cornice an exposed concrete beams to ground floor. Painted plaster walls with rendered skirtings and timber picture rails. Fireplaces in face brick with painted timber mantel. It now houses the St John's College manager's residence.
Single-storey brick structure with stone sills. Corrugated steel roof. Original 12 pane double hung windows and bead flush panelled door in east wall. Built in the late 1800s as a simple service building associated with Closebourne House adjacent.
The interior dimensions are . Its present appearance dates from a reordering in 1877. Across the east end is a panelled timber gallery and a cornice with decorative moulding. There was originally a baptistery (no longer extant) on the south side.
The Willoughby pew, bearing its original brass name plate on the south wall of the chapel has been preserved and is noted for its large ornate canopy with panelled reredos and a moulded and carved cornice in the classical style.
Below the tower on the north side is the main entrance. The tower has four unequal stages with panelled sides and corner buttresses terminating in crocketed turrets with openwork battlements and crocketted pinnacles. The clock was made by Potts of Leeds.
It was done in a style described as "modified Italian style", with a coffered ceiling in white and gold, supported by ionic pillars. The panelled walls were done in Spanish mahogany, inlaid with ivory and richly carved with pilasters and decorations.
The tower contains three bells. One is dated 1639, and another is known to have been repaired in 1724. The chancel roof is panelled, while the nave roof has vertical queen-post supports with ancient tie-beams. font dates from 1864.
It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half- hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton. , modern sculptures are displayed in empty niches along the Long Gallery.
The hall is at right angles to the church. The tower has angle buttresses, and pairs of louvred bell openings. At the top is a cornice carved with foliage and beasts, and a panelled and embattled parapet. The tower is high.
A three-seat sedilia and adjacent piscina, both with ogee-shaped heads, remain in the south wall, and there is a reredos with a carving of the Last Supper. An ogee- panelled porch and an octagonal font with carvings also survive.
Surviving the fires, are a room at the west end which has panelled walls and a stucco ceiling in Rococo style, and parts of Roscoe's library. In the grounds to the west of the house is a sundial dated 1750.
The interior of the church was refurbished after the war damage. A ceiling was added, and the interior was subdivided. The octagonal font of 1853 is panelled. The choir stalls and panelling in the chancel are dated 1884 and 1923.
Inside it has an oak-panelled, three-decker pulpit-cum-lectern with a Jacobean canopy, which is still in use.A Church Near You. Retrieved 25 May 2015. In 1680 the church installed a clock built by Richard Roe of Epperstone.
St Mary's Interior, showing font The porch incorporates a vestry and stairs leading to the panelled gallery which is supported by square fluted columns and occupies the west and south sides. At the east end are box pews created for George Anthony Legh Keck of Bank Hall while the west end has open benches. In the centre of the north side is a reading desk. The church has an octagonal panelled pulpit, an 18th-century font in the form of a simple baluster, a 19th-century cast iron stove decorated with wreaths standing on claw feet and a flagged floor.
Symmetrically placed panelled doors are set in shallow panelled recesses in the side walls, the curves of the recesses being echoed in the arched tops of the corner niches holding candle lamps in the form of classical draped figures. Two glazed doors flank the central front door beneath its stone portico.Cumberland County Council 1968 The house contains five bedrooms with two bathrooms, living areas including ball room, large formal dining room, large formal living room and library, large rumpus overlooking the in-ground swimming pool. The nearby suburb of Denham Court is named after the property.
There are three entrances to the hotel from the principal facades, a corner entrance, being a double, four-panelled and moulded timber door, to what was previously the public bar; and two doorways on March Street, one through an arched opening featuring multi-pane glazed sidelights and transom, and a four-panelled and moulded timber door. The exterior joinery is substantially intact and of high quality. All openings are untreated but for plaster sills. The arched doorway leads to the stair hall, off which the principal ground floor rooms are accessed as well as the timber dog-legged stair.
Sydenham House is four storeys high, including the attic. It has a moulded ground floor fascia and frieze below a full-width balcony with a stone balustrade. The first floor windows, tripartite in the centre and paired in the outer bays, have upper glazing bars in curvilinear heads below the swags and the second floor balcony which projects in the centre over panelled pilasters defining the first floor central bay. The square-headed second floor lights have raised arches with pendants, the central bay is defined by plain pilasters with scrolled pediment heads under a panelled band and outer scrolled pediments.
The office measured . Its walls were tinted plaster, it had a ceiling panelled in oak, and it had oak flooring. A narrow, winding staircase led to the second floor. Two meeting rooms existed on the second floor for the use of the trustees.
For the wood-panelled study, p. 620; for the ground floor, Bradford 2012, p. 88. Jane finished Something in Disguise (1969), Odd Girl Out (1972), and Mr. Wrong (1975), although she spent most of her time looking after the house.Keulks 2003, p. 136.
Walls are of single-skin vertically jointed boards, ceilings are boarded and doors are panelled with fanlights. The northern boundary wall is reported to have been over the southern wall of the adjoining property, which had been built slightly over the property boundary.
The nave and aisles are also embattled. In the porch is the original stone holy water font of the church. The east window has five lights. The camber beam panelled roofs of the nave and north aisle date from the 16th century.
The porch contains a lintel and there is a storey over it. It opens into a passage. A hall and a service wing are at a lower level. The hall is situated on the right a features a ceiling of panelled plaster.
Methuen & Co. Ltd. The Early English tower contains four bells. It is surmounted by an octagonal broached spire containing two tiers of lucarnes. The panelled parapet above the Perpendicular nave clerestory is pinnacled, and contains shields within quatrefoils on its north side.
External joinery to windows and doors is painted. The ground level verandah is concrete floored, and unlined above. Internally, a hallway about wide runs east to west. Doors are four panelled with sidelights and semi-circular fanlights, of varying pattern and colour.
The site measures and sits back from the High Street. The interior measures . A modest wooden gallery, supported on one pillar and with a panelled front, spans the north end of the ceiling. Some original timber tie-beams remain on the ceiling.
The clerestory has five windows on each side. Most are Perpendicular Gothic, but two on the north side are Decorated Gothic. The two-storey brick south porch is early 16th-century. The panelled south door is oak, dating from the same period.
The west wall is panelled, and the other walls have ornate plasterwork. In the ceiling is an oval panel containing guilloché and a central rose. On the north, south and west walls are hatchments. In the west gallery is a two-manual organ.
At the west end is a gallery. The roof is double hammer beam in type. The chancel walls are panelled with the ends of former box pews. One font dating from the 16th century on a 20th-century shaft is wrongly dated 1304.
The timber entrance doors and sidelights are also varnished, as are panelled timber front doors to each flat. Stairs and landing are also of timber. The stair-light extends from the first to the second floor. Walls are rendered masonry, and ceilings have plaster mouldings.
Inside the church is a west gallery carried on Doric columns. The gallery is panelled, as are the nave and chancel to dado height. In the chancel the panelling is divided by fluted pilasters. The font is an 18th-century baluster with an octagonal bowl.
The vans were constructed of wood, usually vertically matchboard panelled, on a wooden chassis. Traditionally they were painted dark green outside, white inside for lightness. The roof was curved, of canvas over a wooden frame. This would be tarred or treated as oilcloth for weatherproofing.
The world's first prefabricated, pre-cast panelled apartment blocks were pioneered in Liverpool. A process was invented by city engineer John Alexander Brodie, whose inventive genius also had him inventing the football goal net. The tram stables at Walton in Liverpool followed in 1906.
The church is constructed in hammer-dressed stone, with ashlar dressings, and rusticated quoins. It has a slate roof, and is in two storeys. The entrance front is in three bays. The doorway is in the centre of the lower storey and has panelled pilasters.
Considering the relatively low horsepower of the standard pushrod GT500 Cortina and the Lightweight alloy panelled Cortina Lotus this speed is achievable. For example, the legendary Australian driver "Gelignite Jack" MurrayAndrew Moore: Murray, John Eric (Jack) (1907–1983), Australian Dictionary of Biography, Vol. 18, 2012.
The car's chassis is a tubular steel space frame panelled with 5251 aluminum alloy, and has a built-in roll cage for structural rigidity and safety. The car's body is made out of glass- reinforced plastic, with optional carbon fibre wing mirrors and front splitter.
The ceiling built as an inverted hull of a ship was panelled and the walls were decorated with tapestries. One of these rooms, restored at the beginning of the 20th century is covered with copies of wall paintings from originals of the first floor.
Inside the manor is a spacious hall which is dominated by twin Jacobean staircases and gallery with barley sugar twist balusters. The panelled walls and pilasters are in building styles associated with the Tudor Elizabethan period. Two priest-holes are also located in the house.
The teachers room door is panelled and the boarded classroom double- doors have fanlights. The enclosed understorey is clad with a combination of timber battens, weatherboards and flat-sheeting, and contains a number of storage rooms. Concrete paving is visible at the western end.
In the north wall of the chancel is a sedilia, and in the south wall is a piscina. The carved reredos of 1903 depicts the Last Supper. The choir stalls, pulpit and organ screen, all dated 1907, are panelled. These were designed by Percy Worthington.
There are three marble fireplaces. The dining and drawing rooms are divided by an arch with cedar fitted panelled folding doors. Present kitchen has marble floor and was the dairy. Addition on north side of house is of similar brick and is not offensive.
The hotel's lobby features marble floors and fluted columns. The hotel includes one restaurant, Jardenea, which features American-style food throughout the day. The hotel also offers seasonal al fresco dining facilities. The Library Bar features dark-panelled wood, and has outdoor patio space.
Throughout the house is fine cedar joinery, six panelled doors, cantilevered stair, large sash windows with small panes and simple Georgian fireplace surrounds. The windows in the wings are flanked by unusual extra side lights and have cedar shutters which fold into the reveals.
In the drawing room, there were portable lounges and Waring & Co furnishings, all upholstered in purple plush. The drawing room was also equipped with satinwood panelled walls, an elaborate bookcase with up-to-date library, and other furniture, including a Broadway piano and a pair of Chippendale-style writing desks. Its ceilings were white painted canvas with a gilt-edged floral design; its main entrance and the stairway leading to the promenade deck were both panelled in mahogany. The smoke room was upholstered in scarlet. Koombana’s dining room in the first saloon was roomy, well ventilated, and had green-upholstered seating for 75 people.
In the North chapel can be found three remodelled pews with an additional pew end incorporated into modern seating. In the South chapel can be found two blocks of seating, each of four pews, similar to the seating in the North chapel but with original panelled fronts to the first pews. Nearby at the East end of the South aisle, is a third panelled front incorporated into modern seating. With the exception of the first these seats are late mediaeval. The Sanctuary with the high altar The sedilia in the chancel is believed to Bec 19th-century apart from the 15th-century moulded jambs.
There are two brick chimneys. The awning extends for a bay beyond the north end of the building to allow cover to the ticket window which is located at the end of the building, with a separate skillion roof. The building has modern timber panelled doors with 9-paned fanlights above. The waiting area at the north end of the building has 2 pairs of modern timber panelled double doors, one facing the platform, and the other facing north, beneath a cantilevered awning with steel brackets and a corrugated steel skillion roof. The double doors have 12-paned fanlights (2 lines of 6 panes).
The roof behind the parapet to the western end is hipped, with a protruding stone chimney and dormer window. The chamferboard addition to the rear has an assortment of windows, and a corrugated iron lean-to roof with several skylights. Council chambers inside the Warwick Town Hall, 1935 Entry to the building is through a pair of substantial six-panelled timber doors, which have a smaller segmental stone pediment over, and '"TOWN HALL" set into the threshold. The Entry Hall has several four- panelled cedar doors with glazed fanlights to offices on either side, and a moulded plaster archway leading to the cedar staircase up to the second level.
The inside face of the columns had timber panelling which, to the ground floor verandah, aligned with expressed false beams in the timber panelled ceiling. The ground floor columns support a timber web truss, which in turn supports the first floor verandah above. The first floor verandah had cast iron balustrades, also produced by the Russell Foundry, which have been removed. The ground floor verandahs originally had a fixed timber louvred panelled frieze, which was the remnants of a louvred system intended to have panels which ran in tracks located at the side of the columns allowing the verandah to be enclosed, but where venetian blinds were installed instead.
The crowning element is a square tapering finial which when viewed with the lower square shaft produces the obelisk appearance. This finial also has panelled sides with up to seven or eight on each side. There can be 70 or 80 surfaces in total available for dials.
The materials are understood to have been sourced from the property. The drop log building is painted dark brown. The windows are double hung with each sash divided into six panes and with moulded timber external architraves. The front door in a four panelled timber door.
The upper front door is timber framed with three glass lights and two timber panels. It is surrounded by two side lights and three fan lights. The glass used is leadlighted. Most internal doorways in the main section of the building have a panelled Colonial doorcase.
The French door leaves have a single pane of glass. The windows consist of two single pane double hung sashes. Interior doors are generally four-panelled. The exterior doors from the office4, staircase 57 and cellar 14 have been formed after the original ground floor construction.
The rebuilt north aisle included reused 15th century light windows on the north wall and at each gable end. A stoup is located in the porch wall to the right of the doorway. The original octagonal, Gothic-panelled font is now buried under the church floor.
Mono Turquesa by Chris Ofili, 1992-2002. One of thirteen paintings in The Upper Room. A large walnut-panelled room designed by architect David Adjaye holds the paintings. The room is approached through a dimly-lit corridor, which is designed to give a sense of anticipation.
These include a design studio, a small walled garden and a row of half glazed, wood-panelled cubicles that were originally the printers' offices. The multi-stored front building hosts the main office spaces and a library, which currently serves as a meeting and workshop space.
The chancel has a panelled ceiling, and the transepts contain galleries. The plain pulpit is dated 1623. The stone sedilia and piscina are in Decorated style, date from 1871–72, and were designed by John Douglas. The font is octagonal and dates probably from the 1660s.
Templelands comprises a terrace of two symmetrical, two-storey-and-basement houses. Each house has three bays. The building has an ashlar front, rubble basement and rear, and rusticated quoins, and other decorative features. The central doorways have Ionic surrounds, panelled doors, and plate glass fanlights.
A large terrace was built and featured big, colourful, resort-style canvas umbrellas. The entrance hall "was filled with a curious display of cactus plants in majolica pots." A dining room was panelled with very costly cembra pine. Hitler's large study had a telephone switchboard room.
The marble font has a shallow bowl, the pulpit is square and panelled with a dentilled cornice, and the shaft of the lectern consists of a fluted Greek Doric column; all these are in Neoclassical style. The pipe organ was built in 1972 by J. W. Walker.
The roof, dating from 1979–80, is in varnished chestnut. It is panelled in five compartments, and heavily moulded. The west organ gallery, standing on Tuscan columns, is a replica of that destroyed in the fire. The furniture has been acquired from a variety of sources.
An "interesting" plain Jacobean pulpit of the early 17th century, with legs rather than the usual single stem, may have been made by a local craftsman. There are 15th-century panelled pews in the south aisle. Above the chancel arch there are two 18th-century hatchments.
The tower has three stages with diagonal buttresses, moulded string courses, north-east polygonal higher corner stair turret with blind panelled embattled cap and pierced quatrefoil lozenge parapet with corner pinnacles and gargoyles. It is dated to c. 1360 by Poyntz Wright and after 1420 by Harvey.
Retrieved 2017-03-06. Each is a different size and color: Rovina is blue and seats 930 people; Meskin is lavender and seats 320; Bertonov (also known as Bamartef) is green and seats 220; and Habima 4 (formerly known as Heineken) is wood panelled and seats 170.
Notable interior spaces include an elaborate marble entrance lobby, marble stair and elevator lobbies, and an ornamental auditorium space, all of which feature decorative painted finishes on ornamental plaster and compo features. An elaborate wood panelled primary executive office suite is located on the second floor.
The red panelled log houses west of the main building are believed to date back to the 1720s, while the stables carrying four sandstone vessels were designed by Carl Hårleman (1700-1753) under Frederick I (1676-1751) in the 1730s, thereafter rebuilt into barracks in the 1790s.
The verandahs are sandstone flagged with some concrete sections. The eastern verandah has been extended to match the original. Internally much original joinery survives, including six panelled doors and elaborate skirtings, but has been painted. Some marble fireplaces and some plasterwork survive, though substantial alterations are evident.
The north wing with its wood-panelled chapel was designed by John Lanyon, son of original architect, and completed in 1881. The first degrees under the Royal Charter were conferred in 1883. However, the death of Watts in 1895 marked the beginning of the end of the Princetonian influence.
On the second floor a hall of similar size with a wood panelled ceiling. Large bay windows in the south wall and double-arched renaissance style windows are also added as decorative elements. At the same time, the inner courtyard and west wings are connected by a stone walkway.
The carved oak chancel screen dating from the same period is panelled and includes blind arcarding. It was re-painted in the 19th century. Some of red, blue and green paint is still present. The remainder of the furniture, consisting of utilitarian oak pews, dates from the 19th century.
Unusually for the time Clementina left John and there was a divorce. John remained at Lucknam Park with his daughters. The interior of the house was much altered at this time. The Hall was panelled in dark oak, with carved beams, and coats of arms on the ceiling.
The timber lining throughout the building varies according to the building's growth. Some rooms have horizontal boarding while others are vertically placed. Decorative timber ceiling roses exist in the later rooms on the east side of the house. Internal doors are four panelled and have openable transom lights above.
The building is of double depth central entry plan and is three storeys high. The centre door is narrow and panelled with a small pedimented hood. There is also a low pitch roof with a stack at either gable. The interior of the rear range is timber framed.
The panelled door and ground-floor sash- windows are surmounted by hoods with moulded cornices supported by carved consoles. First-floor windows are surmounted by pediments, again with cornices and consoles. A string course on brackets divides the stories. The roof is of slate and lead, with brick stacks.
Reused 4 panelled doors are at the entry of the shed. A skillion has been added to the rear and the sides. The building is framed with square timber posts and saplings for the roof framing. An iron stove inside the building is from the Macquarie Arms Inn.
8 In 1982, after a thirty-year absence, rabbit was restored to the menu; it was served in a cream and mushroom sauce.The Times, 5 February 1982, p. 12 In 1984 Simpson's dropped its rule forbidding women from using the panelled street-level dining- room at lunchtime.Wyatt, Petronella.
The ceiling is coved. The interior of the chapel is panelled and the stalls are arranged down the sides. The pulpit is octagonal and it has a sounding board and an ancient hourglass. The reredos was painted by Lady Leighton and carved by Countess Bathurst, one of her aunts.
On the wall is a dole cupboard. The pulpit has canted ends and it contains a canopied niche. The organ case and pipes are painted, as is the panelled chancel ceiling. On the east wall of the chancel is panelling, and to the south is a double sedilia.
The large west gallery was removed and a smaller one installed. Central doors were hung in an archway below the gallery. The woodwork was by J. Pearson of Pendleton. The nave and aisle roofs were panelled in pitch pine, the wooden floor was replaced and the windows were reglazed.
It leads into a wooden vestibule with carved rosettes and triglyphs, which opens onto the main lobby. There, terrazzo flooring is complemented by panelled wainscoting and plaster walls, ceiling and Gothic cornice. The door to the postmaster's office is framed with carved rosettes, sheaves of wheat and dentils.
Susannah Place is irregularly shaped with a kink at the junction of numbers 58 and 60. The northern wall is angled. The building is simply proportioned. The doors to Gloucester Street are six- panelled while the internal doors and external doors to the rear are ledged and sheeted.
The building is of red brick in Flemish bond dressed with ashlar sandstone and a steeply-pitched Welsh slate roof and is Jacobean in style. The Bridge Street facade has one bay and a leaved panelled door situated below a fanlight under a round-arched portal with datestone.
The external brick walls are rendered and painted white. The roof is made of slate tile. Entry into Woodlands is reached by an ascending series of sandstone steps flanked by sandstone step walls. The panelled front door is inset with a stained glass bird motif within a leadlight frame.
The church was erected under the patronage of Marquis Carlo Filiberto of the House of Este San Martino. The original vault is concealed above the Baroque panelled ceiling. On the left of the nave are three chapels. This church acquired works from suppressed monasteries including polychrome scagliola altars.
The station complex includes the platform building and island platform (1893), turntable (1897), Bong Bong Street overbridge ( 1990 and footbridge (2005). ;Platform building (1893) This is a single storey painted brick building (painted in heritage colours: brick colour for walls; drab for stucco reveals to windows and doors; manilla for window frames and doors) with a gabled corrugated steel roof with timber tongue & grooved boarding to gable ends. The building has timber framed double hung windows with 9 paned top sashes with coloured glass panes to top sashes and frosted glass to bottom sashes. The majority of doors are timber panelled, and there are some timber panelled double doors, all with multipaned fanlights (some fanlights covered over).
The east extension of the building is in stretcher bond brickwork but is finished with sandstone detailing matching the original construction. The brickwork has been painted. The building has three panelled doors with fanlights and dentilated transoms. Doors to the centre of the building are similar but have two panels.
The floor is laid with encaustic tiles by Maw & Co. Externally it is higher than the nave. The oak wagon roof is panelled, with corbels carved with angels. Eighteen carved oak angels are mounted on stone brackets below the wall-plate. The chancel is lit by four windows all c.1883.
The church was commissioned by Henry Herbert, 4th Earl of Carnarvon. Unfortunately he died in 1890, just before the church was completed. His wife commissioned a cross in his memory which hangs in the church. The church contains some Panelled oak stalls and desks carved by Eric Gill dating from 1903.
After closing the Holy Year on Christmas day 1950 Pope Pius XII replaced the wooden doors installed by Pope Benedict XIV in 1748, which had begun to fall into disrepair, with the 16-panelled bronze doors (modelled by Vico Consorti and cast by Ferdinando Marinelli Artistic Foundry) that are seen today.
The stone monument was erected in 1906 by the friends of Terje Vigen. The altarpiece, pulpit with panelled ceiling and pews with the names of farms painted on them are considered valuable. They were made in the period 1500–1700. The well preserved church is located approximately north of Grimstad.
The pub is a heritage-listed building of local significance built in the Victorian Filigree style. It is a two-storeyed corner hotel with a panelled lace upper verandah, timber posts to street and iron lace balustrades. It is a rare example of a hotel still in its original state.
In the remodelling of the sanctuary a new wood panelled reredos was fitted and the communion rails extended forward at the sides. The pulpit was retained in its original position, but the babtismal font was reset. The choir was enlarged to accommodate 42. The architect was N. S. W. McPherson.
Specifically, the stations should represent "a noble public space, monumental in spirit, urbane in its choice of shapes and materials." In practical terms, this meant a diversity of materials. Walls are panelled in steel, stone and frosted glass, while platform floors are marbelled. Elsewhere, the dominant surface is polished bare concrete.
The gable ends are clad with splayed weatherboards. The verandah structure is from the 1970s and the slab balustrade is probably more recent. The cottage has double hung windows (not original) either side of the 4 panelled front door. A brick chimney is external to the cottage on a side wall.
A layout of previous partitions is visible on the ceiling. There are four non- functional fireplaces without mantle or firebox. A rear room contains a kitchen. Timber-framed, glazed French doors and a clear-finished panelled timber door open onto the rear verandah from the rear rooms of the first floor.
A basement was to provide access for a further two vestries. Finishes throughout the church included face brick internal walls with black tuckpointing, timber panelled ceilings and external roughcast render. A red tiled roof was to provide a contrast with the whitewashed external walls. Electric lighting was installed by Dudley Winterford.
The ground floor has also undergone substantial alterations with the installation of new partitions for offices and new ceilings, but retains a central cast-iron column and panelled beams traversing the former large mail room. The column has an identification plate at its base which reads HARVEY Margaret St Brisbane.
Poole Methodist Chapel is a small building with a square plan. It is constructed in red brick, and has a hipped slate roof. The chapel is in a single storey, and has an entrance front of three bays. The central door is panelled and is decorated with a Gothic motif.
20, 1881 It occupied the former Melodeon. The Gaiety's 800-seat auditorium featured "walls and ceiling ... panelled in pink, with buff, gold and purple borders; the balcony fronts ... bronze, gray, and pink."King's Handbook of Boston, 4th ed. Cambridge, Massachusetts: M. King, 1881 In 1882 it became the Bijou Theatre.
Internally the building has been largely altered with later office partitioning and modern ceilings. However, a number of original features remain including the central timber staircase, marble mantelpieces, decorative plaster cornices and archways, tiled bathrooms, tessellated tiles to entry and bathrooms, timber panelled doors, "mini-orb" and "lath and plaster" ceilings.
Ceilings are formed from plaster and are raked near the wall junctions which are finished with a decorative plaster cornice. A central plaster panel adorns the ceiling from which early pendant lights are hung. Panelled doors, architraves and skirtings are silky oak. All timberwork including the furniture is similarly detailed.
Offices are more simply detailed with plaster cornices and some feature decorative plaster ceiling panels. All rooms have silky oak architraves, panelled doors and skirtings. Floors are lined with hardwood boards though some have been covered with carpet. Some pendant lights remain but some have been replaced with recent fittings.
The gutters have acroteria, decorative rainwater heads and moulded soffit brackets. The core of the ground floor is a single room meeting hall. It has a high (about ) boarded ceiling, and awning windows with sills at eye height. The pair of entry doors are six-panelled with an arched fanlight.
Williams (1980) p. 6. A second, smaller font with a panelled stem is in the southwestern corner of the nave. The church contains a pipe organ of uncertain date made by Kirkland of London at their Wakefield branch which opened in 1893. Its most recent restorations were in 1935 and 1955.
The eastern room was formerly a dining room, and has ornate, hand-crafted timber architraves. Each of the side wings contains two rooms. Those in the western wing are separated by pairs of folding, panelled timber doors. Those in the eastern wing function as bedrooms and do not have connecting access.
Inside the church are galleries on three sides, supported by cast iron columns. The area under the west gallery has been partitioned to form a separate area. The plaster ceiling is segmental and panelled. At the centre is a roundel carved with foliage, and surrounded by a Greek key border.
The top floor contains even smaller two-light windows under round arches between panelled pilasters. Along the top of the building is a frieze and a cornice. The building is recorded in the National Heritage List for England as a Grade II listed building, having been designated on 12 July 1966.
There are timber framed glass highlights facing the south. All internal joinery is painted. A former large opening, with panelled reveals, has been reduced with a plasterboard partition. The interior to the Kelly Street elevation consists of a stair hall, a former dining room, former telegraph room and a service area.
The former Victoria Inn is a one and a half storey Colonial Georgian sandstock brick cottage with sandstone quoins, lintels and sills. Symmetrical front facade has central panelled door with 4 pane fanlight. Windows are 2 x 6 pane double hung sashes. The roof is hipped and has wide boxed eaves.
There are panelled 14th-century screens between the nave and the chancel, and between the chancel and the chapel. The chancel has a double south arcade, an aumbry in its north wall and a piscina in the south wall. In the chapel is a carved stone reredos. There are two pulpits.
Square-headed window openings with timber sash windows, tooled limestone sills and block-and-start limestone surrounds. Diocletian window to second floor and Venetian window to first floor. Tooled limestone pedimented door surround with engaged Ionic columns with timber panelled door flanked by side lights. Door accessed up limestone steps.
Internally, the bank contains fine decorative elements. It has plaster ceilings with elaborately decorated plaster cornices, ceiling roses and beam encasings. Timber work includes finely carved and turned stairs, and panelled cedar doors with ventilated fanlights. The public banking area contains a particularly impressive richly carved counter inset with ventilation grilles.
The Fountain was built in 1862, restored in 1990 and listed in 1992. It is made of grey Forest of Dean stone. It is an obelisk on a panelled pedestal base. There are iron Spigots one each side, which are mounted on wrought-iron cruciform supports, that have brass fox-mask mouths.
Inside the church the nave and chancel are in one vessel with a single waggon roof. The five-bay arcades are carried on round piers. The octagonal pulpit is in stone with clustered shafts in marble. The high altar and the reredos date from about 1900 and are panelled with coloured marble.
The internal walls are limewashed and the floor is stone. The nave is without aisles and has timber panelling on the walls. It has panelled box pews and bracket lights with brass ornaments from the Victorian era. The Jacobean pulpit is hexagonal, constructed of carved wood, and there is an octagonal stone font.
The stables built by John Dudley in the 1550s also survive and lie along the east side of the base court.Morris 2010, p.28. The stable block is a large building built mostly in stone, but with a timber- framed, decoratively panelled first storey designed in an anachronistic, vernacular style.Morris 2010, p.
Two additional rooms added at south west corner. The attic has four large rooms lit by attractive dormers having arched transoms with curved glazing bars. This pattern is repeated in the fine fanlight over the south door. The interior joinery is cedar with extensive panelled window reveals, dados and built-in cupboards.
It is roofed, with a low, two-storey, three-bay house with narrow windows and simple doorcase added. In the tower is a chimney-piece dated 1580, and a panelled room. Beside the house are early brick walls with blank arches. It is situated 1 mile southeast of Bennettsbridge. 19.S.47.57.
The chancel roof is panelled and has moulded rib vaults and intricately decorated ceiling bosses. The nave roof of four bays also has trefoil-headed panelling. A gallery at the west end houses an organ built in 1839. A plastered stone reredos, also with trefoil-headed panels, dates from the mid-19th century.
The interior features a 40 foot long reception hall with vaulted ceiling, the reception lounge has a ceiling which extends to the full height of the building, the dining room is oak panelled. The 2.5 acre grounds include a three bedroom lodge. Gives architectural details of main house. www.rightmove Gives details of interior.
The floors of the nave, sanctuary and vestry are of concrete. There is an angled wood- panelled ceiling in the nave. Three overhead fans are suspended from the nave ceiling. The sanctuary is separated from the nave by a small step, a timber partition that drops from the ceiling, and folding timber doors.
The rooms all have original fireplaces, cedar skirting boards and six panelled cedar doors. Likewise internal staircases are also of cedar. To the rear are pantry, laundry and bathroom to one side and kitchen, a second bathroom and dressing room to the other. These are contained within two additional wings constructed in 1988.
The interior of the church There are panelled galleries on three sides, with Ionic columns rising from the galleries to the ceiling. The central part of the west gallery is supported by two timber Doric columns. The galleries are reached by two staircases. In the body of the church are oak box pews.
On the first floor are the council chamber, the Lord Mayoral suite, a committee room and the members' room. The council chamber was rebuilt after the fire of 1897. It is panelled and contains wooden and stone carvings. The Lord Mayoral suite consists of the Lord Mayor's Parlour and the Mayoress' Parlour.
The underside of the eastern stair is painted boarding. That adjacent to the vestibule, of cedar panelling. The upper level contains ten bedrooms, some of original dimensions, some divided by hardboard partitions, reusing in places, original panelled doors. Original walls are rendered, several with cornices and light surrounds matching the ground level rooms.
There was a spacious Lounge designed in the Empire style, which included a dance floor. The writing room was fitted in the style of Louis XVI, with tinted walls and mahogany furniture, as was the smoking room which had oak panelled walls. There was also a swimming pool and fully equipped gymnasium.
The building that currently stands on the site is a 19th-century public house. This pub's licence was acquired by Shepherd Neame and the premises were reopened after a restoration that finished in April 2009. There is a wood- panelled bar with three sections on the ground floor and a restaurant downstairs.
On the two sides of the altar are box pews with brass name plates for the patrons, the Broughton and Kenyon families. The panelled timber reredos is in three parts, bearing the Lord's Prayer and the creed to the left and the right and an extract from Exodus in a divided central panel.
It is a large bright space, carpeted with gold coloured lines on a red background (indicating where each male should stand). The ceiling is wood panelled. On the south wall is the Mihrab, semi-circular space, with a pulpit for the Imams. The walls are bare but painted white showing uniform ashlar bricks.
Square-headed window openings, painted sandstone sills and two-over-two sash windows. One-over-one sash windows to canted bays. Three-over-three sash window to rear lean-to. Four panelled timber door to north of porch, with single-pane overlight in moulded surround on block plinths and approached by steps.
A six-panelled leaded window is located above each double door. All entrances to the church are flanked by columns either side which support a decorative gable. The steeply-pitched roof of the church is clad with Wunderlich terracotta tiles. Along the ridge of the roof is a concrete crenellated ridge capping.
The dominant note of the interior is light. Firstly, the walls and columns are panelled in whitewashed pine, giving a slightly New England flavour. Mostly, though, the effect of the determined simplicity is pre-Christian Roman. The only explicitly Christian decoration is the legend "Dieu est amour" painted at the 'West' end.
The church was consecrated on 10 October 1836. It was restored in 1931–32 by Austin and Paley, the successors in Sharpe's practice. During the restoration the original box pews were removed, a pulpit and chancel screen were added, the lower part of the walls were panelled, and the church was re-floored.
Most ceilings are of flat sheeting, and timber framing is exposed within the range and the western wing. The piers are stop-chamfered, and timber seats supported by metal brackets are attached to some piers. Early timber joinery is retained throughout the building, including: tall casement windows (to the exterior); double-hung sash windows (to the verandahs); arched casement windows (to the eastern and western range projections); panelled doors on the first floor; low-waisted French doors with arched fanlights (to the entrance bay); a high-waisted timber panelled door (to the tuckshop, 1953); and an interior French glazed door (between classrooms on the second floor). Most windows and doors have early awning fanlights; and most windows retain their early hardware with winding mechanisms.
The house today remains essentially the mansion that Edmund Compton and his son William completed within a thirty-year period during the reigns of the first two Tudor monarchs. The 6th Marquess of Northampton (1885–1978) cared greatly for the house and spent a few months each year at Compton Wynyates. It was he who installed the electricity and water supplies; however, his principal home always remained Castle Ashby. For a short time the panelled rooms of Compton Wynyates were open to the public: the chapel overlooked by the chapel drawing room, the King's bedroom, the heavily panelled drawing and dining rooms with their moulded plaster ceilings, and works of art, such as the crucifixion by Matteo Balducci, were on limited public display.
A nineteenth century English courtroom in Nottingham, United Kingdom now preserved as a museum Courtrooms vary considerably in their layout, reflecting the history and development of the building. Some historic courtrooms remain in use and are generally wood panelled; most newer courtrooms are not panelled and generally have a modern appearance. Depending on the layout of the room, a claimant may sit on either the right or left in a civil court, just as the prosecution may sit on either side (usually the opposite side to the jury) in a criminal court. In a criminal court, where the defendant is held in custody prior to court appearance, the defendant will be escorted by the security firm that has the contract to serve that court.
The Junior Common Room The JCR is a large oak panelled room which is adorned with the pictures of Regent's many sports teams. The room also has a JCR presidents' board with the name of every JCR President and a board recording all Regent's students who have received a Blue from the university. When heads of houses and bursars made a recent inspection of all the Junior Common Rooms in Oxford it was agreed that Regent's' recently refurbished, wood-panelled common room is one of the finest. The Senior Common Room The Senior Common Room (SCR), which is used by academic and administrative staff, was provided by a gift from the nieces and nephews of George Pearce Gould (principal 1896–1920).
The side walls have timber panelling to window sill height, and the rear of the court room has a timber panelled wall which extends to form a balustrade to a mezzanine gallery which overlooks the court. The non-original ceiling is constructed of suspended acoustic tiles with a lower bulkhead over the raised judge's bench, which is flanked by an arched vestibule to either side. The court room has cedar joinery, including judge's bench, witness box, jury stand, and press gallery, as well as public barriers, panelled doors with fanlights, architraves and wall panelling. The remaining rooms have similar finishes to the ground floor, and the rear rooms which open onto the verandah have timber fireplace surrounds and French doors.
The stalls are arranged along the north and south sides of the nave. The pulpit is octagonal and panelled, and the font consists of a marble bowl on an oak stem. Rysbrack Most of the memorials were moved from the earlier church. The oldest, dated 1490, is a brass to Geoffrey Sherard and his wife.
The original interior doors are of panelled timber with pressed metal push plates. Evidence of the original dark stained finish is evident under layers of paint. The bay windows are substantially intact despite having been relocated from the corner of both front rooms. A decorative internal timber fretwork grille is fitted to both of them.
The ceiling is panelled and the panels contain floral patterns in relief. It is stated that "the application of these details to a stable makes this one of the most lavish buildings of this date in Cheshire". The authors of the Buildings of England series state that it is "an important survival of the type".
The roof is laid with slates and tiles. The entrance is on the northwest face, which has seven bays. The centre three are set forward slightly and are topped by a pediment with an inset oculus and a cornice with dentil elements. The panelled wood door is 18th-century, and sits below an arched fanlight.
The early 18th-century Court House, standing in a small park by the parish church, occupies the site of the ancient priory and is reputed to contain its foundations. Its historic features include a fine Rococo plaster ceiling and several completely panelled rooms. It was restored by R. V. Morris, Chairman of Gloucester Civic Trust.
The building's primary entrance is aligned with this parapet and comprises timber panelled doors with a two-light arched fanlight. It has decorative sandstone surrounds and a keystone inscribed with the date "1908". A secondary entrance is located in the southern, Dee Street elevation. Further access is gained via the rear verandah and balcony.
It is a heavy timber panelled door which retains its original latch. The size of the central room is . The timber floor boards throughout the building are wide as are the walls and ceiling boards. The ceiling in the original room is flat and slopes away to the front and rear to meet the walls.
Reload was recorded at The Plant, a wood-panelled studio in Sausalito, California. The session was produced by Bob Rock, who also produced Metallica's previous two albums. The album artwork displays a photo by Andres Serrano, titled "Piss and Blood XXVI". The original idea was to release Load and Reload as a double album.
Total accommodation provided is as follows: entrance hall and staircase, 2 cloakrooms, 3 reception rooms and fine panelled billiards room with vaulted ceiling, large kitchen, utility room, play room, stores. Wine cellar and boiler room, 2 bedrooms and bathroom suites, 2 further bedrooms and 4 bedrooms and bathroom and box room on the second floor.
Across the top of the façade is a cornice and a balustraded parapet. Behind the façade the house is two- gabled, the north gable being higher than the south. Internally the entrance hall is panelled with fluted pilasters. There are two staircases, the main one having twisted balusters and the secondary one having flat balusters.
The floor of the church is flagged, and the walls are limewashed. Inside the church are panelled box pews, an octagonal pulpit with a sounding board, communion rails, and a communion table, all dating from the 18th century. The octagonal stone font dates from a similar period. There are traces of paintings on the walls.
6 in. and the grid height is 58 ft. The rectangular proscenium arch is flanked by large boxes in the form of a ship's transom, decorated with plaster-work representing clinker planks each surmounted by a canopy bearing a pair of ship's lanterns. The two-tiered auditorium has panelled walls under a domed ceiling.
1500 (see John Wynn, 1st Baronet), Gwydir is an example of a Tudor courtyard house, incorporating re-used medieval material from the dissolved Abbey of Maenan. Further additions date from c. 1600 and c. 1826. The important 1640s panelled dining room has now been reinstated, following its repatriation from the New York Metropolitan Museum.
The centre's conference and seminar facilities include the 200 capacity marble Main Hall, the 50 capacity wood-panelled Council Chamber and the smaller 20 capacity meeting room. The venue has parking nearby and is within walking distance of the northern city centre. It can also be reached by rail transport from Cathays railway station.
Smaller rooms were panelled with wood.Krüger: Burg Rötteln. p. 24 Additional evidence of the sophisticated inventory can be seen in the stove tiles which are exhibited in the castle's museum and the in Lörrach. In the 14th century, chimneys and fireplaces had large tiles to store heat and allowed more even and widespread heating.
Case Cottage is a late nineteenth-century hipped-roof cottage. One room deep, it has a bullnose verandah on the front which meets with the main roof. The roof is of corrugated steel and the walls are five-inch-wide sawn boards. 2 over 2 pane double-hung windows flank the central four-panelled door.
Ground floor dining rooms and sitting room have plaster ceilings with elaborate circular surrounds to central lights. Doors are cedar panelled with rectangular fan lights over. Deep cornices and pelmets are of moulded cedar. The front dining room has walls of full height cedar, with beaded vertical boarding above the panelling to dado height.
The house is surrounded on 3 sides by a stepped verandah with a skillion roof. The rear verandah has been enclosed and extended. The front pediment features a decorative timber bargeboard and finial, and the verandah has been enclosed sideways-sliding sashes featuring panelled coloured glass. The original cast iron balustrades have been retained.
The ribs extend down the coving to the cornice. There is a decorative pattern along the top of the ribs and inside each of the rectangular sections. A letter "G" suspends from a hook in the centre of the ceiling. On either side of the platform on the western wall are panelled wooden doors.
High level windows above the verandah roof on the west light the attic space which was formerly a gallery level. Internally, the building has been refitted a number of times. Walls are rendered and ceilings are mainly of hardboard. Some painted timber fireplace surrounds remain, as do some panelled timber doors with glass fanlights.
It has four doors and a safe located in the centre, below the window to the waiting room. Wall- mounted timber shelving is located to the right of the window. The room contains a mix of modern and original furnishings and fixtures. Two panelled timber doors with square fanlights above open to the platform.
Gordon 1959, p. 28. The dado of the apsidal east end is panelled and surmounted by a continuous canopy of ogee arches below a pierced parapet. The panelling of the central section above the holy table is the most detailed and contains a sculpture of an allegorical winged figure defeating a dragon which represents evil.
An early-20th century painting of Christ in Glory by Reginald Frampton is on the east wall. The octagonal font has a panelled bowl and stem which dates from the 15th century. It had been discarded in 1771 but reinstated in 1841. The pulpit is made of stone construction and has a wrought-iron balustrade.
The theme continued up the grand, plaster panelled staircase to the bedrooms. The whole was furnished in what became known as "Le Style Rothschild", that is, 18th-century French furniture, boulle, ebony, and ormolu, complemented by Old Masters and fine porcelain. A huge domed conservatory known as the winter garden was attached to the house.
The Hall's street numbers 208 and 210, are located on small oval metal plates on the architrave. Female and male toilets are located to the northern and southern ends of the Hall. The toilets, installed in the 1950s, have terrazzo floors and skylights. Paired, panelled timber doors, with a breezeway, lead to the main hall.
The clock tower mirrors the design of the public hall entrance projections with vertical banding rising to the clock face. The clock face is square and is flush with the facade. The two central shops retain some original shopfront glazing. Central, recessed timber-panelled shop doors with multi-paned glass remain to these shops.
A wall to the east, which contains the entrance, forms the fourth side of a square court. The buildings around the courtyard are three storeys high, built of pinned boulder rubble. The main gables are crow stepped. The drawing room, which is panelled, has a large chimneypiece, with a later one inserted in it.
Large double, timber, panelled doors with coloured glass and leadlighting with breezeway assembly, open to the central corridor. The hallway is rendered with decorative moulded detail along the wall. The Sister's rooms are simple in plan and decorative detail. The rooms have timber doors and architraves with breezeway assembly, painted walls and austere ceilings.
The chimney stacks are rendered. The hall and several other rooms are panelled and the plasterwork and ceilings are ornate with decorated beams. There are classical scenes painted on some walls. The staircase is Jacobean in style and dates from about 1660; it has heavily carved newels, a thick moulded rail and turned balusters.
However; existence of few safety signs indicates possible uses for maintenance or similar activities. The timber tower extends down onto the platform with a timber panelled out-of-shed building on the platform. The southern leg of the steel trestles sits within the out-of-shed. Internal: Access only was available to the open ladies waiting room and toilets.
External: This station building is a rare example of a large (type 11) timber island platform building. It has eight bays with cantilevered bracketed awnings to each platform elevation. Verandah brackets are plain with standard circular bracing sitting on decorative timber supports. Detailing is generally restrained with rusticated weatherboard siding and V-jointed timber panelled gable ends.
On 22 March each year the laying of the foundation stone is commemorated as Founder's Day. The Grade II listed West Croydon Baptist Church was built in 1873 by J. Theodore Barker. It is a red brick building with stone dressings. Its three bays are divided by paired Doric pilasters supporting a triglyph frieze and panelled parapet.
The windows are Georgian in style, with sashes and small panes of glass. Inside the chapel are box pews, an octagonal pulpit and a carved reading desk. The chancel is panelled and divided from the nave by rails consisting of turned balusters. Hanging from a lintel at the entrance to the chancel are similar balusters forming an arch.
The oak door is heavily studded. Inside it has a vaulted roof, white-washed walls and a flag-stoned floor. There is a late medieval gallery with a panelled front at the west end. The box pews are eighteenth century, as are the other furnishings of the church which were given by Archbishop William Wake (1657–1737) of Canterbury.
The washroom is a light timber framed structure clad in fibro internally and externally. The framing timbers are in poor condition, but appear to have been hand sawn. There is a single door in one end and a small casement window along each side. The door is timber panelled with a decorative architrave around the doorframe on the outside.
Beams in this space are expressed and clad in VJ timber boards. Ceiling vents remain in their original positions and high-level, timber picture-rails run around the perimeter of the space. Original timber panelled doors with fanlights provide access to the teachers rooms and hallways. The understorey has rounded brick stumps, brick walls, and a concrete slab floor.
Kingsley wrote ten books at Lemmons, in his wood-panelled study on the ground floor, including The Green Man (1969), What Became of Jane Austen? And Other Questions (1970), Girl, 20 (1971), The Riverside Villas Murder (1973), Ending Up (1974), The Alteration (1976), and part of Harold's Years (1977).Leader 2006, pp. 614, 633, 642–643, 645.
Bigsweir House, British Listed Buildings. Retrieved 11 February 2015 Additions were made to the house after it passed to James Rooke (d.1805). The estate was enlarged by purchases of woodland, and the house itself was refurbished with rich internal decoration, including panelled rooms and elaborate cornices and architraves. Further extensions were added in the 20th century.
These charges are exactly repeated on both sides. The canopy is of square form, flanked by buttresses pinnacled on their faces, and the groining within shews five fan-traceried pendants. At the east end is a large niche, the west is open. The doorway is surmounted by a rich ogee crocketted canopy with finial, and is panelled above.
Behind it was the main terminal; this held a communal third-class waiting room, mortuaries and storerooms, the LNC's workshops, and a sumptuous oak-panelled Chapelle Ardente, intended for mourners unable to make the journey to Brookwood to pay their respects to the deceased. This building led onto the two platforms, lined with waiting rooms and a ticket office.
Wooden door of St. Sabina in Rome, c.430. Bronze doors of the Marktportal, Mainz Cathedral c.1009. There are various possibilities for the model of the Hildesheim doors as panelled doors (on the Roman model) and for the material used. Outstanding examples of monumental bronzeworking of the period include the doors of the Palatine chapel (c.
The main feature of the hamlet is the Pear Tree House and farm. The farmhouse is dated to the 18th century and has 20th-century windows and portico with two Tuscan columns and an eight-panelled door. It is built from brick in three storeys and became a Grade II listed building on 23 November 1984.
Sydney architect Henry Austin Wilshire won the Grafton Gaol competition with a design following trends already evident in the gaols designed by the Colonial Architect. The design consisted of a square compound, with brick walls, with an elaborate gatehouse, featuring a machicolated parapet, a sandstone archway and elaborate panelled doors. The gaol was built by the Holloway Bros.
The dining room is located in the northwest corner of the building and is in more or less original condition. The west wall has been panelled over and the windows blocked. Three sets of double doors to the service corridor have been widened at some stage and then sealed. The remaining walls have their original boards.
The modillioned cornice forms the base to a deep, panelled parapet decorated with rosettes and pedimented piers with grotesque winged beasts supporting iron finials. Three-bay return elevations. The main hall projects at the rear. It is seven bays long by five bays wide with tall slender round-arched windows with glazing bars and circles in heads.
Hammond Block (Budnick's Trading Mart) is a historic commercial building located at Indianapolis, Indiana. It was built in 1874, and is a three-story, trapezoidal Italianate style red brick building on a limestone faced raised basement. It has a low hipped roof with a broad eave with a panelled frieze and bracketed cornice. It features cast iron decorative elements.
The hall has an ornately carved timber dog-leg double staircase and return landing with elaborate timber balustrades and coffered timber ceilingi the Jacobean manner. A panelled room leads off the hall with finely carved timber fireplace and coloured panes to the twelve-paned sash windows. All the main doors have ornate pedimented architraves. The servants' wing still exists.
It has a decorative cornice, and low- waisted four-panel doors with fretted toplights. The central bays has two offices with moulded arched openings. The south-eastern end four offices opening from a central corridor. The interior features rendered brick walls, high ceilings with decorative cornices, double-hung and leadlight windows and panelled doors with fretted toplights.
Separated from this above the third bay is a panelled gallery supported by columns and a cross beam. A "good row of hat-pegs" was noted in a survey of 1986. The chapel, inclusive of all three bays, measures . The baptistery, set into the floor, survives: there are brick steps down into it, and it is lined with bricks.
But after the Sex Discrimination Act 1975 came into law, they could no longer prohibit men from entering. In 1968, the cafe was once again renovated. The result was a mixture of old and new. The original interior tiled walls were panelled over, a tiled mural of a turkey was added, and smaller windows were inserted.
In the south wall of the chancel is a large four-light window. The east window has two lights, with a circular window above. Inside the church is a 17th- century panelled pulpit, and a brass chandelier which was donated by Ivor Bulmer-Thomas. The font is a simple bowl on a narrow pedestal dating from the Norman period.
The chancel and west end of the nave have encaustic tiled floors by Minton. The octagonal wood panelled pulpit wraps round the northern crossing pier, it has stone base and a wrought iron rail to the stairs. The nave seating, canopied civic stalls and choir stalls are original. Three misericords were saved from the 15th-century church.
In the aisle to the south is a canopied niche with buttresses and pinnacles. In the chancel is a piscina and a priest’s door. Pevsner notes a 17th-century south entrance panelled door incorporating a wicket gate, and the existence of an 1809 paten by William Fountain.Pevsner, Nikolaus; Harris, John; The Buildings of England: Lincolnshire p.
Blackstone Building is a historic commercial building located in downtown Fort Wayne, Indiana. It was designed by noted Fort Wayne architect Charles R. Weatherhogg and built in 1927. It is a three-story, three bay, Classical Revival style brick building. The front facade features panelled Ionic order pilasters topped by a modillion cornice and a shaped parapet.
149, 306, Collins states that Silking was the successor of Margaret Hartsyde. At least three examples of Dorothea's signature survive today. Zouch donated a panelled oak gallery to St Peter's Church in Old Woking in 1622, his name is painted across its architrave. King James stayed at Woking with Zouch at the start of September 1624.
The basement, which probably housed the kitchen, is vaulted. It has a wide fireplace; its massive chimney-stack it a notable feature of the main building's south side. The tower had a Hall on the first floor, which is now the panelled dining-room, dating from the 18th century. The interior mainly dates from the 18th century.
The portico sits between a chapel and a hall with a bust of Christopher Codrington. The chapel has an altar configured with a vaulted ceiling and panelled with ebony, lignum vitae, and cordia wood. The campus also includes the Principal's Lodge. Originally, the Consett plantation great house, it was a large building but simply designed in three chambers.
On the summit of the gable are ball finials. The eastern face has a three-light window above which is an oval oeil de boeuf window and finials similar to those on the west face. The north and south faces have four round- arched windows with ashlar surrounds. Internally the lower parts of the walls are panelled.
The walls are rendered with exposed sandstone dressings and panelled to dado height. The church contains a hydraulically powered organ by Norman & Beard of 1909,Scotland's Churches Trust: Kilmun Parish Church website (online), access date 9 April 2015. which (apart from St. Mary's, DalkeithSt Mary's Dalkeith History) is probably the only water-powered organ in Scotland still in use.
Its roof is supported by square piers that form an arcaded frieze embellished with drop pendants beneath a wide panelled and bracketed cornice. Windows on all facades are mostly paired round-arched windows with louvered shutters. A tripartite bay window projects from the westernmost bay on the north. It, too, has a bracketed cornice and hipped roof.
The new churchyard included the old one, and was planted with aloes, dracaenas, flowering plants and evergreens. The three-panelled reredos is made of red serpentine and inlaid with a marble cross, aureola and sacred emblems. It was fixed in position in May 1879. The font is also made of serpentine, mounted on small granite columns.
This includes a panelled reading desk, pews dated 1619, and linenfold panelling on the east wall. The pews are arranged along three walls in the style of a college chapel. The communion table dates from the 17th century. The doorway leading to the vestry has an ogee head, and the vestry contains more early carved woodwork.
The 1-1/2 story wood frame house was built c. 1850, and is a detailed example of a Greek Revival workers' cottage. The gable end is pedimented, and an entablature wraps around the house, supported by corner pilasters. The main entrance is flanked by sidelight windows and panelled pilasters, and topped by antransom window and entablature.
Cartwright Cottage is a hipped roof cottage of wide (250-300mm) slabs and a corrugated steel roof. The cottage is one room deep and has a skillion verandah, broken back to the main roof. The symmetrical front has a four panelled door flanked by 2 over 2 pane double hung windows. The ceiling is lined with calico.
The rafter beam ceiling of the nave dates from the 15th century and the camber beam chancel ceiling, which is panelled, dates from slightly later. The chancel screen is dated 1894. The octagonal 16th-century font sits on a 19th-century stem with a wooden cover. At the east end of the chancel is a sanctus cot and bell.
The rotunda stands above a five-sided room. Each of the walls in the room are of a different size. The interior walls of the rotunda were finished in white marble and bronze capitals, light fixtures, railings, and other elements. The floor of the rotunda was open space, with oak-panelled offices and teller windows against the walls.
The oak parlour, in the south west, contains a large wooden Jacobean overmantel, featuring Green Men carving. The Jacobean carving here and in the dining room is noticeably cruder than the Victorian work. The carved parlour is another reproduction by Barry of the original. Panelled in oak, it has a plaster frieze of the Elements, Graces and Virtues.
It is a two-storey Victorian Gothic style church constructed of face brickwork on sandstone base with stone dressings, buttresses and gable roof. The building is symmetrical, with triple gothic arched leadlight windows with stone tracery above panelled doors at ground-floor level. Remnant elements of cast-iron palisade fencing and gates with sandstone gateposts survive.
Also mounted on the walls are various ceremonial items including sword-bayonets and gavels. The panelled entry door to the Lodge Room has brass knockers to both sides and a sliding eye- hole. On the lower level is a small kitchen and dining area known as the Festive Board Room. Its walls are lined with fibrous cement sheet.
The two internal doors are panelled, also with tilting fanlights. The internal wall lining to the Reading Room and Library is vertical tongue and groove boarding, apart from the eastern wall of the Library where it has been removed. The walls to the Reading Room have a timber picture rail. The Kitchen walls are lined with fibrous cement sheet.
Inside was hardwood panelled walls and ceilings and oak floors. The rooms were heated by eight fireplaces. There were special reading rooms for ladies and for children, a chess room, newspaper reading room, picture gallery, lecture hall, and on the third floor the Art, Historical and Scientific Association (now called the Vancouver Museum). The library opened in November 1903.
The Baroque style north door is probably by him. Internally he panelled the apse, a platform was created to support a new altar and reredos. The carved cherubs and swags were copied from the contemporary to the church, work of Grinling Gibbons in the choir of St Paul's Cathedral. He also rebuilt three galleries supported by Tuscan columns.
There is a gas light over the doorway. The original cedar panelled doors survive, as do sash windows in the side and rear walls. The hipped roof is not visible from the street and is now clad in zincalume. The convex awning to the street is clad with corrugated iron and supported by slender cast iron posts.
The Istana Villa. The Japanese field- artillery gun on display on the Istana grounds. The Istana is similar to many 18th-century neo-Palladian style buildings designed by British military engineers in India. It has a tropical layout like a Malay house, surrounded by statuesque columns, deep verandahs, louvred windows and panelled doors to promote cross-ventilation.
The main building was built in 1907 in Jacobean style, with a Great Hall into which a floor was inserted in the 1980s. The interior is of high quality, with panelled rooms and elaborately carved features. Extensions were built in the 1930s. The garden front is set above terraces overlooking a lake and the River Bovey.
The Crown Court is a simple rectangular room, measuring about by high and wide. The Shire Hall has a plan of half a polygon about in diameter. Six Gothic columns support a panelled vault covering the main part of the courtroom. Around the perimeter is an arcade, and the judge's bench has an elaborate canopy in Coade stone.
Windows were small and placed high on the building, immediately below the roof. Evenly spaced wooden or metal pillars held up canopies which were usually wood-panelled underneath. Pre-formed panels of aggregate-coated concrete formed the outer walls. The first CLASP signalboxes were built in 1964; in 1965, the scope was widened to include stations.
An asphalt-shingled hipped roof is pierced in the front by a triangular dormer with a semicircular window. On the front is a poured- concrete porch with wooden posts and railings, leading to the main entrance, a recessed, panelled and glazed double door with a three-part transom. It is flanked by two wood-framed glass bay windows.
The gallery was long and during the Tudor period it would have been wood-panelled throughout and lined with tapestries and paintings.Pugin, p.25; Kenyon (2003), p.43. The Long Galley was intended to allow family and guests to relax inside and to admire the gardens, water gardens and the deer park to the north of the castle.
The chapel has a central double panelled door with a fanlight. Cwmerfin lead mine is of prehistoric origin and was owned in the first half of the seventeenth century by Sir Hugh Myddelton (1560–1631) and Thomas Bushell (1593–1674). As well as lead ore the mine produced zinc, copper and silver ore. The mine closed in 1889.
The arcades are in six bays, the piers on the north arcade differing from those on the south. The roof is ceiled and divided into panels, with gilt bosses at the intersections. It is the only medieval nave roof in Suffolk to be ceiled and panelled in its original form. Some of Bodley's painting remains on the chancel arch.
The house is in Gothic style, built of gritstone and ashlar with slate roofs. It has a three-storey octagonal tower with octagonal corner turrets. The east- facing front facade has a central porch with elaborate carvings including crouching dogs and carved human heads, surmounted by a spire. The interior includes an octagonal chapel and panelled rooms.
The easternmost wall of the station building (seating area) features a corrugated iron wall. The building is typical of the suburban and regional railway stations constructed during the last decades of the late nineteenth century. As per these buildings all windows are timber framed double hung sash windows. Doors are four panelled generally with glazing in the upper panels.
It has diamond-pane sidelights and transom surrounding a panelled doorway. The interior of the building has retained all of its original woodwork and finish. It is organized in a typical early 20th-century plan, with a central librarian's desk with a reading room on one side and stacks on the other. A full basement was added in 1957.
A similar moulded cornice crowned with a gablet with obelisks on apex and kneelers above the windows of the two other remaining bays.British Listed Buildings , Inside a billiards room with 17th. century oak fielded panelling with chamfered beam and small panelled cupboard doors flanking fireplace. The original hall has been split with the insertion of an early 18th.
The northern facade features a single timber panelled door. The other three facades feature three-paned timber sliding windows with a three-paned fanlight. Internally the signal box retains signal equipment and the manual switch for the railway tracks. PLATFORM (1880) STATION MASTER'S RESIDENCE (1913) The SM's residence was most likely built for the night Station Master in 1913.
The facade is asymmetrical, featuring two 12-paned windows, three French windows opening onto the front verandah and a main four panelled door with sidelight. Stone steps, with masonry piers either side, lead up to a wide entrance door. Glass transom lights, timber & glass side panels. Other windows are double-hung, with six panes in the top frame.
33 Whitecross Street (pictured) was grade II listed on 15 August 1974. The listed building is a three storey house with a centrally positioned entrance. The porch has a six panelled door, with narrow cast iron columns flanking the entry. To the right of the entrance, there is a canted bay window from the turn of the 20th century.
Croonborg, Frederick: The Blue Book of Men's Tailoring. Croonborg Sartorial Co. New York and Chicago, 1907. p. 123 The panelled front returned as a sporting option, such as in riding breeches, but is now hardly used, flies being by far the most common fastening. Most flies now use a zip, though button flies continue in use.
Roofs are of premium grade bloodwood shingles, with chimneys retaining their metal pots. Doors are four-panelled and windows are large paned. There is a simple verandah with iron roofs to three sides on squared timber posts. The interior is made up one major room, the Courtroom and originally four, since modified to three, secondary rooms.
The work is painted in oils on a canvas of 259.7 × 194.6 cm. It shows the couple in Lavoisier's office, with a wood-panelled floor and walls of false marble with three classical pilasters. In the centre the couple face the viewer, with both their heads in three-quarters profile. Marie-Anne is shown standing, looking at the viewer.
Auditorium Extraordinary and beautiful circular panelled ceiling, tilting upwards from the proscenium towards the gallery. Excellent plasterwork. This auditorium, undoubtedly one of the finest of its date in Britain, remains structurally the same as when originally built. Interior Horse-shoe shaped auditorium with three tiers of balconies on cast iron columns with floral capitals and long cantilever brackets.
The second floor ceilings are generally coved, with the exception of the teachers room which is flat, and are lined with beaded timber boards. Most early timber joinery survives, including: double-hung sashes with awning fanlights to verandahs; casements with awning fanlights to gable end walls; casements to stairwells; arched windows to the undercroft of the central wing; dormer windows to the northeast wing; panelled double doors with stop-chamfered detailing and awning fanlights above (many retaining early hardware); panelled, folding timber door partitions between some classrooms in the central and southwest wings; and half-glazed partitions within the southwest wing. Most windows have wide concrete sills and lintels. Timber-framed, corrugated metal-clad window hoods shelter windows on the southeast elevations of the northeast and southwest wings.
Openings are symmetrically positioned around the building with: double-hung sash windows on the front elevation either side of a pair of panelled entrance doors; 6 windows to each side elevation - 4 pairs of casement windows between double-hung sash windows at each end; and 2 pairs of panelled doors at the rear. The rainwater disposal system comprises slotted quad gutter and PVC downpipes. The hall interior is lined with beaded tongue- and-groove boards and houses a raised timber stage at the rear, flanked by 2 small rooms, and a room in the north-east corner near the entrance formed by partial height partitions. At the entrance, a portion of the ceiling is flat with the remaining coved ceiling featuring timber fretwork roses and steel tie-rods.
In 1984, the Hall was designated under the Ontario Heritage Act as being of architectural and historical value: "… the building is an outstanding example of an early nineteenth century vernacular temple- fronted commercial structure, of the Classical Revival Style. It is clad in narrow feather-edge clapboard and is highlighted by recessed panelled front doors, large commercial style front windows, with panelled surrounds, engage pilasters, with classical entablature, returned eaves and small 12 over 8 upper sashes…" In 1986, an extension was added to the south side of the building. Moneys for the project were donated by several local citizens and businesses, all of which are memorialized on a plaque inside the Hall. Many of the building materials were donated by the production company which filmed "Boy in Blue", in Burritts Rapids in 1984.
The parish church of St. Andrew was entirely rebuilt in 1875 to a design by Frederick PreedyNikolaus Pevsner and Alexandra Wedgwood, The Buildings of England, Warwickshire, 1966, on the site of an older edifice. Consisting of a chancel with a north organ chamber and vestry, nave, north aisle, and a south-west tower serving as a porch, it is built of lias stone with sandstone dressings, and has tiled roofs. On the north wall of the chancel is a repainted stone shield of arms of the 17th century with the six quarterings of the Woodchurch-Clarke family, impaling the quarterly coat of De la Hay, Winterbourne, Sheldon, and Ruding. In the organ chamber is a 17th-century oak chest with panelled sides, a carved top-rail, and a panelled lid.
The undercroft has a concrete slab floor. Timber framing is exposed in parts of the range's ceiling, and some early corrugated metal ceilings within the northern and southern wings are retained. The piers are stop-chamfered. Early timber joinery is retained throughout the building, including: tall casement windows (to the exterior); double-hung sash windows (to the verandahs); and panelled timber doors.
Its walls were panelled in oak. The galley and pantries were provided with up-to-date appliances, including a patent electric egg boiler in the kitchen, and an electrically driven dough mixer in the bakehouse. Accommodation was provided for 300 first and second saloon passengers, in a style otherwise only to be found in much larger vessels such as the , and .
The Barker Street facade was blank and painted in two tone olive green paint, in line with the upward slope of the street. There was evidence of an early concrete wall, the silhouette of panelled areas being discernible in the upper section of the wall and the configuration of the downpipes appeared to be the same as for the Astor.
The building consists of two late-Georgian semi-detached cottages with good detailing. It has bonded red brick walls and flat brick arches over openings. The building has 12 pane windows, 4 panelled doors and wooden picket fences to a verandah which faces directly onto the street alignment. The verandah roof is of galvanised iron and is supported on timber lattice columns.
Symmetrical main elevation with recessed two storey verandah set between protecting wings with rectangular single storey bays. It has a detached brick stables, a coach house, servants quarters and courtyard. The house is 55 squares in area and has fine unpainted cedar joinery and original ceilings. Four panelled doors and original plaster ceilings - very fine cedar joinery unpainted and waxed.
The building is made from ashlar with a Cotswold stone roof. The opening between the nave and north aisle consists of three bays in the 13th century style. There is an Elizabethan style panelled roof with styled bosses and the Arnold and Barrow families coat of arms. The undecorated circular font, from the 12th Century, is contained within octagonal stone with mosaic panels.
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.
Of the three surviving entrances, the main, cambered-arched doorway is aligned to the left and has an original panelled wooden door, and the other two have straight-headed doorways with simple wooden doors. Remains of another entrance are still visible. Above the main door is a datestone showing the year 1780. There is a four-window range consisting of tripartite casements.
The Moreton Room occupies most of the remaining floor space, and features pressed metal cornices and ceilings. Part of the ceiling has been lowered to house air conditioning ducts. A timber panelled door with fanlight assembly of recent origin opens to the verandah running along the eastern elevation. An early fireplace is located on the northern wall of the room.
Each aisle was dug with a bay leading to the nave. Although this was exceptional, the construction took into account the fact that the public could come to attend the services. That is why the architecture was also made of very high walls. The nave and galleries are not vaulted and the structure was for a time exposed or panelled.
Defer Elementary School is a three-story rectangular building built in the Tudor Revival style. This revival style was popular in Detroit and across the country in the years following World War I, and is symbolic of the prosperity of the era. The exterior is of brick with limestone detailing surrounding doors and windows. The doors are wood panelled with Gothic arches.
The house is especially noted for its fine collection of family portraits, many of which are hung in the main entrance hall. Such noted artists as Sir Joshua Reynolds and Peter Lely are represented. The new dining room has four paintings of Venice by Canaletto. The panelled sitting-room has a notable antiquarian interior and the gallery bedroom has an impressive Georgian style.
Nikolaus Pevsner described the hall's Regency interiors as "exceptionally fine".Pevsner & Hubbard, p. 29 The four-bay drawing room has a shallow tunnel-vaulted ceiling, panelled in rectangles and octagons and decorated with foliage scrolls, and a frieze with gilt palmettes. At the west side of the room, a screen of two unfluted columns and two Corinthian pilasters supports a decorative beam.
Floor trusses have been boxed over with plasterboard in some ground floor spaces. The first floor retains some early panelled and half-glazed timber doors to the verandah, although most interior door openings have been boarded over or are modern replacements. Some timber-framed louvres and awnings have been retained in the southern elevation; although all fanlights and verandah windows are modern replacements.
The rear elevation to Covent Garden is a functional design with rows of oriel windows to admit maximum light. Inside, the offices are arranged around a glazed court. There is a splendid panelled boardroom of around 1920, in classical style.Liverpool World Heritage site At the top of the building sits the 'third Liver bird', a smaller version of its more famous relatives.
Interior, 2017 This is a small church of early, single-skin, board and batten construction. It is clearly seen from the road, framed and backed by mature trees. Its corrugated iron gable roof is aligned north-south, with a belfry over the northern entrance and a gable roof porch attached. The main entrance doors are four-panelled with early furniture.
Other low panelled rooms, contain large Tudor fireplaces and dog grates (a freestanding basket grate intended to hold wood for the fireplace). Monogram, names and dates are carved on the stone fireplaces, including "1643", "1646", and "Loffelholtz". Some of the chairs are elaborately carved and were made from ships' timbers. There are 31 rooms, each of different design, spread over several floors.
The east wall of the chancel is panelled with wood taken from a box pew of 1680. The stained glass includes a north window by Ward and Hughes dated 1896, and a window in the chancel by Meyer of Munich. In the west window is glass dating from the 16th century. The church contains a number of monuments, and a hatchment of 1870.
This is a large space and presumably combines several earlier rooms. Almost no original fabric is visible, the walls being panelled in plywood and the ceiling covered in fibro. Over the bar area air conditioning ducting has been enclosed in a lowered ceiling finished with acoustic tiles. An irregular concrete slab has been laid across about half of the floor.
The bus station was rebuilt by Nottinghamshire County Council at a cost of £1.5 million to replace the previous collection of bus shelters. It opened on 30 July 2007. It was built as a fully enclosed building, with CCTV coverage and improved pedestrian access to the town centre. The bus station incorporates a solar panelled tower and a stained glass window.
The Board's first order for Ford V8 chassis from Canada was for 20 units, of which it took delivery of 10 and then sold 3 to Dunedin City Tramway. The seven remaining chassis were completed with wooden framed, aluminium-panelled motor bodies as follows: nos. 243–244 at Modern Motor Bodies, Christchurch; nos. 245–246 at Crawley Ridley, Wellington; nos.
The three central bays each have a balustrade and a window with a tympanum containing a roundel. Each of the three lateral bays contains a window with a cornice, and a round window above it. Along the top storey are oculi between panelled pilasters. On the summit of each of the two lateral bays is a cupola on a short Tuscan colonnade.
The roofs of the nave and chancel are camber beamed and panelled. The altar rails, which date from the 17th century, are "very ornamental". The altar table and the richly carved sanctuary chair are from the middle of the 17th century, and the octagonal font dated is 1660. The stained glass in the east and west windows is by William Wailes.
The home of the Canterville Ghost was the ancient Canterville Chase, which has all the accoutrements of a traditional haunted house. Descriptions of the wainscoting, the library panelled in black oak, and the armour in the hallway characterise the setting. Wilde mixes the macabre with comedy, juxtaposing devices from traditional English ghost stories such as creaking floorboards, clanking chains, and ancient prophecies.
In the lower storey is a central window with a semicircular arch, which stands between two doors. In the upper storey and elsewhere in the building are windows in a similar style. All the internal fittings date from 1869, and include box pews with hinged doors and, at the west end, a pulpit with a panelled front, a reader's desk and a lectern.
The main two rooms are panelled in two toned timber with a plate rail and highly decorative ceiling edges and cornice. A recent partition has been inserted into this area dividing it into three small rooms. A brick fireplace is located in the north- west corner. The other two rooms of the apartment are finished in smooth render with decorative ceilings.
It consists of two storeys with attics, these having dormer windows, and a basement at the east end. It is a substantial house with 3:2:3 bays on the west front, three bays on the south front and seven bays on the east front. The interior has much elaborate decorative plaster work, marble fireplaces and a number of panelled rooms.
Doors are all six panelled and windows either twelve pane sash type or French windows with transoms above. Windows are all shuttered, including the unusual front French door with narrow sidelights. Verandas are massively constructed of timber with an unusual tall skillion pitch over the cellar entrance. There are some fine marble chimney pieces and Edwardian timber ones in later additions.
The building features verandas at the front and back and is topped by a pitched roof with pan-and- roll tiles. Local materials, such as glazed green screen blocks, were used in its construction. The interior of the main building follows the minimalist style of the 1930s. All the rooms have panelled doors and brass fittings; the floors are boarded and varnished.
The front facade has a central doorway with a multi-paned French door on either side, opening onto the front verandah which has a sandstone step onto the footpath. The southern side abuts Meredith Lane. The interior has four main rooms, two with a fireplace. The two main rooms have pressed metal ceilings and some original four-panelled doors survive.
The entire panoply of painted stucco and brick, including Mannerist panelled pilasters, capitals, entablatures and mock balustrades, integrated with tall timber windows, confers on the building a notably opulent quality. Originally the structure comprised a centre row of cast iron columns supporting steel lateral girders. All but one of these columns have gone and the beams strengthened by embracing double channels.
It has a double plinth course, gargoyles, parapets, coped gables, and angled buttresses. Each buttress had an east window of five-light panes; the north and south sections had three-light windows. The chancel was built with a moulded king post truss roof and many rosettes, angels and other carvings. The wide panelled chancel arch has a well preserved Devon-style timber screen.
Croonborg, Frederick: The Blue Book of Men's Tailoring. Croonborg Sartorial Co. New York and Chicago, 1907. p. 123 The panelled front returned as a sporting option, such as in riding breeches, but is now hardly ever used, a fly being by far the most common fastening. Most flies now use a zipper, though button-fly pants continue to be available.
With her cargo hold now a mahogany panelled saloon, her conversion was complete. This new role of transporting and entertaining people continues to this day. In many ways this reflects the growing service sector in the wake of manufacturing decline in the latter 20th century and beyond. The P&O; insignia is still visible on her mainsail to this day.
The nave is rendered and the tower and north transept are of flint and coursed rubble. The nave roof dates to the 15th century, and rests on original grotesque corbels. The font also dates to the 15th century and is octagonal. The sides of the bowl, which is moulded, have quatrefoiled panels, and the stem is also moulded and panelled.
Fernhill is a single storey dressed stone building with ten rooms on the ground floor, four attic rooms and a cellar under the store room. The double pitched and hipped roof has a longitudinal valley and covered stepped verandah roof to three sides. The entrance door is six panelled with diagonally glazed sidelights and fanlight. Internal doors are four panel doors.
By 1933 such was the success of the business that the premises at 140-142 Church Street were rebuilt in Portland stone, featuring a frieze designed by Brangwyn of three life-size carved wooden panels depicting sawyers, painters and carpenters. The interior decoration of the galleries featured walls "panelled in Japanese golden senwood with burnished silver fittings and black floors" (The Studio, 1933).
Gifford, p. 168. The wide, four-panelled entrance door is made of polished black oak. Between the top sets of panels are the brass Roman numerals "VI". Below the numerals, between the bottom sets of panels, there is a brass letter box on the left-hand side of the door, and a brass door knocker on the right-hand side.
The main building is of masonry rendered and marked as stone with a gabled, corrugated iron clad roof and verandah to three sides supported on stop chamfered timber posts. It has three rendered brickwork chimneys with terracotta pots.LEP, 1991 Windows are twelve pane type with louvred shutters and doors six panel type. Simple semi-circular Georgian fanlight to the panelled (fielded) front door.
The bee house is a small gabled freestanding shop building, probably dating from the late Victorian period. It has a medium pitched gable with a scalloped barge board facing the street. An awning roof over the entry is supported on gallows brackets and finished with a reproduction scalloped valance. A four panelled door on the right is the shop entry.
The game is played on top of a table tennis board, or a surface of similar dimensions. At one end of the board is a spring loading bowling machine, at the other end the batsman wields a miniature wooden bat. The other two sides of the table are panelled off, with the option of placing symbolic fielders on the sides.
The first floor is a single large room. A later six panelled door connects the north room of the main building to the north room of the skillion. The walls of the ground floor rooms are plastered. Ceilings in the ground floor of the main part of the building are sheeted and battened, ceilings in the skillion are ripple iron.
On the lower level, the double doors open into a foyer with a small storage room to the right and stairs at the left leading to the upper level. Double, glass panelled doors lead into the main hall. The Masonic compass and square symbol is etched into each of the upper panels. There is a frosted glass rectangular fanlight above the door.
The plasterwork to the interior walls extends upwards from the chair rail, leaving a dado of exposed brickwork whilst the rising damp dries out. The rooms of the lower level have polished wide floorboards, most of which are original. The high ceilings are lined with wide beaded boards. The polished cedar joinery includes two chimneypieces and internal flush four-panelled doors.
The Brisbane Street elevation has a pedimented parapet with a circular louvred vent set in the gable. The building has multiple paned sash windows which are shaded by sun hoods on the lower floor. The interiors are well preserved and the entry and stair halls and the vestibule are panelled with polished silky oak, the floor being finished with coloured terrazzo.
This section describes mainly the rooms which are normally open to the public. The Entrance Hall is panelled in carved oak and is hung with early 18th- century paintings of the house and the park.Anon. p. 2. The Grand Staircase has a collection of oil paintings on leather.Anon. p. 4. The morning room is a light family room overlooking the gardens and parkland.
How Hill House was built to a vernacular Jacobean style in roughcast brick and is laid out in 2-and-a-half storeys. The roof is supported by gabled with moulded timber bargeboards and is covered in thatched roof. The interior remains original and includes a panelled hall, staircase and sitting room.How Hill House, National Heritage List for England, retrieved 24 June 2018.
The hammerbeam roof includes both blank and openwork tracery. The authors of the Buildings of England series consider that the 17th-century furnishings of the chapel are the most complete of their date in Cheshire. F. H. Crossley states that the chapel holds "the most valuable post-Reformation church furniture we possess in the country". The chancel is panelled in old oak.
All of the window hoods and the roof to the side entry are of metal deck. The entry doors are panelled French doors. There are two other external doors to the western side of the upper level, and one to the street elevation for the lower level. Internally, the upper level is divided into the Lodge Room and the Ante-Room.
A set of timber stairs lead to the paired, panelled, timber doors. The entrance is centrally located under a gabled roof with a decorative timber finial. A circular ventilator is located high in the southern facade. Narrow windows operating on pivots are located on either side of the entrance door and along the western and eastern sides of the building.
The walls are single-skin, vertical, v-jointed timber boards with moulded timber belt rails. The ceilings are lined with v-jointed, tongue-and- groove boards. Original internal timber panelled doors with glazed fanlights and glazed French doors with glazed fanlights open onto the verandahs. The understorey retains some original timber perimeter battening and a small laundry enclosure under the kitchen.
The house with its panelled rooms and extensive grounds provided a comfortable haven for the officers who were billeted there. The mess hosted a number of parties, including the initial anniversary celebration of the Dam Buster raids. After the war Petwood reverted to its former use as a hotel, but preserved the small squadron bar as it was in wartime.
The chapel is constructed in Flemish bond brick. Its gabled facade is topped by a 19th-century bellcote with a single bell. A pair of panelled doors in moulded surrounds with flat hoods is separated by a Venetian style window with leaded glass. There is a similar window immediately above it and above that a roundel panel bearing the date.
The chancel c.1500 ceiling is panelled with moulded ribs with decorative bosses. Fixtures an fittings include an 18th-century pulpit, and a c.1140 red sandstone font, its bowl, sitting on crouching figures, carved with interlaced decoration top and bottom, in between which are carvings representing the Baptism of Christ, the Evangelists, the hand of God, and two doves.
The interior of the church is plastered. Between the nave and the aisles are five-bay arcades with clustered piers and carved capitals. The roof of the nave has scissor-braced trusses with pendants, and is supported by corbels carved as angels. The chancel arch is moulded, the chancel ceiling is panelled and painted, and around the chancel is a painted dado.
The walls are oak-panelled, and there are a number of Davenport family portraits. There is a fireplace on the left, and two large bay windows on the right. There is a chair in the closest window, and there are a few people in the room. The largest room on the first floor is the Withdrawing Room, situated above the Great Hall.
The main entrance was at the west end with three Gothic, panelled doors. In the centre and over the doors was a geometrical pointed tracery window, glazed with coloured glass. At the same end were two pointed windows one on each side to light the aisles. The west end parapets were capped by a five feet high gilded Latin cross.
Within the tall walls, various types of industrial equipment processed the wool. The mill was designed to admit maximum possible daylight and ventilation inside the building, before the use of electric light. To do this, large panelled windows were included within the vertical segment of the sawtooth roof. Along the east, west, and south walls large windows were built in.
The line of an earlier nave roof is visible on the tower. The nave is in the perpendicular styleThe Buildings of England:Northamptonshire, By Nikolaus Pevsner, Revised by Bridget Cherry: Published by Penguin, Welton, Page 456: and has four-bay arcades. The nave and aisles sharing a single roof. There are big panelled aisle windows which provide plenty of light in this church.
Today's windows were installed in the 1870s, and at the same time both a weaponhouse and a sacristy were added. During restoration work in 1933 a new foundation was added, and the exterior walls were panelled. A 1972 proposal to relocate the church did not materialize. In 2007, the roof and spire were restored and some of the panelling replaced.
The dining room is panelled and has stained glass windows with the arms of the Mowbray and Stourton families. On the huge table, original to the house, are candelabra dating from 1848. The drawing room has a magnificent plaster ceiling. On the walls are portraits by Michael Dahl and Charles Jervas, and vast rococo mirrors, made for Melton Constable Hall in Norfolk.
The separate identity of each house is highlighted by a small gable at either end of the top verandah, each with an intricate fretwork pediment. These are supported by double columns which continue down to the lower level and flank the entry on the ground floor. Leadlight fan and sidelights surround the cedar panelled front doors. The internal joinery is also cedar.
After judicial activities transferred to the new Bristol Crown Court building in 1993, the guildhall was converted into an art gallery. Some of the old court rooms were panelled with varnished plywood. The building, particularly 'Leech's Room' suffered bomb damage during World War II and was rebuilt in 1960. In 2013 plans were unveiled to turn the building into a hotel.
The mandapa has carvings in wood in its multi panelled ceiling with reliefs of human figures on the pillars and brackets. Votive bells are provided in the mandap entrance and it has a Nagari inscription, which records it as the offering from Pandit Vidhadhara to the goddess Chamunda deified in the temple on 2 April 1762, the date when the temple was consecrated.
The ceiling and walls were panelled in English oak, with Corinthian columns and swags of carved flowers for decoration, all by architect Frank Pearson. The staircase newel posts are ornamented with carved figures representing previous owners (e.g. Buckingham and Orkney) by W.S. Frith. Astor installed a large 16th-century fireplace, bought from a Burgundian chateau which was being pulled down.
Jarvis Hall is a plain Neoclassical building with a single storey. The walls are stuccoed. The façade has four tall pilasters reaching from ground level to a cornice, above which is a giant pediment with a circular recess which had a clock-face during the chapel's years of Methodist ownership. There are two tall arched windows flanking a double doorway with panelled doors.
The building corners are pilastered, and there are bands of elaborate corbelling below the main roof. Windows are typically set in rectangular openings, with stone sills and keystoned lintels. The rear wing is less architecturally sophisticated, but with sympathetic styling. The building interior retains many original features, including panelled wainscoting, and Palladian carved motifs on arches separating sections of the interior.
The main lobby of the hotel, with the entrance to the hotel restaurant, Notch8 Restaurant + Bar, on the left. The Fairmont Hotel Vancouver includes 557 guest rooms and suites spread throughout the hotel. Suites at Hotel Vancouver include the Lieutenant Governor's Suite and the Royal Suite. The Lieutenant Governor's Suite was designed with Art Deco stylings, and features black walnut veneer-panelled walls.
The church's flooring is largely of deal and the aisles paved with tiles from Poole Potteries. The open panelled roof is of stained pine. The original fittings include moveable benches of stained deal, a pulpit and reading desk of oak, and a font of Bath stone. The altar rail of carved oak was transferred from one of the churches in Yeovil.
Below the windows on the exterior is a rectangular recess, a typical Farrelly detail. There are two cast-iron grate fireplaces on the upper level and an open fireplace at lower ground level. The lower level has two rooms, each with a pair of tall, narrow multipaned casement windows. The larger room has a pair of panelled doors opening to the north.
The other three buildings, all on the historic register, all have wood-panelled walls painted yellow with green details. There is also a small gazebo. The main house (Lilla Skuggans väg 73) stands highest on the slope and is largest, with of living space. Lilla Skuggans väg 71, to the south, has and Lilla Skuggans väg 75, below that to the east, has .
The drawing room had a high ceiling with lavish plaster work (a small portion of which survives today) and a parquet floor. The study at the rear of the west wing ground floor, had bookshelves and a grand fireplace buried under the fallen floor from above. Its panelled window shutters survive in their casings. The cellars under the west wing survive.
There are panelled doors with toplights and double-hung windows between the classrooms and the corridor. The east and west wings each house two classrooms and former cloakrooms. The high ceilings, regular external windows and internal windows and doors provide substantial natural light and cross ventilation. The two stairways, near either end of the building, have steel balustrades, cast newels and timber handrails.
The last appearance of the cottages was on the OS map of 1955/56. Access to the cottages was by a drive which ran south to Cat Hill Road between Broomhill and the skew bridge which carried the railway over the road. The new station had typical Midland Railway timber panelled buildings. The new goods lines passed to the east.
Great Room interior The entrance hall contains two original arches. One of these includes a fireplace, the other leads to the staircase. The National Trust has inserted a panelled wall on the left. The staircase has been rebuilt by the National Trust in a stairwell measuring by , and its oak balusters have been copied from those at Cornbury Park in Oxfordshire.
A collection of immense importance, the holdings of Assyrian, Babylonian and Sumerian antiquities are among the most comprehensive in the world with entire suites of rooms panelled in alabaster bas-reliefs from Assyrian palaces at Nimrud, Nineveh and Khorsabad. Only the Middle East collections of the Louvre and the Pergamon Museum rival it in the range and quality of artefacts.
The porch leads into the great hall which has a Minton tile floor and a large stone chimney piece. In the east wing is the long gallery which has oak panelling, a chimney-piece and a panelled ceiling. Behind the long gallery is an irregularly-shaped billiard room and the drawing room. To the south of these is the library.
The ceiling in the second bedroom is also thought to have been replaced at this time. A bathroom was created in the lobby and part of the verandah, c.1920s. The once separate kitchen wing was joined to the main house prior to 1900. A fibro panelled ceiling in the kitchen was installed c.1920. In 1965 the wood room was repaired for wood storage.
John Fenwick, a leading abolitionist, spoke at an emancipation meeting held in the hall in 1826. The complex was extended to the west, i.e. the rear of the guildhall, to create a town hall, which was designed by Philip Charles Hardwick in the Perpendicular style, in 1851. The Great Hall inside the complex is long, is richly panelled and has a hammerbeam roof which is high.
During the 16th century it appears that parts of the manor were demolished and extended, including the great hall and the high end. In 1631 the house belonged to Francis Rewse and family, who panelled part of the great hall and built a rear extension. The house was sold in 1649 to William Williams, who built a substantial new wing, including cellars, bedrooms and a pantry.
It returns around the south side of the building and extends north to link with the lavatory building. A fretwork valance finishes the bay between the platform building and the lavatory. The half timber panelled gable end is visible behind the awnings. Internal: The Platform 1 building is generally used by station staff and consists of two locked rooms and a general waiting room in the centre.
The entire space has a flat panelled fibrous cement ceiling with timber cover strips. Some panels feature lattice vents and pressed metal ceiling roses. A large skylight positioned on the axis between two posts illuminates the centre of the space. The sides of the skylight, lined similarly to the ceiling, slope inwards towards the top and terminate in the windows of the roof lantern.
Its "boat-like form [is] evocative of Noah's Ark" as it rises dramatically above the other RSCH buildings. Features include low, child-height windows, a multicolour-panelled curved façade and an oversailing roof. It cost £36 million, has three times the capacity of the old building and won a design award in 2008. The former John Nixon Memorial Hall (1912) is Neo-Jacobean in style.
The conservatory is a relatively small structure located close to the main homestead building on the eastern side. It is constructed of rendered single course brickwork to a height of 990 mm. This is surmounted by a number of fixed pane timber-framed windows coated with a "whitewash". The roof is a hip roof clad with pressed metal "tiles" with glass panelled gables at each end.
There is extensive use of Crow-stepped gables which along with the turrets are integral elements of the Scottish Baronial style. The interior has kept much of its original embellishments, including a panelled entrance hall. Most of the original doors, doorcases, skirting, coving and fireplaces survive. The lodge is constructed in the same style as the main house with an attached round tower with conical roof.
Concrete stairs in the southern, front elevation lead to the ground floor verandah which, like the first floor balcony, extends from the southern elevation around and along the eastern elevation. The front, main entrance is a panelled timber door with moulded architrave. The words "GREEN HOUSE" appear on the architrave. Internally, the Green House is lined in tongue-in-groove timber panelling, with a picture rail.
The porch in the tower has an octagonal vault containing a central carved boss. The nave has a plaster coved ceiling, with an arcaded cornice, fluted brackets, and is decorated with a lozenge pattern. At the west end is a wooden gallery with a panelled dado. In the west wall of the gallery is a Coade stone fireplace, above which are the Royal arms on a roundel.
The stable block is dated 1654 and is listed at Grade I. It contains Tuscan style columns at the end of each stall and a decorated panelled ceiling. It is built in red brick on a stone plinth, with stone dressings and a slate roof. It is in two storey and has nine bays. On its roof is a cupola with a clock face.
External doors to the house (located at the side porch and on the front porch) are panelled timber doors with multi-paned glazing at the top. French doors open onto the front porch. The house becomes high-set at the rear where the land slopes down to a levelled yard. It is supported on brick piers at the rear and the under-storey area is open.
The name of Cabot was chosen following a public vote taken in November 2007, and commemorates John Cabot, an Italian explorer who is closely associated with Bristol. Work began on the site in September 2005, following planning approval in December 2003. Cabot Circus comprises three multi-level pedestrianised streets, with apartment block areas. Its focal point, The Circus, has a large glass-panelled roof.
It is dated to the 18th and early 19th century. The roof is hipped with a graduated slate roof and gabled porch on the south side. It is 2 storeys high, with 3 bays and a panelled door. The area also contains numerous cottages which are let out to tourists, such as the Old Woolyard and Low Plumgarths Farmhouse, about a mile from Kentrigg.
The pneumatic cushioned upholstery was leather and the frame of the body of ash panelled in aluminium. An open two-seater it had attractive and sporting lines yet with enough leg and elbow room. During 1936 an open four-seater sports tourer body also became available at £169.10.0. and a two-seater coupé complete with recessed traffic indicators, sunshine roof and other closed car fittings: £185.
The Rovers Tye is set in a Grade II listed farmhouse dated to the 17th century, with additional extensions in the mid-18th, although an earlier building dated to 1353. In 1983, the building became a pub. Timber framed, it is a two-storey building with five windows and a panelled door. Just to the north is St. John's Primary School, and St. John's Church beyond this.
Royal arms (hanging in south arcade), (1904) as a parish memorial to Queen Victoria. Paschal candlestick, (1905) High Altar with silver-panelled front, (1910) Which replaced the front of 1890 designed by G. Somers Clarke junior and painted by Reynolds. Tabernacle designed by J. Harold Gibbons and made by Reynolds, (1933). The most obvious and striking is the lectern which Sir John Betjeman described as 'Nouveau Viking'.
The font is octagonal, standing on a moulded shaft, and has panelled sides. The wooden pulpit dates from 1907, and stands on a stone quatrefoil column. The stained glass in the east window depicts the Baptism of Jesus and the Crucifixion. Elsewhere there is glass by Heaton, Butler and Bayne of 1908, G. Wragge of 1923, Shrigley and Hunt of 1939, and W. Pointer of 1958.
French doors with fanlights open onto the verandahs. The foyer has a single panelled door with sidelights and fanlight and a carved timber staircase with turned balustrade. An arch leads to a central hallway with dining rooms and a lounge to either side. The lounge has an elaborate marble and carved timber fireplace, a timber bar has been installed and the walls have been papered.
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.
A 12th century Norman building replaced this, using some of the enormous foundation stones. This was rebuilt in 1330. A font and bell tower were added in the 15th century, and a panelled pulpit in the 17th. The present appearance of the building is due to the "great restoration" in the 1860s, under the rector, Dr John Jebb with Sir George Gilbert Scott as architect.
Internally the walls are plastered above a dado. The chancel screen is Jacobean in style and decorated with arcades. The octagonal oak pulpit is panelled and dates from 1887. The lectern and the font cover were carved by Mrs Constance Mary Greaves, an aunt of Clough Williams-Ellis; the lectern is in the form of an angel with spreading wings, while the font cover is an eagle.
There is a service corridor between the kitchen and the dining room that may originally have been an open veranda. The kitchen is presumably in its original location. Walls and ceiling are panelled over and the wood stove, which is in a masonry alcove, has been completely sealed off. A small pantry and cold room are located on what was presumably an open veranda alongside the kitchen.
Thomson, 1986 The building in 1870 was painted and had a Georgian fanlight and six panelled door and glazed half sidelights with lattice style decoration. Pickets on fence had round tops with unusual turned spindle gate. Later residents included John Harris, nephew of Surgeon Dr John Harris of Harris Park. The building was later used a peanut butter factory, stationery shop and car workshop.
Endrim is a well constructed symmetrical 3 bay house of two storeys with a Tuscan porch to the main door and a cantilevered balcony at first floor level on the garden elevation. A glassed-in conservatory is located beneath. Some stone ground floor extensions have been added to the north side. The house is well detailed with good plaster work, four panelled doors and a geometric staircase.
The roof, with its original slate, is > hipped, with a gable on the east end, over a modest rose window. The nave is > rectangular, while the apse is semi-octagonal. Heavy timbers spring from > hand-painted brackets to support the roof. The interior walls are panelled > in stained and varnished wainscotting, with matching pews and furnishings; > the walls above the panelling are natural brick.
Sudler House is a historic home located in Bridgeville, Sussex County, Delaware. The original section was built about 1750, and is a two-story, six bay, frame dwelling sheathed in cypress shingles in a vernacular style. The original three-bay section was enlarged during the Federal period. The interior features a gracefully designed staircase with square balusters has an unusual double carved bracket trim and panelled base.
Jeremy Walsh, curate of Dundrum, and in 1795 it was converted into a boarding house by Mr. Ml. Kelly. A newspaper advertisement in 1816 invites enquiries from prospective visitors. In a description written in the last century the old-fashioned kitchen and panelled staircase are specially noted. Lewis' Topographical Dictionary of Ireland (1837) features many of the old houses in Churchtown under the reference village of Rathfarnham.
Inside the west entrance is a porch, with a doorway on the south side, and steps leading up to a gallery to the north. At the east end of the nave is a screen in Ionic style with a dentil cornice containing boards painted with biblical texts. In the nave are box pews. Its ceiling is panelled, and on the south wall is a monument dated 1863.
The gates, gate piers and railings of the churchyard are listed at Grade II. The gate piers are of stone with panelled sides and cornice caps. The gates and railings are in wrought iron. Over the gate is a wrought iron overthrow and a lantern. The churchyard contains the war graves of eleven British service personnel, seven of World War I, and four of World War II.
The north wall is ornamented with three full- > length portraits in the style of Sir Peter Lely, and some Elizabethan > medallions. On the south wall are three coats-of-arms in relief: the Royal > arms, dating 1599; on the right, the Bedford; on the left, those of > Bourchier, Earl of Bath. To the height of 10 ft. the walls are panelled with > richly carved oak.
There are panelled doors at the front of Selhurst. The house has a central hall with rooms opening to either side and a small ballroom at the rear of the house which has been converted to a family room. The house is constructed on a platform cut into the hillside. At the rear of the block, in the southeast corner, the land rises to a second level.
The balcony, supported on plain columns, has a panelled front with rich plaster scrolls. The walls at both levels are simply decorated with panels. The balcony is now divided into two areas separated by a barrier approximately two feet high. The disused entrance on the Esplanade (dated 1907) is in three bays, modestly detailed in classical style with a segmental pediment over the centre.
The Civic Centre is designed in the modern style. The interior features a stair hall which is made using champagne-coloured Botticino marble and the ceilings are decorated with art deco paintings. The internal doors are mostly mahogany with bronze fixtures. The Council Chamber is semi-circular in layout and is flanked by walnut- panels. The Mayor’s Parlour is panelled in Canadian betula veneer and sycamore.
As with the Mark 2, this generation was available as a panelled van in many markets. This range offered a limited number of engines. From late September 1990 the van was also available with the new catalyzed central injection (CFi) 1.4-liter petrol engine. A box van version of the Fiesta appeared in the summer of 1991, but was sold as the Ford Courier.
The square entrance hall preludes the soaring space of the oval domed saloon. The entablatures and fluted pilasters of the doorways, the tapering Grecian architraves and panelled reveal shutters of the windows and the plaster cornice and frieze decorated with laurel wreaths. The stairway is of Marulan sandstone and built into the wall, resting on the tread underneath. The cast iron banisters are painted in imitation bronze.
In some parts the walls of the castle are thick. Other defensive measures include the iron grilles which remain on some lower windows, and numerous splayed gun loops and arrow-slit windows. The rooms, some wood- panelled, are decorated with many Mackenzie portraits from past centuries, as well as antique furnishings and large-scale antique maps. Many original fittings are to be found around the castle.
The Georgian Bucklebury Manor contains within its interior an early C17 ashlar fireplace that is carved with panelled pilasters that support a rich cornice. There is also an over-mantel with shallow carved decoration, and a moulded flat arch with Delft type glazed tiles behind. There are seven bedrooms. Bucklebury Manor has been listed as Grade II by English Heritage since 22 November 1983.
A staircase with a turned and panelled newel post, octagonal at its base, and a balustrade featuring turned and fluted balusters leads up to the second floor. From there it extends along the hall to the door to the attic stairs. There are four bedrooms. The floor has a lower baseboard than the first floor and no molded detailing, but is otherwise similar to the downstairs.
The lower parts of the bays are panelled, and the upper parts consist of open arches with pendents. The choir stalls date from the 19th- century, and have carved angels as finials. The stone font dates from the 12th century and has a tapering cylindrical bowl carved with a cross and interlacing decoration. The bowl stands on a cylindrical stem and a circular base.
Council Chamber: This is used as a meeting place, and is also a library, housing many books with international themes. Wood panelled, it is to be found on the first floor of the building. Lord Davies’ own book collection can be found there, in part. Since its inception, the Temple of Peace and Health has been divided, in terms of its occupancy, into two sections.
The nave clerestory could be of either Decorated or Perpendicular period. It has four windows north and south and is headed by a plain parapet of little height. The nave roof, drained by two gargoyles on its north side, is lead, and the chancel roof, red tile. The Perpendicular south porch is surmounted by pinnacles and by a panelled parapet decorated with shields in quatrefoils.
The main reception rooms feature wood panelling and panelled ceilings. The dining room ceiling is vaulted with quatrefoils, coronets and shields, including the von Schröder coat of arms; the cornice features winged cherubs. The walnut panelling of the dining room features reeded pilasters. The panelling in the sitting room originated in Calveley Hall, now demolished; it is Jacobean in date and features a fluted frieze.
Within the aisles are box pews, panelled, and dating from the 18th and 19th century. Within the chancel are two ledger slabs—slabs over graves—to hold brass plates, and in the chancel chapel a monument dedicated to Frances Wilcox, died 1764. Wall plaques by Hawley of Colsterworth are in the north aisle. The church font is 13th-century, octagonal, and sits on an 1893 marble shaft.
Each of the corner rooms accommodates a carved timber fireplace. Throughout the building interior walls are plastered; ceilings are lined with tongue and groove timber boards; and floors are polished timber or carpeted. Original joinery (including fine panelled doors and fanlights, skirtings and architraves) is cedar and floors are of pine. Recent joinery around the building is of Malaysian cedar and floors of blackbean.
It is built in pale red sandstone ashlar and consists of a segmental arch with a coffered soffit which spans the carriageway. On each side of the arch is a rectangular portal for the pavement. On both sides of the portals are attached unfluted monolithic Doric half-columns at each corner. Across the top of the structure is a dentilled cornice which carries a panelled parapet.
It is a one-story hipped roof cottage that was built in 1854. Elements of its Greek Revival style include its front doorway with sidelights and transom, and the symmetry of its front facade. It has a front entry porch with six square panelled columns, with the panels carved decoratively. Additions have been made to the rear but these do not detract from the historic front facade.
The north porch is richly vaulted within, and is surmounted externally by a panelled and battlemented parapet. On the cornice beneath are a number of grotesques to carry off the roof water: two at each side. A much- worn stoup for holy water is against the inner doorway. The door itself is the original one and still retains a large handle and escutcheon of the original ironwork.
The priest's door is in the north wall of the chancel chapel, as the rectory is on this side of the church, and has over it externally a curious little projecting hood. Above the chancel arch is a picturesque stone sanctus bell-turret with panelled sides surmounted by a short broach spirelet with foliated finial. The ceiled wagon roof is tiled in Cotswold stone.
The entry porch is approached via a wide flight of steps and has paired columns to the first floor supporting the pediment. French doors with fanlights and step-out sash windows open onto the verandas. The timber-panelled main entry door is set in a large arched brick opening with stained glass fanlight and sidelights. A bathroom opening off the southeast veranda has a similarly elaborate doorway.
A steel fire stair has been added to the east elevation. Internally, the ground floor has a central foyer with paired panelled timber doors in an amber glass panel sidelights and fanlight assembly. Retail tenancies are located to either side, and have been remodelled several times. Toilets and store are located behind these, and a turned cedar staircase with square newel posts accesses the first floor.
Most internal doors are four panelled, with operable transom windows above, occasionally arched. Half glazed French doors open onto the verandahs from internal rooms. Attached by a walkway to the south elevation of the building is an open elevated pavilion, bound on three sides by round headed arched arcades of three bays each. The rear north wall of the pavilion has two large rectangular openings.
A glass-panelled footbridge linked the platforms. To the south of the station there were extensive sidings and a turntable suitable for coal tanks. The first of Brynmawr's connections to be lost was the service to Pontypool via Blaenavon which was withdrawn on 5 May 1941. Then the line to Ebbw Vale closed on 3 February 1951, passenger services having ceased on 23 May 1949.
Internally, the front entrance leads to a foyer with rendered walls with a high pressed metal ceiling. An arched opening with decorative mouldings and keystone leads to the central hall and central staircase. The hallway runs east-west through the building with a number of panelled timber doors with breezeways, leading to offices and staff rooms. The hallway has a high pressed metal ceiling.
It is decorated in a Gothic style. Its walls are oak-panelled and it has an ornate wooden ceiling imitating a ribbed groin vault. The centre of that ceiling is occupied by a pendant in wooden Gothic tracery. The sitting-room on the second floor has a coffered ceiling, the panels of which are filled with painted roundels formed by circular inscriptions enclosing coronets or crests.
1930s Kittiewan, fireplace and panelled surround, by Frances Benjamin Johnston, ca. 1930s Its first known owner was Dr. William Rickman, the first Director of Hospitals of the Continental Army in Virginia during the American Revolution. and Accompanying photo Stewardship of the house and surrounding 720 acres (2.9 km2) is administered by the Archeological Society of Virginia. The house and grounds are open to the public by appointment.
The Lesser Hall leads off the southern end of the Great Hall. Its walls are panelled with oak, and the timbers that the ceiling is constructed of are decorated with cross and rose shapes dating from the Victorian era. The Banqueting Hall, which leads off the Lesser Hall to the west,Dean, p.6 is believed by Dean to be the oldest part of the house.
The glass has been replaced many times but the image always returns on the new pane. The Scotts stay in this room, with the offending window panelled over. Satterthwaite shows this window to Major Porter from a grassy knoll some distance from the house where the image is clear. Major Porter confides to Satterthwaite that Mrs Staverton ought not to have come to the party.
Internally it is "remarkable" as it is a "little altered" early 19th- century church interior. Its contents include plastered walls, slate floors, box pews, a three-decker pulpit, and simple communion rails and altar. At the east end is a mid 19th-century armorial plaque in Bath stone under a memorial. The tall pulpit is panelled and painted, with a sounding board almost touching the ceiling.
The single- skin building has weatherboard to the verandah walls with beaded horizontal boarding to the inside face of the two northeast rooms. Internal walls have vertical boarding and tie rods have been inserted connecting the top plates of opposite walls. Ceilings are boarded, with the outer edge being raked to the walls. Doors are timber panelled, with the front and back doors having glass fanlights.
The windows in the chancel have Y-tracery, while the tracery in the windows of the south aisle is curvilinear. Internally the roof is supported by massive tie-beams, and the ceilings are plastered. At the west end is a gallery on two Ionic columns, with a panelled front and an entablature with triglyphi. In the southeast of the aisle is a piscina with a trefoil head.
At ground level the street facades have plaster mouldings including window and door surrounds, and quoining to the corners. Here, the brickwork between has been painted, but otherwise it is unpainted, laid in English bond. There are two entrances with "PRIVATE ENTRANCE" lettered in the architraves above the door. These are centrally located on each street facade, with panelled doors and leadlight side and toplights.
An altar statue of Virgin Mary installed after the earlier one was vandalised has local devotees. The structure does not have any stained glass panelled windows but presents a very serene atmosphere for offering prayers. At the border of the old chapel marked by stones, a few graves are also seen. White graves with crosses marking the stations of the Cross surround the chapel.
The trains were noted for their elegance and luxury. The parlor cars' ceilings and upholstery were covered in royal blue, and the dining cars Queen and Waldorf, panelled in mahogany, featured elaborate cuisine such as terrapin and canvasback prepared by French-trained chefs.Stover, p. 228. A Railway Age magazine article of the time reporting on the Royal Blue called it "the climax in railway car building".
The main entry features a panelled timber door with patterned glass fan and sidelights surrounded by timber pilasters supporting a large cornice. French doors with fanlights open onto verandahs on both levels. Internally, the building has a central corridor opening into dining rooms, a bar and kitchen. The dining area has had fretwork arches added, and existing arched openings have had their balustrade removed.
Internally, the church is divided into nave and aisles by a nave arcade of pointed arched openings supported on clustered cast iron columns. In the spandrels of the arched openings are timber panels with foiled cutouts. Arched braced timber roof trusses support the roof and these also feature timber panels with foiled cutouts. Entrances from the transepts are concealed with timber panelled boxes around the doors.
The Ximian group became part of Novell, and in turn made and continued several contributions to GNOME with applications such as F-Spot, Evolution and Banshee. The GNOME desktop used the slab instead of the classic double-panelled GNOME menu bars from openSUSE 10.2 to openSUSE 11.4. In openSUSE 12.1 slab was replaced with the upstream GNOME Shell and GNOME Fallback designs. GNOME 3.26 under openSUSE 15.1.
The walls are single skin timber with exposed cross bracing used to decorative purpose, painted in shades of aqua. The floor is covered with a black, bituminous sheet material. Four doorways lead off the verandah, including the entrance door into the central hall. Panelled timber doors with operable glass fanlights are located at each end of the verandah and lead to the former nurses' rooms.
The first floor has a main lobby with a coffered ceiling, east and west lounges, two wood-panelled dining rooms, and a ballroom. The main hallway was dubbed "Peacock Alley," a barrel- vaulted space with coffered ceiling covered in a rich color scheme of blues, golds and greens. The basement originally contained a beauty parlor, a game room, a children's playroom, and a meat market and grocer.
From this foyer opened out the Tea Room whose walls of artificial stone were covered with wooden grillage, painted green while the skylight over the entire room was concealed by rafters and grillage with entwined vines. Adjoining this was a Flemish-style Banquet Room in dark oak. Carved wooden doors were set with panelled mirrors in the foyer hall. Elevator doors were of bronze.
The front door is two leaved, four panelled and half glazed with a fanlight, fluted mullions and sidelights. The windows are surmounted by heavily decorated mouldings. The southern facade is less decorative and features a simple parapet, string courses and a square porch with keystone arches. The northern wing is the fully rendered former Town Hall with pediment, pilasters and the curtilage is the fenced property boundary.
All stone quoins and timber detailing are painted in a golden yellow. Most windows on both buildings are double hung with single panes of glass. Original doors remain and are generally four - panelled timber doors with fanlights, and stone architraves. A parapet conceals the roof of the original RRR building and features a decorative entablature, two urns and a projecting cornice with classical consoles.
The altar rails date from about 1700. The reredos is panelled and dates from about 1926. Also in the chancel is a memorial to the First World War. The stained glass in the north and south windows dates from the 20th century, and depicts Archbishop Laud and Charles I. At the west end of the church is a gallery with carvings of five shields of arms.
External joinery is Indian teak (termite proof), explaining the thick, sturdy glazing bars of the French doors (as teak does not lend itself to fine detail). The internal joinery is cedar and painted. It is of a high standard, featuring many pairs of four paned, double doors (i.e.: 8 panelled doors) with matching jambs, timber fireplace surrounds of simple Georgian design, and deep skirting boards.
The interior was partly converted to Coptic Orthodox liturgical use. Unusual aisled roof structure, wooden trusses rising from posts set on the very tall slender marbled columns with Corinthian derived capitals, which also support the high round arches of a wooden arcade; painted boarded ceiling. Wide moulded reredos arch and gallery. Rear raked gallery with curved and panelled front; pews on both floors retained.
It is built of Flemish-bond brick of alternate red and yellow, beneath a double-pitched pantile roof. At the front of the house are 20th-century low panelled and corniced gatepiers which carry Chinese-style dogs (The Lions). The building is now known as Benjamin Holloway House. Parts of the building have been converted for commercial use and include a dentists and a professional services firm.
In the churchyard is a sundial dated 1790. It consists of a copper dial and gnomon on a sandstone stem standing on a base of three round steps. It is listed at Grade II. Also listed Grade II is a tomb to the memory of the Wright family dating from around 1806. It consists of a truncated obelisk on a panelled square plinth in grey stone.
In the north aisle is a three-decker pulpit with an adjacent two- decker reader's desk dated 1722. The churchwarden's pew is dated 1697; it is over in height, has a panelled back and a canopy supported by twisted columns. The organ dates from 1873 and was made by the Chester firm of Charles Whiteley. It was restored in 2003 by David Wells of Liverpool.
A timber framed cantilevered verandah with lattice panelled end walls is provided to the upper bedrooms with a corresponding paved area to the lower floor bedrooms. Additional natural light is provided to the common areas and upper bedrooms through clerestory lighting. The tutorial units comprise four sleeping areas, a bathroom, kitchenette and study and tutorial areas on one level with timber pergolas providing shade to openings.
The central bedroom is now used as a study. A small room, originally enclosed with insect screens, has been built into the north west corner of the verandah. Timber panelled doors open from these rooms onto the northern verandah. On the southern side of the breezeway is the oldest part of the house, consisting of two bedrooms and surviving sections of the original verandah.
The timber and glass panelled French doors to the balcony also appear to be original. A former window or door to the balcony, in the northern wall of the centre room, has been substantially modified with the insertion of an intrusive air-conditioning unit. Internal doors have high, square fanlights above. With their fanlights, the internal doors are nearly the full height of the wall.
The slabs at the entrances were of Kapunda marble. The elevations, similar on both Rundle and Grenfell streets, were of Italian style; the lower half dominated by the glass shop-fronts and arcade entrances, protected by verandahs supported by decorative iron columns, with a square balcony at the centre, behind which was an octagonal tower and dome, bearing an Australian coat-of-arms (not _the_ coat of arms — Federation was still 15 years away, but the design used bore a strong resemblance to that ultimately chosen). Inside, the ceiling featured wide cornices constructed of moulded galvanized iron, and the upper cornices being surmounted by a deep cove finished with panelled soffit, returning down the cove and across the ceiling, which is broken up into a series of deeply recessed panelled bays, glazed with diapered and coloured glass. Additional sunlight was supplied by circular bullseye lights in alternate bays of the cove.
There is a section of 15th century screen with perpendicular tracery in the north chapel, which was renovated in 1883. The semi-octagonal panelled pulpit is early 17th century, with an integral carved lectern. The font is octagonal, of granite with carved panels and a moulded shaft, and may date to 1538. The north wall of the chancel holds a slate memorial dated 1681 to Wilmot Veale, wife of the rector.
A suite of management offices, complete with oak-panelled boardroom, was built. The original headquarters and studio facilities of ITN were located on the seventh and eighth floors of the building. TV Times, part-owned by Associated-Rediffusion, occupied offices in the building from 1957 until April 1958. A computer room, housing an early mainframe computer that controlled advertising bookings, was added on the second floor in 1966.
The entrance is marked by a fretwork pediment, beyond which is the panelled front door with leadlight fan and sidelights. French doors with shutters open out from the rooms onto the verandahs. A large drawing room and dining room, linked by folding doors, are located on the right side of the central hallway, and three bedrooms are on the left. A substantial staircase leads to two attic bedrooms.
Screen doors: Entry to nave; pair of Tasmanian oak glass panelled doors (1995). ;Organ loft - fittings Organ: The organ is labelled "Bates and Son, organ builders Ludgate Hill London". The organ is housed in a timber case in the Gothic style, of gabled towers with pinnacles, and contains 17 false gilded pipes arranged 5-7-5. It has eight ranks to the manual and one rank to the foot pedals.
Additional stairs () have been inserted into the east and west verandahs, providing covered access to the understorey. The east verandah stairs are enclosed with a combination of modern fixed glazing and louvres. The eastern teachers room ( - 1950) is lowset on timber stumps; and connected to the 1929 building via a small verandah extension. The door is panelled and the windows to the north, east and south are narrow, double-row casements.
The ground floor is constructed of conventional timber framing with hardwood boarding. The first floor is in hardwood framing and boarding but panelled on the underside with an ornate "Wunderlich" pressed metal ceiling. The roof is a trussed roof, sheeted on top with galvanised corrugated steel and internally with pine tongue and groove boards. At the centre of the roof is a high clerestory surrounded by pivoting opening sashes.
The earliest existing historical records of the church date back to the year 1388, but it was likely built during the late 13th century. The first church was located along the river Bjerkreimselva, about southwest of the present church site. In 1628, the church burned down and it was replaced by a small timber- framed church. In 1835, a new panelled timber church was built a short distance to the northeast.
Inside, a wooden gallery runs round the north end. A clock made in Lewes by Thomas Harben is mounted on the front, which is also panelled. The gallery is lit by windows above the main entrance. The benches have open backs and are original, but the seats at ground-floor level were replaced in the 19th century: surplus benches were removed to the chapel from the Ebenezer Chapel in Brighton.
Made of red brick with a stucco trim, the house has five bays, two storeys, sash windows, and a central Doric porch with fluted columns and entablature with triglyphs. There is a later extension and a detached housekeeper's cottage, Gladsmuir Cottage. The panelled double doors lead to two internal staircases and over 20 rooms, including eight bedrooms, three reception rooms and a large kitchen. One room contains late-18th-century medallions.
To the left of the ark was a stone Royal Family prayer tablet, a tradition imported from seventeenth-century Amsterdam that is common in more Anglicised synagogues. Above the ark two high-level round windows were given Star of David stained glass. There were also Star of David light fittings, and a large ceiling lantern lit the whole space. Panelled gallery fronts served as donation boards, bearing commemorative inscriptions.
The hall was originally hung with 28 portraits of Kings, Queens, and Emperors, from William the Conqueror to William III, intended to give the house an air of dynastic importance. The less numerous and far newer Brownlow family portraits were originally hung in the Great Dining Room immediately above.Jackson-Stops, 60. The room is fully panelled, and parts of the panelling contain lime wood embellishments attributed to Grinling Gibbons.
The building is entered via a flight of steps adjacent to the projecting bay with rendered balustrades supporting large urns. The main entry has paired, panelled cedar doors with sidelights and fanlight, with a bay window to the verandah adjacent. French doors with fanlights and tall sash windows open onto the verandahs. The building has a two-storeyed masonry service wing to the northwest, with a lower two-storeyed addition (1938).
A parapet with frieze atop the façade conceals the pitched roof. 153 also has an architrave and cornice. 153 and 155 have three bays each, originally with 2-over-2 sash windows, and 157 and 159 have two bays each, originally with 1-over-1 sash windows. All have their entrance door in the right bay, recessed in 153 and 155, and all have glazed overlights above panelled doors.
The church is built in stone from Storeton quarry, and is in Neoclassical style. On the entrance front is a Doric portico consisting of four fluted columns without bases, carrying an entablature with a triglyph frieze and a pediment. Flanking the portico are windows with architraves and pediments. There are six similar windows along each side of the church, and running round the church above them is a panelled parapet.
The fireplace projects into the adjacent kitchen where the surface is smooth rendered and painted. The sitting room features a bay window overlooking the river to the north-west, with a built-in solid timber window seat. Walls are lined with clear-finished timber v-jointed boards to picture rail height. Clear-finished timber panelled doors with cathedral patterned glazing provide access to the hall from the sitting room.
The verandah has full height (continuous) timber posts, timber floors, raked ceilings and enclosed bag rack balustrades, which are clad in profiled metal. Classroom doors are half-glazed and boarded. The first floor contains five classrooms and a staff room, with the three central classrooms divided by original timber-panelled folding partitions. The interiors are lined with flat sheeting, with rounded cover strips above dado height and on the ceilings.
Classroom doors are half-glazed, and double-hung sash windows, with fanlights, line the chamferboard-clad verandah and northern understorey walls. The western classrooms are distinguishable from the earlier classrooms by their narrower verandah chamferboards. The classrooms are separated by fixed partitions, with 2-light panelled timber doors at the southern end. The interior walls and ceilings are flat-sheeted, with rounded cover strips (above dado height on the first floor).
The Gallery, the largest room in the house, is panelled with sixteenth-century oak linenfold relief carved wood panelling. Its hooded chimneypiece is from Wollaston Hall in Worcestershire, England; the timber-framed house had been demolished in 1925 and its dismantled elements and fittings were in the process of being dispersed. A staircase came from Lyveden Manor House, also known as Lyveden Old Bield, second home of Sir Thomas Tresham.
Grafton Gaol Complex originally consisted of a square compound, with brick walls, with one elaborate gatehouse providing access for staff, visitors and prisoners alike. The gatehouse features a machicolated parapet, a sandstone archway and elaborate panelled doors. A Range building was constructed within the compound, adjacent to the gatehouse to provide facilities for the prison officers and visitors. A sterile zone separated the cell ranges from the prison walls.
The four panelled timber entrance door is flanked by six-pane vertical sash window opening. A different type of window frame, located to the south of this arrangement, indicates a later addition to that side of the building. The verandah is supported on square timber posts, with simple two rail balustrade with handrail, and this arrangement continues on the stair. Internally the building is divided by timber partitioning into eight rooms.
The Field House is located just south of Downtown St. Louis, at the northeast corner of South Broadway and Cerre Street. It is largely surrounded by parking lots, with Interstate 64 a short way to the north. It is a three-story brick building, three bays wide, with a side gable roof whose end wall sections are raised. The entrance is in the leftmost bay, in a panelled recess.
The palace was built in a neo-baroque style by the theatre architects Ferdinand Fellner and Hermann Helmer. The building was three stories high, set back from the street, and protected by a wall with double gates. The entrance hall was wood panelled, two stories high, and decorated with portraits of the family. Other festive halls were decorated with frescoes and luxurious gobelin tapestries from the 17th century.
The gatehouse and tower were additions by abbot John Newland around 1500. The gatehouse is embellished with two-storey oriels with mullion and transom windows, two-storey statuary niches and panelled parapets. These structures were restored by John Loughborough Pearson in 1888, who succeeded in retaining many of the features of their original design. He restored the oriels, which at some point had been replaced by sash windows.
When it was built, the Holy House in Walsingham was panelled with wood and contained a wooden statue of an enthroned Virgin Mary with the child Jesus seated on her lap. Among its relics was a phial of the Virgin's milk. Walsingham became one of northern Europe's great places of pilgrimage and remained so through the remainder of the Middle Ages, with a revival in the 20th century.
A timber panelled door opens from the entry porch into the main room which takes up the front part of the building. Behind this is a larger room on the northern side and a smaller windowless room on southern side. The building has no hallway being simply a series of interconnected rooms. At the rear of the building are a number of smaller rooms connected by various doors and windows.
"The Only One" was the second single to be taken from Transvision Vamp's second studio album Velveteen. It was a UK Top 20 hit in 1989 and peaked at #15, spending a total of six weeks on the chart. The sleeve design was similar to that of the previous single "Baby I Don't Care", this time featuring the band against a panelled backdrop printed with a large photo of Marilyn Monroe.
Its foyer is decorated with grey and green marble. The principal hall has two levels of balcony and a wood-panelled stage. There is a two- manual organ built by Harrison & Harrison of Durham. Younger Hall is the home of The Music Centre of the University of St Andrews, which makes the use of eleven practice, teaching and rehearsal rooms, and a Music Technology Studio, all located within the building.
Generalens Lysthus, Tromnæs, Falster (old photograph) The Rococo interior consists of a large rectangular room with a domed ceiling fringed with garlands and medallions. The centre of the ceiling is decorated with a rosette and a floral wreath. An inscription on the door reads: "Wer Ruhe hat Der findt sie her" (he who has peace finds it here). The walls are panelled and a cupboard stands in one corner.
The ceiling panels in the little foyer are by Léon Gaud. Several artists—painters and sculptors—were commissioned to decorate the inside and the outside of the building in an eclectic style. The house was decorated in a style with gold highlights on light tones. Around the central cupola, from which hung a magnificent chandelier, a panelled ceiling with fifteen medallions featured portraits of nine actors and six singers.
The original living quarters, with a bedroom and bathroom featuring two front-facing windows overlooking the Old Market Square, were opened to the public as the Clubroom by the Jackson family in 1953. The oak-panelled low-beamed room, which features an original fireplace, now houses The Belfry restaurant. The Crown Post Room is an extension to The Belfry used for private functions and features the unusual crown post roof supports.
120-121 This was replaced by the ARTH-2 in September 1959. The ARTH-2 received a version of the 1.5 liter four, and by now there was also a "Light Miler" (1.25 ton) version available.Ozeki (2007), p. 122 The first few model years of the ARTH Miler were also available as the "Prince Light Van", a four-door, six-seater van with panelled sides in the luggage compartment.
Within the tower is the surviving cast iron bell frame, made in 1828 by George Gilliband. This is considered to be the first metal bell frame to be made in the world. Along the sides of the nave are five three-light windows, separated by panelled buttresses that rise to crocketed pinnacles. The windows at the sides of the chancel also have three lights, and the east window has five lights.
Kenrick died at The Grove, aged 88 in 1919. The house and grounds were bequeathed to Birmingham City Council, the house was demolished in 1963, after which the grounds became a public space. A panelled anteroom of the drawing room at The Grove was saved from destruction and acquired by the Victoria and Albert Museum in London. The room was used to display Kendrick's collection of blue and white ceramics.
They have semicircular arched doorways to right; panelled doors with sidelights and fanlights; one a stuccoed Doric porch. Their windows are recessed sashes, in stuccoed reveals, under flat gauged arches. Reaching out below the first floor is a stucco plat band, painted stone or stucco cornice over the next, then a stucco cornice and blocking course marking the attic storey. Original, cast iron, geometric patterned balconies adorn the first floor.
Bugby Chapel is a simple single- storey building in the Classical style. The walls are of brick with a later covering of stucco. Above the brick cornice the roof is hipped on each of the four sides, creating a hidden central "valley", and is laid with tiles. The façade faces south and is of three symmetrical bays with centrally placed panelled double doors below a gabled hood mould.
After the death of Count Lubienski Bodenham in 1912, the family line ended. The Rotherwas estate was dismantled in 1913 and thirteen of the mansion's wood panelled rooms were sent to America. C.J. Charles brought them over the pond to his New York gallery, Charles Gallery, at 718 5th Avenue. C.J. Charles, also known as Charles Duveen or "Charles of London" was the brother of Joseph Duveen, the famous art dealer.
Stairtowers leading to the Club Deck (third tier) stand at each end of the Main Stand. These towers are also framed in red-brick, but deliberately contrast with the main body of the stand. The two stairtowers also support a long and truss, claimed to be the longest and heaviest clear span girder in the world. Through the main doors of the Main Stand is a wood-panelled hallway.
The interior includes a 15th-century octagonal font and an altar table and octagonal panelled timber pulpit from the 17th century. It has a four-stage tower with the top stage, parapet and the north-east stair turret being added to the original 13th-century work during 1516 and 1517. The earlier three- stage tower is in the Early English Period and supported by angle buttresses. The tower has five bells.
The general styling of LMS Period I coaches followed much the same ideas as were prevalent elsewhere in Britain. They were wooden framed and panelled, had a fully beaded body with a semi-elliptical roof, doors to all compartments of side-corridor coaches, and were mounted on a steel underframe derived from the final Midland Railway design. Window ventilation was mainly by droplight. Roof ventilators were generally of the torpedo type.
The octagonal pulpit is wooden and panelled, and the stone font is also octagonal. On each side of the doorway is an octagonal marble holy water stoup, made by Sylvester Mooney and dated 1837. In the porch are four squares of 17th-century Flemish glass. The stained glass in the east wall is by Hardman & Co. The central window contains the kneeling figure of Wilkinson offering the church to Christ.
The interior of the church is face brickwork with a panelled timber dado running around the walls below sill height. The ceiling is timber boarded with exposed rafters and is supported by hammerbeam trusses of an unusual and elaborate design. A deep carved timber cornice, featuring vine leaves, runs around the top of the walls above two rows of corbelled brickwork. The trusses are supported on projecting stone corbels.
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".
The entrance is at the west end of the north side and consists of paired doors over which is a blind tympanum. Internally, some of the fittings have been removed, and those remaining are considered to be important. At the west end is a gallery with a stick balustrade, and a dog-leg staircase on its north side. Around the chapel is a panelled dado and a cornice.
Thus the vertical size sums up as (188 + 9 x 125 + 188) = 1501 mm, which is 1 mm more than the specified panel size. The holes have M10 threaded inserts. Tolerances are typically of ±1 mm for panel-based measures, and ±2 mm between panels. If the wall is not structured in the panels described above, the global grid layout should be the same as for the panelled version.
The chancel retains its medieval hammerbeam roof but the roof of the nave was replaced in pitch pine in the 1878 restoration. The chancel is panelled with oak which had previously been used for the pews. An oak screen is between the chancel and the chapel. The organ has been placed at the west end of the chapel and the rest of it is used as a clergy vestry.
The built-in joinery work, notably around the sanctuary end of the church and the gallery balustrading, is well-detailed. The earlier work is constructed in cedar and pine while later work around the front entry porch including a panelled dado and screen is of silky oak. The most recent work such as hymn directory boards are in Queensland maple. The pews are of traditional design in pine.
This coarse, light-brown sandstone was quarried locally for many years and was used in many medieval and 19th-century churches. The walls are dressed with ashlar and the roof is tiled. Buttresses support the walls, tower and entrance porch, which is reached by a flight of steps and which leads into the nave. The doorway is set beneath a pointed (Gothic) arch with a hood mould and a panelled tympanum.
The interior retains an entrance hall with a Jacobethan style moulded plaster ceiling, panelled walls, and woodblock and inlay floor. At the rear are two lions on high plinths supporting clock faces showing times of Cardiff high tides. The central Coal and Shipping Hall dominates the building, surrounded by galleried tiers, in Jacobethan style dark wood. A false ceiling has reduced the height to 2 storeys, hiding a centrally glazed roof.
Hampton Villa is an early Victorian house, two storied, surrounded on three sides by a wide sandstone verandah. The main entrance door is a double six panelled door flanked by two pairs of shuttered French doors with panelling and margin bars. There are a further two pairs of French doors on each side verandah. The verandah ceiling is lined with painted timber boards and supported by regularly placed concrete columns.
The foundation stone was laid by the Bishop of Gloucester on 9 June 1819, but there followed a dispute over the title of the site which meant that building did not begin in earnest until 1820. The completed church was consecrated on 11 September 1821. The architect was James Foster. The church was damaged by fire in 1852 and the panelled ceiling in the nave was never replaced.
A flight of stairs leads to a verandah and portico with two Doric columns supporting an entablature with "COURT HOUSE" in raised lettering. The entrance doorway contains a two-leafed, eight-panelled door with fanlight and architrave. On the southern section of the main elevation a masonry ramp gives access to the verandah. All the windows throughout the building are timber framed with either six or twelve panes.
Wall of the residential wing of the cave (1990) Loch Castle consists of two caves sealed by stone walls. These caves are connected to a labyrinth of smaller rooms in the cave system. The largest space, with a floor area of 12.5 x 7 metres, was used as a residential area and was panelled with wood. It was heated by a fireplace that may still be seen today.
Ground-floor rooms have plaster cornices and ceiling roses, dado rails, and panelled doors, window shutters and shutter boxes. The hall is sited in a estate, with a walled-garden to the north, and outbuildings including an 1802 coach-house designed by William Fowler. Nikolaus Pevsner, on his visit, noted that the estate has been "deparked", and comments that Mr. Maw's pre-1855 house was a "Georgian box".
Heydour Grade I listed Anglican parish church, is dedicated to St Michael of All Angels. The church dates from the 12th century, with additions up to the 19th. There is a 12th-century canonical sundial on the south wall. The church has an Early English chancel with lancet windows and a 17th-century north funerary chapel, and a nave with a Perpendicular clerestory, including six tracery panelled windows.
The Owl rooms were constructed in the first building campaign and formed a suite for important guests. Their name derives from the carved owls that decorate the woodwork and the bed. The room is panelled in American Black walnut, the same wood from which the tester bed is carved. Saint notes that Shaw was "proud of the design", displaying a further "owl-bed" in an exhibition in 1877.
The château interiors are among the most remarkable Renaissance spaces in the Czech Republic and most beautiful of all is the banqueting hall with panelled ceiling. The picture gallery houses an outstanding collection of Italian, Dutch and Flemish paintings from the 17th and 18th centuries. The Zierotin armoury contains a collection of pistols and guns made by master gunsmiths at home and abroad from the 17–19th centuries.
Central to this upper floor, a narrow winding stair, leading to the tower, has painted turned balusters and moulded rail. The tower overlooks, through arched openings, hipped roofs either side. Leading out to the masonry balustraded areas over the water tanks, are doors with semi-circular fan lights, boarded on the north, one panelled on the south. From the ground floor, a stair with turned cedar balusters descends to the cellar.
This has a varnished, panelled timber ceiling and highly glazed early ceramic tiles lining the walls to door height. A fine varnished timber screen and double- leaf door with bevelled glass panels and carved timber wreaths separates the vestibule from the central foyer. Both sets of entrance doors have metal handles in Art Nouveau designs. Early marble steps lead up to a central foyer with later stone and tile flooring.
The interior of the church contains its original Georgian fittings. These include a panelled gallery on the north and west sides that is carried by Doric columns, a triple decker pulpit on the south wall with a sounding board, and box pews. One of these pews carries the name and the coat of arms of the Farsyde family. There are also memorial tablets to members of the Farsyde family.
The plinth is a diminishing panelled block with a heavy moulding above. Inscriptions on the four panels of the plinth read: THOMAS JOSEPH BYRNES MLA for Warwick, 1896-98 (east face), Born Brisbane 1860 (north face), Premier of Queensland 1898 (west face), and Died 1898 (south face). At the base of the east face of the plinth is the inscription: Andrews Bros Sydney. The dado forms the shaft of the pedestal.
At each corner is a column with foliated capital set in a rectangular recess, and each face has two pilasters either side of a semi-circular headed recess. The entablature consists of architrave, frieze and projecting cornice, with a panelled pediment at the centre of each face. 1902 is inscribed on the pediment of the east face. The lifelike statue stands larger-than-life at approximately in height.
A polygonal turret projects from the left side. Gable eaves are adorned with brackets, single and in pairs, and there is applied woodwork on some sections. An elaborate front porch is matched in decorative detail by a porte-cochere on the side of the house, where a semicircular drive provides access from Fairmont Avenue. The brick chimneys that project from the roof have panelled sides and corbelled tops.
His office was responsible for the design of a number of public buildings in the Georgian Revival style. The Mackay Court House is amongst the grandest of these buildings with handsome internal detailing including panelled offices. The Court was also designed to accommodate other important government functions such as the office of the Lands Commissioner. The foundation stone was laid on 31 March 1938 by Premier Forgan Smith.
The double arch—"the interior's most powerful feature"—was intended to support both the vaulted roof and the organ, although the present organ stands in the north transept. It came from St Catharine's College, Cambridge in 1974. The aisles are narrower and less substantial than those in Blomfield's church. The interior walls are mostly of stone coated with plaster and render, and the panelled chancel ceiling is painted.
The lacework is continued as spandrels between the paired timber posts, and as an archway over the entry. Leading onto the verandah are three pairs of French doors with tilting fanlights. The central entry doors are panelled, whilst the doors to either side are glazed. The cladding to this northern facade is chamferboard, but on the other three faces and the parapet this has been replaced by fibrous cement planks.
The Master clearly expressed in these works the high artistic and moral humanistic values of the Northern Renaissance.Díaz Matías Padrón, Una tabla del maestro de las medias figuras atribuída a Ambrosio Benson en la galería Phillips de Londres., in: Boletín de la Real Academia de Bellas Artes de San Fernando, no 69, 1989, p. 169-178 The figures are typically placed in a wood- panelled interior or against a neutral background.
The central window itself is the only original part, as the two smaller wings were added in 1731. It has a high moulded cornice with plastic ornamentation. Brackets support panelled pilasters terminating in capitals on which rests the architrave with the inscription "Praga caput regni" (Prague, the capital of the kingdom). The window is surmounted by a semicircular tympanum with the armorial bearings of the Old Town of Prague.
The bar, formerly a dining room, features a marble fireplace and a pair of curved french doors opening onto the northeast corner of the verandah. The manager's residence and guest accommodation occupy the second floor. The interiors of the first and second floors retain original finishes including pressed metal ceilings and plastered masonry walls ornamented by arches and mouldings. Panelled timber doors with fanlights open off the central hallway.
The radiator framing and roof were panelled over. Its general appearance therefore changed little but, while the conversion of its tender was aesthetically superior when compared with subsequent conversions, it did not carry enough water.SAR-L Group Message #44177 by Phil Girdlestone on 10 November 2012. Does Anyone know where these were.... (Accessed on 23 July 2016)SAR-L Group Message #32783 by Phil Girdlestone on 26 July 2010.
The first floor bedroom in the South East wing has panelling dating from the early to mid-18th century. There is a panelled sitting room in the North wing. The castle is a category A listed building and is constructed on the site of Robert the Bruce's successful battle against John Comyn, Earl of Buchan in 1308. The Hunterian Museum in Glasgow has a hammerstone from Barra Castle.
The lower level is constructed of brick, some sections of which are painted. It is divided into two shops, each with a four-panelled entry door and tilting fanlight, and a large shopfront window (one of which has twelve panes, the other six). The rear section has a double gabled roof and central half-round gutter. To the west side is a brick chimney beside a further entry door.
French doors open onto the porches from internal rooms. A large nineteenth-century doorway opens from the ground floor porch to the hallway of the house. It is thought that this was the original entrance to the building when the porches were only semi-enclosed prior to the renovations of 1920s. This doorway comprises a single timber panelled and moulded door flanked by sidelights and a transom panel above.
The central tower, which was built around 1400, has three stages with diagonal weathered buttresses with crocketed pinnacles. There is a south-east hexagonal stair turret rising above the parapet with panelled sides to the top, and an open cusped parapet. Unusually for Somerset a Dundry stone steeple was built in 1455–1456. In 1595 freemasons were engaged to take down the spire and reduce it to its present dimensions.
The verandahs on the ground and first floors have been enclosed and the original doorway has been widened and replaced with automatic doors. A number of other paired timber doors are located along the verandahs on both the ground and first floors. The doors are panelled and have glass breezeway and fanlight assemblies. The foundation stone is located near the front entrance along the northern facade of the building.
These include a narrow staircase in the vestibule with turned timber balustrades and an ornate, carved newel post. The interior is lined throughout with wide tongue and groove boards. To dado height throughout most of the house the boards are diagonally placed, contrasting with the vertical boarding above. Architraves around all windows and doors have a carved quatrefoil detail to the corners, and doors throughout are timber panelled.
The west end of the aisle's north wall and the gabled west end contain a two- lighted trefoil-headed window. The north porch contains a panelled double door to the outer doorway with a leaded fanlight above. The north transept is gabled with the eaves lower than those on the north aisle and diagonal buttresses on the external corners. The north wall contains a three-lighted window with cinquefoiled heads.
Outside, the walls are supported by panelled buttresses, surmounted by a cornice of finialed panels with shields, the gable being richly crocketted and pinnacled. Within is a finely-carved open-timbered roof. At the intersection of the cross rises one of those fine towers for which Somersetshire is celebrated. In the centre of the transept is a large high tomb, coeval with the foundation of the structure itself.
The toilet areas throughout the building are fitted out with recently installed fabric, as are the lift cars. There are now five lifts, two fewer than when the building was first completed. The lift cars are lined in timber, with panelled timber ceilings. The building was constructed in 1929 to house the offices and printing presses of The Sun newspaper, an afternoon tabloid, which ran from 1910 until the 1980s.
The house was built as a summer residence by Jean de Dietrich in the German Baroque and Classical French style. Noteworthy features of the château include the façade, the roof, the terraces and the fences, and inside the building, the five panelled rooms on the ground floor and the main staircase. The outbuildings are 18th century, and their roofs and façades are of note. The château has substantial gardens.
Paired timber panelled doors surmounted by pivoting fanlights are located below each arched window and open from the nave and sanctuary onto the side verandahs. The fanlights are glazed to match the arched windows above. Three bays of the southern verandah are enclosed to form a side chapel adjacent to the sanctuary. This side chapel has five narrow reinforced concrete arched window units which are separated by brick piers.
Three of the panelled rooms are now in an American museum whilst the ruins of the building are still there in 2009 as a monument to their ideas.English furniture in the Philadelphia Museum of Art, G.Beard, June 2006, accessed November 2009 Leke died unmarried and the earldom became extinct. Although unmarried, he fathered three children by Madame Margaret Seymour of Yaxley. Those children were Nicholas, Seymour, and Margaret.
Panelled front door has sidelights, a leadlight panel over and brass door knob, knocker and bell pull. Remarkably fine imposing Victorian mansion on southern side of Amherst Street, backing on to the Warringah, located roughly halfway between Miller and West Streets. Fine iron work to two storey returned verandah.Branch Manager's report, 5 October 1982 AHC RNI entry said built between 1872-1893 (), in contrast to NSHR date of 1886.
The portal opens onto an arcaded entrance porch, defined by similar columns, from which a closed timber quarter turn stair runs to the gallery. Panelled timber doors open off the entrance bay to the church. Above the portal are three round headed arched window openings, glazed with leadlight. The entrances to the north and south transepts are similar to the main eastern entrance, but with vaulted awnings supported on moulded corbels.
The wood-panelled upper storey and roof balcony is a typical element The Waldlerhaus is usually a poor person's house The Waldlerhaus is, as a rule, a single-ridge house (Einfirsthaus) with a gable roof. They are mostly small one- or two-storey unit farmhouses with a cattle shed at the back. A barn is usually built onto the end. The ground floor may be made of stone.
French doors from the principal rooms open out onto the verandah and thence onto the garden. The influence of Kerr and Stevenson may be seen in the configuration of the main spaces and principal rooms. The drawing room features Adam detailing and an inglenook, a distinctive and ubiquitous feature of Sulman's domestic designs; it is the basis of the name "Ingleholme". The dining room features cedar-panelled walls.
The inclusion of many fine antiques, and the theming of the rooms by date and country gave the impression of a house that had evolved over time. By 1940 it was one of the finest and most luxurious of small country houses in the United Kingdom. Cahn died in the White Allom panelled library in 1944, when part of the house was being used for the rehabilitation of wounded soldiers.
Meanwhile, the fragments of the cheek guards, neck guard, and visor were placed onto shaped, plaster- covered wire mesh, then affixed with more plaster and joined to the cap. Though visibly different from the current reconstruction, "[m]uch of Maryon's work is valid. The general character of the helmet was made plain." The 1946 reconstruction identified the designs recognised today, and similarly arranged them in a panelled configuration.
The building makes use of various geometrical (mostly pentagonal) structures and shapes, and largely due to the sinuous curved walls forms a continuity without a clear beginning or end. The extensive use of glass walls brings together the oak-panelled interior and the exterior dominated by its forest setting. The centre has another unusual architectural element apart from the tower, a small Orthodox chapel in one of the patios.
Other building features include the four-arched arcade loggia with skillion roof form finished with corrugated galvanised iron roofing; cast iron Corinthian order pilasters to loggia on sawn bluestone plinths; Four clock faces and mechanism manufactured by Charles Prebble; timber post and picket fences; round-arched timber-framed double-hung sash windows and four-panelled timber doors throughout; moulded timber architraves; dressed bluestone thresholds; polished timber stair and balustrade.
This wall is a significant landmark in Double Bay.Owners Corporation, 2008, 10 Overthorpe house's panelled rooms were the setting for many gracious parties and balls over the years and notable personalities entertained there included the Duke of Edinburgh. Anderson, owner from 1915 apparently had a fine garden and did not die until 1967. An aerial photograph taken in 1943 shows the site as very heavily vegetated at that time.
All undercroft spaces feature face brick columns, which are rounded below head height. Rare surviving early educational murals of painted text and images, on topics such as tourism, transport, farming, sugar cane, and Australian states, are painted directly onto the bulkheads and walls of classrooms in Block B. Most feature a detailed image with adjacent wording. Murals to the understorey classroom of Block B have been covered, although it is likely that these survive underneath the recent paint. Most early timber joinery within the building has been retained, including: double-hung sash windows with awning fanlights to verandahs; casements and centre-pivoting windows with awning fanlights (some angled) to exterior walls; fixed louvres to the understorey level; dual timber panelled doors with stop-chamfered detailing and centre-pivoting fanlights; tall, centre-pivoting fanlights over verandah doors, and panelled, folding timber door partitions between some classrooms in Block B. Most windows feature horizontal painted concrete sills and lintels.
Above the facade contains three sets of French doors providing access to the verandah. The cottage behind consists of a single storey full brick building, with gable ended roof now clad in shingles (). The cottage faces Stanley Street, which appears older that No 1 George street in style and materials, contains a number of well spaced double hung multi paned windows and panelled timber doors. The plan consists of 4 rooms, three of these interconnected.
Above the pulpit is an elaborately carved tester with a crown supporting a pelican feeding her young. In front of the pulpit is a pew containing the elaborate mayor's chair and a sword rest, and throughout the rest of the church there are panelled box pews. The font is in a box pew to the right of the west entrance. It consists of a white marble bowl on a stem, with a mahogany cover.
The exterior is panelled with aluminium cladding and has extensive areas of tinted glass. Structurally, the building is steel-framed with steel and concrete floors and a large brise soleil. The "imposing" building was the city's first ultramodern commercial property and was intended for mixed commercial and industrial use, but its completion coincided with a slump in demand for high- tech premises. The British Engineerium's High Victorian Gothic architecture dates from the 1860s.
With the exception of the first floor reception room and office, each of the rooms on the first and second floor were panelled with quarter-sawn oak. Chandeliers of Flemish brass lit the reception room, office, and both second floor rooms. The basement consisted of closets and storage space, and contained a furnace room. A wide veranda with a coffered roof supported by arches wrapped around the building on its north, west, and south sides.
Inside the church, the arcades are carried on monolithic piers (made from single pieces of stone). They are high, excluding capitals and stub-bases and are carved into four shafts around a central spine. (earlier references to 16 ft ht are incorrect) The west gallery is supported on two cast iron columns. The panelled reredos dates from 1872 and side panels were added in 1908; all the panels depict scenes in mosaic.
The centrally located main entrance has fine stained glass surrounds with a hibiscus motif. The entrance hall opens onto an impressive cedar staircase with richly turned and carved balusters and newels, and fine timber panels. The corridors to the ground floor have fluted cedar panels to dado level, and panelled cedar doors. The former dining room to the south has a fireplace with a richly carved timber mantelpiece, and fine hand-painted tiled hearth.
The gates, gate piers, and the walls surrounding the churchyard are also listed at Grade II. The walls and gate piers are in sandstone. The piers have a square plan, with panelled sides, and have plain caps with pyramidal tops. The walls form a boundary on the east and south sides of the churchyard, and incorporate twelve piers similar in style to the gate piers. The gates are ramped, their railings having spear heads.
This addition has a masonry ground floor, chamferboard first floor and gable roof. A narrow timber stair accesses the first floor verandah from the rear re- entrant corner. Internally, the ground floor contains a wide entrance hall, with a cedar staircase with turned balustrade and a tall arched sash window. The building has plastered walls, ornate plaster ceilings and cornices, cedar panelled doors, architraves and skirtings and a variety of marble fireplace surrounds.
Ellan Vannin was well appointed for the carriage of passengers with accommodation for 91 First Class and 195 Second Class. Her after saloon was in length and high. The walls were panelled and decorated with sketches of Castletown and Birkenhead. The ends of the saloon were finished with fretwork panels in oak and in the ceiling two handsome sky lights constructed of East India Teak allowed ample light to be directed inwards.
The two stairways, near either end of the building, have steel balustrades, cast newels and timber handrails. Many of the classrooms of the two upper levels are divided by panelled folding timber partitions. The four classrooms at the centre of the first floor level may all be opened to form a small auditorium with a stage at its eastern end. At the far eastern end of that level is the home science room.
The east window is an example of a single Early English lancet with very wide splays and shafts in the inner arch. The main roof timbers, both in the Nave and Chancel, date from the sixteenth century, whilst the ceiling above the sanctuary is panelled and its bosses and carvings picked out in gilt and colour. The font is octagonal in shape. The bowl is modern and it stands on a very much older shaft.
The Fürstenzimmer, or Prince's Rooms, are four in number and located around the edges of the Golden Hall. They were originally used as retreats for distinguished guests of the council. Each room is around with coffered ceiling, panelled walls and parquet floors, and containing elaborately carved writing desks, tables, chairs and stools and several lamps. These rooms were also badly damaged during the war, and only one has yet been fully restored.
A grand double storey music room, originally designed by Lorimer for Rowallan Castle, was made out of the stable wing in the north pavilion. It is finely panelled in oak with delicate carving modelled by Louis Deuchars and carved by W. and A. Clow.Cruft, Dunbar and Fawcett. At the east end of the room is placed a fine full size organ by Norman and Beard of Norwich, which is still maintained today.
The pavement, scored to resemble square pavers, extends north of the verandah line at the eastern and western ends. On the first floor, the interior walls and ceilings of both sections are lined in flat sheeting and skirtings are timber, of a simple profile. Single panelled timber doors survive between some rooms. In the B&P; section, vertical members of the structural system are evident on the north and south walls, between pairs of windows.
The ground floor level comprises seven classrooms of the same size, interconnected by single, panelled, two-light timber doors adjacent to the eastern wall. The classroom walls are lined in flat sheeting with rounded cover-strips up to dado level, and ceilings are lined in flat sheeting. Early angled hylo-boards with inbuilt cupboards are retained in each classroom. The understorey level is accessed by a 1970s covered walkway that is not of heritage significance.
The main elevations of both sections have a multi-paned sash window and two timber doors that provide access to rooms from the platform. The two doors closest to the waiting area on each section are four-panelled timber doors. The south- east end of the building (which appears to be the earlier section) has wide chamferboards of . Mounted on the chamferboards facing the platform is a timber cabinet and two small metal "staff" boxes.
Terrazzo flooring was in the > foyer and on the terrace. The walls in the hall and on the upper two > landings were panelled. This was a substantial house, with the roof fully > lined with wood beneath the tiles and the lofts boarded. There were several > immense cellars linked by hatches and one of them contained a huge boiler > which provided hot air to the ground floor via brass gratings in the parquet > flooring.
He opened a West End store in 2008, at Bruton Street, Mayfair, off Bond Street; less than five minutes walk from Savile Row. He has been a creative contributor and Sartorial Advisor to men's magazine The Rake since 2008. alt=A wood panelled room, with polished wood floor, partly covered by a rug in the foreground. The room is lit by a gothic, stained glass ceiling light and from a single sash window.
Gives details of Goodliffe family. In 1902 the owner was Lieutenant-Colonel Bernard Alexander Firth, Commander of the 4th Battalion of the York and Lancaster Regiment and the son of the Sheffield steel manufacturer Mark Firth. He had the dining room panelled in oak and installed a 17th-century marble fireplace, thereafter it was known as the Oak Room. In 1916 Bernard Firth allowed officers of the Royal Flying Corps to use the hall.
French doors with fanlights lead from the veranda into the rooms of the homestead. The west section has been utilised for bathroom facilities and entry to the kitchen and utility section. The main entrance comprises a four-panelled clear-finished timber door with fanlight and sidelights. All glazing panels including the arched panels in the sidelights and pairs of arched panels in the door are decorated with leadlight in an Art Nouveau inspired pattern.
B. W. Canady House is a historic home located at Kinston, Lenoir County, North Carolina. It was built about 1883, and is a two-story, "L"-shaped, Italianate style frame dwelling. It has a gable roof, gabled two-story projecting central entrance bay, and one-story rear wing. It features a wraparound front porch, pendant eave brackets, a paneled frieze, and tall brick interior chimneys with elaborate panelled stacks and corbelled caps.
A public vestibule space is formed by two parallel panelled counters at each side of the entry. Directly ahead of the entry is a stair which connects the basement to the second floor. Interior finishes are typical for the border stations with plaster walls, red floor tiles set in concrete borders, architrave door surrounds, picture rail and baseboards defining the spaces. Original lighting fixtures have been replaced with ceiling-hung fluorescent fixtures.
The first floor toilet rooms have original finishes with plaster walls, white tile floors and fixtures. The cement floored basement is divided into two mechanical rooms and a workshop. The second floor has hardwood floors and two side by side detention rooms with their original barred window grates, sinks, and barred and panelled entry doors. There is one office room and a long eaves room on the rear which is used for storage.
The first prototype to be unveiled was the motor industry contribution, a steel panelled experimental temporary bungalow called the Portal after the minister of works, Lord Portal. With a floor area of , and an estimated cost of £600 constructed, and £675 fully furnished. It included a prefabricated slot-in kitchen and bathroom capsule, that included a pre-installed refrigerator. The proposed rent was 10 shillings (50p) a week for a life of ten years.
A staircase, with turned timber balustrade, is located at the south corner of the building. An early goods lift, located at the southeast, has a folding metal door and is surmounted by the lift motor room on the roof. The first floor has panelled ceilings with timber coverstrips, and the second floor has hardboard ceilings. The basement has a concrete floor, and steel columns and beams have been inserted to support the floor above.
The walls were generally rendered and painted except throughout the ground and mezzanine floors where panelling of Thailand teak was installed. The Directors Suite and Board Room were panelled in English Beech with insert moulded beads of Tasmanina Oak. Prominent in the design of the Shipping Chamber are the mural screen and spiral staircase. The mural screen was designed by sculptor Douglas Annand and manufactured and executed by Z. Vesley's Metal Products of Marrickville.
The chancel has a seven-light pointed east window. The chancel and nave are under a continuous flat-pitched oak panelled roof from 1884 following the lines of the older structure. In the early 15th century the church was extended by adding a new chancel and later widened by adding the north aisle. Sometime later the church was again extended by adding a third bay, and the south side rebuilt with three arches.
Leading from the hallway to the right is another smaller hall which leads to the public bar and two minor rooms. The interior walls are plastered with timber cornices and architraves and the ceilings are vj boards. The public bar has a pressed metal ceiling and retains the original timber panelled entry doors and timber double- hung windows. The bar fitout is not original and the walls have been lined with timber veneer panelling.
In 1822 Mary Ann married Samuel Miles. (1776-1842).The London Gazette, 1822, p. 87. Online reference The couple went to live at Narborough Hall soon after their marriage and made numerous alterations to the house. They raised the level of the first floor, laid a fine oak parquet floor in the principle reception room, added a bay to this room and the principle bedroom above, was panelled along with the landing.
1948 Lancia Aprilia-based "Giardiniera" Founded in 1947, they focussed exclusively on automobiles after 1950. Their first efforts were coupés on Fiat 1100 and 1400 basis; these were soon followed by station wagons with wood-panelled bodywork on 1100-basis. Francis Lombardi also made six-seater limousines from Fiat sedans of the period such as the 1400 and 1800. Intended for ministerial or representational use, they had stretched wheelbases and luxuriously fitted interiors.
Although mainly confined to composites and brake composites, it was a batch of corridor thirds in 1930 that really set new standards. These coaches were but 10 in number but had only seven compartments on a underframe. Although the traditional four on each side seating was retained, the compartments were no less than 6 ft 6 in between partitions. They were again wood panelled and fully beaded and were, reputedly, extremely comfortable.
The post hall has been refurbished in the standard Australia Post retail format, with a suspended ceiling and recessed fluorescent lighting. The offices and service rooms have been refurbished at varying stages. Refurbishment of interiors has occurred at varying times through the twentieth century to around the mid-1990s. Much of the original fabric of the quarters is extant including panelled timber doors (some with original hardware), timber stairs, architraves, skirtings and fireplaces.
The chaplain, Rev Henry Haworth Coryton, ministered to the PoWs in Groningen and, as a thank-offering, Leonard A. Powell painted the three-panelled reredos. A Harrison & Harrison organ was added in 1920. In 1958, Queen Elizabeth II and Prince Philip together with Queen Juliana, Prince Bernhard and the Princesses Beatrix and Irene made a visit on the 250th anniversary of the Church. Queen Beatrix visited St Mary's in April 2008 for the 300th anniversary.
Fluorescent lighting dominates, being both attached and suspended. Architraves of the ground-floor residence appear to be original or early, as do the skirtings. Original skirting to the post office section is limited to remnants, however, architraves in the mail room in particular are generally original, with later fabric in the retail area excepting the early front infill windows. The ground-floor residence retains four panelled internal doors, with a boarded exterior kitchen door.
The first-floor architraves appear to be original or early, as does the skirting. There is a plain, non-original picture rail in the south-eastern and centre southern bedrooms. Windows on this level are predominantly two pane upper and lower sash windows and single upper and lower pane narrow sash windows. Internal doors are four panelled, and original French doors are located to the arcade, with fanlights over each exterior door.
The original archway to the Secondary Hall has been infilled, with double-leaf swinging doors and a lead light top light. The main rooms to either side of the front hall are approached through 8 panelled, double doors. The hardware is not original and is in an art nouveau style. Throughout the house there is evidence of changes to the original fabric in the door hardware, ceilings, lead lighting and some fireplaces, .
Pevsner describes the interior as "sadly scraped"—scraping a typical 19th-century restoration method of cleaning and retooling. Nave from the chancel The 13th-century double- chamfered pointed tower arch is supported by twin octagonal responds. Sitting at the base of the tower arch is a 19th-century octagonal stone font. The bowl is panelled on each side with inset fields containing cusped and quatrefoil mouldings, floriate details at its base, all partly painted.
There is clear evidence that these two cottages were built in separate stages due to the way the stone has been toothed at the party wall. Each cottage has a centrally placed entrance door of a simple, four panelled design with a brass door knob. It is flanked on either side by one six panel sash window with shutters, surmounted by a flat stone lintel. There are identical windows on the first floor above.
The roof is punctured with ventilation gablets. Confessional rooms project from the transverse elevations of the building. The western elevation of the church, which was to be extended, is of rendered brickwork and consists of a central gabled extension lower than the body of the church, flanked by two skillion roofed sections. Entrance is gained to the body of the church via three double panelled timber doorways from the porch, and by two side entrances.
The decorative bargeboard and finial have been removed and covered with chamferboards, however, the circular, ventilated opening remains. The porch ceiling is of tongue and groove boards, the remainder is unlined. Leading onto the veranda are two doors either side, which lead to storage areas, and a central, panelled timber door. Internally, in the storage room located at the southern end of the building is a set of stairs which lead to the projection room.
The high-pitched shingled roof had a short ridge, and the verandah roofs, also shingled, were supported on plain chamfered timber posts. Glass and timber-panelled French doors opened onto the verandahs from all rooms. The first front steps were of timber, but had been replaced by 1907 with masonry steps. Between early 1907 and mid-1909, the verandah roofs were replaced with corrugated galvanised iron; later the whole roof was clad with iron.
The portico pediment has 1892 inscribed within. The front elevation is defined by fluted corner pilasters and composed of three arched openings notable for their severe rendered rusticated surrounds. The central arched entrance accommodates a narrow draft lobby which projects into the banking chamber. The lobby is lined with timber panelling and houses two sets of doors, the outer a set of solid timber panelled doors and the inner a set glazed timber doors.
It was given its current name in 1937. Nos. 440–450 are all Grade II listed. They were built in the early 19th century as a terrace, and all span four storeys with parapets roofs, round arched entrances and panelled doors. The Troxy Cinema at No. 490 was opened by George Coles and Arthur Roberts in 1933 on a former brewery site. It cost £250,000 to develop and could house over 3,000 people.
When constructed in 1937, the building had three storeys, with an exterior made up of reinforced concrete with brick panelling. The main entrance doors were panelled with hammered pewter – a white alloy that resembles tin. The company's name was executed in hammered pewter, another example of the architect using tin as a motif for the company. Dadoes for the staircase and entrance vestibule were made of a new material, Marbrunite, in multiple colours.
The library"Shaw's greatest domestic interior" Girouard describes the library as "one of the most sympathetic Victorian rooms in England". It belongs to the first phase of Shaw's construction work and was completed in 1872. It has a large bay window which gives views out over the bridge and the glen. The room is half-panelled in oak and the fireplace includes fragments of Egyptian onyx, collected during Armstrong's visit to the country in 1872.
The nave is in three bays with oak panelling and a single-bay gallery. At the east end between the windows is a pedimented reredos inscribed with the Ten Commandments in gold. Below this is a panelled oak pulpit carved with fruit and leaf motifs and a moulded cornice. The floor of the chancel is paved with tessellated squares of black and white marble while the rest of the floor is tiled.
Two nine-pane windows are located in the front elevation. The entrance to the hut, a panelled timber door, is located in this elevation. A large, two-storey volume shed constructed with bush timbers and clad with corrugated iron is located near the slab hut. Also located near the slab hut is a stables, which is timber-framed and clad with corrugated iron, with large double timber doors located along one elevation.
Built onto the rear of the original building, in line with the main entrance, is the shower and toilet block. It is a gable-roofed brick wing with concrete banding at the head of horizontally proportioned windows. A timber staircase, with a timber panelled balustrade and brass handrail, built around the same time as the shower block connects it to the original building. Two other wings are attached to the rear of the building.
The caretaker's cottage is two storeys high, built of limestone ashlar with a slate roof. It has sash windows to the south and north, with false windows on the east and west ends. Access to the pool is through the ground floor lobby of the cottage. Inside, the original panelled ceiling remains intact as well as a hob and fireplace in the bedroom and another early 19th-century fireplace on the ground floor.
The World Expo '88 interior refurbishment included the carpeting and painting of the interior, a new staircase from the front foyer to the first floor and modern fretwork brackets. The third stage (1902), at the rear, is a long rectangular building with light coloured horizontal strings and window arches. The corrugated iron hipped roof has a continuous raised roof ventilator. The interior walls has timber panelled dados, plaster raked ceilings and an unadorned proscenium stage.
From the room which was formerly the shop, is the straight varnished cedar staircase leading to the attic. It has turned balusters and newel, a panelled spandrel below, and a beaded board soffit over the doorway. The balustrade to the attic is simpler with squared posts and balusters. The attic is a single long room with tongue- and groove beaded boards to the side walls, flat and raked ceiling, and end walls of painted brick.
Centrally located on the lower verandah, the main entry has a pair of timber panelled doors with brass handles and letter slots. Beyond the entry is a central corridor with offices to either side. The corridor contains the marble honour boards and the timber stair, which has turned balusters and newels. The honour boards, mounted on the southern wall of the ground floor corridor, list 1592 local servicemen from the First World War.
The western side of the quad has the Gatehouse, with the Lodge, in its centre. On either side of this are slightly earlier buildings, the southern of which is the Principal's Lodgings, and the northern mostly houses the college's offices. In addition, the north-west building has access onto the Bridge of Sighs. Above the Gatehouse is the dining Hall, which is wood-panelled and hung with a number of college portraits.
Located within the Millers Point historic district on an elevated site with views over the harbour to both front and rear. A former Georgian town house of two stories with basement and attic probably built . It is of three bays in width with central eight panelled door above which is a fine elliptical fanlight supported either side by fluted pilasters. Internally it still retains the majority of its original joinery and other details.
The verandahs have been enclosed, with the south and east having sash and casement windows, and the remaining verandahs having flywire. The kitchen house and office buildings are clad in corrugated iron and have metal window hoods. French doors with fanlights open onto the verandahs, and the recessed main entry has a timber panelled door with leadlight glass inserts, sidelights and fanlight. An etched glass panel in the door has the inscription GREENMOUNT.
The interior is painted plaster and the nave has an open, timbered ceiling supported by king posts and hammer beams. The floors are timber and that in the sanctuary is raised above the level of the nave. The sanctuary has timber panelled walls and a segmental timber vault. The church is surrounded by palm trees and a low wall has been constructed at the front in the same bluestone as the church walls.
Aubourn Hall At the eastern end of the village stands Aubourn Hall, an early to mid-17th-century house set in 1.2 ha of gardens. Built for Sir John Meres between 1587 and 1628, possibly on Tudor foundations, it is brick, with stone quoins, and three storeys high. The interior of the house includes a carved staircase and panelled rooms. The property has been the home of the Nevile family since the 17th century.
Exterior walls are single skin with externally exposed stud framing lined internally with boards detailed with double beading. Internal partitions are also single skin with stop-chamfered studs and these, together with the ceiling, are lined with single-beaded tongue and groove boards. The rooms are generally without cornices except the 1901 addition which has a timber cove. Some joinery is painted, including four- panelled doors, French doors to the exterior and double hung windows.
The chancel features stained glass by the Victorian designer Charles Eamer Kempe and a window in the south aisle contains medieval stained glass. The chancel roof is supported by scissor trusses, the nave roof is on collar and arch braces. There are two octagonal pulpits at the western end, one of fretted oak on a stone base and one 19th-century in date of stone with quatrefoil panelled sides. The font is also octagonal.
A cassone that has been provided with a high panelled back and sometimes a footrest, for both hieratic and practical reasons, becomes a cassapanca ("chest-bench"). Cassapanche were immovably fixed in the main public room of a palazzo, the sala or salone. They were part of the immobili ("unmoveables"), perhaps even more than the removable glazed window casements, and might be left in place, even if the palazzo passed to another family.
The chancel contains a trefoil headed piscina. A more recent feature for such an ancient church is the Victorian stone pulpit with ogee-panelled sides which, in Nairn’s opinion, fits in perfectly. In 1628 a bell was cast for the church by bell founders Thomas Wakefield and Bryan Eldridge. There were also two other bells, one dated 1620 and one unmarked, but all three have been taken down because of weakness in the bell tower.
The parallel was also expressed in other ways, as U.S. Navy observers noted that the quality of the fittings, both mechanical and domestic, was comparable throughout to that of a large cruiser: the crew cabins were all generously wood-panelled and comfortably air-conditioned, features that were rationalized with the claim that they would protect the crew from the heat of a metal hull under tropical skies. There was even an icemaker.
Her 1st class dining saloon had a panelled ceiling inlaid with paintings of Christopher Columbus discovering the Americas. Aragon had five cargo holds, some of which were refrigerated to carry meat and fruit from South America. Number 5 hold and the lower levels of numbers 1 and 2 holds were for frozen cargos. The 'tween decks of numbers 1 and 2 holds and upper 'tween deck of number 5 hold were for chilled cargos.
The brackets on either side of the portal terminate in slender pinnacles. The main structure dates from the end of the 15th century, but the wooden double door itself dates from 1652. The window on the left of the portal was completed a few years later and retained the architectural style. The builder eschewed the traditional Gothic arch in favour of a rectangular window, adorning the thickness of the walls with panelled pilasters.
The pinnacled lotus dome on top has a round sun-window on each side with a curved coping, projected horizontally at the ends. There are decorative domed pavilions at the corners and lotus blossoms in leaf in the middle on top of the walls. The interior is paved with marble slabs in white and grey against black and white of the outer platform. The walls and pillars are also panelled with white marble slabs.
The gables on the side walls, added in the 18th century, are faced with tiles. A hipped-roofed timber-framed wing with brick walls extends to the rear. In the main section, the twin entrances have straight-headed hood moulds supported on corbels, with panelled doors reached by stone steps with iron handrails. Inside, there are exposed oak beams with decorative mouldings, and the brackets which originally supported the jettied upper storey survive.
The central office area features decorative plaster coffered ceilings. Located in the north-east corner of the ground floor is a records room adjoining a strong room which were part of the original plans. The strong room still displays its iron door, however both rooms are used for storage. In the south-east corner of the ground floor is a private office, originally the manager's office, which has original parquetry floors and timber panelled walls.
The building has cedar joinery, including architraves, skirtings, panelled doors with fanlights, and staircases with turned balustrades. The first floor contains the Supreme Court Room with an enclosed arcade either side. Witness rooms are located at the northeast end, and the jury room, court reporter, barrister's and judge's chambers are located at the southwest end. The court room has tall arched windows opening to the enclosed arcades either side, with expressed extrados and imposts.
The top stage has two-light louvred bell-openings and a panelled parapet with pinnacles at the corners. The spire is recessed on an octagonal base containing gabled two-light openings and it is attached to the pinnacles by flying buttresses. At the south east corner of the tower is a lean-to stair turret. The porch has a flat roof with a parapet and a niche over the entrance containing a statue.
Keystones above two of the entrances place the newer building at 1859. On being grade II listed in November 1992, it was described as an "Italian villa style on an unusually large scale; stuccoed with painted ashlar dressings and deep-eaved low-pitched hipped roofs. Big panelled stacks with corbelled and sometimes gabled caps". J. C. Harford Esquire In 1873 it is estimated that the estate had 8,399 acres in Cardiganshire and Carmarthenshire.
It has a heavily moulded ogee-arched and tall finialed surround. There is a large oculus in the side elevation and north pointed doorway. The second stage of the tower has pointed Y-traceried windows with sill string and an oculus above. The belfry stage has similar windows with louvred openings and above is a panelled frieze and embattled parapet with crocketted corner pinnacles which was restored in the mid-20th century.
With intact and fine brickwork and red rubbed curved arches, Block B retains much of its stylistic detailing today. However, the building has undergone a number of internal modifications throughout its history. The entrance of this building is marked with a double panelled front door with an elegant semi-circular fanlight above and sidelights at each side. Above this entrance-way is an embossed sandstone plaque marked "GR 1825" with an image of a crown.
On the first floor is the hall, which has panelled walls, and a large carved fireplace, wide. The second floor ceiling is decorated in tempera; this dates from 1620. The decoration includes paintings of an ostrich and an armadillo, and mottoes such as “A NICE WYF AND A BACK DOORE OFT MAKETH A RICH MAN POORE”. The ceiling was carefully taken down and the missing parts replaced during the restoration by Lorimer.
In the undercroft is a medieval stone arcade and a wooden joist which has been dated by dendrochronology to 1260–80. At the level of the Row, a 13th-century oak doorway remains from the medieval hall. In the storey above the Row is the 18th-century assembly room which measures 16m by 10m and stretches across the full width of the building. The room is panelled and has a fireplace against the east wall.
Above the cornice, a parapet wall with alternating panels of blank wall and classical balusters forms the balustrade around the roof deck level. The uppermost level, a few rooms in a simplified classical style, is visible behind the parapet. Along Stanley Street the ground slopes down from the Flinders Street corner revealing the basement level. A timber panelled door, situated at the southeastern end of the Stanley Street elevation, opens directly into the basement.
In 1731 he built an impressive residence named Singleton House at Laurence Street, Drogheda."Houses of Yesteryear in Mell" Drogheda Independent 21/01/2005 It has been described as a three story mansion of red brick, with seven bay windows and magnificent oak-panelled interiors. It became derelict in the 20th century, and was demolished in 1989."Memories of Freeschool Lane" Drogheda Independent 10/09/2004 In Dublin he lived at Belvedere House, Drumcondra.
The ground floor has a similar casement window, a French window on the left and a canted bay window on the right. There is a large central chimneystack. The ground floor has a bressummer to a wide fireplace, the timber framework is exposed in some rooms and there are 18th century fielded panelled doors. The house originally had a thatched roof, which attracted mice, and some is still intact under its later covering of tile.
The large mirror panel of the mantel is decorated with a painting of birds and flowers. Basic timber bookshelves are mounted on the eastern wall in the space formerly occupied by another chimney. Timber, wall-mounted lockers are to be found either side of the wide doorway that leads into the back section of the building. Panelled timber doors with fretwork fanlights are opposite each other at the back of the hall.
The studio opened onto a stone patio and lawns, lined with mature hedges and trees (1). In the studio and gardens of Hyme House de Laszlo painted many of his best-known portraits (2). At the height of his fame he could command an extraordinary £3,000 for a full-length portrait (2). The interiors of Hyme House and studio had oak flooring with high ceilings, elegant ceiling cornicing and panelled doors (4).
When completed, it was regarded as a quite outstanding example of its kind, and attracted visitors from as far away as America. By 1934, the church needed to be extended to include an assembly room (currently used as the choir vestry). In 1937 a new altar with oak panelled reredos was added. In 1962, the church was classified as Grade B status, but in December 1969 this was revised to "Grade II listed".
The drawing room in 1903 The drawing room, containing four bay windows of different sizes, is panelled with oak for its entire height of about . One of the upper panels, surmounted by its Corinthian entablature, is a frieze depicting a fig, grape, and pomegranate, each with foliage and blossoms. One of the lower panels, part of the dado in the same room, has a section of projecting mouldings. The upper panel is ; the lower, .
The gallery has a decorative timber panelled front of silky oak and is supported by handsome columns with a marble treatment. Side doors open onto the colonnades of the flanking cloisters. The colonnade to the southeast is now enclosed and overlooks the courtyard a level below. The roof of the chapel colonnade to northeast is supported by white-painted concrete columns with cushion capitals and forms part of the encircling colonnade to the courtyard.
Opened in Argyle Street in January 1937 by John Edward Sheeran. The former cinema, now a store, was extensively furnished directly from the White Star cruise liner RMS Homeric. Sheeran bought some of the ship’s opulent furnishings at a scrap auction in 1935 and adapted them for installation inside the 750 seat picture house. The remaining fittings include several doors, a mahogany staircase, a heavy chandelier, and panelled walls from the first class restaurant.
Decorative Gothic buttresses with steep copings flank its sides, round headed windows surmounted by arches of rusticated sandstone typify the window openings, and the walls and gables are accentuated by machicolation motifs. The gables have sandstone copings with bracketed kneelers. The windows are small paned figured glass with pivotal awnings typical of the Federation style. The internal doors are round-headed diagonal-panelled double doors and are similar in style to the external doors.
It also contains the old well which is now covered over. The roof is slated and the doors are four panelled. The shuttered windows at the front of the house are pleate galss while those at the back at\re small paned with crown glass. The house retains its early Victorian style timber chimneypieces and in the front rooms are pretty circular ceiling roses, which is the only elaboration of the plasterwork.
By conveyance in July 1837, Mrs Templeton acquired Henry Harvey's grant. In 1837 Roseneath was described as 'dignified and unpretentious. The wide, panelled front door is surmounted by a fanlight enhanced by an arc in brickwork above it. On either side of the door are two large shuttered windows which, like it, surmounted by patterned brickwork. A 3 sided verandah was included under the main shingled roof and upheld by wooden columns.
It is a grade II listed building, just to the right of the Dispensary. The record held by the Royal Commission on the Ancient and Historical Monuments of Wales indicates that a "mid 19th century painting shows a pair of double gabled, 17th century houses" at the location. The current exterior appears to be of the 19th century, with stucco over brick. The entrance to the left features a round headed doorway with fanlight and six-panelled door.
There is a circa 1900 canted bay to the right of the entrance, which has a six-panelled door. The Old Nag's Head (pictured above and below) at St James Square and Old Dixton Road is an early 19th- century building which incorporates the remnants of the East Gate, the Dixton Gate. The gate was otherwise demolished and replaced by the turnpike gate on Old Dixton Road. The medieval portion of the tower gate is red sandstone.
Most doors retain their rectangular fanlights. All doors on the first floor are modern replacements, apart from one set of double, part-glazed doors which have been relocated to the southeast wing (accessing the former hat room, now a cooking/staff room). Two identical doors are located on the second floor, accessing the former hat rooms. The second floor retains panelled, double doors with original hardware to most classrooms, and two early doors to the teachers rooms.
It is clad in weatherboard and elevated on brick piers and dwarf walls with timber floor. There is evidence of window openings being changed. A number of timber framed four-pane sash windows in various sizes are placed to the end of the front elevation and the side elevations. Two timber boarded double loading doors with timber docks and a timber panelled office door in the centre with timber ladder are also located on the front elevation.
External: A single-storey face brick men's lavatory building with a parapeted gable on the platform side featuring roughcast frieze between moulded string courses. The roof is of corrugated metal with exposed rafters. The other features include a four-panelled door with arched fanlight, a louvered/fixed window on the north side with segmental brick arch and decorative stone sill, and a double window on the platform elevation with louvered upper sashes, segmental arch and decorative stone sill.
The sets of doors are all panelled and decorated with carvings of urns, eternals flames, swords and crosses all symbolic of the memorial. These doors were repaired and repainted in 2006. ;Moveable heritage There is an extensive collection of artefacts, items of memorabilia and tributes on display in the Museum space or stored in a number of small spaces on site, including one of the safes. These items have all been donated by members of the public.
The central portion of the house had a great room, two stories in height, supported by fluted columns with Corinthian capitals; this great room was probably originally constructed by an earlier Atwood in the 16th century. Many of the rooms in Sanderstead Court were panelled with wood. The Atwood shield with a lion rampant between three acorns, the initials “H.A.” (Harman Atwood) and the date “1675” were once were carved in stone over the main entry to Sanderstead Court.
This wing houses three principal rooms, with additional rooms of modern fitout added to the two ends. The rooms have access both to the front, south western verandah and to the rear verandah via both pairs of French doors and timber four panelled doors. The north eastern wall of this section of the residence is clad with fibrous cement sheeting. Internally this building has raked timber beaded board ceilings, timber boarded floors and timber boarded walls.
The front door (D11) is ledged and sheeted with a mid-rail and mouldings of the 1820s (the Greek fillet which was still used in the 1840s although considered unfashionable by then). It has an old strap hinge and is set in a very old frame. It had a centre knob and knocker, a rim lock and barrel bolt. Door 10 is a panelled door with a frieze rail hole and key hole on the right hand side.
Walls were panelled and carved with decorated pillars, all in white. As seen in first class, the dining room was situated lower down in the ship on the saloon deck. The smoking and ladies' rooms occupied the accommodation space of the second-class promenade deck, with the lounge on the boat deck. Cunard had not previously provided a separate lounge for second class; the room had mahogany tables, chairs and settees set on a rose carpet.
This large panelled room is on an axis to the avenues of the formal north gardens. Originally known as the Great Parlour, this has always been the chief reception room of the house. It retains its original marble fireplace and has an ornate plaster ceiling which is a Victorian copy of the original ceiling by the Carolean plasterer Edward Goudge. The centrepiece of the room is a large Aubusson carpet made in 1839 for the 1st Earl Brownlow.
The ground floor originally contained six rooms; clockwise from the doorway they are the entrance hall, two drawing rooms, the staircase hall, the dining room, and a study or morning room. An extra room was added in the 19th century. The entrance hall is relatively plain, with a stone fireplace and pulvinated friezes over the doors. The study is panelled, and contains doorcases, a chimneypiece and an overmantel all of which are carved with flowers and fruit.
The Cranbrook Strict Baptist Chapel was created in 1787 following the conversion of a pair of wood panelled cottages into a Strict Baptist chapel. The chapel holds surviving baptismal records from 1682 for those in the Cranbrook area who had not baptised in the Church of England. The chapel provided pastors to help found the local Providence Baptist Church in 1909. In 1967, the Cranbrook Strict Baptist Chapel was given grade II listed building status by English Heritage.
A feature which many visitors often commented on were the club's small, darkened vaults, its full size Victorian snooker table and its wood panelled library. In 1993 the club opened its doors to evening members paying £10 a year. Its first big influx of members came from the cast of Sunset Boulevard which has recently opened at The Adelphi Theatre. Up until its closure at Adam Street the club had had over 6000 members come through its doors.
Internally, the entry hall walls are rendered, and walls elsewhere are rendered and papered, mostly to picture rail height. The principal rooms have ceilings high. Most rooms have pressed metal ceilings, with the entry hall ceiling raking down above the west entry door with the fanlight cut into the rake. The floors are timber and joinery throughout is of cedar with deep skirtings, wide architraves and sills, panelled doors, fireplace surrounds, French doors and casement windows.
The First and Second Floors contain a series of classrooms opening onto a corridor running the length of the building on the southern side. There are panelled doors with toplights and double-hung windows between the classrooms and the corridor. The high ceilings, regular external windows and internal windows and doors provide substantial natural light and cross ventilation. The floors to the classrooms are timber, whilst the floors to the corridors, stairs and utilities are concrete.
Three centre panels of the altarpiece The multi panelled altarpiece by Jacopo di Cione and Niccolò di Pietro Gerini or Niccolò di Tommaso was completed in 1371 (12 of its frames are now held by London's National Gallery). Other artworks in the church included Botticini's Assumption of the Virgin (also National Gallery) and Francesco Granacci's The Madonna of the Girdle (now in the Accademia) and The Visitation by Maso da San Friano (now in the Fitzwilliam).
The entrance is flanked by two timber framed window openings, housing sash windows of six panes with fine mullions and simple framing. Internally, Mayes Cottage consists of four major rooms with additional rooms added to the verandah space of the western side of the building. Timber boarding is used throughout the cottage for flooring and internal partitioning, with beaded boards used to line the ceiling. Throughout the cottage there are simple moulded four panelled timber doors.
The corrugated iron hipped roof is hidden from the street a pedimented parapet that extends across the building's front and partially to each side. The rear rooms of the building are roofed with a simple corrugated iron skillion. The front awning is constructed of timber with plain posts and a convex profiled corrugated iron roof. In contrast, the front entry to the building is embellished by a pair of ornamented timber pilasters and wide solid panelled door.
Early timber joinery retained in the building includes: timber-framed casements to the offices; a panelled timber door to the western office; timber-framed casements with wired glass and metal grates; and VJ-lined timber doors braced with metal strips to the dangerous goods store. External fixed timber louvre sunshades are attached to the eastern office's windows. Non-significant elements include wire mesh and corrugated metal sheets that divide the central parking area, and plywood boarding over windows.
The hall and frontage was rebuilt between 1846 and 1848 by Joseph Potter Jnr. It is these works which created the gothic-style frontage to Bore Street and the panelled main hall on the first floor. This room is 87 ft long by 25 ft wide and, with its high pitched roof and hammer beams, has a fine medieval appearance. At the north end there is a large stone tracery stained-glass window by Betton & Evans of Shrewsbury.
Panelled, two-light interior doors with original hardware connect some of the rooms. The ground floor comprises toilets at the eastern end, enclosed in face brick walls, and open play space with a concrete pavement floor scored to resemble square pavers, which extends north of the verandah line. The open-web metal trusses are exposed within the ground floor spaces and cantilever over the northern paved area. A timber bench is retained within the central, open play space.
Doors are generally low-waisted four- panelled doors, apart from a boarded door now to the recently constructed ensuite in the second bedroom, which was apparently relocated from the kitchen. On the rear verandah is a small utility room, now a public toilet. Apart from the signs in the office, the building also retains a telephone exchange, now located in the former bedroom. The site is level, well grassed and scattered with a few small trees.
A ramp has been added to the southeastern side of the porch. Above the doors, below the ridge of the roof, is hung a large sign bearing the name of the town, the hall and the date of construction which replaced the original sign. A sign to the east of these doors acknowledges the hall as a venue for meetings of the Queensland Country Women's Association. Double hung sash windows flank these timber panelled double doors.
The Edward Street facade, divided into four bays, is treated similarly but the ground floor sashes have been altered. The rear wall, which is not rendered, is of English bond brickwork. The main entry has twin panelled timber doors, with fanlight, opening into a vestibule with glazed timber doors and a lower hardboard ceiling with timber cover strips. The ground floor has sections of pressed metal ceilings near the entrance, with hardboard ceilings throughout the rest of the space.
The addition is similar in style and material to the main section, suggesting it was built fairly soon after the original construction. A third, more recent addition at the rear is a one-story frame garage. Elements of Italianate style include the extended eaves supported by prominent brackets, hooded arch windows, and an ornamented porch. In the case of the Woodbury Fisk House, the eaves are supported by scrolled brackets emerging in pairs from a dentilated and panelled cornice.
The mosque follows the Bengali type with only the prayer chamber without court, riwaq and minaret. A significant feature of the mosque interior is that a brick wall up to the level of the arch-spring has closed the bay at each end, north and south, across the middle. These are the only parts of the mosque which show terracotta ornamentation. The southern part is in a fair state of preservation and shows a panelled composition.
The cedar panelling inside the house is intact (the cedar believed to have come from the Johnston holdings on the south coast at Albion Park). The panelling consists of 6 panelled doors and 12 panel windows. The french doors to the main rooms have magnificent glazing and fixed highlights. The semi circular fan light at the rear door and the unusual gothic sashes of the attic windows are fine examples of the influence of Regency design.
The current KFC restaurant owner has installed some relatively small and low-key neon signage on the first floor stone entablature, and fabric awnings over the George and Bathurst Street entrances. The 1910 external panelled timber door to the lower Bathurst Street entrance, and all external windows to the street facades, have been retained in situ. However, both Bathurst and George Street customer entrances to KF public areas have been replaced with automatic sliding glass doors.
The Small Oak Room and Bedroom are contemporary with the Great Oak Room but much less richly panelled. The Bedroom has the moulded plaster ceiling upon which the knot garden’s design is based. The common layout of Tudor rooms in an apartment with people travelling from most public to most intimate suggests that the Great Oak Room was the most public room whilst the Small Oak Room and Bedroom were more private antechambers, possibly bedrooms and cabinets.
Canon J. E. Jackson "Wulfhall and the Seymours" in Wiltshire Archaeological and Natural History Magazine vol. 15 (1875) p. 172. The premises consisted of timber-framed buildings ranged around courtyards, including a panelled hall and parlour, buttery, kitchen, cheesehouse, bakehouse, bolting house and brewhouse, as well as numerous "chambers" or bedrooms.BRO DA1/8 Register copy of will of John Winchcombe ff. 296v-302v; TNA PROB 11/40 (26 Noodes) Register copy of will of John Winchcombe ff. 207-210v.
Castle Bromwich Hall viewed through iron gates The Hall is famous for having twelve windows (one for each Apostle) and four dormers above (one for each Evangelist). The garden door passed through a grapevine which was always trimmed into the form of a cross. The Hall and Long Gallery were panelled with dark oak timber, and the dining room with pitch pine from the United States. The ceilings were adorned with designs of fruits and shells.
Some of the original French doors and fanlights, which opened onto verandahs from these rooms, survive intact. Suspended ceilings have been installed throughout most of the building, however a mezzanine level has been created above the strong room area and the original coffered plaster ceiling is visible. The Council Chamber has cedar wall panelling to plate rail height, with painted wall surface above. The room also has paired cedar panelled doors and architraves, and leadlight windows.
The upper portions of these pillars are square, but about 1.5 feet from the top they are octagonal: the bases of all are gone, but they also were probably square. Veranda of the vihara. The roof is panelled in imitation of a structural hall with beams 19 inches deep by 8 thick, 3.5 feet apart, running across through the heads of the pillars, and the spaces between divided by smaller false rafters, 5 inches broad by 2 deep.
A square bell tower (minus bells) is located at the south-western corner of the building and dominates the view from the south, the main approach to the complex. Stone string courses and darker brick bands run around the building and stone copings cap the gables. The windows are set in stone tracery with stone heads and sills. The entry is unusual with a pair of large sliding panelled doors opening the entry porch to the courtyard.
St Silas Church in 1901. The church was built in the Victorian era in a Gothic revival style of masonry which was a popular architectural movement at the time. A large four-panelled stained glass window on the northern facade of the church tower depicts four stories from the Bible and three archangels. There are several other stained glass windows around the church which are in-keeping with the Pre-Raphaelite style of the main one.
CKD Citroën Yagán (Chile) The Greek market Citroën Pony and African market Citroën FAF and Baby-Brousse were flat-panelled Mehari type, 2CV based utility cars, built from kits of mechanical parts, with many components sourced locally. They were built in low technology assembly plants. There was widespread production of similar 2CV-based vehicles in a large number of countries, including Iran (Baby-Brousse, Jyane-Mehari), Vietnam (Dalat), Chile (Yagan), Belgium (VanClee), Spain, Portugal and others.
The chapel's barreled plaster ceiling is shallow and compartmented. The dado is panelled with marble slabs inlaid with the names of the parish's fallen in lead; the floor is also paved with marble. At the centre of the north wall, a round-headed arch beneath an oculus leads to a simple apse covered in gilded mosaic tiles and pierced by a small central window. The south wall is pierced by a segmental-arched window below an oculus.
Despite being built in the depression, David H. Drummond ensured that the College was built of the best materials. He authorised additional expenditure for a slate roof, specialised library stacks and interior features including terrazzo and parquetry flooring in the entrance hall as well as wood panelled walls. The entrance hall stairway is also decorated with flower motif ironwork. The landscaped lawn and mature trees are State significant as representative of the features of a 1930s institutional garden.
On first appearances the building appears to be entirely medieval, but in fact some of the exterior is a Victorian reconstruction. The remodelling of the house was undertaken at the end of the nineteenth century and the original bricks were restored to the front facade of the house. The interior layout of the house is little changed from 1500. The oldest part of the house is the panelled parlour, which contains some very fine examples of antique furniture.
Long Hill is a historic home overlooking Wetipquin Creek in Wetipquin, Wicomico County, Maryland, United States. It was built about 1767 and is a five bay wide wood panelled and brick house set on a brick foundation laid in Flemish bond. It is an essentially untouched Maryland dwelling, dating from the second half of the 18th century. The house is associated with the Dashiell family, several of whom took an active part in the affairs of the colony.
The interior was altered as follows: the two original glass-panelled dividing arches were removed altogether while a cocktail bar was installed to one side in the middle of the saloon. The green interior colour scheme was replaced so as not to clash with the blue colours of the rest of the train. The original cornice lights were retained. The exterior was repainted in the Oxford blue and light grey colour scheme of the Blue Train.
The major part of the north wing is occupied by the medieval Great Hall. This has a hammer-beam roof, with carvings of angels that were added at a later date. The roof is plastered, but has been painted in such a way that it appears to be panelled. At the end that would have originally been occupied by the high table is "the finest canopy in the county", according to the authors of the Buildings of England series.
Also in the Great Hall is a fireplace decorated with the head of Apollo. In the west wing are the surviving rooms from Charles Legh's extension, the dining room on the ground floor and the drawing room above it. Both rooms are panelled and decorated in Classical style, with pediments over the doors and chimneypieces. The dining room is the simpler of the two, and contains a white marble fireplace that has been dated to 1742.
A new entrance porch took the place of the old vestibule and allowed additional seating. The roof was found to be in serious disrepair and was entirely reconditioned with the plaster ceiling replaced by a panelled and embossed wooden design. The floor was also replaced and a new heating system installed along with pendant lanterns. Records show that a new pulpit, font and lectern were also gifted and installed during this first phase of the reconstruction.
The west facades of both wings have three and four bays of 12/12 sash. A single-lane inspection canopy on steel- capped columns extends from the main block of the building at eaves level. It is an enlarged and raised 1972 replacement of the original, and is flanked on north and south with two flagpoles. On the first-floor interior, a vestibule is formed by two parallel panelled counters on left and right of the entry.
The first floor contained the "Room de Luxe", a more exclusive ladies' room overlooking Sauchiehall Street. The second floor contained a timber-panelled billiards room and smoking rooms for the men. The design concept foresaw a place for the ladies to meet their friends, and for the men to use on their breaks from office work - an oasis in the city centre. The decoration of the different rooms was themed: light for feminine, dark for masculine.
The three storey Victorian building was given an extensive refit by Charringtons in the inter- war years. It still retains the original counter and english oak bar top, bar back fitting, panelled walls, and parquet floor. Charringtons' tiled apron also remains around the base of the counter. A vestibule entrance on the Nelson Street side with stained glass windows and the mosaic floors in the lobby on the Nelson Street side are survivors from the original Victorian build.
The roof is unusual in that the sections between the principal beams are filled with carvings making a star-like pattern. All the chapel furnishings are made from Cheshire oak. The holy table dates from the 17th century, and on each side of it are panelled family box pews. On the wall above the south pew are three marble memorials to the Vernon and Murhall families, and above the north pew is a marble memorial to the Stephens family.
The former parsonage is a two-storey, symmetrical three bay rendered brick house having steep gabled iron roof with a tall rendered chimney at each end. It features large windows paired on either side of a four-panelled front door with transome and side lights set within and arch. It has a two-storey verandah with cast iron balustrade and friezed columns paired on either side of the front door. French windows upstairs and typical timber picket fence.
Single-storey verandahs are found on the northern and southern elevations of the building and along the entire length of the eastern elevation. The principal point of entry to the building is in the north elevation, where an elaborate covered porch provides shelter for the main entrance. This consists of a six-panelled cedar door with semi-circular fanlight and sidelights. Generally the interior of the house has plaster ceilings, timber boarded floors and very fine stained-cedar joinery.
The central hall has a magnificent 52 panelled stained-glass window depicting the months of the year, signs of the zodiac, birds associated with the month and the agricultural activity of the month. The building was heavily damaged by a fire in 1996 but was fully restored. Adare Manor in County Limerick, Ireland is an example of a calendar house, having 365 stained-glass windows and 52 chimneys.The Adare Manor Story , Adare Manor Promotional Booklet, p.2.
The main house is a -story, 11-bay clapboard structure of varied fenestration and form, reflecting considerable work and expansion in the first century of its existence. There are three entrances in the main facade, two with 19th-century panelled doors and the other with a vertical plank door and strap hinges. The main entrance has a shed-roofed porch. Large chimneys rise from the roof and two one-story wings project from the rear of the house.
The lowset building is set on concrete stumps. Concrete steps lead up to doorways, a small timber landing is situated adjacent to a boarded up window of the ticket and freight office. Several metres from the building, two long sandstone block steps, topped with concrete run along half the length (western end) of the building. Some panelled doors remain, but the door to the ticket and freight office has been replaced with a flush sliding door.
The upper floor verandah is also lined with glass panelled French doors gaining access to the bedrooms. The corner of the upper level has a large bay window from a bedroom. A former rear verandah on the upper level has been enclosed at some stage and extending from the rear of this verandah is an addition which enclosed a formerly outdoor area in the centre of the originally U-shape building. This addition has a square lantern roof structure.
The distinctive nine- panelled compartmentalised ceiling is a conflation of two ceilings derived from The Queen's House at Greenwich and The Banqueting House at Whitehall, both designed by Inigo Jones and both Royal apartments. The central painting, by the Venetian artist Sebastiano Ricci (1659–1734), is a close copy of Paolo Veronese's (c.1528–88) ‘The Defense of Scutari’ located in the Doge's Palace, Venice.Jane Clark, "Lord Burlington is Here" in Toby Barnard and Jane Clark (eds.), Lord Burlington.
The residents of the Manor House have had a long association with the parish church of Ottery. By 1737 the house was in a poor state of repair and the new owner, Peere Williams, restored the house in the Georgian style. He blocked up most of the Tudor hearths and panelled a number of the rooms. He inserted a ceiling in the Great Hall under the magnificent oak-timbered roof to form the present dining room and roof chamber.
The signal box is located at the Down side of Platform 1/2 of Penrith Station and is accessible from the platform side elevation of the tower. Internal: The signal box is relatively intact with its equipment including CTC panel, communication and control desk, and staff instruments. A narrow timber stair with carpet finish provides access to the control room. The internal finishes are of typical 1950s design with plasterboard panelled ceiling and timber cornices for hidden lighting.
A life-size statue of Elizabeth I by R L Boulton stands above the central window.Pevsner, N. Buildings of England: Worcestershire, Yale University Press, 2002. . The Perrins Hall was built in 1914 to the plans of Alfred Hill Parker (an Old Boy) in a Jacobethan style with an Oriel Window on the staircase end and balcony looking over the hall. The interior is panelled with fitted bookcases (which make up the Dowty Library) and a plastered ceiling.
The main doorway is in the centre of the northern facade with three sets of French doors to the east and two sets of French doors and a bay window to the west. All the French doors have external shutters. From the northern verandah the large two- panelled front door leads to the entry hall which runs through to a rear door. The open verandah that ran around the internal section of the U has been enclosed.
The architectural complex also has an aquarium, a colonnade, a concrete pergola, pillars, flower vases, ceramic-panelled benches around the main house and a big round, steel pergola covering a long staircase in the middle of the property. After Blasco Ibáñez's death here, his son inherited the property. In 1939, it was sacked during the war and later abandoned for more than thirty years. Blasco Ibáñez's son gave it to the commune of Menton in 1970.
The rear section of the side wings have recessed enclosed verandahs with stylised square columns. The verandahs have central paired timber panelled doors with stylised rendered architraves, flanked by large multi-paned sash windows and surmounted by high level multi-paned glazing. The northwest elevation has a lattice enclosed skillion roofed extension to the enclosed verandah. The rear elevation has central paired timber doors, flanked by regularly spaced multi- paned windows surmounted by high level multi- paned glazing.
The chapel is approached by a flight of stone steps, and in front of it is a wall surmounted by cast iron railings. On 29 January 1979 the chapel and school were designated as a Grade II listed building. Inside the chapel are box pews dating from 1832, and other furnishings dating mainly from 1892 that include a pulpit and a panelled dais. Also in the church is the first organ to be used in a Primitive Methodist chapel.
Here separate rooms for porters, ticket collectors and inspectors were supplied as well as a general waiting room, a waiting room for Ladies travelling Third Class and more luxurious First Class general and Ladies waiting rooms. All of these facilities were equipped with lavatories. A wooden tiled and panelled booking office was located midway along the station buildings. Also located on this platform was the parcels and stationmaster’s (a Mr. Barrett at the opening) office and a telegraph office.
The meeting room at the rear of the building features walls panelled in silky oak and floors finished with tulip and rose gum parquetry. A dais (seating the shire chairman and clerk) overlooks a solid U-shaped table furnished with drawers and accommodating 12 chairs including six swivel oak chairs. Silky oak public seating and timber screen are also located in the room. A vertical map cabinet is built into the wall panel on the west wall.
Internally the former residence is planned around a central hall from the front door which terminates at a rear deck on the western side of the building. All the major rooms of the building are accessed on either side of this hallway, which features a silky oak round headed archway about mid way along its length. The four panelled timber doors providing access to the internal rooms from the hallway have transom openings above, infilled with timber fretwork panels.
Entrance Hall in 1840 The State Dining Room is very much as Blore designed it, and has a panelled ceiling with pendants, and wooden panelling up to the line of the dado. The room contains a large fireplace in early Renaissance style, made from white and variegated marble, and containing the family arms. Also in the room are sculptures by Joseph Wilton. The Staircase Hall is by Salvin, and is divided from the Sculpture Gallery by three semicircular archways.
The exceptions were the imposing entry lobbies and related stairs, the finely wrought Minister's office, (or Board Room), and the top floor exhibition galleries. Here the external language of pillars and pilasters, was combined with deeply coffered ceilings and panelled doors and some exuberant detail: plaster, timber and marble were used to enrich these special areas. The existing building has been constructed in two sections with several later additions. The first part being the northern section built .
It showed there would be a market for an Austin-made steel-panelled saloon which was introduced in September 1926 at £165 (equivalent to £ today) Until fabric bodies fell from fashion in the early 1930s the Gordon England Fabric "de luxe" Saloon remained in Austin's catalogue at a £20 (14%) premium over Austin's standard steel saloon. It was accompanied by their 2-seater Gordon England Cup Model.Display advertising—Austin. The Times, Tuesday, 20 Mar 1928; pg.
The interior features are lath and plaster ceilings with elaborate cornices and ceiling rose, plastered brick walls, large moulded timber skirting, marble fireplaces with cast iron inserts and four panelled doors. The stairs have turned timber balustrades and the floors are covered in carpet tiles. A two-storey brick addition is attached to the west rear side of the building, but is in poor structural condition. It was built mid-20th century and was renovated in 1974.
Three-storey carding sheds on the south side are parallel to the canal and set obliquely to main mill. Its engine house is on the north side and its tower at the north-west corner is panelled with moulded string courses. The tower rises above parapet level where there are large lunettes below a blind arcade of round-headed arches, parapet and it has a pyramidal roof. The mill's six by ten bays contain iron-framed windows.
The album's cover depicts an elegant, overstuffed chair in a panelled room, with a mysterious disembodied hand holding a cigarette floating above it. It was from the English design group Hipgnosis, who were responsible for covers by Pink Floyd, 10cc and Led Zeppelin. Despite the prospects for their new LP, the band were caught by surprise after its completion when Wheatley revealed they were almost broke. They were determined to stay in London but desperately needed funds.
The War Memorial is entered via a gently sloping ramp and through a pair of tall, timber panelled doors. Dark timber honour boards stretch across all four walls of the room. There are two boards on the eastern wall, the upper one is in memory of the men who died in action in World War Two and is surmounted by an ornate timber pediment. The lower boards are in memory of the men who died in World War One.
The nave was divided from the aisles by an arcade supported on Corinthian columns with unusually high bases. The naves and aisles were barrel vaulted, the nave vault being pierced by three skylights on each side. There were galleries on the north side, and at the west end, but the latter was taken down when the organ was moved to the south side. The walls were originally panelled to a height of , but this was later considerably reduced.
Sawyers Hall College of Sport and Science (formerly known as The Hedley Walter High School, then Sawyers Hall College of Science & Technology (or SHC)) was a secondary school located in Brentwood, Essex, England. It was a mixed school of non-denominational religion. The school logo was traditionally that of a Griffin. However, when the school achieved specialist college status its motif was modernised; it became a two panelled shield with a griffin above a diagram of an atom.
The construction of the chapel, which has a rectangular structure, is entirely of locally quarried ashlar golden buff limestone. It is notably robust in order to withstand the elements; the walls are thick and supported by stout buttresses, and the roof and even the panelled ceiling are also made of stone. The construction allows rainwater to drain off the roof through holes in the parapet wall between the buttresses. In the north-west corner is a tower.
The waiting area has timber panelled double doors, 9-paned timber framed double hung windows with fanlights and sidelights to the waiting area doors on both sides. Doors are modern timber flush. There are timber framed double hung windows at the northern (entry) end of the platform building, in front of which are a modern telephone and modern vending machine. The original ceilings are ripple iron with metal ceiling roses, and original internal walls are also weatherboard.
The mansion's southern façade is notable for its decorative architecture, which includes at its centre a large oriel window above the principal entrance. Interior features include a great hall displaying 92 coats of arms on a Jacobean screen, an ornate drawing room, and a gallery. Numerous columns and friezes are found throughout the mansion, while several rooms have large tapestries depicting historical figures and events on their panelled walls. The house is set in of grounds containing an lake.
Most French doors have fanlight windows above them. There are also a couple of heavy timber panelled doors. The original front entrance door has been replaced by a glass sliding door, however a panel of the original etched glass that would have surrounded the front door is still visible. Glass and metal louvres have replaced the original windows in the building however an original sash window still exists at the front of the building on the upper storey.
Former non-conformist chapel adjoining former rectory (Llangrove Cottage qv). c1840. Built of coursed and squared sandstone rubble with ashlar dressings and a hipped slate roof. Rectangular shaped building adjoining Llangrove Cottage to west, north entrance, moulded cornice and string course, cast iron canopy supported on four pillars to entrance, semi-circular headed doorway with fanlight and panelled doors. Two windows to west side with flat arches, stone heads with keystones and glazing bar sash windows.
Roofs over the verandahs are a continuation of the gable roof of the house but with a shallower pitch. The north verandah has a timber floor, timber stairs and exposed timber framing including, timber posts with decorative brackets supporting the verandah beam. Brick stairs of recent construction have been built on the eastern end of the verandah. A panelled timber door in the centre of the north elevation opens into the living room of the farmhouse.
It was surrounded by glass-panelled galleries which only lasted a few decades because of the Norman weather. In 1650, the Assembly of Notables led by Louis XIV met in the Salle des États. In 1716, Archbishop Claude-Maur d'Aubigné required the demolition of the Episcopal Chapel built in the 13th century and the Chapelle de la Vierge (Chapel of the Virgin Mary). Archbishop Nicolas de Saulx-Tavannes had the large hall from the 14th century brought down.
The face brickwork facade is divided by piers at regular intervals. The front entrance, paired, panelled timber doors in a moulded arched entrance, with fanlight assembly, opens to a central lobby. The paired, glass doors in the foyer have timber panels at their base and open to a foyer with an arched hall. The turning timber staircase, in its original position and adapted with stainless steel handrails to conform to regulation heights, leads to the first level.
The reception area, to the north of the foyer, (which is also accessed via a door in the lobby), includes a strong room which formed part of the original design of the building. The rooms are simple in design and decoration and are connected via two separate, panelled, timber doors with architraves. One doorway is topped by a single-pane fanlight. The rooms have a plastered cornices and a back-to-back fireplace with timber surrounds and mantle.
Walls have single-skin vertical boarding with external cross- bracing, and gable ends have weatherboard cladding and timber finials. The building is entered via central front steps and a panelled cedar front door with glass sidelights and fanlight. The rear verandah has been enclosed and provides access to the rear wing, but retains verandah fittings and features a similar central door, sidelight and fanlight assembly to the front. Each room has a two cedar sash windows to the verandahs.
There are two major Ballin murals at the Burbank City Hall: "The Four Freedoms" in the Council Chamber and "Burbank Industry" in the rotunda. In 2001, the building underwent a renovation project that included restoration of the Ballin murals. The Council Chamber located on the second floor is noted for its teakwood-panelled walls and Ballin's "Four Freedoms" mural. The mural was inspired by Franklin Roosevelt's 1941 "Four Freedoms" speech and is considered one of Ballin's finest works.
The site of the house is ancient and Cadw describes the original building as late medieval. Sir Cyril Fox and Lord Raglan, in the third of their three-volume study, Monmouthshire Houses, date the present house to three periods of building, 1600, 1630 and 1670. Peter Smith, in his study, Houses of the Welsh Countryside, notes Great Killough as a fine example of the hall house type. Cadw records the existence of a "panelled attic" which may have served as a chapel.
The garage has been extended with an open-sided canopy with a gently pitched roof and has been paved with brick pavers. The main door is located within a wall with a stepped, asymmetric parapet and has delicate concrete moulding around the opening. Circular moulded cartouches adorn the exterior in a number of places. Reports of the interior highlight the use of hand-made flooring tiles, panelled ceilings and walls, gently arched openings and timber-framed glass doors with decorative tracery.
The opening, which was the same proportions as that of the Astor, was surmounted by a timber panelled bulkhead with downlighting. On each side of the entry doors, three glass display cabinets were set into the tiled walls with posters of current and forthcoming attractions. A cantilevered awning lined alternately with aluminium strips and fluorescent lighting projected over the street. This lighting effect was intended to assist the transition from the dark interior of the foyer to the brightness of the street.
The street elevation of the building has been faced with a brick wall and a flat awning along the street frontage. A timber panelled balustrade with artwork reflecting a coal mining theme completes the remaining portion of the overhead bridge on the north side of the tower. The door and windows on the street elevations are of later modifications with metal frames and security mesh. The large gates to the former parcels office and the goods lift have been blocked with metal panels.
A small gabled timber panelled relay room with brick base and concrete steps is located just off the west elevation of the signal box. Internal: The internal finishes of the signal box are similar to the main station building with timber board ceiling and wall linings and timber skirtings. A 40 lever type A PL interlocking machine with associated signalling equipment is the major element in the space and is still in operation. Access to the relay room is prohibited.
Early features include timber framed double-hung windows with moulded timber architraves and skirting, ventilation panels in some rooms, timber panelled front door with fanlight and an early kitchen shelf above the boarded fireplace. The kitchen has been fitted with modern cupboards and the bathroom fittings are modern. Exposed rendered brick walls are present in the kitchen and timber floor ceiling boards are exposed in some of the rooms where the later fibro ceiling panels are damaged. The residence is currently unoccupied.
View of the bench and jury box from the gallery area of the Teplitz Memorial Moot Courtroom. A special feature of the Law Building is the Teplitz Memorial Moot Courtroom on the ground floor. The courtroom, with oak-panelled appointments, is named after the late Benjamin H. Teplitz and includes a seven-seat judges' bench, jury and press boxes, counselors' tables, judges' chambers, and jury room. It is used primarily by trial tactics classes and by the growing number of moot court programs.
The skillion-roofed extension on the south-east of the house is clad in roughly sawn, unpainted timber slabs fitted vertically. Some corrugated iron has been fixed to the remainder of the south-eastern facade of the house, where the brick fireplace has collapsed. Four sets of French or double doors open from the three central rooms onto the north-eastern verandah, while two open onto the south-west facing one. The internal doors are four-panelled with simple bolection mouldings.
Most door openings have ledged and braced doors with "tee" hinges and Norfolk latches, except the front door (D1) which is a door leaf of the 1960s. Graham Edds identified these as being made and installed in 1951-2 being modelled from one remaining beaded panelled door at that time. The replacement doors were framed with thinner than original timber panels. Door openings 6 and 7 have the remains of two pivot hinges similar to those found in windows 1, 2 and 3.
The interior has aisle arcades formed by square red marble pillars without capitals. The lower apse is panelled in the same red marble, and has an icon of Pope Pius V. The upper walls are in white with outline rectangular panels in gilt. There are some notable devotional artworks: the crucifix is by Francisco Nagni, the Stations of the Cross by Angelo Biancini, the statue of St Catherine of Siena by Antonio Berti and an angel in gesso by Duilio Cambellotti.
The ground floor of the Green House contains the "Military Bar", the "Moreton Room" and the "Norman Pixley Room". The Military Bar is located at the front, western side of the building and features a bay window. It has a panelled, timber door with decorative coloured glass fanlight and breezeway assembly. The double hung sash windows have a single large pane of glass at the base of the window frame and twelve panes of small glass in the upper section of the frame.
Built of brick on a brick foundation, the bank is covered by a slate roof and features various elements of stone;, Ohio Historical Society, 2007. Accessed 2013-05-20. a single-story rectangular building, its stretcher-bond walls are divided into two bays on some sides and three bays on the others. The main entrance is located in a recessed entryway at one of the corners; concrete steps provide access to the entrance, which features a rounded archway above to its panelled ceiling.
The Jasper Tea Room designed by Edwin Holgate in 1929, featured Pacific Coast aboriginal art, columns carved into totem poles surrounding a dance floor, and lamps decorated with motifs of bears, eagles and crows. From 1929–1991, the Canadian Grill was a softly-lit and dark-panelled below-ground restaurant where diners ate the specialty, roast prime rib of beef au jus and danced to live music. In 1930, the hotel added a 60-foot (18 m) indoor pool in Art Deco style.
The building was constructed in 1864 - 65 by the architect John Brightmore Mitchell-Withers (1838-1894) for his own use. It was originally named The Woodlands and Mitchell-Withers created the house as a Gothic fantasy with carved human heads looking out from the eaves and the front door. The dining room was panelled with oak taken from the long gallery of Sheffield Manor. The grounds were landscaped with many trees and included kitchen gardens, orchards, stables, a carriage house and harness room.
Those present were Joseph Hadfield, of the Hadfield family, after one of whom, John, Hadfield Street was named; and George Booker, who represented J.D. Patterson, one of the three contractors, the other two being Roderick McKenzie and Hector Kemp. The architect was Joseph Hadfield. The building was constructed at a cost of 50,000 pounds using slave labour. In 1875 Cesar Castellani completed the installation of a sunken panelled ceiling of the Parliamentary Chamber in the eastern wing of the Parliament Building.
The former Physics laboratory retains a timber-framed rolling blackboard. Windows to the south and east are generally banks of timber-framed awning windows, with the southern windows including centre-pivoting fanlights, and those to the north are timber-framed double- hung sashes. The clerestory windows are timber-framed with centre-pivoting sashes, and windows to the amenities are timber-framed louvres. Timber half- glazed and panelled doors connecting the five westernmost classrooms and the two easternmost classrooms and store are retained.
It was renovated and extended in the 17th and 20th centuries, converting the original "L" shaped house into a "U". The porch at the front is part of the original building from 1620. It opens into a small hall which would have been the original screens passage. Leading from the hall is an oak panelled dining room and then the Kings room with a massive open fireplace made of moulded stone, which may have been moved to Urchinwood from another house.
Gardens at Killenworth, considered James Leal Greenleaf's greatest accomplishment His house "Killenworth" at Glen Cove was one of the larger Pratt family mansions, built in 1913 in a Tudor style, with 39 panelled rooms, thirteen bathrooms, twelve fireplaces, five cellars, a swimming pool, and flower beds tended by 50 gardeners. It was designed by Trowbridge and Ackerman. By the 1950s it was purchased by the then Soviet Union to serve as the retreat for the Russian delegation to the United Nations.
The interior is light and airy, with no chancel arch and a high canted ceiling with stucco panelling, spanning both nave and chancel. At the west end is a wooden-panelled gallery and underneath it a slim font. Restorations took place in 1673, 1784 and 1853. The 1784 restoration, undertaken by the rector and people, appears to have included the building of the west tower, the re-building of the north wall, and perhaps the upper parts of other walls.
At the street level of this section several openings for both windows and glazed doors have been inserted, and these are separated by corbelled mouldings. Flanking this central section are symmetrical end bays featuring large archways with architraves and keystone and voussoir elements scoured in the render. Though previously opened these archways, identifiable only above the awning, have been filled with glazed doors and windows, forming shopfronts. A panelled section of rendered masonry forms the parapet to these end bays.
It was chosen as its colour would harmonise with the warm tones of the walls and roofs. In the original design, each house had a living room, with a small scullery, larder, coal house, and a bedroom with a large storeroom. Over the entrance to the quadrangle is a large meeting room, reached by a spiral stone staircase. The room is panelled to a height of , with windows at each end, on which are the coat of arms of Sidney Hill.
In the 1420s, the inn was rebuilt but retained its cellars. It underwent further renovation in the 16th century, much of which remains today. Catholic priests who had fled from Continental Europe escaping from the Reformation during 1530 stayed in the inn, which is testified by (Jesus Homnium Salvator) inscribed in the oak-panelled "Syn's Lounge". Between 1550 and 1570, the Town Corporation organised many functions such as the "Sessions Dinner", the "Gentlemens Freeman's Dinner", "Mayoring Day" and the "Herring Feast".
At the front of the school in the basement are the staff changing rooms and medical centre. The stage of the main hall lies opposite the hall entrance, above which are a number of oil paintings of previous headmasters. A portrait of Patriarca was commissioned in 2008. Around the oak-panelled walls of the hall are boards bearing the names of old boys who have been awarded Scholarships or Exhibitions to Oxford or Cambridge, long serving teachers and all past headmasters.
The principal entry is a slightly asymmetrical gabled porch attached to the front of the projecting bay of the former office. Unlined internally, the porch retains the letter slot to the side of the panelled French entry doors. The office is a rectangular room with a high boarded ceiling, horizontal beaded boards lining the walls and a boarded floor. To the public area at the front of the room is the timber counter and small timber side benches, constructed of similar beaded boards.
The roofs have deep, boxed eaves with decorative brackets and timber panelled soffit. The lower section of the ground floor is strongly expressed as a base with a rusticated ashlar-like finish to the render. The upper part of the facade is subdivided by a string course at the sill level of the upper floor windows. The exterior of the building features regularly placed rectangular windows, taller on the ground floor and smaller at the upper level with rectangular moulded panels between them.
There is also some Bargate stone, and the roof is laid with tiles and is of a hipped design. The centrally placed eight-panelled door is recessed into a doorway below a hood mould supported on corbels. It is flanked by one straight-headed casement window on each side. The rear wall, on which the brickwork is galleted, also has a central doorway flanked by cross-framed windows, and a second doorway gives access to a staircase which leads to a loft.
A parapet continues around the roof of the south façade, which has several chimneys at the sides. The north-side main entrance, in the centre of the ground floor and reached by steps with iron railings, is flanked by a Classical-style porch with Doric columns topped by paterae (round decorative elements) and a cornice. The sides of the porch have rectangular windows, and the door is panelled. Although remodelled during Peach's work in 1905, the porch dates from about 1800.
Long Palladian facades with sash windows, pedimented doorways and a balustraded roofline were also added to the earlier classical west front. Unlike many of its contemporaries, Farnborough Hall and its landscaped gardens have experienced little alteration in the last 200 years and they remain largely as William Holbech left them. The entrance opens straight into the Italianate hall. The walls are adorned with busts of Roman emperors set into oval niches and the panelled ceiling is stuccoed with rococo motifs.
Subsidiary structures located on the island platform south-east of the main station building include: a modern shade structure (not of cultural heritage significance); a signal cabin; and a utilities block containing men's toilets, accessible toilet (former lamp room) and two store rooms. The signal cabin is a small rectangular single-roomed building with a timber framed gabled hipped roof. Timber casement windows are continuous on three elevations. On the north-west elevation there is only a centrally positioned timber panelled door.
The three-storey masonry structure is rendered on external walls, with either ceramic tiled, timber panelled, fabric wallpapered, or plastered walls within. The house has 25 main rooms, six bathrooms, four kitchens, and covers a total of .Dawson, J., 1980. The floors on the ground level are limestone paved (entry lobby is travertine), high quality timber parquetry in the dining room, former library, central lobby (former dining room), and upstairs bedrooms of English oak with black ebony and American walnut borders.
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.
During this period, the LMS company introduced a considerable quantity of conventional coaches which were comfortable and well built but whose designs were not particularly revolutionary. Externally, these early LMS coaches were extremely attractive in the fully panelled and beaded style and with the fully lined Crimson Lake livery. The first indication of changing ideas were some very handsome corridor vehicles in 1927. For the first time, the LMS abandoned outside compartment doors in corridor coaches and introduced larger windows in their stead.
"Gunby is on the edge of the Lincolnshire Wolds, near Spilsby, some eight miles from Skegness and not far from Tennyson's home at Somersby. It was of Gunby that Tennyson wrote the lines a haunt of ancient peace." The house is built from red brick, and was constructed in 1700 for Sir William Massingberd. Many of the interiors of the house are wood panelled, and it has 8 acres of Victorian walled gardens, which contain traditional English flowers, fruits and vegetables.
In 1653 he designed Thorpe Hall near Peterborough for Oliver St John, Oliver Cromwell's Lord Chief Justice. The final design involved the input of John Stone, a French-trained son of Nicholas Stone. The panelled interior of the Great Parlour, which seems to be Mills' work, was removed and installed in 1926 in a drawing room at Leeds Castle for Olive, Lady Baillie.Tim Mowl & Brian Earnshaw, Architecture Without Kings: The Rise of Puritan Classicism Under Cromwell (Manchester, 2015), pp. 111-6.
1984–1999: The 70 / 75 series Toyota Land Cruiser took over from the 40 / 45 series of workhorse four-wheel drives in 1984. The styling maintained a family resemblance to the 40 / 45 series but became more angular. The 70 / 71 series was the short- wheelbase (SWB), the 73 / 74 was the medium-wheelbase (MWB) and the 75 / 77 was the long-wheelbase (LWB). The latter came as cab-chassis/utility with a "panelled" tray (pickup), and "troop carrier" hard-top (HT).
The stair to the first floor was lit by leadlight windows which are now blocked by the addition of later bathrooms. The stair hall at the first floor level has similar archways leading to the lounge which in turn opens onto the verandah. Also from the stair hall lead the corridors to the accommodation wings, which both have pressed metal ceilings with roses and cornices, four-panelled doors with glazed fanlights, and tall timber skirtings. All the bedrooms also have pressed metal ceilings.
A pair of timber panelled doors with a transom light open directly into the interior of the building. The Wantley Street wing including the room on the corner is presently a single space as most of the internal dividing walls have been demolished. A hatch in the timber floor leads to an excavated subfloor area retained by timber slabs which may have once been a cellar. A brick fireplace is located in the centre of the eastern wall of the corner room.
However, as it was constructed after the Royal Liver Building and Port of Liverpool Building on either side of it, space limitations meant that the east (landward) side was actually built wider than the west. The central bays on each side provide the main entrance points into the building. Each entrance consists or a large panelled oak door, adorned by a pair of fluted columns and with a coffered ceiling. The Cunard Building stands six storeys tall and has two basement levels.
The arcade has pilasters at either end, above which flagpoles are mounted behind the parapet. The Quay Street elevation detailing runs the width of the arcade either end of the building. The building has paired wrought iron gates on the southern side for vehicle access, and a single wrought iron gate on the northern side.ABC Radio Studios entrance arcade, 2017 The arcade has paired timber-panelled entrance doors with sidelights and an arched fanlight containing etched glass and leadlight panels.
The Mather Inn is a four-story rectangular building, constructed of concrete and steel with a brick facing. The front facade is divided into three bays, with a two-story portico sheltering the entrance in the center bay. The varied fenestration on the front, including bay windows flanking the center entrance and dormers on the hipped roof, make the facade architecturally interesting. The public areas of the interior are panelled in pine, and include a sunken dining room and men's clubroom.
The parapet has an east end gable to the nave and to the chancel with an English gothic triplet east window. The chancel has 2 windows in north and south walls, the eastern being a single English gothic lancet window. The wide pointed chancel arch has chamfered archivolt supported on plain corbels with recessed undersides, the chancel floor has been raised in the 19th century with a step at the arch and before the altar. The roof is timber panelled.
A pair of 2 panelled doors with a toplight are off centre in the south wall opening to the verandah. 6 over 6 pane double hung windows with 3 pane toplights are also in this wall. A 4-panel door opens from the east side of the west leg of the wing. 6 over 6 pane double hung windows are in the north and south gabled wails with 4 over 6 pane double hung windows built to imitate casements, in the gable above.
The new seating was controversial - it was almost identical to that of the Class 314, albeit with a 2+2 configuration. This allowed for many more standing passengers, but with far fewer seats than previously. The original seating was deep sprung and (arguably) far more comfortable. In addition, the original heating, which was provided by panelled in heaters beneath the seats, was replaced by heaters in longitudinal trunking along the lower bodyside, with the spaces under the new seats opened up.
That which remains is generally associated with the assumed 1875 section at the rear and is of conventional construction - timber panelling, timber-panelled doors and the like. Changes associated with the enlargement of the Australia Post retail shop including the installation of shelving which conceals the front window wall and suspended acoustic tile ceilings which disrupt the general sense of enclosure. Externally, the multi-colour paint scheme appears to be non- original and a number of original openings have been infilled.
Both the entry porch and window bay are topped by turned balustrades, and have bracketed and dentillated cornices, details that are repeated on the main roof line. The porch is supported by panelled posts mounted in wooden piers. Windows on the front and sides are capped by decorated bracketed hoods with mini-gables. Clark Perry, a Machias native who owned a local general store, had this house built in 1868 by Haskell Preble, who may have also played a role in its design.
The MS 61 series was built before the RER came into existence on 8 December 1977: a total of 127 units and one spare trailer were built by Brissonneau et Lotz, ANF and CIMT for the RATP from 1963. The manufacturers constructed a total of six types for the MS 61 series: A, B, C, D, E and Ex. Types A and B had three-panelled windows for the front, while the remainder were similar to the MF 67 for the Paris Métro.
The first floor of the Brisbane Street section has a central reception area with a skylight and offices to exterior walls. The mezzanine level has a hardboard panelled ceiling with cover strip mouldings and curved edges to side walls. The top of the tall sash windows project above the floor level and light the floor area, and arches either side of the proscenium arch access the top level of the stage area. This area has a hipped boarded timber ceiling.
The building contained five rooms; the Station Master's office, a parcels office, a booking office, a general waiting room and a ladies waiting room. Fully glazed canopies were added over the station entrance and platform in the early 1900s, following the takeover of the Pembroke and Tenby by the Great Western Railway. A new shelter was built in 1971, and the main limestone buildings were demolished. This new shelter was in turn was later replaced with a glass panelled shelter.
The Windsor Court House is one of the earliest surviving court house buildings in Australia. Designed in the Colonial Georgian style, it uses an adapted Palladian form with an enclosing front verandah entrance, a climatic adaptation. The building consists of one courtroom with front and back verandahs, ancillary rooms at each corner of the building and a late 19th century extension by Colonial Architect, James Barnet, in a garden setting. Classically inspired details include multi-panelled windows with flat sandstone lintels over.
The atmosphere of County Hall must have been a shock for those who knew the place. Throughout the day, it "swarmed with young punks, skinheads, Rastafarians and a host of other Londoners. They camped on the grand staircase (in the past reserved for VIPs only) and in the wood- panelled corridors of the Principal Floor". At one point during the rolling debate, the council chamber was given over to speeches by miners’ wives, including Anne Scargill, wife of miners’ leader Arthur Scargill.
A verandah with an awning roof shelters the two front doors; one to the house and one to the shop. The entry to the house is through French doors, the entry to the shop is through a salvaged pair of 2 panelled doors replacing the mid-twentieth century glazed door which was on the building when it was transported to the museum. Both front doors have small toplights. The shop window on the right side of the front has 16 panes.
Ancient Roman builders made use of concrete and soon poured the material into moulds to build their complex network of aqueducts, culverts, and tunnels. Modern uses for pre-cast technology include a variety of architectural and structural applications — including individual parts, or even entire building systems. In the modern world, precast panelled buildings were pioneered in Liverpool, England, in 1905. The process was invented by city engineer John Alexander Brodie, a creative genius who also invented the idea of the football goal net.
Conran's most elaborate devoré fashion pieces – which were oven baked as part of the process – were time-consuming to produce and expensive to buy; in 1993, a panelled evening skirt retailed at £572 and an acid-treated shirt cost £625. Established as a Wiltshire textile printing workshop in 1981, Georgina von Etzdorf's primary focus was on creating painterly effects on fabric. Credited with popularising the velvet scarf, she introduced devoré to the range in 1993 – having experimented with printed velvets from 1985.
Bells were cast for the tower by Roger Purdy. The present tower, the third highest in Somerset, at high, is of 3 stages, with the top stage occupying half the total height. The nave's coloured ceiling was repainted in 1963 at the instigation of the then Vicar's wife, Mrs Barnett. During the restoration works in the 1960s a 15th- century carved and panelled ceiling was found above the side chapel which had been covered with plaster during the 18th or 19th centuries.
The building has a number of casement windows in groups of four on the front elevation, groups of three lining the enclosed verandah, and, elsewhere, groups of two. Corrugated iron clad window hoods, with sides of timber battening, provide sun shading to many of the pairs of casements. Internally the building is clad with VJ boarding on the walls and ceilings and has a timber boarded floor. The internal doors are generally four panelled with high mid (or lock) rails.
Amanda Price's workplace was filmed in Wakefield at the disused Yorkshire Bank building on Westgate. The Beluga Lounge on Market Street, also in Wakefield, was the set of a London wine bar. Several areas inside and outside Cannon Hall at Cannon Hall Museum, near Barnsley, feature in the production, including the oak-panelled ballroom. Leeds-based Screen Yorkshire told production company Mammoth Screen of the potential of some landscapes in the Wetherby district as the setting for Lost in Austen.
The floor is above ground level and is covered with red concrete. At the east end the floor originally rose to the sanctuary in the traditional five steps, but the top step has been removed to allow the altar to be detached from the rear wall and to stand free. The chapel is simply furnished and displays a minimum of adornment. The sanctuary is panelled in silky oak, and decoration of the timber altar is limited to gilded motifs of Australian flora.
The buildings occupied by The Pier Arts Centre are firmly rooted in the history of Orkney. The house fronting the street was built in the 18th century, and during much of the 19th century was occupied by Edward Clouston, a prosperous merchant and Agent of the Hudson's Bay Company. On the pier behind the house Clouston erected stores and offices. On the first floor of his house, he had a finely panelled drawing room, furnished with books, family portraits and a pianoforte.
Through a pointed arched opening is an entrance hall with ribbed cedar wainscotting. Two elaborate timber doorways, with moulded architraves surmounted by entablatures, have four panelled doors with transom lights above, and access former reception and music rooms. These front rooms have two vertical sash windows each, with stained glass transom lights above. Separating the entrance hall from the central corridor is a fine cedar screen, with three tiers of trefoil arched openings, some of which are glazed with embossed glass panels.
The right hand bay at the top of a flight of stone steps provides the main double doorway entrance. The windows on the first and third floors are arched including the four stone dormer windows on the top floor. Above the steeply pitched slate roof at each side stand two tall rustic banded chimney stacks. The main entrance leads to a panelled entrance hall and a free standing staircase, constructed from stone steps with an open well and cast iron ornamental balustrade.
The upper walls and ceiling are sheeted with fibrous cement and stained timber cover strips. Inside the door on the right hand side there is a freestanding timber and glass reception office and a guests' telephone booth. The room has a large fireplace at the rear end and retains most of its original furniture including marquetry tables and firescreen. At the rear is the lounge bar, which is also panelled and retains the original horseshoe bar with glass and timber glass cabinets above.
There are squared sash windows in the stair hall and the southern wall of the northeastern room. The internal doors are four panelled, some with modifications, and there are loading doors adjacent to the hoist in the eastern wall of the northeastern room. The walls are rendered and painted masonry, painted tan with white trim and there are partition walls dividing the northeastern and northwestern rooms. The modern hoist in the northeastern room is still operable, and is attached diagonally to the walls.
They often have solid oak interior doors, oak-panelled hallways, the hallmark Stride letterboxes and impressive staircases. Brothers Jared and Jethro Stride founded the business in the 1930s, followed by Jared's sons Arthur and Frederick, and then their sons Leslie and Raymond.Stride Houses in Bristol evening Post 19 May 2008 pp.24-25 Clifton Down, in the vicinity of Sea Walls, was the location of the flight, on 12 November 1910, of the first aircraft built by the Bristol and Colonial Aeroplane Company.
The ground floor western wall has timber panelled doors with arched fanlight at the north and south ends. A similar doorway is located in the centre under the internal staircase, but the door is missing. These doors are accessed by rough sandstone steps and a timber ramp, and a stone lined stormwater drain is located in front of and running parallel to this wall. A tall sash window is located above the central door, with a smaller sash to either side.
The northern elevation, where the principal entrance doorway is located, comprises the early sandstone section to the east, and a weatherboard and sandstone addition to the west, which infills the early verandah space. The early entrance doorway is centrally located on the facade, to the north of the 1860s section of the building. This timber framed doorway, features a transom and side lights of etched glass. The four panelled and moulded timber door, housed here, has the two upper panels replaced with glass.
The Burlingame–Noon House is a historic house built around 1800 in Cumberland, Rhode Island. The structure was originally a simple, one-and-one-half-story, five-room-plan, centre-chimney Federal style cottage, constructed in the first decades of the 19th century. In the middle of the century, it was enlarged into a two-and-one half-story, flank-gable Greek Revival house. It has panelled corner pilasters and a trabeated central entrance with sidelights and pilasters in a five-bay facade.
It is built in the same style as the Unitarian chapels at Rhydygwin, near Felinfach, and Cribyn. The building has a central arched window, with a pair of arched doors at either side and square windows opening above. Inside, there is a panelled gallery on three sides supported by iron columns manufactured at the Priory Foundry at Carmarthen. The chapel stands in a cemetery, and the dwelling house by the gate used at one time to house a schoolroom on its upper floor.
She recalled in 2001 that Diana Lodge then had panelled rooms downstairs, still in existence, with primitive bedrooms upstairs, linoleum on the floor and one bathroom between the whole family. It was always cold and was heated by smoky peat fires. There was a large team of domestic staff to serve the family, including butler, footman, valet, lady's maid, housemaids, cook, kitchen maids, a scullery maid and odd- job man, some of whom lived in the village.Reminiscences of Lady Margaret Fortescue, op.cit.
Over the timber panelled doors is a semicircular tympanum containing three arched windows and above the tympanum, a blind arcade of colonettes (thin columns). The main feature of the gable is a wheel window centred in the gap created by the broken base of the pediment. Raked corbelling over the wheel window supports the projecting edge of the pediment. A cross is situated at the pinnacle of the pediment and at the other end of the ridge of the nave roof.
The interior of the church conforms to the Akron plan, with a large, square, barrel-vaulted central auditorium containing wooden pews arranged in a semi-circle. Notably, a broad, curving balcony panelled with a Gothic arch motif completely encompasses the auditorium. The portion of the balcony over the sanctuary contains the choir loft and organ pipes. The transepts on both the main floor and balcony level are constructed to be used as either classrooms or, by opening partitions, overflow seating space.
One of the first and most prominent Modernist structures was Ludwig Mies van der Rohe's Toronto-Dominion Centre. The T-D Centre was one of the most prominent of the early glass and steel panelled office towers, which would be imitated around the world. The International Style period coincided with a major building boom in Canada, and few restrictions on massive building projects. International Style skyscrapers came to dominate many of Canada's major cities, especially Vancouver, Calgary, Edmonton, Ottawa, and Toronto.
The handrails and upright posts are of timber. The ground floor landings also give access to Wharf Street via a double set of doors, the inner doors being French doors with six-panelled glass panes and the outer door of solid timber with surmounting fanlight. These landings also display original timber directory boards with glass panes. The upper floor consists of numerous offices which flank either side of a narrow hall which runs the length of the central core of the building.
The northeast and southwest verandahs have been enclosed with multi-paned windows and hardboard panelling. Hatherton is frontally symmetrical, with a slightly projecting gabled porch accessed by a short flight of steps with an arched valance above. The gable has a fretwork panel, decorative bargeboard and finial, and the main entry consists of an arched fanlight and sidelight assembly of etched glass with carved timber mouldings and panelled timber door. Step out sashes, with incised architraves, open to the verandahs on both levels.
Internally the building comprises a foyer space with a mezzanine level above (seating 100 people), an auditorium (seating 300 people) and a stage located at the library end. The auditorium is a wide space with a flat, recently installed, acoustic panelled ceiling with recessed lighting. Walls, finished with hardset plaster, are punctuated by the street-facing windows. These are mirrored on the opposite wall, which separates the auditorium from the supper room, by openings filled with timber screening forming a chevron pattern.
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.
The timber roof was revealed when a later plaster ceiling was removed. This dates from the 15th century and is a combination of arch braced trusses with cambered tie beams. Oak panelled galleries dating from around 1705 are over the west end and the south aisle, the former containing the organ, and the latter box pews. A carved oak crest dated 1622 is near the communion rail. The stone font is dated 1890 and the oak pulpit is also from the 19th century.
The polished cedar stair has moulded square balusters, carved newels and a panelled spandrel beneath. The stair is dog-legged, with leadlight windows to the landing. From the Stair Hall, entry to the Lounge Bar is through a doorway in a glazed timber bar screen. The bar, similar in style to that of the Public Bar, has a curved corner to the eastern end and a timber bar screen to western end, which is similar to the screen of the doorway.
The house was built in 1607–12 of red brick with stone dressing, and has an "H"-plan layout. The interior features contemporary staircases, panelled rooms, ornamental ceilings and chimney pieces. It was built by the crown to house Sir Adam Newton and his royal charge. He was then Dean of Durham and tutor to Prince Henry, the son of James I, and older brother of the future Charles I. Greenwich Palace, where their mother lived much of the time, was nearby.
The south entrance is entirely undecorated. The facade of the main wall, which corresponds to the interior mihrab wall, is panelled with recessed windows. The lower windows are rectangular while the upper are double arched with single arched qamariyyas, multicolored stained glass windows, mirroring them on the interior. The northern, eastern and part of the southern facades are the only ones with these windows, as they would have lined the busiest streets and as such been the most visible walls.
Servia had public rooms of a scale and luxury greater than previously known. Of the three decks, the upper deck consisted of deck-houses that included a first-class smoking room, and a luxuriously fitted ladies drawing room and a music room. The entrance and grand staircase was the largest that had ever appeared on a liner, and was panelled in polished maple and ash. It led down to the a landing on the main deck which featured a library.
The west and part of the north verandahs retain decorative balustrading, lattice and valance. The exterior of the north and south wings have asbestos cement sheeting applied over chamferboard and weatherboard cladding. Generally the building is constructed of single skin walls; the mid-west wall is clad with chamferboards and lined with beaded vertical boards; some internal partitions are lined to each side. The main entry is from the east verandah through a timber panelled door with coloured glass sidelights.
Original fabric in these spaces includes timber wall panelling, timber parquet floor and a fireplace with a low panelled timber ceiling above it in the board room. The ceiling above the rest of the Board Room may also be original. The ante room has only retained early timber wall panelling, although earlier ceilings may be concealed above the existing suspended ceiling, and original flooring may be concealed beneath present coverings. Wall mounted light fixtures and other luminaires are recent fabric.
Internal doors are timber with moulded panelling and operable timber panelled fanlights that retain original brass opening mechanisms. Timber French doors with fanlights have fine, moulded glazing bars and clear glass lights and open onto the verandah from most rooms. One set of French doors has been modified into one large sliding door and another set has been relocated to enclose the verandah nearby. Other windows are double-hung timber sashes or timber casements with fine, moulded glazing bars and clear glass.
Internally the variations of material, construction and detailing clearly indicates the two phases of the construction of the chapel. The rear, earlier section, which extends approximately one-third of the length of the nave features coffered ceilings of stained timber and timber panelled walls. An arcade supported on marbelised columns separates this section from the 1921 extension. On the floor above the rear section of the chapel is a pipe organ which opens onto the nave extension through a large archway.
Staff in period costumes give insights into working conditions in the house over the centuries and prepare the same food that was enjoyed at the grand social occasions that once took place there. Permanent exhibitions include "William Forbes' Falkirk" and "The Antonine Wall". The other galleries show around seven different exhibitions a year from all around the world. There is also a history research centre, where all of Falkirk's historical archives are kept, housed in the Victorian oak-panelled library.
At the time of inspection (June 2008), the other wings were being dismantled in preparation for a similar refurbishment. The former main entrance opens onto an inner porch and then into the vestibule to the chapel. These areas are notable for the fine timber panelled doors surmounted by semi-circular lights or painted tympanum murals, decorative architraves and coloured glass windows matching those in the chapel. Some silky oak and other joinery survives throughout the building including cupboards, windows and doors.
No 10 Australia Street No. 10 - A terrace style two bedroom house featuring round-headed door and window with arched mouldings on the lower floor and another panelled door and cast iron fence with French doors on the upper floor. Roof is iron tiled. Much of the detail of the terrace matches the grander house Cranbrook at No. 14. No 14 Australia Street (Cranbrook) No. 14 (Cranbrook) - A large two-storey Italianate villa of five bedrooms with boxroom and rear courtyards.
Inside, little remains, but the ruins still have most of the original roof trusses (one, at the west end of the church, is a replacement). There are some slate memorial tablets on the walls, dating from the middle of the 19th century, and a plain 12th-century circular font. The 1937 survey noted a bell dating from 1717 and some portions of 17th-century panelled seating near the pulpit; these were not recorded when the church was given listed status in 1970.
Below the central cornice section there remains indications of the lettering of the bank signage incompletely chiselled off. Over the cornice is a panelled parapet forming a low simple pediment centrally with a tapered flagpole fixed behind. Behind the street frontages the first floor of the building is set back from the northern boundary to gain natural light. The two-storeyed rear elevation to Ogden Street is plain and utilitarian without the decorative expression and composition of the front elevation.
The woodwork for the six-panelled doors, windows and original mantelpieces is (red) cedar. Certain alterations have been made to the mantelpieces: one was removed to accommodate the Canova mantelpiece and one removed to make way for a wooden one in the taste of the 1920s. However, there are numerous typically Georgian mantelpieces throughout the homestead. This suggests that the addition of the single storied wings might have taken place within a short period of time after the two storied section.
Constructed in a warm brick in English bond, it is a particularly attractive two storey residence featuring steeply pitched slate roofs, ornate brick chimneys, stained glass windows and Tudor influenced battening. The gable ends are of timber and stucco. The verandah features timber posts with ornamental brackets and the chimneys rising high above the high gabled roof are a dominant feature. Admission to the house is through a massive cedar panelled front door set into a sandstone arch with Gothic flutings.
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.
The entrance front faced the high road and consisted of a central block flanked by lower and slightly recessed side wings. The main block had full-height Corinthian pilasters and a central pediment, while the wings had rusticated stone quoins. The whole façade, of thirteen bays, was surmounted by a modillion cornice, a panelled parapet, and hipped roofs with dormer-windows; six large stone vases broke the line of the parapet. The garden front was of similar size and character.
Doyle's home also included a generator for the electric lighting, which was not common outside of cities at the time, and a dining room which could seat thirty people. A special display shelf in the wood-panelled drawing room, located near the ceiling, displayed a collection of weapons, stuffed birds, walrus tusks and various trophies. The doors of the house were also unusual in that they open both ways. The current internal layout has 14 bedrooms, with a size of .
It has a gable roof with smaller cross gables facing the front and rear. There are verandahs with simple timber posts along both elevations. Features and detailing including a chimney; scalloped timber valence to the sides of the verandahs; oval opening to the gables; plinth course and sill course in render; panelled doors with flymesh doors; and double hung windows with flymesh windows. The roof structure comprises timber king post trusses with raised tie and supporting timber boarding with corrugated, galvanised iron roofing.
A bank of six glass-paned, wooden-panelled doors is sited on either side of the splayed corner with a small maquee sign above each bank of doors. These doors open onto the tiled-floor vestibule with the box-office on the inner wall directly behind the entrance doors. There are two entrances to the main theatre, the first beside the box-office and the second at the midpoint of the theatre. Both entrances have their original deep red velvet curtains.
An office, which was previously part of the coffee shop, was next to the candy bar at a level between the upper and lower foyers with small sets of steps between the two. Doors to both male and female toilets were opposite the candy bar. The doors were timber panelled consistent with the rest of the interior and had the same style signage. The female toilets retained a separate powder room area with a small vinyl covered bench and large mirrors on the far wall.
Internally, the front section of the house has a central hall with the northeast main entry consisting of a panelled timber door with leadlight sidelights and fanlight. The sidelights feature Thomas Welsby's initials TW entwined, with the fanlight featuring the name AMITY. Similar door, sidelights and fanlight are located at the rear of the hall, originally opening to the rear verandah, but now opening to the rear section of the house. The hall is bisected by a timber arch with moulded pilasters, imposts, extrados and keystone.
However, the original floor layout including a waiting room, ticket office, parcels office and signal box and ladies room are still present in addition to early double panelled timber framed windows and timber doors. Light fittings and carpet finish are relatively new. The 1902 extension to the southern side of the building is clearly apparent forming a corridor along the building. The 1935 signal box within the station building's envelope survives with its signage and no longer operates (lever frame and CTC panel removed).
A small timber building at the booking office end of the station on axis with the platform. Historical evidence suggest that this weatherboard building covered an interlocking frame, which was originally erected as an open frame. It appears to be used as a store room after being taken out of service in 1957. It has a steep gabled corrugated metal roof, rusticated timber boarding with small four-paned windows on three elevations, and a four-panelled timber door with timber awning on the south elevation.
198 Howick Street is a simple, well maintained late Georgian style cottage, one of a group of similar cottages which forms a unified colonial Georgian streetscape on the corner of Howick and Bentinck Streets. It is of a modest style now rare in the Central commercial area of Bathurst. It is a single storey Victorian Georgian cottage of face brick under a gabled iron roof. The cottage has a symmetrical façade with central four panelled front door, flanked by large paned double hung sash windows.
They ensemble to study its architectural values as it represents the series of museums designed by Le Corbusier. The pivoted entrance, metal panelled door, fixed furniture, display systems, exposed concrete sculpturesque gargoyles are symbolic of the prevailing style of Chandigarh's architecture. The mural in the museum reception area executed by one of India's finest contemporary artists, Satish Gujral adds colour to the otherwise stark exposed concrete building. The museum library is a rich repository of books on subjects of art, architecture and history of art.
Classrooms are accessed from the northern verandahs via flush-panelled doors with fanlights. Hat / bag hooks are attached to the verandah walls of Blocks B and C. Teachers rooms are attached to the north and east sides of Block B, and to the north of Block A; they are gable-roofed and weatherboard-clad, and feature skillion window hoods with timber brackets. The north-facing teachers rooms have battened gable infills. The interior walls and flat ceilings are lined with VJ, T&G; boards.
The station building is a reconstruction of the original timber narrow awning building (type 8). It is a painted timber building with a hip and gabled galvanised iron roof, and a skillion extension on the Carlingford (Up) end of the building. Four entry points, a large window and a small square window are located on the platform side and are covered with security screens. These are also used on all other windows and doors and hide the timber panelled doors and four paned timber framed windows.
Call to save Kenyan poet's home, BBC News, 19 January 2009. The property was shown in World of Interiors in 1990, and in the Sunday Telegraph Magazine in 2000. Tim Knox, director of Sir John Soane's Museum, in Nest in 2003, described it as: The work takes inspiration from the Great Mosque of Cordoba, the Alhambra and Generalife in Granada, doors in Zanzibar, panelled interiors in Damascus, and the waterside houses or yalı in Istanbul. Asalache left the property to the National Trust in his will.
The main staircase has stained glass windows by George Kruger Gray and at the top a bust of King George V by Sir William Reid Dick. This leads to a long reception hall with three saucer domed ceilings, also by Gray. The three surviving 19th century chandeliers from the Lord Mayor's Rooms at the Town Hall are used to light this space. The Assembly Hall was long and oak panelled is across the front of the building, now divided to a banqueting hall and other chambers.
The Vermeil Room was originally a staff work room used for storage and later for the tasks of polishing silver. Theodore Roosevelt's 1902 renovation of the White House by architect Charles Follen McKim reconfigured the use of the house, finishing much of the ground floor for public use. When first furnished for public use the room was termed the Social Room, because it served as a lounge adjacent to a women's rest room. McKim provided the room with late Georgian style cove moldings and panelled wainscot.
A row of wooden columns in the centre of the hall supported a panelled coffer ceiling and underpinned the double span-roofs. In the early 18th century the original roofs were replaced by a new king-post roof during Kilián Ignác Dientzenhofer's alternations. The height of the hall was raised by 2.5 meters and a row of smaller windows was added. The hall was damaged during the Prussian bombardment of Prague Castle in 1757 and then was restored by Nicolò Pacassi who removed the central columns.
The frontage was modified in the Georgian period, but the core remains an essentially Tudor building. Oak panelled rooms, including a rare 'linen fold' room, Tudor windows and carved fireplaces survive intact, and an exhibition tells the history of the house and its former occupants. The Great Chamber At the turn of the 18th century, Hackney was renowned for its many schools, and Sutton House contained a boys' school, with headmaster Dr Burnet, which was attended in 1818 by the novelist Edward Bulwer-Lytton.
Church of St Michael the Archangel, Compton Martin The church, which was built in the Norman period, is dedicated to St Michael the Archangel. Norman vaulting can be seen in the chancel and Jacobean work in choir stalls and organ screen. The tower is approached from the nave via a lofty Tudor panelled arch which together with the tower itself dates from the early 16th century. It is some high and contains six 18th-century bells, five of which were cast by the Bilbies of Chew Stoke.
The Ivy House The Ivy House is a Grade II listed public house at 40 Stuart Road, Nunhead, London. It was designed by the architect A. E. Sewell in the 1930s for Truman's Brewery. It was originally known as the Newlands Tavern, and has many original features including a curved bar and timber panelled walls. It was one of the major pub music venues in South London during the mid-1970s pub rock boom, with acts including Ian Dury, Elvis Costello, Joe Strummer and Dr. Feelgood.
The north wing verandahs have paired, white painted timber, tuscan columns with stone bases; those to the southern wing have square chamfered timber posts with curved timber brackets at the corners and are partially lattice screened to the west. The northern wing has French doors with large fanlights and timber shutters. The southern wing has casement windows and timber doors with glass panels. The entry hall, in the junction between the two wings, has a panelled cedar door with clear glass fanlight and sidelights at either end.
The building sits on timber stumps and is encircled by verandahs. The roof has dormer windows with rounded gables and twisted terracotta chimney flues. The gables have cast iron infill panels with decorative timber work, including arched vents and brackets to the eaves. The verandahs have concave corrugated iron roofs, with the first floor having cast iron brackets, valance and balustrade and the ground floor having cast iron brackets, lattice valance panels and timber batten balustrade with sections of the ceiling being boarded and panelled.
Built from squared Portland stone, with slate and lead rooves, the castle looks out across the Fleet, Chesil Beach, Portland Harbour and Weymouth. It consists of a castellated central squat tower with a square tower, short wings and a domed cellar, which contains a fresh water well, and is known as the dungeon. The castle is ‘V’ shaped complex comprising three buildings connected by lower, pitched roof structures. The squat, round tower at the apex has a relief panelled parapet atop with domed modillions below.
The 1980–81 alterations included an extension to the second floor and the addition of catering facilities in the basement. Two of the rooms on the ground floor east side were panelled in oak and mahogany and the Shell Room, with its magnificent ceiling painting, was among those where the plasterwork, gilding and architectural details were painstakingly restored. The first and second floors were redecorated and adorned with mainly French antique furniture and some fine paintings. The grounds were replanted and ponds and illuminated fountains were created.
In the nave are 19th-century two-light windows with tracery, while the east window has three lights. The internal fittings and furnishings date from the 19th century, as do the wooden panelled ceiling in the nave and the barrel vaulted roof in the chancel. During one of the 19th-century restorations, carved and inscribed stones from the nearby Roman Hadrian's Wall were incorporated into the fabric of the south wall. The chancel contains a trefoil-headed piscina with a recess to its right.
Behind the engine the fuselage was smoothly ply covered. The front of the cabin was over the leading edge, with panelled glazing that extended aft to about three-quarters chord. The G-21's cabin roof line extended rearwards unbroken, tapering only slightly to the tail, where a forward set, mid-fuselage mounted tailplane was braced on each side by a single strut to the fin-fuselage junction. The fin and unbalanced rudder had a curved profile; the rudder was broad and extended down to the keel.
The original Downside House was extended to form the east side of the Quadrangle (now known as Old Quad houses A to M). The panelled first floor dining room with common rooms beneath (now including the JCR Bar) was built at the same time. The adornments of this building include the grotesque figures. In 1930 a Chapel was added, the gift of Dame Monica Wills, the childless widow of Henry Herbert Wills. The grounds also include tennis and basketball courts, as well as a croquet lawn.
Front view, 2008 The former Dalby Town Council Chambers and Offices is a single storey rendered brick building on the corner of Cunningham and Stuart Streets and Groom Lane. The Cunningham Street section has a symmetrical facade with art deco detailing, consisting of a centrally located, projecting portico with a recessed entrance, flanked by three long, narrow casement windows surrounded by moulded architraves. Fluted pilasters are located on each side of the windows. The double, timber-panelled entrance doors have a breezeway with decorative leadlighting.
Equestrian statue of Ferdinand Foch The is composed of an park with Empire-syle buildings including the Maison du Cheval. It was created by Napoleon in 1806 and is the birthplace of a refined breed of horses, the Anglo-Arabian, which are provided to the regiments of hussars. The buildings were built with mostly local materials: Grey marmorifere stone, pebbles of the Adour, bricks and slates. It has a riding school and stables including boxes and with a set of remarkable chestnut panelled ceilings.
It was built between 1878 and 1880 by Thomas W. Badger, a member of a well- known Rotherham family, prominent in legal circles. It was originally called Red House or as it was frequently termed the “palatial residence”. Several of the rooms on the ground floor are panelled in oak, which was obtained from Rotherham Parish Church during the construction of the house. In 1882, Thomas Badger fled the country [reported by the Rotherham Advertiser], leaving his business in financial confusion and with heavy debts.
The furniture of the court room includes the bench, jury benches, press box and dock all constructed from beaded tongue and groove boarding, and a silky oak witness stand. The upper level offices have ripple iron ceilings, moulded timber architraves and chimney pieces. The internal doors are four- panelled with toplights and glazed french doors with toplights open onto the verandahs. There is a timber staircase with turned balusters in the north-west block, and a similar new stair in the south-east block.
Around the wall of the chancel is a panelled, painted dado. The altar and chancel rails date from about 1730; they are in wrought iron, and the altar is partly gilt. In the south wall of the nave, below the easternmost window, is a 13th-century piscina in a niche with a trefoil head under a gable. All the stalls and pews date from the middle of the 19th century, and this is also the probable date of the family pew in the transept.
The furniture and objects are luxurious and the room is richly panelled and decorated. The chaplain holds a ledger and at his feet is a large famille-rose punch bowl, the punch bowl being an invitation to the viewer to join the levity at the table. He is separated from Graham across the table by a salt- cellar, possibly symbolising their social difference. His presence at the captain's table for this informal occasion nevertheless indicates that he is a privileged member of Graham's entourage.
This was perpetuated into the mid-1930s with repeat orders to existing designs. These coaches were mounted on steel under frames that were generally long, weighed between 28 and 31 tons depending on type, and ran on two four-wheeled bogies. They had wooden framed, fully panelled bodies with semi elliptical roofs and three-link screw couplings. Side corridor stock such as the J6 thirds and F2 composites had doors with adjacent quarter lights to all compartments and ventilation was by droplights set into the doors.
Recessed panelled entrance lobbies from George and Bathurst Streets incorporated swing doors into the public area. The L-shaped counter formed a public space some deep along George Street with a splayed corner of the counter to a short return along Bathurst Street. Three cast iron columns in the banking chamber supported steel ceiling beams and the masonry walls of floors above. At the rear of the 1895 banking chamber, thick masonry walls enclosed the two stairs to the basement and separated the utility spaces behind.
The ceiling retains its original plasterwork with polygonal profiling. Against the south wall, the Seafield Loft, a substantial two-storey gallery, dominates the nave. Its panelled front bears heraldic designs and foliage; it is supported by Corinthian columns at either end, and accessed by a flight of stairs at its east end. An ornate sacrament house, donated by Alexander Ogilvy of Findlater, who helped establish the collegiate church, and his wife Elizabeth Gordon, is built into the east end of the north chancel wall.
On 4 September 1930, Gurney Nutting moved, less than a mile, to more spacious premises in Lacland Place. A few weeks later they showed at Olympia a metal panelled Weymann Bentley Sportsman's coupé beside another Bentley of traditional construction for the first time exhibiting Nutting's trademark, a deep chrome-plated beading strip running from the grille to above the rear mudguards and emphasising the sweeping new lines of the car. J Gurney Nutting built the body for Malcolm Campbell's 1931 Blue Bird world speed record car.
The building retains original doors including large, braced board doors and panelled doors with bolection moulding and original door and window hardware. An early school bell is mounted to a timber post near the verandah of the northwest wing and the school retains a collection of early school-related paraphernalia including desks, cabinets, chairs, administration books, a bell, photographs, trophies, shields, sewing, an ink well, cane, and piano with stool. Other structures within the heritage boundary are not considered to be of cultural heritage significance.
Wide moulded skirtings and architraves appear to be original or early. The Post Office side has later skirting along with a modern fitout, with some original or early architraves retained to the window and external door. Windows to the residence basement are generally nine pane upper and single pane lower timber sash windows with some modifications from air conditioner/exhaust fan installations. Internal doors are four and six panelled, two original doors in the east walls of the kitchen and dining room have been removed.
The body of the pulpit is panelled with verd antique; its central panel bears a relief carving of an angel. Beneath the pulpit, the church's foundation stone rests on fragments of Gothic masonry discovered during the demolition of the previous church. Next to the font stands the lectern in the form of a full-length bronze angel, sculpted by David Watson Stevenson and installed in 1895. At the south side of the chancel arch stands the font, designed by Thomas Armstrong and installed in 1908.
The building retains a verandah to the west and south, but part of the original verandah has been removed and rooms added at the southeast corner. Internally, walls are rendered with timber architraves, skirting and panelled doors and plaster ceilings. All fireplaces have been bricked up except the kitchen which is now recessed. The Federation attributes are demonstrated by the massing, roof forms (and detail), verandah joinery, ceiling details, the use of stained glass in windows and the range of window types used in the building.
The stair has squared balusters and newels, and a panelled spandrel below. Adjoining is the public bar whose layout has been altered, but it retains its pressed metal ceiling with roses, cornices borders and beam linings. The rear of the ground level has also been largely altered. The light area between the accommodation wings has been roofed over to form the lounge bar and the former billiard room and dining room have had walls removed, but the dining room retains its pressed metal ceiling.
The dining-hall tables often had six legs of great substance, which were turned somewhat after the shape of a covered cup, and were carved with foliage bearing a distant resemblance to the acanthus. Rooms were generally panelled with oak, sometimes divided at intervals by flat pilasters and the upper frieze carved with scroll work or dolphins. But the feature which distinguished the period was the fire mantle. It always must be the principal object in a room, and the Elizabethan carver fully appreciated this fact.
St Helen's Chapel of Ease St Helen's church is located on the bend in the Knaresborough to Wetherby road directly opposite the turning to Spofforth. The building now known as St Helen's Church was provided by the generosity of Mr Joseph Dent of Ribston Hall. It had been a carpenter's shop. Mr Dent added a western porch in the Tudor style, inserted pleasant lattice windows and panelled the lower walls of the main room in pinewood panelling, said to have been brought from Ribston Hall.
Three years later he purchased the refreshment rooms at 65 and 67 Katoomba Street. In 1925 Zacharias Simos employed H. & E. Sidgreaves, the shop-fitting firm responsible for the design of Washington H. Soul's Sydney pharmacies, to convert the interior of the cafe premises on classical (Art Deco) lines, along with local architect Harry Lindsay Blackwood. A soda fountain, of the finest Moruya marble, and booths of Queensland maple were installed as were the timber-panelled walls decorated with alabaster friezes depicting classical Greek figures.
The floor of the front entry porch, under the arcade, is raised several steps above the surrounding level. From the entry porch, a pair of timber panelled doors with a decorative glass and timber surround open into an entry vestibule. The vestibule is tiled with multi-coloured tessellated tiles and decorative mouldings including cornice, picture rail and skirting. A set of timber-framed doors at the rear of the vestibule has side panels and a fanlight, all of which are glazed with decorative leadlight.
The main banking room featured a lofty, 75-foot high ceiling—a recent innovation in bank architecture that traded efficient use of space for visual impact. The ceiling itself featured a large rectangular dome and clerestory, supported by eight Ionic columns of Numidian marble. The bank's walls were panelled with onyx to a height of 22 feet, and the counters finished in onyx and bronze. A mezzanine floor was used to house the bank's records, below which was situated "an immense fire and burglar- proof vault".
A four- panelled timber entrance door with glazed sidelights and fanlights opens into the vestibule and a side door to the left opens onto the former sitting room off the dining room. A later metal ramp runs along the front from the west to alight at the porch. The public bar is accommodated within the east side of the building and is entered through doorways to the northeast recessed to each side of a bay window. The awning sheltering one of these entrances is recent.
Glazing in the building is of various types, as far as we could determine. The atrium roof is mostly of monolithic fully toughened glass. The fire stair at the 3 floor terrace has two wired glass windows. The full-height glazing looking into the atrium on the 3 floor is laminated ordinary annealed, and all the remainder appears to be monolithic ordinary annealed, ranging from small individual panes in multi-panelled sash windows, to full height glazing to the 3 floor for much of the terrace area.
There were five windows on the north side, and four on the south, but the only illumination at the east end was through two small windows in the side walls of the recess housing the reredos. In 1880 additional lighting was provided by inserting a rectangular skylight in the ceiling. The walls were panelled with oak to the height of . Above the northern doorcase stood a wooden figure of Death, about four feet high, and over the southern one was a similar figure of Time.
Mangold Cottage is a late Victorian slab cottage with a gabled roof and skillion verandahs (broken back to the main roof) to the front and back of the cottage. Sketches of the cottage on its original site by Daphne Kingston show the original front verandah as a bullnose. The roof is corrugated galvanized steel and the walls are of vertical slabs with tin strips covering the gaps between the slabs. The symmetrical front has a four panelled door flanked by 2 over 2 pane double hung windows.
There followed an advertisement appeared in The Times on 12 November 1919. “Situation - the Mansion-House of Newhailes is situated about 5 miles from the Post Office, Edinburgh; 16 minutes by rail from Waverley Station or 45 minutes by tramcar from Edinburgh and 5 minutes from Musselburgh. The house is 18th century with a fine front and circular flight of steps to front door, and a courtyard in front with pillared entrance. The interior is very hansome and ornate, with richly panelled walls and pictures inset.

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