"People ask why the plinths were not bolted down," Birch notes.
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Down go all ten of the plinths, taking the art with them.
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For example, the rectangles transition from shallow plinths to tall stacks or upright steles.
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For a while, though, those plinths stood empty, and the spotlights were switched off.
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The trophies are back in pride of place, on their plinths, under their lights.
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It stands out from the wall like one of Anne Truitt's painted Minimalist plinths.
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Across the country, from the plinths where Saddam Hussein once smiled down, ayatollahs now beam.
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Getting his statue on a few now-vacant plinths might be a good next step.
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Upon entry, a flickering series of Extremely Relatable Human Faces projected on black plinths greet visitors.
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Phones have become plinths for the always-open internet eye that we "control" as post-internet curators.
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Another set of plinths lie directly inside, where family members might lounge, shaded from the midday sun.
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The books shown in the rare book room are spread open on raised plinths in glass cases.
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Inside a serene space, singular objects rest on plinths: these are crowns, presented as precious trophies or boons.
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Twelve white ceramic figures stand on plinths arranged in an oval shape around the center of a gallery.
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The effect is particularly powerful on the summer solstice, when the sun appears to rise between two plinths.
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Chamberlain's pieces, by contrast, keep their elbows and knees tucked in, sitting tastefully in the center of their plinths.
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Throughout the show, enlarged decals of black-and-white snakes are fixed on the walls and along the edges of plinths.
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For their faces to have meaning, they depend on the names carved into the plinths and bases on which they rest.
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With massive plinths made of steel and aluminum, the record players weigh around 2000 pounds while eliminating almost all audio resonance.
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Sculpted into slight ramps, plinths, and thin columns, the piece culminates in a small niche where a funny-looking bust resides.
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These concertina fold-out books are displayed to great effect here, outstretched and casting a pleasing zigzag shadow on their plinths.
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The plinths and photographs, shown here for the first time together, work in tandem to escalate the intensity of Simon's focus.
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Four Confederate monuments have been removed from their plinths in the city of New Orleans, spurring both reactionary and supportive responses.
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The plinths are solid, blocking the cover imagery and preventing viewers from seeing the spines or edges of the book pages.
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Just ask Queen Victoria, whose rounded frame perches atop hundreds of plinths across the Commonwealth, with an air of solemn, severe solidity.
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Staggered in height and scattered across the stage, the plinths make a skyline; frozen, these workers might be from a modern-day Pompeii.
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Alchemy Architects creates weeHouses using two open-sided boxes that are then transported to their permanent address, where they're settled into concrete plinths.
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Greek statuary was mounted on plinths, ditto Egyptian gods, and flanking it all on one wall were the arches of the Roman Forum.
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More than 40 textile works dating from the 1950s to her death in 2007, at age 100, float above low, white curving plinths.
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His series, After Ozymandias (2018), predominantly documents the empty plinths left behind after the removal of Confederate statues and monuments around the country.
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Then, scattered across the gallery's main room are 12 small, sentry-like sculptures of glass-encased black, concrete plinths that double as flower presses.
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Three of her life-size headless figures on plinths, sited on smaller lawns around the park, will play off just such a woman in repose.
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Smaller sculptures in Cor-Ten steel, "Junia Prima" (2014) and "Medium Ascension" (2008), are muscular swoops and kinetic curves that energetically fly off their plinths.
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The vacated plinths or spaces formerly occupied by statuary give rise to another photographic possibility whereby the monuments' felt absence might be documented and gauged.
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A slightly homoerotic take on the UFC's famous staredowns was complimented by two wheeled plinths as both men have their shirts torn off each other's backs.
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She is surrounded by white plinths displaying painted small-scale sculptures — upended cans and funny-shaped boxes — all fabricated from cardboard by the Swiss artist Peter Fischli.
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And it is these markers that can also be tiny plinths we can occasionally mount to add our voices to the cacophony of words in public debate.
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Despite the works' title, the sculptures perch precariously on their plinths, overhanging the edges, the deterioration of the salt supports suggesting they will disappear like melting polar ice.
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In a well-lit gallery, I stared up at two majestic alabaster creatures at least 12 feet tall but looking even taller because they were set on plinths.
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To create a sense of visual unity among the different floors of the museum, Belgian artist Koenraad Dedobbeleer has been commissioned to design tables, displays, plinths, and seats.
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The square's three other plinths bear classic monuments to a king and two generals, making Mr. Haacke's riderless, fleshless mount a counterweight to such celebrations of Great Men.
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In "Navy Lite," a ziggurat of round-cornered white plinths topped with a dollop shape conjures both soft ice cream and a naval destroyer steaming out to sea.
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In one pair of recesses, rows of human heads, their faces symbolically marked, resemble specimens ripe for some variation of humanistic study; overhead, canonical busts rest atop shallow plinths.
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Inside a serene space, singular objects rest on plinths: these are crowns, or at least some semblance of what a crown might be, presented as precious trophies or boons.
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Ramiken's first Brooklyn show, "Nobodies," goes to Andra Ursuta, whose six remarkable glass sculptures, resting on cinder-block plinths, create an arresting tableau of sex, stress and self-portraiture.
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Original prints from Nathalie Du Pasquier (hands and numerals on plinths) came on plunging halter gowns, knits and narrow-shouldered furs, contrasting with simple black beaded frocks and coats.
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Like live action plinths they flexed and relaxed their muscles around the objects they held — hyper animated frames that wrapped their bodies around the wobbly and misshapen pots and vases.
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The Royal Shrovetide Football Match involves teams called the Up'ards and the Down'ards, who battle to try and tap the ball three times on stone plinths that act as goals.
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The obligation to cover so much ground, to balance what he had to say about so many major figures on such slender plinths, rather limited Szarkowski's range of literary and thematic movement.
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Consisting of four large plinths that each support four columns, the structure had underwent reconstruction by DGAM in 1963, and only one of the original pink Egyptian granite columns had survived over time.
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We wrote extended explanatory text, with Creative Time staff securing a contextualizing image of Meckseper's earlier work, and brought out two plinths on which to display an educational binder and a notebook for public comments.
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With the walls filled with remediated images, and the chromatic splendor of plinths populated with domestic objects, Color-Aid cannily calls into question the hierarchy of art and design, vessel and content, image and meaning.
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In effect, the commission argued that Monument Avenue, already a national and state historic district, should function as an open-air museum, with its artefacts—bronze statues atop plinths of marble and granite—fully explained.
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But a few weeks ago, one snap-happy show attendee caused as much as $200,000 in damage when she toppled, domino style, a series of plinths, Gloria Yu one of the artists involved told Hyperallergic.
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On some of the short plinths, in front of the headstone, people had placed lighted joss sticks that had long since burned down; only their stems remained, like the surviving bristles of an ancient toothbrush.
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The news agency, SANA, said the Islamic State, also known as ISIS or ISIL, had destroyed part of the theater and severely damaged a tetrapylon, a square structure of four plinths, each with four columns.
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On a recent snowy, Swiss-like morning, Mr. Fischli, 63, who had traveled from Zurich to oversee the installation, looked admiringly down the Guggenheim's sloping ramps as dozens of carpenters prepared plinths and pedestals and cabinets.
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For the most part, only the faintest washes of pastels color the variegated surfaces of Murray's domestic and utilitarian forms: bowls, vases, espresso cups, all rendered in duplicate and artfully arranged by Wong on rainbow-colored plinths.
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The dead characters are placed on plinths inscribed with "Klaus" and "Anja," the star singers' first names, and their bodies are then replaced — and replaced, and replaced — with progressively rotting versions to simulate the process of decomposition.
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Knitting needles, tangles of golden chord, blue and white trinkets and plinths, allude to a kind of silent music sheet, the reading of which relies on an internal dynamic system that extends far beyond the formalism of sculpture.
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Clad in a zippered black boiler suit, belted at the waist, and sneakers with electric blue laces, Mr. Lauren wandered among vehicles set on white plinths in the black carpeted space, referring to each in turn with unfiltered affection.
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As explored in the kaleidoscopic MoMA exhibition — its design of white rotating plinths and overlapping platforms created in collaboration with artist Carsten Höller — he started work on this visionary art after his country's independence from Belgium in the 1960s.
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The piece itself is meant to resemble a fax machine: Two, connected, black cylinders resting on wooden plinths vaguely resemble makeshift telephones, while vibrantly colored pillows lay on an adjacent plinth like printed pages waiting to be picked up or used.
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"I love anything that has classic, iconic heritage," Mr. Lauren said Wednesday evening inside a loft space in Chelsea where models dressed in his ornately tattered and holey "Mad Max"-style designs stood on plinths or sparred in a boxing ring.
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Starting from the assumption that every element of a product's evolution contributes to its impact, "Design Anatomy" strikes a dramatic contrast to the conventional template of industrial design exhibitions, in which mass-manufactured objects are placed reverentially on plinths like sculptures.
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The exhibition's first room precedes the chronological sequence with a display juxtaposing bust portrait sculptures in varying media and styles in neat, uniformly regulated rows on plinths of equal height, generally progressing from early to late from front to back.
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The ensemble makes use of the sparse scenic elements of Patrick Curtis's set (basically, four identical tables) to mount barricades, climb onto plinths and moving vehicles, and merge briefly into a transporting, time-stopping blur of communal triumph, rendered in slow-motion choreography.
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There is a gilded bronze owl, a small-scale replica of the owls designed by John Thorp for the plinths outside Leeds Civic Hall and a Buckingham Palace London Underground sign she was given while on a visit to Aldgate East Tube Station in 2010.
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Known among the analog cognoscenti simply as OMA, this boutique company manufactures the kind of rarefied components that audiophiles drool over: 7-foot-tall loudspeakers with conical horns, glowing tube amps nestled in walnut chassis, and turntables with slate plinths as thick as phone books.
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France's National Museum of the Middle Ages, amid plinths with ghostly carved pillars representing civilization long ago, the oldest French fashion house in continuous existence tried once again for, if not a happy ending, at least a new chapter that someone might want to read.
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The gallery is meant as an ode to the Kiva Studio: Garments on mannequins, organized as in a retail setting, sit in front of a large-format image of the Scottsdale showroom, while plinths with acrylic toppers work as cases displaying handbags, hats, and various other accessories.
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He still believes the likenesses of Robert E. Lee and the rest should stay on their plinths, but not quite as they are: educational panels should be added to explain their backgrounds, with scannable codes that link to more information, such as encyclopedia entries, in the ether.
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It was a striking scene at the National Museum of Cambodia in Phnom Penh, as Mr Kerry was shown carvings looted during the civil war of the 1970s, and traced after they were shown to be perfect matches for plinths unearthed in a jungle-clad temple.
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While it's unclear whether this "art" or life, you can see it all go down in a security video from the space, in which the woman appears at the far end of a row of plinths to take that photo — and seems to lose her footing.
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It asserts its authenticity in the plinths and joists of its architecture, in the bold intricacies of character and plot, but also in the only spot that truly matters: the prose, the synapses between subject and utterance, a language that hums along the taut cord of its telling.
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Yet the characters began and ended the performance on plinths inscribed with their names: This was a staging antique and modern at once, with surreal touches of synchronized choreography, bits of slapstick and a central golden staircase rising to a golden throne, the prize everyone is climbing toward.
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Meanwhile in the English town of Ashbourne, players competed in the annual Shrovetide football match in a game said to date from the 17th century, in which the Up'ards and the Down'ards teams aim to "goal" a ball by hitting it three times on stone plinths placed three miles apart.
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The Bangladesh Red Crescent Society has worked with local authorities to operate a low-tech, community-based early-warning system for cyclones, which works in tandem with investments to protect and raise roads that are crucial for evacuation, and uses simple construction techniques, like raising housing plinths to reduce exposure.
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But as a dreary stroll down Park Avenue will remind you, Modernism swiftly became a gutless orthodoxy, its high ideals devolving into the rote features of the International Style, a repetitive and predictable series of gestures (curtain walls or ribbon windows, recessed plinths, decorative piloti, windswept plazas, ornamental lawns and flat shimmering pools).
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Although she mounts the headpieces, including a tentacled nautilus, a seal and a raven, on plinths to display (some of her work is available through John Derian in New York), she also appears in photographs wearing them — on a subway car, a deserted beach, a brownstone stoop — paired with street clothes, to uncanny effect.
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" During installation recently, workers were busy erecting dozens of narrow white plinths, to accommodate another of the pair's most beloved works, "Suddenly This Overview," a series made over 30 years of humble, unfired clay sculptures depicting, in encyclopedic fashion, hundreds of scenes from history and culture, both significant ("The First Potatoes Arrive in Europe") and mundanely silly ("Mr.
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Glass bottles of clean water representing each city stood on individual plinths like precious artifacts, all arranged in a circle in the museum's Great Court; protestors sprinkled black confetti in the middle of the circle to represent BP's sludgy product and over the course of the afternoon, added blue confetti to the pile to symbolize rising waters.
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The fair's artistic director, the designer Rafael de Cárdenas, has arranged the works thematically on clusters of plinths made from reusable construction materials — cardboard tubes, glass and steel — as well as in an area he refers to as "the ideal home," a living space with a Martino Gamper console, a Marc Hundley bench and a Peter Shire shelf.
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Polished cherry wood case with engraved plaque and handles, 21956 22008/22012 x 22 193/219 x 266 215/4 inches overall (photo by the author for Hyperallergic) On the gallery's second floor, two translucent models sit on white plinths: "La cabane du film Le Bonheur d'Agnès Varda" (2017), a greenhouse with sunflowers inside, and "La cabane du film La Pointe Courte d'Agnès Varda" (2017), a stranded semi-built boat.
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It's an asylum of architecture and endless sustainability: handmade papier-mâché, recycled from the office's paper waste, line the walls; most of the furniture is made of recycled materials, including reclaimed timber as sculptural plinths, foam, and vintage hand selected furniture; mannequins are made from a bioplastic material composed of 72% sugarcane derivative (which enables for significant reduction of Co2 emissions) — all this and more reflect the brand's philosophy to reduce, reuse, and recycle.
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Two years later, at the School of Visual Arts, where he was teaching art history, Bochner presented the show "Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art" — a set of office binders that contained Xeroxed versions of notes by Robert Smithson, Dan Flavin, Judd and others for their own art, placed on plinths — which is now considered to be the first exhibition of conceptual art.
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So we and the camera-bearers – who advance in front of him, semi-crouched, as if stalking some jungle beast – follow him, tripping over each other, mildly aggressive through our excessive politeness, all trying, desperately trying, to get half a look in, at this pot or other, as Grayson walks between the tightly wedged stacks of plinths topped by plexiglass boxes, regimented in rows, full of the spitty stuff of his youthfulness, prompted to reminisce by many softball questions from the director.
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In many ways as much a social engineer as a fashion designer (and, as he often points out, a detail-obsessed Virgo), Mr. Ford made certain that, when the celebrity armada began arriving in waves, the black-suited and obligatorily handsome cater-waiters were poised and ready with trays of Champagne and chilled margaritas; that the vases on plinths were spilling over with branches of flowering cherry; that the carpeted show space was filled with low velvet banquettes and specially installed opera boxes, each with its own full bar and server; and that everyone in the place was sure to have a good sight line on the catwalk and, just as crucially, the front row.
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The main facade (which is oriented to the west) is decorated with a gable, cut and ornamented in spiral decoration, surmounted by cornices and Latin cross over double plinths. The main portal in a polylobial arch, includes several frames, flanked by two orders of pilasters and two columns built into the wall, surmounted by friezes over rectangular plinths. These plinths include inferior plinths supporting fragments of the portico and superior plinths with angular cornices, that extend until the corners, and pinnacles similar to balustrades. Between the portal and corners, are small backrests with the Portuguese shield.
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As of 2020, no plaques, plinths or signage exist to commemorate the Fort.
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It is surrounded by two-tier galleries from three sides. Measuring , the exterior used to be faced with plinths.
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Replica of Stooky Bill, John Logie Baird's puppet, in the Outdoor Museum When Colquhoun Square was redesigned in 2015 an integral part of its new look was the Outdoor Museum. Around 120 plinths have been erected in the Square, largely as a means of directing the little traffic which is allowed there. The long-term aim is that these plinths will gradually be filled over the years with items or replicas of items connected with Helensburgh's history and character. So far around 15 plinths now have an assortment of artefacts or artworks on them.
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Plinths for audio turntables have been made of obsidian since the 1970s, such as the grayish-black SH-10B3 plinth by Technics.
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At the other end of the park were Keith Edmier's two pint-sized commemorative bronze statues of men in uniform, mounted on granite plinths.
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The support structures for bridges and tunnels had concrete plinths that were incorrectly installed, requiring extensive repairs to sections where tracks had already been installed.
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Stone laurel wreaths adorn the northern and southern sides. Extending from all four sides of the pillar are low brick plinths capped with concrete, which are aligned with the cardinal points. A small concrete and sandstone plaque in between the southern and western plinths is a recent addition. A surrounding open lawn area, edged by gardens and trees, forms an attractive setting for the memorial.
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The windows on the first floor are served by varandas, with balustrade, surmounted by triangular and rounded plinths. The two bodies to the northeast, include doorway with rounded arch, while some window plinths are decorated with a head of a woman, with the mask of a lion, while the royal arms of Spain appear on the extreme northeast body. These are surmounted, respectively, by windows decorated in founded frontispiece, supported by anthropomorphic ledges, and served by a varanda an balustrade with plinths. At the extreme body, the door is flanked by two narrow windows crowned and surmounted by two windows, with varanda and balustrade.
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31 and there used to be two 'King George's Fields' logos on stone plinths in the entrance to the field, but in 2012 the plinths were vandalised and the logos removed. North of the current King George's Fields is an area of public open space called Barnet Playing Fields, an area of 72 acres laid out in 1926. It is unclear whether this was ever part of King George's Fields.
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In the centre of the two front plinths is a larger bronze plaque with a granite triangular pediment detail. The front plinths also have additional bronze plaques commemorating the 55 soldiers who fell in the Second World War. At each end of the cross stands a Carrara marble statue, facing outward. The statues are life-sized, and represent a Red Cross nurse, a soldier, a sailor and an airman.
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October 17, 1933.Commission of Fine Arts, 1940, p. 63. Accessed 2013-09-20. Granite from Mount Airy, North Carolina, would be used for the plinths and pedestals.
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There were no buildings on the outer oval terrace but altars and cult symbols were visible. A plinth with recessed stone cylinder lay to the south and a plinth with three pillars was situated near the north-west wall. A double row of plinths for cult objects lined both sides of the stairs from the upper terrace. On each of these plinths were two square holes lined with bitumen and sheet copper nailed to wood.
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Other features include buttresses and high granite plinths. The eastern sections have rounded corners. An original rectangular window is near the library floor. The tower originally had arched window openings.
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Plinths at the entrance to the raised terrace are incised with the names of the New York volunteer regiments and the battles in which they served, as well as Union generals.
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The facade of the National Art Gallery (1900s) showing the empty plinths, set at 45 degrees, on the corners of the portico The expectation at the time of commissioning the sculptures was that they would be situated at an angle on either side of the portico at the top of the entrance steps. Purpose-built plinths had been included in the construction of the facade for the statues' eventual installation. However, once the statues had been delivered, the gallery trustees decided instead to install the works on free-standing plinths halfway down either side the length of the facade. In May 1926 a separate tender was called for the plinth construction and the installation of the sculptures, with the eventual installation taking place in October.
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Surviving chimney on the Norton Goldfield, 2009 The Norton Goldfield is accessed via Norton Road which exits the village of Nargoorin to the east. Travel along this roadway in a northeast direction for approximately . The gold roasting furnace site consists of four parallel brick plinths with collapsed brick arched roofs, interpreted as being roasting furnace bases. The plinths are separated by approximately spaces between them, one of which at least is paved (the others are largely covered with soils and rubble).
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The most striking feature of the building is a 2-storey arcaded verandah along the street elevation which returns for 3 bays on each side. The arcades are constructed of rendered brick and consist on both levels of a central arch topped by a small triangular pediment and flanked by large arches. These are formed of pilasters with Corinthian capitals on masonry plinths supporting a semicircular arch with a cental key and edge mould. Cast-iron balustrading links the plinths.
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The four Portland stone lions on plinths along the frontage, an 1867 addition by the sculptor William Day Keyworth Jr, contrast with the sandstone of the building itself, and were modelled at London Zoo.
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After the tour concluded the original ten sculptures were sent back to their original locations with the bespoke plinths made for the exhibition with the intention that they continue to be accessible to the public.
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Upritchard's only piece of public art to date is installed in inner-city Auckland on Symonds Street. Titled Loafers, the work consists of three bowl- shaped concrete plinths topped with Upritchard's idiosyncratic human figures, and several snake forms, cast from bronze. Upritchard has said of these works: > The Loafers plinths reference important ceramic artist Lucie Rie. Rie > pioneered domestic-ware in Britain, and her small works were developed at > the same time as huge outdoor bronzes and in my mind, share a sort of 1950’s > aesthetic.
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The statues present the women at street level, rather than on a plinth, although plinths are used as part of the artwork. Stone, for example, is positioned using her plinth as an editorial desk, working on the Woman's Journal, which she founded. Quotations from the women are inscribed on their plinths. Local people regularly leave items at or on the statues — scarves around the women's necks in winter, a Boston Red Sox cap on Wheatley's head when the team won the World Series in 2004.
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For best results executives used the old, but very strong Tatar plinths which were brought from the ruins of the cities of the Golden Horde towns. Stone citadel was built by the type of Moscow Kremlin.
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A bronze statue of Henry Havelock by the sculptor William Behnes, stands in Trafalgar Square in London, United Kingdom. It occupies one of the four plinths in Trafalgar Square, the one to the southeast of Nelson's Column.
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The memorial consists of a Portland stone column approximately high, with buttress plinths, on a granite base, and attached bronze sculptures.War Memorial to London Troops, victorianweb.org On each of the buttress plinths, to the north and south of the central column, is a life- size bronze statue of a soldier standing at ease with a rifle, one representing the Royal Fusiliers and the other the Royal Field Artillery. The column is surmounted by a bronze lion rampant bearing a medallion of Saint George and the Dragon, with the legand "St George for England".
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There is a plinth at each of the four corners of the square. The two southern plinths carry sculptures of Henry Havelock and Charles James Napier. The northern plinths are larger than those in the southern corners, as they were designed to have equestrian statues, and indeed the northeastern plinth has one of George IV. The fourth plinth on the northwest corner, designed by Sir Charles Barry and built in 1841, was intended to hold an equestrian statue of William IV but remained empty due to insufficient funds.
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Three rough plinths dating from the beginning of the 4th century are found in Kutai, East Kalimantan, near Mahakam River. The plinths bear an inscription in the Pallava script of India reading "A gift to the Brahmin priests". 8th century alt= One such early kingdom was Tarumanagara, which flourished between 358 and 669 CE. Located in West Java close to modern-day Jakarta, its 5th-century King, Purnawarman, established the earliest known inscriptions in Java, the Ciaruteun inscription located near Bogor. And other inscriptions called the Pasar Awi inscription and the Muncul inscription.
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It is based on a grid (the exact dimensions of its plinths). The temple had 6 × 11 columns, i.e. a proportion of 5:10 or 1:2 intercolumnia. Walls and columns were aligned axially, according to Ionic tradition.
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It was topped by a balustrade, with four obelisks on corner plinths. The belfry level beneath this had round headed windows framed by swags. The stage below that, marking the limit of building in 1684, had round windows.
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Column rugs with a single-arched niche have spandrels decorated with flowering-stem patterns on an ivory ground. The arch may be rounded or serrated. Examples are known with more than two columns. Generally, the plinths are well drawn.
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A bronze statue of Charles James Napier by the sculptor George Gammon Adams stands in Trafalgar Square in London, United Kingdom. It occupies one of the four plinths in Trafalgar Square, the one to the southwest of Nelson's Column.
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The other windows date from the 19th century. The window in the west wall is a "wheel window", with six lights and a central roundel, all in sandstone. The walls of the porch are timber-framed on stone plinths.
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These joint works are sought-after items. The large majority of Lorenzl's figurines were attached to Brazilian green onyx plinths. Lorenzl's talents also extended to being a gifted ceramicist. He produced pieces for Goldscheider, working from a studio on company grounds.
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In 1548, when William Barlow was the Bishop of Bath and Wells, it was sold to Edward VI. The remains were excavated during the construction of the school, but have since been re-buried. The layout is marked with concrete plinths.
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Hyeonjeo-dong is a legal dong, neighbourhood of the Seodaemun-gu district in Seoul, South Korea and is governed by its administrative dong, Cheonyeon- dong's office. There are in the Historic Sites "Dongnimmun (Independence Gate)" and Yeongeunmunjucho (Plinths of Yeongeunmun Gate).
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The decorative front facade of the church, with many of the elements that distinguish it Located in an isolated urban context, implanted on an elevated hilltop over the historic Fort of Mãe de Deus, with plastered walls, relatively close to the University of the Azores. The church's frontal access is marked by a basalt staircase of two flights, flanked by rectangular plinths, plastered and painted in white, caped by faceted pilars and two orders of plinths. The courtyard is covered in sod, and dotted by trees. A 19th century chapel, in the late Neo-Baroque style, identifiable by the proliferation of decorative elements.
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Australians of the Year Walk The "Australians of the Year Walk" in Canberra was designed by the National Capital Authority and comprises a series of plinths, seats and lighting. Incorporated in the pathway are five metal strips set flush in the concrete, representing the five music stave lines. The plinths are placed in musical note position to the score of the national anthem "Advance Australia Fair". Fixed to each plinth is an anodised aluminium plaque containing the names and images of an Australian of the Year, there is one plaque for each year of the award.
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She says to the Doctor and Rose, 'You do keep turning up. Like a bad wolf.' Inside is a long table, with over 20 masks arranged on it. On either side of the fireplace are suits of armour with swords on plinths.
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The individual rods of the pointed lining jut out of small plinths. The lining continuously continues into a square bordering. Crocket is used as a decoration for both archivolts and the bordering. The northern portal is designed in a very similar manner.
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An interior view of the church, showing the altar, organ and dome The church has a low concrete dome, by contrast to the spire of St Jude's. The interior features Tuscan columns with brick plinths, and a barrel vault. The interior is in pastel colours.
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It has no plinths or buttresses. The eastern end of the north and south walls each contain a single pointed arch window. The 19th century east window is three-lighted. The south chapel is 14th century as was partly rebuilt after a fire in 1554.
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Its columns, mostly still upright, stand on Attic bases without plinths, exceptional for the period. The 24 flutings of the columns are only indicated by facets in the lower third. Each of the Corinthian capitals is made of three separate parts, an exceptional form.
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The excavation of the ancient temple in 1974 was a historic discovery linking the antiquarian finds to the establishment of the temple to the period between 8th and 12th centuries of Gurjar Pratihara School of Art. The excavations have revealed five ancient plinths or pedestals and over 100 beautiful sculptures. The direction of these plinths indicate that the temple was stylized to the Panchayatan group of temples, where the main shrine is surrounded by four subsidiary shrines, which is contemporaneous to the temples of Khajuraho and Bhubaneshwar. Erotic images of the Bhima Devi temple contemporary to Khajuraho temples, have earned it a nickname of Khajuraho of North India.
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A giant portico was added to the east and south sides of the building, and the two-story Ionic columns were placed atop six-foot plinths connected by a wall which ran the length of the porticos. Three more plinths were added to the north side of the building without columns, and a fourth plinth supports a one-story column under the second story of the ell. This column is all that remains of a former porte-cochère. When the portico was added, the original front porch was removed, but the balcony remained, supported by smaller columns attached to the ceiling of the new portico.
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Two tall, symmetrically disposed chimneystacks pierce the north-facing plane. The principal entrance is in the northern (rear) elevation. An open verandah extends the length of the southern (front) elevation and is supported by tapering timber posts that are stop chamfered. The posts rest on concrete plinths.
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The roof is supported by four wooden posts on octagonal plinths. Behind all three bays have French doors, molded cornices and louvered shutters. The second-story windows have similar trim. On the northernmost two bays of the first story on the east is a projecting bay window.
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Evolving funerary architecture then incorporated small plinths. Some monuments feature corridors with roofs supported by intricately carved sandstone. By the 15th century, decorated rosettes and circular patterns began to be incorporated into the tombs. More complex patterns and Arabic calligraphy with biographical information of the interred body then emerged.
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The deck is suspended by means of nine cables extending diagonally from the pylon and attached to the deck along the median. The pylon is inclined towards the west and is restrained by a double set of nine cables extending down to a pair of plinths at ground level.
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The font is situated in the south aisle to the west of the south door. This is a plain, tub font with slightly bowed sides, resembling a chalice. It has a cylindrical stem and base, standing on two square plinths. The rim is chamfered and has slight damage.
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Souden, p. 38 There are decorative schemes by the painter James Thornhill (1721). Carved marble busts of the Roman emperors Trajan and Galba were returned to Wimpole in 2014 and placed on the original wooden plinths which had been carved for them by Rattee and Kett in around 1860.
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Andre’s sculptures are often assembled using common industrial materials, which he arranges into a simple geometric pattern. His sculptures are always placed on the floor rather than on plinths. Not simply objects to look at, they become part of the environment, altering the viewer’s relationship to the surrounding space.
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The Reception Room features intricately patterned plaster walls and ceilings. Two of its windows have gold-stained panels, and an original crystal chandelier still hangs. The drawing room at the house's northwest corner features scrolled brackets and marble Composite columns on high plinths. Its marble fireplace has wood surrounds.
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There are moulded brick dripstones rising from plaster and terra cotta corbels. The window sills, plinths, mouldings and steps of buttresses are rendered in cement stucco. The buildings exterior is rough stone and brickwork with the brick pointed, in black and white mortar. The tower is tall with an octagonal spire.
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The experience is enhanced through the use of audio-description and braille signage. Plinths are also specially designed to allow wheelchair access. In September 2009, the National BlindArt Collection was given a permanent home at the Royal National College for the Blind in Hereford, where it can be viewed by the public.
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The house is built in brick with stone bands and dressings on a stone plinth. The hipped roof has red tiles with lead finials. As a whole the house has 1½ storeys and is in two bays. It has three chimneys with red- brick barley-sugar flues and stone plinths and caps.
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During Al Andalus (or Islamic Spain era) the archaeological area was inhabited. Remains of that fact such as ceramic materials, stone wall plinths, support this assumption. Between 1238 and 1243, the Taifa of Murcia came under increasing pressure from the powerful kingdoms of Castile, Aragon and Granada. There was also considerable internal instability.
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Fuel dispensers are placed on concrete plinths, as a precautionary measure against collision by motor vehicles. Additional elements may be employed, including metal barriers. The area around the fuel dispensers must have a drainage system. Since fuel sometimes spills on the ground, as little of it as possible should penetrate the soil.
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In addition, it is the only ROTOR bunker to retain the original 'Phase 1' layout. The 1969 fire saw much damage inflicted on the main operations room, while other areas also have remaining soot. On ground level, six radar plinths remain intact together with the emergency exit blockhouse and the old USAF compound.
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The original wall was topped by plinths. The complex also features the remains of the principal hut. It is assumed that this was the residence of the Torwa king. The site was damaged by early treasure hunters seeking gold, but remains one of the best-preserved and most impressive ancient monuments in Zimbabwe.
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The excavation work for foundation lasted for seven days. Then was commenced construction of six plinths. That was accomplished in thirty-one days, and immediately after that started the erection of the superstructure. That was also completed within thirty-four days, after which roofing work was started from top to the lowest roof.
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These balcões are bordered by ornamental columns that sometimes continued along the steps and added to the stature of the house. This, together with the plinth, which usually indicated the status of the owners. The houses of rich landlords had high plinths with grand staircases leading to the front door or balcão.
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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.
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The presbytery and the nave are supported by diagonal and setback buttresses with roof-like skews. The church's entire parameter is encircled by a window ledge. The presbytery is surrounded by plinths culminating in a cornice of the window-sill. All four presbytery windows are Gothic with the Flamboyant, a flame-like tracery.
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It was rebuilt around 930 AD and a chapel and other buildings were added. The palace hosted the Witenagemot, an assembly of powerful figures, in AD 941, 956 and 968. The remains were excavated during the construction of the school, but have since been re-buried. The layout is marked with concrete plinths.
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The sixteen plinths intended for the statues now house busts of prime ministers who have sat in the House of Lords, such as the Earl Grey and the Marquess of Salisbury. A double door opposite the stairs leads to the Royal Gallery, and another to the right opens to the Robing Room.
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To the southwest of the chapel are gates and gate piers. The gate piers date from the 20th century, and the gates from about 1750. The piers are in brick on stone plinths and have stepped stone caps with ball finials. The gates are in wrought iron and were made in Milan.
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On either side of the church is a mausoleum for Lionel Lyde and his wife Rachel. Lyde is alleged to have said of this arrangement that ‘since the Church united us in life, she can make amends by separating us in death’. The urns are raised on tall plinths and sheltered by aedicules.
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The churchyard contains fifteen Grade II listed chest tombs, and five Grade II listed headstones. The chest tombs date from the early to mid-19th-century and are of limestone ashlar. They contain, variously, moulded plinths, slate tablets or panels either square-shaped or oval, and hipped tops. One is topped by a slate slab.
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Niankhknum's is seriously damaged. The false door provided an accessway for the deceased, as a spiritual being, to reach offerings left at the tomb by the living. These offerings were to be set on plinths in front of the false doors. Behind the false doors is a small statue closet known as the serdab.
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Above the springers, subtly projecting vertical bands of alternating brick and stonework extend to the parapet, terminating in plinths that originally held ball finials. The finials are still extant but were moved farther back on the roof. The original tall, curvilinear parapet has been truncated. The entrance bay is about wide and slightly recessed.
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In the late 18th and 19th century there was a growth in public open air statues of public figures on plinths. As well as monarches, politicians, generals, landowners, and eventually artists and writers were commemorated. World War I saw the war memorial, previously uncommon, become very widespread, and these were often statues of generic soldiers.
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Where the piers were on the river bank the trestles rested on low masonry plinths. It was not possible to remove individual timbers from the trestles, unlike the fan viaducts which were designed with piecemeal maintenance in mind. It was demolished after the line was diverted to a new alignment on 19 May 1908.
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Three hounds complete the central group. There are two more bronze figures on the sides of the basin. They are connected to the central group with gestures and gazes but they have their own plinths. On the right is Szép Ilonka (Helen the Fair), heroine of a famous 19th century ballad by Mihály Vörösmarty.
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This sort of column is found in the entrance hall of the Awwam temple and Ḥaram-Bilqīs in Ma'rib, for example. From the 5th century BC, the corners were reduced until eventually they became round columns. From the 5th century, columns also had capitals - initially simple plinths, which subsequently developed into various forms.Grohmann, Arabien pp.
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As well as animals, there are statues of Winston Churchill, T. E. Lawrence and Robert Burns, and many texts set into the plinths and pathways. It has been a popular tourist attraction, with its own tea room, and may still be accessible by the public for free (although with a coin box for voluntary donations).
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Mouldings stand out around doors and windows rather than being recessed, as in Gothic architecture. Sculptured figures may be set in niches or placed on plinths. They are not integral to the building as in Medieval architecture.Banister Fletcher, History of Architecture on the Comparative Method(first published 1896, current edition 2001, Elsevier Science & Technology ).
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The fan house is located south of the headframe. It mostly consists of a large cylindrical, steel fan housing mounted on concrete plinths. The eastern end of the housing is flared and open; a large multi- bladed fan is visible inside. A smaller, hollow plinth supports this end of the housing; a smaller fan is visible inside.
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There is a front section of an Iberia EC-CGO McDonnell Douglas DC-9 at the southern part of the airport, installed in December 2002. It is not far from the General Aviation Terminal. Outside the main car park, there is a Cessna 421 Golden Eagle, registered EC-FPA preserved on plinths. It was installed in 2011.
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The National Park Service chose to refinish the statues using brush electroplating. Workers discovered that because the interior of each pedestal was exposed to bare earth, excessive condensation built up inside the hollow statues. Additionally, the statues had not been completely seated on their plinths, and additional moisture worked its way inside through the poorly sealed joint.Passaglia, p. 160.
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The design is Italianate with the roofs of French mansard design. The clock tower was designed to resemble the previous Town Hall clock tower. The building is brick with a facing of limestone (Bath Stone) and the plinths and columns are in Mansfield Red Stone. Building started in 1866 and the project was completed by January 1868.
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On 9 January 2020, at around 2.15pm, a crack was spotted on one of the plinths on which the LRT’s light rail vehicles run. The “isolated” crack was located between the Riviera and Coral Edge stations. One platform has been closed early from 9pm to 4am for urgent maintenance, while operations continue as trains run on other platforms.
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The fort is fortified with many bastions, which also have small built-in rooms. The central part of the fort has two granaries and a decrepit building. From the Chor Darwaja, steps lead to the fort. Locations of old palaces in the fort area are inferred from the large number of foundation plinths seen in the fort area.
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The scenic beauty of the hills with its rich flora, its unique location together with the archeological importance, holds promise of becoming an important tourist spot in India. Of late, a township consisting of brick- plinths, terracotta antiquities as also a hoard of coins have been discovered near the mosque, which have been tentatively attributed to the Mughal regime.
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The grey granite monument sits on two circular concrete steps. The base comprises three layers of banded rock faced granite, cruciform in plan. Above each end of the cross are smooth-faced plinths. Each end face of the cross displays a bronze plaque with the names of the 100 local citizens who fell during the First World War.
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The two plinths are topped by cornices supported by consoles. The obelisk proper stands above this array of plinths: it is 14.6 meters (48 ft) in height and it bears several inscriptions on each face, separated by decorative gooves, recalling important events of the war: on the southern face, along with the national arms, the inscriptions "Angra, 16 March 1642" and "Lisbon, 15 December 1640"; on the east face, "Badajoz, 22 July 1658", "Pernambuco, 17 January 1654", "Angola, 15 August 1648", "Santo Aleixo, 12 August 1641"; on the northern face, along with the municipal arms of Lisbon, the inscriptions "Peace Treaty, 13 February 1668", "Vila Viçosa, 14 June 1665"; and on the western side, "Castelo Rodrigo, 7 July 1664", "Almeida, 2 July 1663", "Évora, 4 June 1663", and "Elvas, 14 January 1659".
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The Arcus Novus was decorated with reliefs reused (spolia) from a large altar of the Julio- Claudian period, most probably the Ara pietatis, while the column plinths were decorated with images of Victoria, barbarian prisoners and the Dioskouri, probably from the facade of the nearby Temple of the Sun of Aurelian. The arch was destroyed in 1491 by order of Pope Innocent VIII during reconstruction of Santa Maria in Via Lata. Fragments of the reliefs were discovered in 1523 and added to the Della Valle collection before being acquired by Cardinal Ferdinand de' Medici in 1584, from where the plinths found their way to the Boboli Gardens in Florence. Other fragments from the Antonine period, reused by Diocletian, were included in the rear facade of the cardinal's Villa Medici in Rome.
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Two of the Mole sides are sloped whilst the southeast face is vertically walled. Originally three sides of the Mole served coal hoists and their related rail sidings linking them and there were cranes on the southeast face, also rail-served. The former hoist brick-faced plinths are still present (2017) around the northwest and east faces as are those on the rest of the two docks. In the twilight years of tanker unloading for the William Cory (Powell Duffryn) oilworks, short footbridges were provided from the Mole for works staff to access the brick plinths for the purpose of handling the flexible tanker oil discharge piping and supports and it was not unknown for rail tank wagons to be in use on the siding serving the northwest Mole face.
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Following the independence of India on 15 August 1947, the park has become the final resting place for some of the statues of former British kings, governors and officials of the British Raj. The statues were moved from various locations (including Rajpath) to the red stone plinths built in the park's specially designed enclosures, just opposite the Obelisk. The largest and tallest statue, a high marble statue designed by Sir Edwin Lutyens, is opposite to the Obelisk commemorating the Durbar and is the tallest statue of King George V. His statue had earlier stood atop a canopy in front of the India Gate, which is now vacant following the statue's removal. Nineteen pedestals were built to install the displaced statues but only five are fixed, while the remaining plinths are vacant.
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A timber chute runs from the base of the hopper up into the hopper in the boiler shed. Adjacent to the kiln site East of the kiln site, remnants of a former sawmill lay scattered about including trolleys, rails and concrete plinths. The site is presently used as an open sawmilling area and is not included in the heritage listing.
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There is a shaped water garden to the south side of the house. Installed in the early to mid-nineteenth Century, it has two round pools linked by a narrow canal. Each pool features a fountain, with square plinths and wide, scalloped bowls. There is also a large walled garden approximately 450 metres from the house, with a former garden room and orangery.
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There is a stone paved verandah at the rear. The verandah roof has been reconstructed to its original form of a concave profile roof supported by simple posts on plain plinths. It is constructed of a local sandstone, possibly from Woogaroo Quarry with brick walls internally. The form of construction is rare, incorporating timber tie beams at lintel level through the stone work.
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On 9 January 2020, at around 2.15pm, a crack was spotted on one of the elevated concrete slabs — known as plinths — on which the LRT’s light rail vehicles run. The “isolated” crack was located between the Riviera and Coral Edge stations. One platform has been closed early from 9pm to 4am for urgent maintenance, while operations continue as trains run on other platforms.
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The church is constructed in local sandstone from Peel Quarry with a slate roof and bellcote. The church has a north porch and west spire. It is in the Early English Gothic style with Decorated details. The church is built on projecting plinths and has a nave and four-bay aisles with separate roofs which terminate short of the nave at the west.
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This consists of a terrace of five shops that directly face the cathedral. They are timber-framed with herring-bone brick nogging and some plaster panels; they are roofed in brown tiles. On the ground floor, all the shops have modern fronts. The upper storeys protrude towards street and are supported by a colonnade of seven timber posts set on sandstone plinths.
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These balcões are bordered by ornamental columns that sometimes continued along the steps and added to the stature of the house. This, together with the plinth, which usually indicated the status of the owners. The houses of rich landlords had high plinths with grand staircases leading to the front door or balcão. Large ornamental windows with stucco mouldings open onto verandas.
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There is a front portico that is about long and wide with four Doric, solid heart pine columns that rest on wooden plinths. There is a simple pediment on the front facade. There are central arched doors flanked by four over four light windows topped with two light semi-elliptical transoms. There is a round stained glass window above the doorway.
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Attraction: The Centenary of ANZAC Memorial Walk, Queensland.com. Accessed 30 October 2018. The memorial consists of several elements including ANZAC Court featuring a sandstone and sculpture cenotaph, a glass pane artwork, various sandstone plinths, The Gatehouse museum, battle markers, silhouettes of Australian soldiers, a boardwalk and a viewing platform.Conaghan, Rachael (18 April 2015) Anzac commemoration proud reminder for locals, The Morning Bulletin.
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They are the works of sculptor Miklós Ligeti from 1903. The steps were demolished after the war, but the statues were saved and re-erected in 1976 on top of two simple concrete plinths near their original locations. ;Lions Two pairs of lions guard the monumental gate leading into Lions Court. The four statues are the works of János Fadrusz from 1901.
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The first floor verandahs are supported by paired cast iron columns with corinthian capitals; these are in turn supported by masonry plinths. Between these are cast iron balustrades with timber hand rails. These columns support a dentiled soffit. Similarly paired cast iron columns support the first floor balcony and the ground level balustrade has moulded concrete balustrading with hourglass-shaped balusters.
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Two groups of four statues, representing the four seasons and the four elements, stand among trees southeast of the site; they are thought to have been bought by the Marquess at the Paris Exhibition of 1855 or 1867. To the northwest, close to the site of Beckford's abbey, are three decorated urns on plinths, said to be from the same source.
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Bank of New South Wales façade transplanted from Collins Street to the University of Melbourne. The intricate, dual-level façade is in the Renaissance Revival style. The lower level of the façade consists of capped columns in the Ionic order with fluted scamozzi capitals. These lower columns sit upon carved stone pedestals held in place by rusticated blue-stone plinths.
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The quarries have created considerable scars in the side of Mount Gibraltar and are most visible from the southern/Bowral side. At close quarters the works cliffs are impressive with walls of up to 50 metres. The site contains rubble which is used from time to time for current projects, e.g. plinths for plaques and landscaping work within the reserve.
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From the entrance, there is a vestibule with mosaic flooring, marble baseboards, classical molding and bronze light fixtures. It leads to 65-foot-long (20 m) Great Hall that rises two stories to a coffered ceiling and skylights. A divided staircase of pink marble rises to a gallery that overlooks the hall. The balcony is supported by Ionic columns on high plinths.
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At its west end is a 14th-century Decorated Gothic chancel arch. This measures by ; the height to the imposts is . The imposts are thin (about across), are made up of two stones and have been partly renewed—perhaps to support the weight of the tower when it was added. The jambs of the chancel arch are supported on plinths that project only slightly.
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The porch's treads and cheek walls are made of dressed Gasport Limestone blocks. The square porch posts with abstracted capitals and plinths appear to date from the early twentieth century. The porch's hip roof has broad projecting eaves adorned with regularly spaced pairs of turned pendants. The tall, narrow porch entrance doors incorporate three-quarter height glass lights, molded trim and bull's-eye corner blocks.
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The area open to the public, consists of a large quadrangular space bordered by two elements called "uatziris" (or Huatziris) by local people. These elements are wide staggered walls in both sides; access to the top side was by an embedded stairway. At the western end of the plaza a rectangular platform was placed on which two plinths were constructed; these are described next.
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A pair of automatic glazed sliding doors lead from the entrance porch to the postal hall. The building and its quarters are elevated on a plinth structure, which appears to be in cement rendered brick, later painted a dark colour. The plinths retain their original sub-floor vents. An illuminated standard sign has been placed outside the entry porch, bearing the Australia Post logo.
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The four plinths for the La Madre Filipina statues were reconstructed that would act as the pedestal for the returning sculptures. Retrofit and repair works were also done at the steel girders of the bridge. The statues of Gratitude and Democracy were reinstated at the bridge on November 22. Jones Bridge was inaugurated on November 24, 2019 and was formally opened to the public.
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The main measurement was the foot, varying between 29 and 34 cm from region to region. This initial measurement was the basis for all the units that determined the shape of the temple. Important factors include the lower diameter of the columns and the width of their plinths. The distance between the column axes (intercolumniation or bay) could also be used as a basic unit.
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Each bay of the building is defined by a reinforced concrete framework over which lie wooden battens that support the roof, whilst the rear wall has a number of buttresses. Brick plinths remain, and these are likely to have supported benches. The shelter has been incorrectly identified as stables. A now-roofless, small room at one end of the structure remains, with a tree growing inside it.
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On the dropped friezes there are pairs of cherub heads between bunches of fruits. Inside the niche of the baptismal font there is a relief depicting the Baptism of Jesus. The coats of arms on the plinths belong to Cardinal Flavio Chigi. Parapet Marble parapet slabThe 15th-century parapet with the coats-of-arms of a Della Rovere cardinal is probably the finest in the basilica.
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It is accessed through steps partly enclosed by a balustrade with a large dome of great beauty. Lotus flowers, designed in concave shape, spaced at , arranged in concentric circles in decreasing layers and depicting a central blossom of the lotus, decorate the roof. The lotus pendant is covered by a large pyramidal roof. The pillars that support the roof with the lotus pendant are founded on plinths.
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Some round or hexagonal chimneys were constructed on square plinths, as at the Ross River Meatworks. They were markers of the steam age in nineteenth century Queensland. The Ross River Meatworks Chimney is the only surviving nineteenth century brick chimney in the immediate Townsville area. Regionally, the 1889 brick chimney at the former Burdekin River Pumping Station at Charters Towers (Burdekin River Pumping Station) also survives.
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Sculptures made of iron and Perspex represented a new group of works. Initially they were made life-size. Everyday found objects were put on Perspex plinths and became assemblages associated with new meaning. Later they took up so much room that the Perspex bases grew into navigable spaces with corridors and transparent walls, while antenna-like watchmen or signals loomed high above the viewers.
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Inside the church the five-bay arcade is carried on round piers with tall plinths. There is an organ gallery at the west end. The Lady chapel is at the southeast of the church, and the Sacred Heart Chapel is at the northeast. A few items of church furniture designed by Pugin are still in use, including a triple sedilia, credence table, prie-dieu and candlesticks.
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47 The well- heads and oil-jars found throughout the gardens came from Venice and Rome respectively. Sitting on modern plinths in the Long Garden are two ancient Egyptian baboon sculptures, thought to be 2,000 - 2,500 years old, that were purchased by William Waldorf Astor in Rome in 1898. It is believed that these sculptures represent Thoth, the Egyptian god of writing and wisdom.
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On the walls of the ante-room there is a segmentation similar to the one used on the Sternberg Chapel. The ante-room on the northern side has a rectangular floor plan reaching slightly over the border of the pillars. The entrances have profiled linings, whose rods jut out of plinths. Above the cornice there is an attic, whose battlement shape enables water runoff.
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Finding the general feeling of the vestry to be opposed to a church-rate, the Committee depended entirely upon the voluntary principle for support, and their appeal for the necessary funds was well responded to. By the following September £1,558 had been subscribed, and the first contract was entered into for the restoration of the west end, which was commenced in the spring of 1866, and as subscriptions came in liberally, it was determined to carry out the work in a more thorough manner than was at first contemplated. All the coverings of rough cast, with the ugly plinths of Roman cement, were removed, and a handsome wall facing of stone substituted; the buttresses were rebuilt on solid foundations reaching down to the rock, and good stone plinths added, following as nearly as possible the old lines. The foundations are now even more substantial than when the Church was first erected.
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It faces east and has a marble headstone. A cast iron fence, set into stone corner plinths, surrounds the grave. The other three graves face southwest; the grave just north of John Dutton's grave consists of a cast iron headstone with no inscription and a rectangular arrangement of stones. The next grave has a rectangular cairn of basalt stones, stacked on top of a plinth of quartz rocks.
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Seneb's career is documented on his false door and the plinths of his statues, which record twenty titles including "beloved of the lord [king]", "overseer of weaving in the palace", "overseer of dwarfs" (presumably indicating that there were others in the palace), "overseer of the crew of the ks ship"Chahira Kozma. "Genetic Disorders in Ancient Egypt", in Ahmad S. Teebi (ed). Genetic Disorders Among Arab Populations, p. 288. Springer, 2010.
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It also led to Feldman's television series Marty (which also featured Tim Brooke-Taylor). The convention of comedy scenes interspersed by songs was abandoned. It still used punchlines, which would often be dispensed with in Monty Python's Flying Circus. Several sketches came from the 1963 Cambridge Footlights Revue entitled Cambridge Circus (the revue was previously entitled A Clump of Plinths), including Graham Chapman's solo routine "One Man Wrestling".
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Cedar casement windows are set on sandstone sills with external shutters. French doors open onto a front verandah with diagonal stone flagging, unusual vaulted ceiling and slender timber Doric columns on sandstone plinths. The French doors have internal cedar screen shutters which fit into the reveals as panelling when not in use. The north east corner of the verandah has been modified by infilling in the 1820s to create a room.
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There were 36 capstans on the flight, and 126 revolutions were required for a boat to travel up or down the complete flight. With the advent of hydraulic rams and push-button control, transit times through the flight have been reduced from just over half a day to 90 minutes. The base plinths of the original capstans can still be seen, although the capstans themselves have been removed.
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Unique among the Wren churches, the east and west walls had buttresses. The interior was divided into nave and aisles by Corinthian columns, raised on tall plinths so that their bases were level with the gallery floors. The aisles had flat ceilings, while the nave had a shallow cross-vault. The north and south walls had large round-arched windows of clear glass, which allowed for a brightly lit interior.
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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.
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The cladding with ochre-coloured ceramic tiles is complemented with pillars covered with various terracotta reliefs. Plinths and cornices are made of sandstone. Due to its external monumentality, the building does not reflect the townscape, but instead stresses its importance as a railway junction. It contains a Fürstenzimmer ("prince's room"), which was the location of a meeting between Otto von Bismarck and Tsar Alexander III of Russia in 1889.
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The statues are mounted on separate stone plinths on a stepped base, and the overall shape of the monument is intended to resemble a castle, representing Luther's hymn "Ein feste Burg ist unser Gott" (A firm castle is our God). Ernst Rietschel designed the group in 1859. He completed the sculptures of Luther and John Wycliff but died in 1861. The other statues were mostly executed by his pupils.
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They have round piers topped with waterleaf and scallop capitals. The label mould of the central arch is topped by a beak-head and has a naturalistic-head at the base of each spandrel. The four bays of the north arcade are Early English. The columns stand on plinths and each have four shafts topped by a variety of intricately carved capitals featuring naturalistic foliage and trumpet-scallops.
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There are ten major temples at Pattadakal, nine Hindu and one Jain, along with numerous small shrines and plinths. Eight of the major temples are clustered together, a ninth one about half a kilometer south of this cluster, and the tenth, a Jain temple, located about a kilometer to the west of the main cluster. The Hindu temples are all connected by a walkway, while the Jain temple has road access.
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The main facade is oriented to the south, marked by a central portico framed and flanked by plinths, sectioned in half. Over the doorway are two square windows, flanked on both floors with framed windows, the third floor consisting of an irregularly design. The interior grand salon, is decorated in paneled ceilings, with two sculpted coat-of-arms: one of the Canto and the other the Castro families.
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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.
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In the case of many monuments, after they are removed the pedestals or plinths remain. What to do with them has been the subject of some discussion. In the case of the toppled Silent Sam monument at the University of North Carolina at Chapel Hill, two scholars proposed leaving the "empty pedestal — shorn all original images and inscriptions — [which] eliminates the offending tribute while still preserving a record of what these communities did and where they did it.... The most effective way to commemorate the rise and fall of white supremacist monument-building is to preserve unoccupied pedestals as the ruins that they are — broken tributes to a morally bankrupt cause." In Baltimore, one of the four empty plinths was used in 2017, with eventual city tolerance though not approval, for a statue of a pregnant black woman, naked from the waist up, holding a baby in a brightly-covered sling on her back, with a raised golden fist: Madre Luz (Mother Light).
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On two sides of the pillar were marble tablets inscribed with the names of the students who died during World War I; with stone laurel wreaths on the other sides. Radiating out from the column were four face brick plinths, aligned with the cardinal points and set at a lower height to the pillar. Into each, a drinking fountain and basin was set. The memorial was erected by Lowther and Sons, Monumental Masons, of Brisbane.
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Each tower is a hollow mast resembling a truncated cone (or frustum). The diameter of the frustum decreases from 20.7 metres at the base to six metres at the top. The towers, which rest on reinforced concrete plinths carry on their pinnacle a single crossbar with rhomboid profile, on which the insulators carrying the conductors are fixed. A helical staircase winds its way up the interior of the structure to the top.
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The amiable and somewhat absent-minded head of the house joined by Mike and Psmith on arrival at Sedleigh in Mike and Psmith, Outwood is kindly chap with something pleasant and homely about him. Somehow resembling Smee in Peter Pan, with the same eyebrows and pince-nez and the same motherly look, Outwood's passion is archaeology. He runs the school archeology club, and spends much of his time pondering apses, plinths, and cromlechs.
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The land, with an area of 1, 500 acres, was originally granted to John Palmer. The main roof is of hipped iron having three equal hips at the rear and covered way to a two-storey section. The verandah pavings and floor of the cottage are 12 x 12 inch brick tiles stamped W. Hancock & Co., Parramatta. The verandah roof is supported on elegant rectangular timber clumns with raised front panels sitting on stone plinths.
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The central courtyard () is rectangular, two stories high, with a double arcade on all four sides. The lower floor features marble columns of the Tuscan order, supporting paired, symmetrical semicircular bays. Above the columns are located small pillars that, at their connection to the entablature, form an alfiz, a type of arch characteristic of Morisco architecture. The upper galleries are composed of columns on high plinths, supporting semicircular bays, paired and covered with iron railings.
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The original Norman windows can be seen in the north wall with traces of two others also visible. There were probably three windows in each wall of the original Norman Church. In the 13th century, the first alteration to the original church was the piercing of the south wall by three Early English bays and the building of the south aisle. The octagonal columns have moulded capitals and bases and brick plinths.
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The figures may have been carved in London rather than locally. Their heads rest on angels and their feet on lions. Pevsner had great praise for the effigies, noting that they were "far above the usual standard" and had an "inimitable sideways sway". Such carved effigies are rare in Sussex—it is more common to find empty plinths or recesses where they once stood—and there are only three other recorded examples in the county.
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The McRae House is a historic house at 1113 East 3rd Street in Hope, Arkansas. This two story brick house was designed by Charles L. Thompson and built c. 1917. It is a restrained Prairie style design, with a relatively simple main block, whose entrance is highlighted by a small porch supported by six Tuscan columns on brick plinths. The porch has curved beams, and the columns are echoed in pilasters on the facade.
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The timber has been coated in seven layers of protective lacquer to preserve its look and against decay. All of the wooden columns rest on hand-carved granite plinths sitting on the floor's granite slabs. This separates the timber from the ground to further prevent rotting. Hand-carved hexagonal lanterns with shades depicting typical Chinese landscape paintings provide evening lighting for the corridors of the path running inside along the perimeter walls.
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Alternating segmental and triangular pediments carried on consoles top the second-story windows. The smooth columns support a full entablature and roof balustrade, which wrap around the building and conceal the attic story and flat roof. The Gay Street entrance is approached by marble steps that are flanked by plinths with wrought-iron lamp standards with lamps resembling 18th century ship's stern lanterns. The entrance doors are protected behind wrought-iron grillework.
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The site of Royal Mint Court comprises three buildings, two of which are original 19th century creations for the Royal Mint. The third building is an interconnecting office complex built in the late 1980s after the mint relocated to Wales. In addition to the buildings, there are two listed structures within the site's forecourt: a 19th-century entrance lodge built by Robert Smirke and a set of cast iron lamps on stone white plinths.
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Aisles were opened with three arcades supported by parallelepiped pillars that grew out of the broader plinths with corniced head, culminating with similar cornice capitals. Two of the southern row of pillars have come down to this day. Both aisles were covered with a groin vault and were closed by a straight wall on the western side. The basilica's walls were 1 meter thick and were made from stones, which were put on lime mortar.
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The final cost of the building was . Soon after the opening, plans were made to alter the entrance stairs to a design of George Halibut and this saw outward sweeps added to the stair and plinths for lighting incorporated. The council also undertook landscaping work to improve the surrounds of the building. The next additions were made in 1918 when four honour rolls, made by Fairlie and Sons, were erected in the auditorium.
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The monumental staircase with projecting bays and plinths that may be used as the base for sculpture is reminiscent of the propyleia of the Acropolis in Athens. The main level entry hall has an adjacent atrium that connects it to a restaurant in the rear of the building. Two galleries for temporary exhibitions flank the atrium. The stairwell in the northwest corner is often cited as the buildings most interesting and dynamic artistic feature.
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The awning fascia and soffit appear to have been replaced in recent years. The shops have glass show-windows and tiled piers and plinths which have been over-painted. Glazed doors to the theatre are at the north-western end of the front and, if not original, appear to contain original leadlight upper panes. Above the awning are double piers (or "slimmed-down" pilasters) at each end supporting an entablature and small cornice.
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College Apartments, also known as the Park Central Apartments, is a historic apartment building located at Springfield, Greene County, Missouri. It was originally constructed in 1910 as an expansion to Springfield Business College, and expanded and converted to apartments in 1928. It is a three- story, Commercial Block brick building with Classical details. The building features a flat parapet capped with flat limestone block and three brick pilasters with limestone capitals and plinths.
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The roof construction is unusual in having two corrugated, galvanised iron roof coverings with a gap between the two. The top one is a common roof and floats like a canopy with timber rafters supported by brackets under the projecting eaves mounted on walls through bolts. Each of the huts is supported by timber floor beams resting on masonry plinths. This might suggest that the huts were probably prefabricated and used as modular units.
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O'Malley, pp. 104–105, 160–161 Above the cornice and to either side of the smaller scenes are an array of medallions, or round shields. They are framed by a total of 20 more figures, the so-called ignudi, which are not part of the architecture but sit on plinths, their feet planted convincingly on the fictive cornice. Pictorially, the ignudi appear to occupy a space between the narrative spaces and the space of the chapel itself.
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Both this landing and the one at the top of the stairs are finished with square marble tiles. The end posts at the top of the stairs are simple, square plinths with a marble top and additional plaster flower bowls. The upper landing extends the width of the hall to form a narrow balcony, around which the balustrade of the staircase continues. Square plasterwork panels set into the end wall at this level conceal air- conditioning ducts.
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Other mature trees, planted during the school's first 15 years of operation, are located along South Street; in an east-west line south of Block J; and in a line extending southeast from the end of Block K. A decorative metal archway set on concrete plinths is located at the Hennessey Street entrance and features "HARRISTOWN STATE HIGH SCHOOL" in metal lettering. To the south of the archway are two brick piers at an older entrance.
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The bridge was partially opened during the summer of 1954 before construction was completed. The Schoharie Creek Bridge (NY 1020940, New York State bridge identification number), began full service beginning in October 1954. In the spring and summer of 1955, the pier plinths began to show vertical cracks ranging from , as a result of high tensile stresses in the concrete plinth. Almost a year later, on October 16, 1955, the bridge was damaged by a flood.
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Privies were of hammer dressed stone with Elland Flag roofs. Back yard walls were of hammer dressed stone, about 4 ft 6 in high and with triangular capstones. Ripley Terrace and Vere Street front garden walls were about 3 ft high with broad rounded capstones surmounted by wrought iron railings. Gardens of the internal "front" streets had wrought iron railings of about 3 ft 6 in height set on stone plinths and with wrought iron gates.
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The western facete, with its interrupted rounded arch façade, is a Baroque arch flanked by four pilasters and crowned by plinths with pyramidal pinnacles. The interrupted curved arch façade is decorated by the coat of arms of archbishop Gaspar of Bragança, above which is the allegorical figure of the city of Braga. The eastern façade, with only two relief pilasters, is surmounted by and image of Nossa Senhora da Nazaré (Our Lady of Nazareth) in a recessed niche.
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From the early Prototypes for New Understanding (displayed in Plexiglas vitrines) through to more recent sculptures (using freezers as plinths), methods of display have been central to the aesthetic and conceptual success of Jungen's work. Canada's Indian Act of 1876 encompassed a Potlatch ban; the government implemented this ban by seizing much of the material culture (masks, blankets, baskets, etc....) that were central to Potlatches.Shier, Reid. "Cheap." Brian Jungen, Charles H. Scott Gallery, 2000. p. 4.
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Remarkably, in the face of devastating poverty, parishioners managed to fund ongoing construction, and church was built in eight years. Phillip Kennedy took over Henderson's architectural role, and the contrast between the church's exterior and interior can be attributed to his influence. Henderson's rose windows, battered plinths, cylindrical turrets, and soaring groined timber ceiling exemplify the French Gothic Revival. Kennedy's glossy marble and granite pillars, intricate marble fittings, and pink tinted walls, however, betray an Italianate influence.
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The excavations of 2009 revealed that the oldest occupational date for the archipelago, including French Polynesia, was around 1000 AD, when people depended on marine resources. However, around 1200 AD, there was a shift in the occupational pattern, with dwellings made of perishable materials built over stone plinths. Thereafter, the site was deserted as the population moved to the valleys, and from 1200 to 1400 AD the coastal areas including Hane were used mainly as burial grounds.
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The rectangular-on-plan Baroque Revival red brick church with marble trim is composed of a street-facing three-bay front facade, and a five-bay nave. Low-pitched roof concealed to forward bay by painted timber balustraded parapet. Two-stage painted timber square-on-plan tower rises out of center facade bay with octagonal second stages surmounted by a bellcast-needle-like spire: both stage louvred. Red brick walls detailed with marble platband plinths, cornices, and parapet coping.
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On its side were three rows of pilasters with two pairs of niches, one over the other. A bell-gable was on one side of the roof. When the facade was completed high plinths, consisting of a tympanum with a large panel adorned with frescoes and outlined by a mixtilinear frame, were added at the base of the pilasters. At the slopes' edges were two candelabra, and two oriflammes were at the base of the second order.
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Overview Paterson poetry Soldier's letter on the memorial Explanation of the soldier whose letters adorn the memorial: Private Frederick Harper Booth, 2nd Victorian Contingent Four figures Design was jointly by Pod Landscape Architecture and Jane Cavanough. The sculptor was Louis Laumen. The design has four horsemen on their horses navigating through a stoney field with two blue- copper walls or plinths running one behind and one front-left of the horses. The walls were manufactured by Misura Design.
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Wooden statue of St. Nicholas, now in the Żabbar Sanctuary Museum The chapel is built in the Baroque style out of local limestone. The chapel is a rectangular building, and it has a small cylindrical dome with a lantern. The façade contains the main portal, which is flanked by two sets of flat pilasters set on plinths. The doorway is set in the central bay, and it is decorated by mouldings and topped with a pediment.
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The roof is pierced by two broad brick chimney stacks positioned at the roof ridge line. The roof is further adorned with five massive urns raised on brick plinths. The walls are composed of Wissahickon schist, a less expensive option than brick and a choice that reflected the traditional building materials used in Germantown. The exterior of the house follows a hierarchy of design that includes a range of construction techniques finishes and from high style to vernacular.
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In order to apply for the COPUS funding Youngman needed two 'sponsors', so he wrote to Arthur C. Clarke (a local boy himself, then living in Sri Lanka) and Patrick Moore, who both wrote warm letters in support. Arthur C Clarke's brother Fred read out his letter at the opening ceremony. ReadyMix Concrete supplied the concrete for the plinths, and Avimo (now part of Thales Group), a local defence contractor, supplied the steel for the models.
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Of the cave-temples at this site, three are Brahmanical while one is Jain. The Badami fort, previously used by the Chalukyas as well as by Tipu Sultan also contains a prominent but now dilapidated Dravidian tower. Aihole, the former capital of the Chalukyan empire, is a destination for Chalukyan and pre-Chalukyan art and architecture. Pattadakal contains a group of ten major temples surrounded by minor shrines and plinths each depicting the architecture of the Chalukyas of Kalyani.
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It is located on a flat terrain and is in the backdrop of the Geumseongsan Mountain to the east and Busosan Mountain to the north. Built during the Sabi period, the temple has engravings on the pagoda that memorialize the Tang Dynasty's victory over Baekje. The temple has a layout of a central gate, prayer and lecture halls, and the monks' residential area, all linked by passages. The buildings were made of wood founded over tiled plinths.
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Crown moldings soften transitions between frieze and cornice and emphasize the upper edge of the abacus, which is the upper part of the capital. Roman Doric columns also have moldings at their bases and stand on low square pads or are even raised on plinths. In the Roman Doric mode, columns are not invariably fluted. Since the Romans did not insist on a triglyph covered corner, now both columns and triglyphs could be arranged equidistantly again and centered together.
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The rear facade is circled by a long, wide varanda between the two corps, while the front facade includes several varandas with ironwork over plinths in granite and surmounted by pinnacles. The interior space includes a rectangular entranceway with slabs and granite staircase with balustrades. Over the staircase is an elliptic candelabra, surrounded by stucco walls decorated in carved flourishes. The ceiling of the entranceway in wood leads to rooms that plastered and decorated with paintings.
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A wide fascia board at the first floor level of the verandah, has signage, "Maryborough Heritage Centre". Joining the columns on the first floor are balustrade panels of decorative cast iron. Surmounting the columns on the first floor is a dentilled entablature, being the fascia of the awning. The ground floor of the verandah is lined with cast iron columns on rendered masonry plinths between which a wrought iron balustrade runs, also on a rendered masonry plinth.
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To the northern or street elevation, the two-storeyed timber verandah which overhangs the footpath, has a skillion roof and boarded ends. Set on stone plinths, the stop-chamfered posts to the lower level are topped with timber cornices, and have a slatted valance above. The upper level balustrade, now clad in fibrous cement sheet appears to have a dowelled balustrade concealed beneath. The posts of the upper level are finished with scrolled timber brackets below the roof beam.
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However, the concrete plinths remain. The open space of the rail yards adds to the experience of arrival to the city from the north and south by opening up vistas to the imposing Sydney Terminal with its landmark tower. This open space permits the imposing Terminus and its Tower to be visible when viewed from a distance much as it was intended when originally built. The Terminus and its approaches define formal urban spaces in the city fabric.
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The lavatory was built within the back yard when built at first. The facades are red bricked with blonde bricks around the door and windows. Some of the houses in the area were built without the blonde bricks, however, the decoration is with granite support plinths above the windows and doors. Each house originally contained a large fireplace in the front room downstairs and a smaller cast iron fireplace in the upstairs front and back rooms.
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Bredon Barn is a large 14th-century threshing barn located at Bredon, Worcestershire, England, standing close to the River Avon. The barn was built for the Bishops of Worcester, who were the lords of the manor, from local Cotswold stone, measuring approximately . It has a steep pitched roof covered in Cotswold limestone tiles. The interior of the barn is divided into 9 bays by oak posts on stone plinths forming aisles, and carrying the open timber roof.
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Her portraits incorporate plinths among their compositional devices. More recently, four more drawings were discovered among the effects from two former Devol family farms; also discovered was the only known photograph of Finch, taken six years before her death. Most of her work appears to have been produced to commemorate marriages or deaths, among other such personal occasions. Finch appears to have been accepted by her neighbors as a community artist, and many of her pieces depict neighbors and friends.
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Elsa Cayo, 26 min, 1988. Then, in a direct confrontation with the problem of the plinth — which is also the problem of tradition — Vermeiren began to exhibit « replicasVoir Michel Gauthier, « Transferts (sur les «répliques» de socles dans la sculpture de Didier Vermeiren) » in Les Cahiers du Musée national d'art moderne n°47, p. 117-131, 1994 » of plinths of sculptures by Rodin, Carpeaux, Chamberlain..., usually made from the same material (plaster, bronze, etc.) as the figures their originals supported in the museum.
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A single winged acroteria remains on the corner of the easternmost pediment. Deep reveals are created with moulded architraves and Scotch thistle motifs are etched below each window sill and framed by short low relief pilasters. The parapet features a deep ornamental cornice supported with scroll-shaped brackets and short balusters set between moulded rails. Surmounting the parapet are raised plinths supporting symbolic statues of a kangaroo (north-western end) and an emu (north-eastern end) with shields housing Australia's coat of arms.
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In the grounds of the hall is a cruck barn dating from the beginning of the 17th century which was originally in a farm at Frodsham, Cheshire. In a dilapidated state, it was removed from its original site in 1976 and rebuilt and restored at Tatton. The barn is long and contains four crucks on sandstone plinths. The long walls of the barn are timber-framed with brick infill on a stone base and the short sides are in plain brick.
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Boston honored Russell by erecting a statue of him on City Hall Plaza in 2013: he is depicted in-game, surrounded by 11 plinths representing the 11 championships he helped the Celtics win. Each plinth features a key word and related quote to illustrate Russell's multiple accomplishments. The Bill Russell Legacy Foundation, established by the Boston Celtics Shamrock Foundation, funded the project. The art is by Ann Hirsch of Somerville, Massachusetts, in collaboration with Pressley Associates Landscape Architects of Boston.
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The second public presentation of the lines was at the inaugural exhibition of the Galleria Azimut, Milan, a space run by Enrico Castellani and Manzoni himself, between 4 and 24 December 1959. 11 lines were exhibited unopened on wooden plinths, whilst a twelfth strip was unrolled and attached directly to the entire length of one wall. The tubes were sold for between 25 and 80 thousand lire,Corriere della Sera, Milan, 1959-12-16, quoted in Piero Manzoni, Catalog Raisoné, Battino & Palazzoli, p.
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Crypt looking towards the south quire transept from the quire crossing The oldest part of the crypt is the two westernmost bays under the eastern end of the quire. It is part of the original 1080s Lanfranc construction with typical Romanesque groin vaulting springing from plain capitals atop quite slender plain shafts. The rest of the crypt is from a century later. The plinths, shafts and capitals are in the same style as the earlier work, but quadripartite rib vaulting was used.
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Each of the smallest planet models is contained within a round- topped concrete plinth about high. The stainless steel model is held inside a circular hole through the side of the plinth; hence the model of the planet may be viewed by looking through the hole. The plinths were created by Youngman using fibreglass moulds which he had also made. The models of the largest gas giants, Saturn and Jupiter, are moulded as part of the top face of the concrete pillars.
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Some of the statues were stolen or damaged, whilst several of the statues expected to populate the plinths were retained by the communities in which they were first installed. King George's statue, though it appears forlorn in the sparse field, is well maintained. The other statues, which all originated in Delhi, stand arranged in a semicircle around the King's statue. They are thought to be those of Sir Guy Fleetwood Wilson and Viceroys Lord Willingdon, Lord Irwin and Lord Hardinge.
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As originally laid out by Frederick Law Olmsted and Calvert Vaux, the Pond was considerably larger. A large piece of its upper reaches, which once spanned a narrow neck of water, was paved over to form Wollman Rink, which opened in 1950. Nearby, on stone plinths, bronze busts commemorate the poet Thomas Moore and the composer Victor Herbert (by Edmond Thomas Quinn). The Central Park Conservancy started a reconstruction of the Pond in 2000, and completed it the next year.
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In architecture and masonry, the term set-off is given to the horizontal line shown on a floor plan indicating a reduced wall thickness, and consequently the part of the thicker portion appears projecting before the thinner. In plinths, this is generally simply chamfered. In other parts of stonework, the set-off is generally concealed by a projecting stringer. Where, as in parapets, the upper part projects (is "proud of") the lower, the break is generally hid by a corbel watertable.
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In 2007, Ma Ke was invited to present her first collection, titled WUYONG/the Earth, at Paris Fashion Week. The show was held in the gymnasium of the Lycée Stanislas on February 25, 2007. Rather than presenting the collection on a catwalk as in a traditional fashion show, Ma Ke had the models stand motionless on tall, illuminated plinths, which were arranged on the gymnasium floor. The audience was invited to walk amongst the models and examine the clothing up-close.
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The former Royal Bank is a substantial two storeyed rendered brick building prominently located on Kent Street, Maryborough. The symmetrically composed principal facade of the building is divided into three bays by round pilasters on square planned plinths. The capitals of the pilasters are of the Corinthian order and from the base to about one third of the overall height, the pilasters are reeded. The central bay is flanked by single pilasters and the pilasters at the corner of the building are paired.
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While at Cambridge University Oddie appeared in several Footlights Club productions. One of these, a revue called A Clump of Plinths, was so successful at the Edinburgh Festival Fringe that it was renamed Cambridge Circus and transferred to the West End in London, then New Zealand and Broadway in September 1964. Meanwhile, still at Cambridge, Oddie wrote scripts for and appeared briefly in TV's That Was the Week That Was. He appeared in Bernard Braden's television series On The Braden Beat in 1964.
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The side of the building on the first floor has eight arched windows, the first five of which are shorter and higher to clear the display racks inside. The second floor features arched one-over-one sash windows, one in each bay over the storefront and in every other bay along the side. The bays are separated by brick pilasters, resting on limestone plinths and capped with stamped metal Corinthian capitals. The pilasters support a projecting course of brick, with corbels between the pilasters.
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St Patricks Basilica is an important example the work of Francis Petre. The Basilica is an aesthetically imposing building that makes a vital contribution to the streetscape. It stands at the end of a long street (Usk St) leading from the Oamaru shore and ending at the great portico of the building. This Portico is composed of eight Corinthian columns of Oamaru stone (six in front, two behind), whose pedestals rest on elongated plinths, and a high pediment closely reflecting those of a Roman or Greek temple.
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The columns are faced with stainless steel sheets, the walls are covered with ceramic panels with plinths of polished black granite. For the most complete disclosure of the architectural and artistic concept of the station on the side walls, artistic and decorative glass compositions designed in the scale of station finishing were designed. Art panels were made using the technology of lenticular printing (artist I.I. Baranova). For the safety of passengers, glazed fences with automatic sliding doors are installed along the edges of the platforms.
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The curvilinear frontispiece of the church, includes sculpted stone, crowned by a Latin cross surmounting an acroterion and small urns, over parallel plinths above the corners. This facade is broken by main portico, surmounted by friezes and flanked by rounded elements with three windows. The bell-tower has two registers, the first with portico surmounted by frieze and cornice, over a square window with decorative elements. The second register has two belfries with rounded openings and pillars, terminated by cornice, balustrades and acroterions on the corners.
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These columns are arranged so as not to intercept the view of the High Altar from the aisles. The columns have capitals of foliated form artistically treated so as to appear alike, but the detail of each differs materially. The columns have marble bases, which, in turn, are supported on smoothly rutted Malmsbury bluestone plinths. The columns each bear a polished brass plate at the base of the shaft, inscribed with the name of the parishioner or the parish organization who funded the cost of that column.
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A semi -circular carriage way connects to Hassell Street and crushed granite pathways lead through the reserve. Under the trees are a number of modern bench seats and picnic tables set on concrete plinths. Part of the Hassall Street fence has a reinstated set of gate posts (in sandstone) and wrought iron gates, the former engraved with "Firholme" from the 1880s-1890s use and ownership period. This entry faces Purchase Street, on the site of the original driveway and "front" entrance to the estate then.
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The plinths incorporate brass plaques inscribed with the name of the deceased, year and place of birth, year of death, last place of residence and occupation, if known. Of these, approximately 200 have been positively identified and a further 100 have been located but lack enough information for positive identification. As possibly only 600-700 graves can be accurately located, the names of all those interred are intended to be placed in the recent rotunda structure. Many of the graves have concrete surrounds with marble headstones.
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Near the retables are doors to the lateral corridors. Over the cornice is the roof-line of the nave supported by rounded wooden beams, painted with phytomorphic friezes and cartouches, the centre large and cut, with marine symbols and inscriptions. The presbytery and altarpiece have polychromatic red and gold tile, in a rectangular alignment defined by six columns, decorated with birds and small fish over high plinths decorated with acanthus and shells. Corinthian capitals extend toward the attic in archivolts, united by radii with a pelican cartouche.
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Houses on hills usually have two stories, with the livestock living on the ground floor. Often a verandah runs along the side of the house. The roof is pitched to deal with the monsoon season and the house may sit on raised platform, plinths or bamboo poles to cope with floods. On the flat lands, adobes are usually made of mud or sun-baked bricks, then plastered inside and out, sometimes with mud mixed with hay or even cow dung and whitewashed with lime.
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The cathedral and episcopal precinct of Kourion, located along the crest of the cliffs immediately southwest of the forum, was constructed at the beginning of the fifth-century and renovated successively in the sixth century. This cathedral, the seat (cathedra) of the Bishop of Kourion, was a monoapsidal, three-aisled basilica, constructed on an east-west orientation. The aisles were separated from the nave by colonnades of twelve columns set on plinths. The central nave's eastern terminus ended in a semicircular hemidomed apse with a synthronon.
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The entry consists of a six-panel door, flanked by half-length sidelight windows and topped by a half-oval fanlight louver. This assembly is framed by pilasters set on plinths, rising to support a broad entablature and cornice. The interior of the house has a typical center-chimney plan, with well-preserved Federal and Greek Revival styling. The house is generally believed to have been built in 1833, the year in which Almond Gushee, Jr., part owner of a local mill, married Elvira Drake.
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The Centre Street Bridge was built by the City of Calgary in 1916 over the Bow River for $375,000 replacing a steel truss bridge built by a land developer called the Centre Street Bridge Company Limited.Calgary Public Library. Centre Street Bridge It was designed by John F. Green, featured an upper and lower deck, and large cast concrete lions on four massive plinths, two at each end of the bridge. It went through extensive restoration in 2001, when the bridge was closed for one year.
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His scheme, whose name "Anthaeum" meant "flower-house", consisted of a giant dome (the largest in the world at the time), in diameter, tall and topped with a cupola. It was to be built entirely of wide ribs of iron sunk into the soil and anchored on brick plinths. This was to be supported on an internal pillar and then covered with glass. The internal space would be more than , in which would grow tropical trees and shrubs, hundreds of varieties of flowers and other plants.
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The most striking aspect of the building is its enormous curving frontage along the Victoria Embankment, with its giant Ionic columns between the fourth and sixth floors. The heavily rusticated ground floor is windowless to reduce traffic noise inside the building. The corners are marked by entrances surmounted by large plinths on which are placed sculptures of human figures restraining horses (called Controlled EnergyPhilip Ward-Jackson: Public Sculpture of the City of London (Public Sculpture of Britain). Liverpool University Press, Liverpool 2003, , p. 278.
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Use of sardonyx appears in the art of Minoan Crete, notably from the archaeological recoveries at Knossos.C. Michael Hogan (2007) Knossos fieldnotes, The Modern Antiquarian Brazilian green onyx was often used as plinths for art deco sculptures created in the 1920s and 1930s. The German sculptor Ferdinand Preiss used Brazilian green onyx for the base on the majority of his chryselephantine sculptures. Green onyx was also used for trays and pin dishes – produced mainly in Austria – often with small bronze animals or figures attached.
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Honour Avenue effectively divides the park into two zones: the sports facilities established in the early twentieth century are situated to the north of Honour Avenue, and the native woodland and late twentieth century sports facilities are situated to the south of Honour Avenue. At the western end of Honour Avenue are the memorial gates at Park Road. These consist of two pairs of red brick piers with smooth rendered corners. They stand on rough rendered plinths, and are topped by projecting cornices crowned by globes.
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The south wing of which was originally constructed in 1885, the building has seen many additions made over the following years. Following the Gothic style, the principle facades have bluestone plinths and are buttressed, with stone walls, a slate clad steeply pitched roof. The north and west wings are constructed of brick with segmental and square headed windows. The south building illustrates the original concept for the "new medical school", and includes the original Museum of Pathology which housed Allen's collection until the 1960s.
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The side walls are divided into blind arches with Lombard bands, but have few decorations otherwise. More numerous are the features of the apse, with semi- columns supported by plinths and ending in leaf-shaped capitals, Lombard bands and six single-mullioned windows (the three lower ones lighting the church's crypt). In the interior the aisles and the nave are divided by seven columns with arcades, made of material from ancient settlements of the area. The aisles are covered by groin vaults, while the nave has trusses.
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Townsend House by Herbert St. John Jones, May 1934 The walls surrounding the gardens feature three bee boles, examples of a predecessor to the modern beehive. Other features of note include projecting plinths, ashlar dressing and decorative copings. The walls are constructed primarily of hand-made clamp bricks (250 mm wide x 50 mm high x 120 mm deep) set in lime mortar and the dressings are made of red sandstone. The walled garden's bee boles are recorded in the IBRA Bee Boles Register.
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The garden covers 400 square meters, and features a tiered seating area and sculpted stone plinths reflecting aspects of his life and work. The area also hosts 400 square metre memorial garden to Sir Bobby Robson. With a keen interest in cricket as well as football, Robson was to have replaced Mike Gatting as president of the Lord's Taverners charity and cricket club in 2007, but this was prevented by his ill- health. After his death, the club held a dinner in his honour, as "The best President we never had".
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Portrait of Hugh Squier (1625–1710), Town Hall, South Molton Stone bust of Hugh Squier (1625–1710), within an aedicule on facade of South Molton Town Hall. Inscribed on plinths: "Hugh Squier AD 1625-1710. Our great benefactor. Erected AD 1910, James Sanders, Mayor" Hugh Squier (1625–1710), a wealthy local merchant, was a great benefactor of South Molton. Son of William Squier of Townhouse, now a farmhouse about 1 mile west of the town, he made his fortune in London and returned home at the age of 29.
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For Barry, as for Wilkins, a major consideration was increasing the visual impact of the National Gallery, which had been widely criticised for its lack of grandeur. He dealt with the complex sloping site by excavating the main area to the level of the footway between Cockspur Street and the Strand, and constructing a high balustraded terrace with a roadway on the north side, and steps at each end leading to the main level. Wilkins had proposed a similar solution with a central flight of steps. Plinths were provided for sculpture and pedestals for lighting.
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Southdown Old Farmhouse is a small manor which dates from the 18th century and has undergone 20th century restorations and extensions; the manor was designated as a listed building on 31 May 1985. Another Grade II listed building is a Victorian wheelhouse with a donkey wheel which lies immediately southwest of Southdown Old Farmhouse. The wheelhouse was built in the early 19th century and consists of weatherboarded timber frames on brick plinths. The donkey wheel is in working order and is made of a large timber axle with a rope hanging over a well.
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Above the aisle east and west windows are small glazed trefoil openings. Between the north wall windows, and at the aisle corners, are buttresses with steeply angled double steps to the eaves of the slate roof, with their socles, or base plinths, continuing around the faces of the aisle walls. The north stub of the earlier late 13th-century transept contains a 15th-century Perpendicular window, with four lights divided by slender mullions ending in flat curved arches with trefoils, the centre two lights extending above to a pointed arch.
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There are several designated picnic areas around the park but by far the largest is to the north of the play area. During busy and peak periods, the eastern part of this field, separated by a line of 2 ft posts, is used as the over-flow car park. There are two purpose built barbecue plinths which when rented from the wardens are supplied with a grill in this area. This area is of very little ecological value and is one of the most popular areas for visitors with children.
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In Kuruvathi, Lord Basaveshwara's idol is 10 feet long and 9 feet high. Here Lord Basaveshwara fulfills the request of the devotees and bless them and their families if one offers prayer to him from Bhakti. This temple consist of a Garbhagriha, sukanasi, a Navaranga connecting the sanctum and outer Mandapa and a Rangamantapa. The Mandapa are built on square or polygonal plinths with carved friezes that are four to five feet high and have ornate stepped entrances on all four sides with miniature elephants or with beast.
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Other elements such as plinths present similar decorations in addition to representations of animals. With regard to roof structure, archaeological findings do not support the traditionally observed system of a conical roof supported by a central post. In the place where a hole to fix the central post would have been found, archaeologists instead discerned evidence of ‘lareiras’ or hearths, suggesting a roofing system that distributes the weight directly onto the walls rather than a post. Not all of the stone structures discovered at Castro de Santa Trega served a residential purpose.
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An ancient yūpa of Mulawarman, king of Kutai A Yupa with inscription in the National Museum of Indonesia in Jakarta Kutai Martadipura is a 4th-century or perhaps much earlier Hindu kingdom located in the Kutai area, East Kalimantan. It is one of the earliest ancient kingdom in Indonesian history. Seven stone pillars, or yūpa (“sacrificial posts”), have been found in Kutai, Kaman Estuary, near the Mahakam River.Kutai Kingdom on Melayu Online The plinths bear an inscription in the Pallava script of India reading "A gift to the Brahmin priests".
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Blocks B and E are long, two-storey, gable-roofed buildings, with north-facing verandahs on both levels. The lower levels are brick, set on concrete plinths, and the aluminium-framed upper levels are clad and lined in painted ribbed aluminium sheeting, including the eaves and first-floor verandah ceilings. The upper gable-ends are flat-sheeted and have square louvred vents. Large areas of aluminium-framed awning windows line the first floor northern and southern walls; the northern with fixed lower sashes and tubular steel rails at sill height along the verandah.
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A timber framed podium clad with vertical tongue and groove boards, the elevated excise inspector's office, stands to the north and is approached by a set of timber stairs. It projects into the middle shed area and commands views across the whole shed. The middle and rear portions of the shed have concrete floors and a number of drains run through these areas. The barrel storage area in the middle portion of the shed is organised around a grid of walkways and concrete upstands accommodating concrete plinths on which the barrels stand.
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The rectangular church comprises a nave and presbytery flanked by lateral corridors, with a sacristy to the left of the altar. The main facade faces west, defined by Tuscan pilasters crowned with pyramidal pinnacles over parallel-elliptical plinths. The central wall along the nave is decorated in blue and white azulejo tiles. This two-storey high facade and azulejo wall are broken by a frieze and cornices over finial cut-breaks, forming lateral volutes, which are topped by a vegetal-shaped frontispiece crowned by a rectangular Latin cross.
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Section of San Carlo alle Quattro Fontane, ca. 1730 The concave-convex facade of San Carlo undulates in a non-classic way. Tall corinthian columns stand on plinths and bear the main entablatures; these define the main framework of two storeys and the tripartite bay division. Between the columns, smaller columns with their entablatures weave behind the main columns and in turn they frame niches, windows, a variety of sculptures as well as the main door, the central oval aedicule of the upper order and the oval framed medallion borne aloft by angels.
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The house is of two storeys, with an attic and a basement. The style of the house was widely imitated, in Cardiff and beyond and this can be evidenced by walking tours of any of Cardiff's inner suburbs, where echoes of Burges's influence can be seen. Cadw described Park House as "perhaps the most important 19th century house in Wales". Burges used various building stones for Park House, Pennant Sandstone for the walls, Bath stones around the windows, entrance porch and plinths, while the pillars are pink Peterhead granite from Aberdeenshire.
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The preserved arch is the span of a single vault, about 4 metres wide, and lateral pylons with niches, which would have been framed by detached columns on tall plinths which are now lost (fluted pilasters remain at the rear). Only a single minor trace of the entablature remains, immediately above the blocks of the archway. The arch together with the other monuments of the archaeological site of Dougga, was included in the list of World Heritage Sites by UNESCO in 1997.Record on Dougga/Thugga on UNESCO's website.
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The chambers are raised on plinths, and a cornice outside indicates their height inside. There is (or in some cases was) a high superstructure rising above the chamber, for which a variety of Indian forms are used in different temples. Early North Central Javanese temple architecture is noted for its smaller size, simplicity and relatively lack of ornaments compared to richly decorated and massive temples of Southern Central Java, such as Kalasan, Sewu, and Prambanan. The temples of North Central Java are grouped in irregular clusters, with individual variations of temples styles.
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The wide variety of flowers in the gardens change with the seasons. Visitors can enjoy the view from rows of benches in the shade of the trees or from others out in the sun along the wall between the gardens and the yard to the Danish National Archives. Column plinths from the old Christiansborg serve as epergnes in the four grassy corner pieces and the principal axis through the gardens creates a link between the yard to the Danish National Archives and the main entrance to the Royal Library.
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The columns are accentuated at the springing line of the splays with two rows of rectangular moulding forming decorative capitals and with plinths at their base. The current paint scheme distinguishes various components of the exterior using pale yellow as a base colour detailed with a teal blue, terracotta orange and red. Having originally incorporated a lookout, the Innisfail Water Tower still has views over the region. Within the central tower, a half-turn stair with equal flights, constructed of concrete with a tubular metal handrail and balustrade, provides access to the tank.
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Each of the breakfronts is heavily embellished with contrasting tuck pointed brickwork and cement rendered details. Cement rendered elements include the plinths, pilasters decorated with quoin stones to the ground floor and fluting to the upper section at the first floor level, sills, brackets, imposts, key stones, entablature parapet, pedimented gable and finials. The gable includes bullseye louvred vents. The fenestration to the breakfronts includes a round arched window with eleven lights to the ground floor and pairs of segmental arched windows with fanlight and double hung sashes within a single segmental arch.
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The plinths to either side bear the dates and . A further inscription on the rear records that the Machine Gun Corps was formed in October 1915 and disbanded in 1922; in that time, some 11,500 officers and 159,000 other ranks served in the Corps, of whom 1,120 officers and 1,671 other ranks were killed, and 2,881 officers and 45,377 other ranks wounded, missing or prisoners-of-war. The high casualty rate of the Corps, nearly 30%, arose from the exposed position from which it typically fought, leading to its nickname, "The Suicide Club".
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The Fylde Memorial Arboretum and Community Woodland is located in fields next to Moor Park School. It was unveiled on 23 February 2009 following a £14,000 grant from the Forestry Commission English Woodland Grant Scheme and funds from First TransPennine Express. Blackpool Council's Parks Service designed the plans for the memorial woodland, while rangers worked with local school children and community groups to plant trees. Officially opened in June 2009 with a service of dedication, the arboretum has a main memorial plaque as well as 16 smaller plinths.
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The four pillars of the porch are sustained on strong plinths carved with groups of various animals: six eagles, a bear, four lions and two indeterminate animals, as well as three human heads with beards holding the entire portico up on their backs. In these grotesque animal figures, there are images of demons and symbolize the weight of the glory crushing sin. Other sources give an apocalyptic interpretation with wars, famine and death (represented by the beasts) and situations that can only be saved with human intelligence represented by the heads of old men.
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Sands Street gate The gate at Sands Street, on the Brooklyn Navy Yard's western border, was the main entrance to the yard in the early 20th century. It consists of a one-story medieval-style gatehouse shaped like a castle, with plinths, turrets, and posts with eagles on the tops. This entrance is located at the intersection of Sands Street and Navy Street, close to Admiral's Row, and was surrounded by the two timber sheds there. A wooden footbridge above the gate, built after World War II, formerly connected the two sheds.
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Bishop Joseph Hendren became the first Bishop of Clifton (the ceremonial counties of Gloucestershire, Wiltshire and Somerset and Bristol), and Ullathorne was made Bishop of Birmingham, and later Archbishop of Birmingham. Postcard, ProCathedral interior, undated (probably early 20th cent.), from the Roy Vaughan Collections, BRO43207/29/19/10, Bristol Archives Postcard, ProCathedral, 9 Feb 1912, Roy Vaughan Collection, BRO43207/29/19/9, Bristol Archives In the ProCathedral Church there were twelve larger-than-life statues of the Apostles standing atop the plinths covering and disguising the original stone columns of the failed building.
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The vimana over the garbhagriha has a pancharatha plan that rests on plinth moldings that are similar to the Surya Temple at Tezpur. On top of the plinths are dados from a later period which are of the Khajuraho or the Central Indian type, consisting of sunken panels alternating with pilasters. The panels have delightful sculptured Ganesha and other Hindu gods and goddesses. Though the lower portion is of stone, the shikhara in the shape of a polygonal beehive-like dome is made of brick, which is characteristic of temples in Kamrup.
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They lived in temporary type of buildings made with locally available material which needed to be replaced from time to time in the subtropical climate. This involved a wood frame building built on earthen plinths and with roof covered by thatch. The form of the building also varied from island to island, generally round in plan and conical in the vertical elevation. They made the houses in groups with the headman’s house at the end of an open public alley formed by other buildings clustered along on both sides.
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The Luther Monument () is a group of statues that was erected in Worms, Rhineland-Palatinate, Germany, to commemorate the Protestant reformer Martin Luther. It was designed and partly made by Ernst Rietschel, and unveiled on 25 June 1868. The monument consists of a group of bronze statues on stone plinths centred on a statue of Luther, surrounded by statues of related individuals and allegorical statues representing related towns. The elements are arranged in the shape of a castle, recalling Luther's hymn "Ein feste Burg ist unser Gott" ("A Mighty Fortress Is Our God").
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Three listed heritage statues fell off their plinths; Scott Statue, Godley Statue (restored in 2016) and Rolleston Statue (restored in 2016), with the latter receiving significant damage (the head broke off). Category I heritage listings that have received significant damage, but where the owners have declared that they will be repaired, include the Christchurch Arts Centre and the Excelsior Hotel. The future of a number of heritage buildings is as yet undecided. In 2013, the Registry Building of the Arts Centre reopened after a complete renovation and strengthening.
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It accommodates the original decorated marble reredos and altar with flanking angels on marble plinths on the rear elevated platform and a plainer freestanding marble altar to the lower front platform. The chapel houses a number of statues including those of the Sacred Heart, Our Lady, St Patrick, St Joseph, St Theresa and St Francis. A fine set of painted stations of the cross in carved timber frames hang on the walls. The sanctuary floor is carpeted (the original mosaic marble finish may survive under) and floors to the nave are parquetry.
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Deborah Russell garden and house at nightJimbour House comprises three bays; two longitudinal projecting end bays with a central transverse bay, lined on the principal façade with an open terrace on the upper level supported on Doric order columns on stone plinths, paired in some places. Centrally located on the principal façade is a semi-circular projection, apparent in the roofline and through both storeys. This defines the principal entrance. The roof is steeply pitched, hipped over the three bays of the building and clad with Welsh slates.
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The parish is part of the benefice of Bridgwater St Mary and Chilton Trinity which is within the deanery of Sedgemoor. The Church was closed on 6 June 2016 to allow extensive renovation to be carried out, and reopened in February 2017. The work involved replacing most of the pews by chairs, replacing the floor, and modernising the heating and lighting, as well as upgrading the catering facilities.Four blocks of the pews with about 80 seats were retained, mounted on low plinths and made mobile, allowing full flexibility in the use of the building.
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McCullagh: Excavations at Sueno's Stone, Forres, Moray, 1995 Hector Boece (c1465–1536) (not known entirely for his historical accuracy) mentions the stone and attributes it to Sueno. Lady Ann Campbell, the Countess of Moray, is noted in the early 1700s as carrying out maintenance on the stone in an attempt to stabilise it. This was achieved by constructing stepped plinths around the base and these are what can be seen today. Archaeological excavations carried out in 1990 and 1991 suggest that it may originally have been one of two monumental stones.
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The hovering, low pitched, stepped roof planes of the campus buildings are swept low over the colonnades supported at their perimeter by robust posts of raw adzed Brushbox baulks, supported on sandstone plinths and girt by punched steel collar straps that add to the textual effect. Rubble drains, used in lieu of gutters, add texture to the ground plane. Copper gutters are only included where necessary over entrances and the like. A modular grid of 2,700mm (nine feet, zero inches) applied throughout orders the placement of structure and space.
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One of the two original statues from the Coal Exchange, relocated to Victoria Embankment. The dragon boundary marks are cast iron statues of dragons on metal or stone plinths that mark the boundaries of the City of London. The dragons are painted silver, with details of their wings and tongue picked out in red. The dragon stands on one rear leg, the other lifted against a shield, with the right foreleg raised and the left foreleg holding a shield which bears the City of London's coat of arms, painted in red and white.
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There were people in that town from 1,675 BC to 1100 BC. Its maximum population consisted of 600-800 inhabitants and it took place about 1550 BC. During the late Bronze Age, people moved from the settlement because of a crisis that was caused by a lack of foodstuff for all the inhabitants of La Bastida. They started to populate a new settlement named Las Cabezuelas. Remains about the Iberian era have been found in Las Cabezuelas. These consist mainly of ceramic objects and wall plinths belonging to little- sized rooms, with regular allocation and ordinary masonry.
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The old station building, which was built in 1893–94, is equipped with a pedestrian tunnel under the tracks and facilities and an entrance hall built in the 1950s; these are heritage listed. The tripartite building was built of brick faced masonry on large sandstone plinths. In 1997, the Saarland State Development Corporation (Landesentwicklungsgesellschaft Saarland, LEG Saar), acquired the 1600 square- metre station building and modernised it for €2.9 million, partly funded by the state, the Federal Republic of Germany and the European Union. It is intended to host a multimedia exhibition called Eingangstor (gateway) leading to the Völklingen Ironworks World Heritage Site.
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The presence of a fine red lichen growing on the stone gives the building a pinkish cast. The front elevation of the home is an academic replica of the Petit Trianon at Versailles, designed by Ange- Jacques Gabriel in 1761 for Louis XV. It features a balustraded parapet atop the second floor, over a classical entablature with bracketed cornice, plain frieze, and banded architrave. It is composed of five equal bays separated by four Corinthian columns. The columns have traditional Corinthian capitals, slender fluted shafts two stories high, and attic bases resting upon smooth- faced plinths.
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George Godwin, writing in the early 19th century said the tower and spire "although they might not be termed beautiful or pure, display great powers of invention, and are of pleasing proportions". The stone spire was octagonal in plan, divided into storeys by horizontal ribs, with circular ribs at the corners. There were openings at the base of the spire, and it was crowned with the head of a classical column of the Composite order. The ceiling of the new church was in the form of an oval dome, supported on eight columns standing on high plinths.
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The structure alternately shows variations in the use of the carved lobes, concave cornices, the large number of pendants, false aprons and backs. The curved frieze that surrounds the large window and divides the body refers is an element of the Estado Novo era, with an inscription alluding to the patron. The hermitage consists of a polygonal plan with nave and left-hand bell-tower, with articulated volumes and differentiated spaces with tiled roofs. The facades are plastered and painted in white, with stonework running throughout, flanked by pilastered wedges, and rectangular plinths, topped with friezes and cornices.
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The Cenotaph is set in a small garden walled in stone with memorial plaques and closed off from the street by a fence. The entrance to the garden, and the view of the front of the memorial, is guarded by a remarkable pair of large snarling Art Deco lions on high plinths. The ceramic decoration, with its clear lines, strong colors, and sunburst, is in the same style, of which Durban features many fine examples. The neoclassical and Art Deco elements work harmoniously together to make this one of the most striking and lavishly decorated memorials of its kind.
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Aerial view of the Jones Bridge in 2015 (with Intramuros and Manila Bay in the background). Following the passage of the Philippine Rehabilitation Act of 1945, the Philippine Bureau of Public Works and the U.S. Bureau of Public Roads reconstructed the Jones and Quezon bridges using large and deep steel girders. Upon its completion, none of its original ornamentation on either piers and balustrades were restored, and its neoclassical aesthetic were replaced with an unadorned architecture in an urgent haste to finish its reconstruction. The three remaining La Madre Filipina statues were also removed and its plinths were demolished.
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In 1871, it was proposed that three statues of Sir Robert Peel, Edward Smith-Stanley, 14th Earl of Derby and Henry John Temple, 3rd Viscount Palmerston should be erected. Following a report to HM Treasury, it was identified that the two gardens forming Parliament Square could be adjusted so that it could accommodate 18 statues in total. It was originally proposed to build all the plinths at once, and leaving them unoccupied until statues were completed. The statue of Sir Robert Peel was the last work by Noble to be completed: he died on 23 June 1876.
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The two storey verandah has a small projecting roof at first floor level and is detailed in timber with paired columns, slatted balustrade and valance. On the southern section of the ground level verandah, the balustrade has been removed and the columns have been sliced off above ground floor level and are supported by concrete plinths. At ground floor level all the major rooms associated with the original design of the building as a bank remain intact. The entrance porch opens onto the main banking chamber, which has all its original cedar door and window joinery, pressed metal ceiling and black marble fireplace.
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1493 work Sulpitia. This was part of a series of panels, the others being Judith by Matteo di Giovanni, Artemisia by the Master of the story of Griselda and Claudia Quinta by Neroccio di Landi and the Master of the Story of Griselda (all Sienese). Whilst the latter paintings show varying degrees of success in presenting their characters realistically on painted plinths, Orioli's stands much more believably. Furthermore, when seen together Orioli's figure has a dramatic, fulsome quality, with a naturalistic pose compared to the other figures which are demonstrably within the Gothic tradition of awkward, stylised poses.
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The war memorial, known officially as the Oundle and Ashton War Memorial, is located at the junction of New Street and West Street. Constructed in 1920 at a cost of £600, it was unveiled on 14 November 1920 by Mr F.W. Sanderson and dedicated at the same ceremony by Canon Smalley Law, the Vicar of Oundle. Originally commemorating the local lives lost during the First World War, it also includes dedications to those killed in the Second World War. The memorial takes the form of a five-stepped octagonal base surmounted by two square plinths and a slightly tapering rectangular pillar.
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The very top of the facade is adorned with the coat of arms of the Vasa dynasty since king Sigismund III Vasa was the founder of the church. The church interior has a broad, single-nave with two aisles consisting of chapels, as well as the transept with a dome at the intersection, and a short rectangular chancel around the altar, with semicircular apse covered with a hemispherical vault. In front of the Church-grounds there are several plinths with raised sculptures of apostles designed by Kacper Bażanka. They were made with Pińczów limestone, and completed in 1722 by Dawid Heel.
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The Cenotaph in Martin Place is a restrained memorial designed as a granite altar with a bronze serviceman at each end. The altar stone, quarried in Moruya in 1927, is 3.05m long, 1.65m wide and 1.25m high sitting above a 970mm stepped base, which runs east to west following the street alignment of Martin Place. It is positioned directly over the Tank Stream which flows in an underground channel beneath it. The larger than life size sculptures of servicemen at the east and west ends are by Australian expatriot sculptor Bertram Mackennal and stand on Moruya granite plinths.
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This is a single-storey low-set timber building on stumps. The ward was designed as open-sided, but has since been excavated under to allow for the construction of new accommodation, enclosed and extended and substantial changes made to the immediate setting. The fine entrance gateway from Castlebar Street with cast iron gates and posts and adjoining cast iron fence set on sandstone plinths and pillars survive as some of the early fencing. The form of the driveway sweeping around the front of the house from Castlebar to Thorn Street can be distinguished, but these have been paved and parking bays added.
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The castle seen from Herzberg Interior courtyard with timber-framed houses on stone plinths Herzberg Castle () is a German schloss in Herzberg am Harz in the district of Göttingen in the state of Lower Saxony. The present-day, quadrangular building has its origins in the 11th century as a medieval castle. After a fire in 1510 it was rebuilt as a schloss and is one of the few in Lower Saxony that was constructed as a timber-framed building. Because it belonged to the House of Welf for 700 years it is also known as the Welf Castle of Herzberg (Welfenschloss Herzberg).
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As part of the Tudor suppression of Irish Monasteries at the end of the 16th century, the Augustinians were driven out of Adare and had moved to Limerick city by 1633. Many of the features of the friary are very well preserved, particularly the small 15th century cloister and sedilia. The garth is small and square, and the piers are relatively narrow and buttress-like, with boldly moulded plinths repeated along the base walls. The arches between them are relatively high and four-centred and the triple openings are set centrally in the walls, with unglazed mullioned windows.
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The monuments are arranged in parallel rows facing east. They date from 1841 and about half are pre-1900. The early monuments are mainly sandstone (40% 1841-1900) and of simple design, with a few of "Marulan stone". Other materials used are marble (10%, 1866, 1890-1925), Trachyte (10%, crosses 1867-1925, other styles 1908 to present), granite (5%) and marble tablets on plinths (35%) of sandstone (1915-1930) or of cement or terrazzo (1930 to present.) Other cemetery plantings include Chinese/funeral cypress (Cupressus funebris), Lawson cypress (Cupressus lawsoniana), black locusts/false acacias (Robinia pseudoacacia), cherry plums, privets, and firethorns (Pyracantha).
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After the end of the war and a dramatic session, the City Council finally approved a bridge, 43 votes for and 39 against, and a bridge was actually inaugurated autumn 1946. Malicious rumours had it that the bridge was named 'Strömbron', not because it traversed Strömmen, but because it was the brainchild of anti-bridge spokesman Fredrik Ström, and pro-bridge spokesman Torsten Åström. Other names suggested included Provisoriska bron ("The Provisional Bridge"), Provbron ("The Test Bridge"), Kungsträdgårdsbron, and Träbron ("The Wooden Bridge"). The bridge in question is a concrete slab laid on steel girders resting on concrete plinths founded on wooden poles.
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The entrance to Block F retains an area of stencilled, poly-chrome painted concrete slab. The main entrance from Nicholson Street, northeast of Block F, is landscaped with modern pavers and garden beds that contain a range of shrubs. A decorative metal archway (possibly pre-1961), set on modern concrete plinths, frames a pedestrian entrance from the corner of the Warrego Highway and Nicholson Street, featuring "DALBY STATE HIGH SCHOOL" in metal lettering. The splayed open courtyard spaces between the 1950s buildings, which were formed as part of the 1950s planning, are sealed in bitumen, with large areas finished with modern synthetic turf and sheltered by modern open shade structures.
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These Brazilian type of house were built with open spaces between the top of the walls and the roof, a front or back veranda or both, alcoves, and garrets at the roof top for aeration. The shape of a two-storey sobrado are quadrangular with a central area that host an alcove, chapel, staircase and or with a passageway. An Italian man from Sardinia established a brick and tile making facility which led to many residents building affordable storey houses made from brick. The brick columns and walls are plastered with ornamentation, and further embellishments were incorporated into plinths, columns and shafts and bases.
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Galerie d'Eau - Galerie des Antiques - Salle des Marronniers Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome. Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths each separated by three jets of water. The galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees (Aesculus hippocastanum) – hence the current name Salle des Marronniers (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).
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The sculpture depicts seven life-sized figures guiding one another. It was inspired by a photograph the sculptor saw of World War I veterans, blinded in combat, leading one another from the front. Whereas statues or sculptures of lifelike individuals are generally placed on plinths, it was decided the sculpture should be situated on the ground and at eye level to engage passers-by and to highlight the notion that the sacrifices of those on the frontline in World War I should not be forgotten. The sculptor, Johanna Domke-Guyot, stated that "People will be able to touch them, I want it to become a people's piece".
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The third section is partially aligned with the second section, is formed by a covered varanga, with columns over two arches, forming an angle and addorsed by one of the towers. The lateral right facade has a central wing consisting of two storeys, separated by friezes with three doors and three low windows on the first floor and windows surmounted by cornices on the second. The square towers on the extremes are three storeys tall, separated by friezes with fenestrations on the first and second floors, similar to the central wing, and high windows on the third storey. Balls over plinths accentuate the cornerstones and pilasters.
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At the end of each stack is a fine limewood carving by Grinling Gibbons, and above these are plaster cast busts of notable writers through the ages. Other marble busts standing on plinths depict notable members of the college and are mostly carved by Louis-François Roubiliac. A later addition is a full size statue of Lord Byron carved by Bertel Thorvaldsen, originally offered to Westminster Abbey for inclusion in Poets' Corner, but refused due to the poet's reputation for immorality.The Making of the Wren Library: Trinity College, Cambridge On the east balustrade of the library's roof are four statues by Gabriel Cibber representing Divinity, Law, Physic (medicine), and Mathematics.
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Concrete plinths in front of The Kings of Wessex Academy mark out the location of the Saxon palace In January 2006, during the building of a new languages block at the school, a grave, believed to be Roman, was uncovered. The grave contained the skeleton of a man, believed to be around 50 years old and pagan rather than Christian due to the north-south orientation of the grave. Various Roman artifacts, including wall plaster and tesserae, dating from the 1st to the 4th centuries have also been found. It has been suggested that this may be linked with the settlement of Iscalis, whose location is unknown.
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The main rectangular building constructed of painted plaster and stonework, has its main elevation oriented to the north in a longitudinal direction, oriented to rectangular patio. The two-floor facade, one of them partially buried and defined by circular oculi (framed in stonework), has three bodies, with an axial structure decorated by pinnacles over plinths. The main section includes a bow-opening-like archway served by monumental staircase in stonework, decorated with monochromatic azulejo tile, stonework and flanked by fountains. At the top of the galilee is straight door, topped by a stone coat-of-arms, flanked by windows with simple masonry framing and plaster relief.
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Carvings of hippogryphs clearly show the adroitness of the artists who created them.A Concise History of Karnataka, pp 183, Dr. S.U. Kamath The Mandapas are built on square or polygonal plinths with carved friezes that are four to five feet high and have ornate stepped entrances on all four sides with miniature elephants or with Yali balustrades (parapets).An imaginary beast acting as parapet. These beautifully sculptured supports were used in entrances to temples and as flanks to steps and stairs in royal palace structures, New Light on Hampi, Recent research in Vijayanagara, edited by John M. Fritz and George Michell, pp 53 The Mantapas are supported by ornate pillars.
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The church is located in an urban area, in between residential buildings, with a paved churchyard, delimited by wall and flanked in the north, west and south. Access to the churchyard is to the right, fenced-in by a grade and gate in iron, while to the northwest is an uncharacteristic two-story annex building for catechism. To the east is a pillory with Latin cross with three orders of plinths over rectangular base. On the southern flank, is the building of the social centre, east by the Rua da Igreja and agricultural pastures, and north by another building, followed away by the Junta de Freguesia.
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Historians are left with secondary sources, conjecture and speculation, which describe much of the content of the overview. Historical certainty about the Yassa is weak compared to the much older Code of Hammurabi (18th century BCE) or the Edicts of Ashoka, (3rd century BCE). The latter was carved for all to see on stone plinths, 12 to 15 m high, which were located throughout Ashoka's empire (now India, Nepal, Pakistan and Afghanistan). The Yassa, which is thought to be written in the Uighur Mongolian script and written on scrolls, was preserved in secret archives and known only to and read only by the royal family.
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The most intact section of verandah is located at the northern end, with the southern end almost completely missing. The ground floor verandahs have paired, narrow ornamental cast iron columns, which were produced by the Russell Foundry of Sydney, in front and to either side of a tubular cast iron column which was intended to support the load above. These columns are currently in place only to the northern end and part of the western side, and are supported by sandstone plinths which in turn are supported by a footing wall. The paired Russell Foundry columns were also located on the first floor verandah where they acted as structural members.
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During the 1900s the house was sold to the Illingworth family. As with many country houses, the hall was utilised as a hospital during the First World War, and it was again utilised as a military centre during the Second World War. First, the hall was used as a base for the Northumberland Hussars and subsequently it became a Defence Platoon HQ. During the final part of the war the house was used to accommodate Italian Prisoners of War. To the east of the house in the wooded areas are the foundation plinths of a number of buildings associated with this period of the hall's history.
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A pedestal desk A pedestal desk or a tanker desk is usually a large, flat, free-standing desk made of a simple rectangular working surface resting on two pedestals or small cabinets of stacked drawers of one or two sizes, with plinths around the bases. Often, there is also a central large drawer above the legs and knees of the user. Sometimes, especially in the 19th century and modern examples, a "modesty panel" is placed in front, between the pedestals, to hide the legs and knees of the user from anyone else sitting or standing in front. This variation is sometimes called a "panel desk".
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In 1994, the South Australian Research and Development Institute installed an “underwater interpretation trail” in order to “raise community awareness of temperate reef environments and marine life.” The trail which covers a distance of consists of 12 concrete plinths installed on the seabed and each fitted with a plaque providing information about the reef’s sub-tidal flora and fauna. The trail which starts at the jetty heads south on the east side of the reef and passes through a passage in the reef known as The Gap and then heads north on the west side of the reef to a point opposite the end of the jetty.
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Also seen in the western, southern and northern parts of the chaitya-griha are remnants of a number of stupas in three groups, built in stone with only their plain plinths seen in a preserved state. An important discovery in the precincts of the chaitya-griha, is of statues of Avalokiteswara, Tathāgata, Bhikruti-Tara and Chunda embedded in niches, marking the four cardinal points. Other findings are of 14 stupas (built in brick with mud mortar) dated between the 1st and 12th centuries, and also many 5th- to 13th-century epigraphs. Votive stupas, made of stone, are also seen along a stone paved path.
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The first badges were awarded on 25 March 2008 by the then Prime Minister, Gordon Brown, at a reception in 10 Downing Street, marking the 60th anniversary of discharge of the last Bevin Boys. On Tuesday 7 May 2013, a memorial to the Bevin Boys, based on the Bevin Boys Badge, was unveiled by the Countess of Wessex at the National Memorial Arboretum at Alrewas, Staffordshire. The memorial was designed by former Bevin Boy Harry Parkes; it is made of four stone plinths carved from grey Kilkenny stone from the Republic of Ireland. The stone should turn black over time, to resemble the coal that the miners extracted.
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Its infra structure consist of hidden shapes of iron, that were imported from England. This building has mezzanines of ceramic flooring blocks, it also has brick walls, and the columns have plinths of marble from Botticino pilasters, the cornices, moldings and plaster sconces are made with vegetable fibers from the area (chaguar) The original functions were: fencing room, locker rooms, confectionery, hairdressing and services in the basement; there were a hall, a bar, a library, a billiard room and lounge on the ground floor. On the first floor there were a ballroom, meeting rooms, halls and offices. But today, it's only used as a convention center and events are performed.
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Designed by architect Francis Petre, with an axis of east-west rather than the west-east of its predecessor, Sacred Heart was built on a classical basilican plan. However, its portico of Ionic columns of Oamaru stone, whose pedestals rest on elongated plinths, and a high pediment closely reflect those of a Roman or Greek temple, and, in that respect, its most obvious model is the Maison Carrée, Nimes, which has full-length, Corinthian, columns. The building is within the classical proportions and forms a parallelogram (accommodating a clerestory with rows of arch-topped windows) of about 42 metres by 19 metres by a height of 18 metres.
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Close-up of the Three Dikgosi Monument The monument features tall bronze statues of three dikgosi, or chiefs, who played important roles in Botswana's independence: Khama III, Sebele I, and Bathoen I The three chiefs traveled to Great Britain in 1895 to ask Joseph Chamberlain, Secretary of State for the Colonies, and Queen Victoria to separate the Bechuanaland Protectorate from Cecil Rhodes British South Africa Company and Southern Rhodesia (present-day Zimbabwe). Permission was granted, and meant that the Batswana remained under direct British rule until independence in the 1960s. Six plinths at the feet of the statues give descriptions of the three chiefs.
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The principal facade, oriented to the northeast, is proceed by two staircases on either side connecting at a landing in the central balcony, reinforced by stone balustrade and by pinnacles. On the ground floor, there is a central landing to archway framed over pilasters over gabled plinths and terminated in cornice, surmounted by ashlar. The second floor is divided into three sections, corresponding to the a doorway flanked by two picture windows framed by stone work and surmounted by frieze decorated with two diamond points and cornice. The third floor has four windows with the same framing and guarded in wrought iron, with a central royal coat-of-arms.
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The church is a rare example, important for the group details and composition, including pinnacles and triumphal arch, different from the vernacular characteristics of other temples of the same size in the region. The church is located in the centre of a large square (Largo Marquês de Pombal), aligned with trees and a central garden. It has a longitudinal plan, formed of a nave and a narrower presbytery, with lateral sacristy and tiled articulated spaces. The principal facade is oriented towards the north, defined by accented corners, a finial gable crowned by a cross (resting on a plinth in masonry) and stone urns on plinths crowning the corners.
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This work first appeared as a performance and installation by → ↑ → in 1980 at the George Paton Gallery called Asphixiation: What is This Thing Called ‘Disco’?. It featured large screen printed reproductions of fashion magazines and several plinths with instruments, tape players and hanging frames, all lit with neon. The performance involved the group miming to a disco album they made, the reel-to-reel visibly playing, and was recorded by David Chesworth from Essendon Airport, the album itself written in five days. An executive from Missing Link Records saw this show and approached the group about doing a single, to see if it would be a breakthrough hit like they had the previous year with The Flying Lizards “Money”.
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On April 3, 1962, the state moved the Neihardt bust to the southwest niche of the Great Hall (across from the Norris bust) after protests pronounced that the bust's previous location was improper. On March 21, 1974, the Nebraska Hall of Fame Commission elected Neihardt to the hall of fame, and the commission grandfathered his bust into its statuary collection at the capitol. The commission dedicated the bust of William Frederick Cody on June 12, 1969, and placed his bust in the last of the six niches of the Great Hall. The commission placed subsequent busts on limestone plinths throughout the second floor courtyard hallways to the north and south of the legislative chambers.
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The church is an irregular plan, composed of two articulated bodies separated by a walkway, corresponding to the longitudinal church, formed by a single nave, presbytery, with chapel and sacristy along the left lateral facade and annexes opposite them. To the center is a large rock, and the main body of the college, in a simple rectangular design within the main courtyard. The facades are constructed in granite, with simple cornice and eaves. The main facade, oriented towards the west, includes main doorway consisting of Roman arch, with frame surmounted by frieze and double cornice, which is supported by two Corinthian-inspired columns decorated with cherubs, over parallelepiped plinths ornamented with geometric elements.
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The 14th-century builders nearly doubled the size of the fabric. They took down the north and south walls of the nave, and erected two arcades in their place, that on the north consisting of five arches, but that on the south of three, because the old porch was not demolished, but allowed to stand, which entailed a different proportion of the space. They rebuilt the bell turret on the older buttresses, and a new porch. The chancel arch is of two chamfered orders, with a chamfered hood-moulding towards the nave, and is carried on semi-round responds having moulded bases on square and chamfered plinths, and capitals, with square hollow chamfered abaci.
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It turned out that the combination could work well in the Guggenheim's space, but, Messer recalled that at the time, "I was scared. I half felt that this would be my last exhibition." Messer had the foresight to prepare by staging a smaller sculpture exhibition the previous year, in which he discovered how to compensate for the space's weird geometry by constructing special plinths at a particular angle, so the pieces were not at a true vertical yet appeared to be so. In the earlier sculpture show, this trick proved impossible for one piece, an Alexander Calder mobile whose wire inevitably hung at a true plumb vertical, "suggesting hallucination" in the disorienting context of the tilted floor.
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Jones died in 1918 while the bridge is still being planned, and the Filipinos named the passageway to the lawmaker for authoring the law that will give the country an autonomy from the United States. Arellano designed the bridge in the style of the passageways constructed during Haussmann's renovation of Paris. He embellished the piers with a statues of boys on dolphins, similar to the those on the Pont Alexandre III at the river Seine (which he had previously visited). Similar to the Parisian Pont, he marked both ends of the bridge with four plinths and commissioned a sculptor named Martinez to build four statues, called La Madre Filipina (The Philippine Motherland), which would be placed on the pedestals.
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It proved so popular that within a few years this New Walk was extended further south past the junction with the Foss by way of a wooden drawbridge. This new bridge was painted blue and the colour and name have endured though the bridge itself has been replaced several times, the first of these being in 1768 when a single arch stone bridge was constructed. In 1792 the Foss Navigation Company built a wooden swing-bridge to enable boats to access the Foss and this type of bridge was used again when the bridge was rebuilt in 1834. In 1857-58 an iron opening-bridge was built along with two stone plinths upon which stood two Russian cannons.
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The Townsville School of Arts building is located on the corner of Stanley and Walker Streets and comprises a two storey structure with an adjoining theatre building running parallel to its rear and accessed from Walker Street and from within the School of Arts building. Both buildings are constructed of exposed face brick and are roofed in corrugated iron. The former School of Arts building is two storeys high and is fronted on the Stanley Street elevation by brick columns, square in plan, rising from rendered plinths through both storeys to create deep verandahs. The verandah at street level is reached by low steps and has decorative iron railings and matching gates.
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Born in Barnsley, he attended St John's School, Leatherhead and Queens' College, Cambridge, where he arrived to study theology but switched to history, and joined the Cambridge Footlights Club.From Fringe to Flying Circus – 'Celebrating a Unique Generation of Comedy 1960–1980' – Roger Wilmut, Eyre Methuen Ltd, 1980, . He was a member of the cast of the 1963 Footlights revue A Clump of Plinths, which was so successful during its run at the Edinburgh Festival Fringe that the revue transferred to the West End of London under the title of Cambridge Circus and later taken on tour to both New Zealand and Broadway in September 1964. Hatch was later a student teacher at Bloxham School, Oxfordshire.
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The plinths themselves have been engraved with both a description of the items and QR codes which can be scanned for more information. Those on display to date are a very diverse collection and include a puppet's head used by John Logie Baird in his first television experiments, the ship's bell from Henry Bell's paddle steamer Comet, miniature shoes and butter pats (for shaping butter). In addition a number of brass plaques have been set into the pavements and these give a description of the condition of the streets of the town in 1845. WAVEparticle was the designer of the Outdoor Museum, and the concept has been given a number of awards.
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The combination of art and architecture remained important in Cadbury-Brown's work since the sixth CIAM meeting. At the Festival of Britain he was tasked with designing plinths for a number of sculptures around the festival including Barbara Hepworth and Henry Moore. For Ashmount school he asked one of his students at the Royal College of Art, John Willats to design a sculptural figure of a fighting cock and at housing in Hammersmith he enabled Stephen Sykes to apply decorative tile patterns to the communal stairs. National Life Stories conducted an oral history interview (C467/16) with Henry Thomas Cadbury-Brown in 1997 for its Architects Lives' collection held by the British Library.
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The Federation Warehouse style of architecture, characterised by its hipped galvanized iron roof and protruding brick piers and plinths, can still be seen on the Sixth Avenue side of the building. The institute was officially opened in 1900 and was the only purpose designed and built centre of its kind in Western Australia. The institute derived income from chair caning, mat and brush making but was heavily reliant on public donations and government grants. After the First World War, production increased and the centre proved to be a significant place of assistance for service men that had lost their sight during the war. In 1923, production expanded to include basket making and sea grass furniture.
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In addition, the space is surrounded by eight jasper busts on plinths, representing Roman emperors. In the Sala Dourada or Salão de Baile (Golden Room or Ballroom, respectively) the ceiling is paneled with a central allegory of the Roman Empire, with murals and crown moulding medallions in a neo-Pompeian motif. The Sala Luís XV (Louis Quinze Room), also pannelled, is highlighted by a series of paintings surmounted two shields of the House of Braganza and Orléans. The narrow rectangular chapel, with smooth walls and wood paneling, is occupied by a Neoclassical retable in gold-leafed wood, with a painting by André Reinoso representing the "A Adoração dos Pastores" (The Adoration of the Shepherds).
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The original lions, and shepherds and shepherdesses (probably from the Grecian valley, after 1749), were donated by John Magee in 1926 after being purchased during the sale of Stowe House in 1921. Three of the Four Shepherd statues in the Italian Gardens were stolen, probably for scrap metal, in 2011 which prompted Blackpool Council to ensure the safety of the lions. There were a number of vandal attacks on the statues and so an agreement was formed for the lease of the Lions to Stowe House. In return for the loan Stanley Park received exact copies (but with steel armature), new plinths and secured free access for Blackpool residents at Stowe House.
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This and other alterations may have occurred during the last decades of the nineteenth century or the early years of the twentieth when the building became the United States Post Office." One of these alterations appears to be the side entrance on the southwestern side of the building, Candee hypothesizes that it may have replaced an original window. Another modification appears to have been made to the main entrance which has a flat pedimented front door that is framed with columns protruding on plinths. The main door is also surrounded with "wooden rustification", but it is noted that this alteration to the main entrance "provides an important visual point to the simple building.
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Only two other churches in Bulgaria bear a resemblance to that design: the main church of the Rila Monastery and that of the Etropole Monastery. However, while the Lopushna Monastery church takes inspiration from the Rila Monastery for its plan, it is radically different in decoration and appearance from that of the Rila Monastery. Instead of following the Byzantine Revival and partially Baroque Revival style of the Rila Monastery, the Lopushna Monastery church's architecture displays Gothic Revival features, which were entirely innovative for Bulgarian vernacular architecture at the time. The decoration of windows, cornices, plinths and particularly doors, as well as until 1923 of the porch, is dominated by sharp-pointed shapes and broken lines.
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Above the signage panel is a triangular pediment supported on a rectangular panel divided by squat engaged columns aligned with those on the levels below. The north western facade of the building is attached to the adjacent City Council Chambers and a recent thoroughfare on the first floor of the School of Arts provides access to its neighbouring building. The south eastern elevation of the School of Arts is concealed by a double storeyed verandah covering a driveway on that side of the building. The verandah is supported, at ground level on a series of cast iron columns on masonry plinths, and has a deep scalloped timber frieze below first floor level.
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The Māru-Gurjara style did not represent a radical break with earlier styles. The previous styles in north-west India are mentioned above, and the group of Jain temples of Khajuraho, forming part of the famous Khajuraho Group of Monuments are very largely in the same style as their Hindu companions, which were mostly built between 950 and 1050. They share many features with the Māru-Gurjara style: high plinths with many decorated bands on the walls, lavish figurative and decorative carving, balconies looking out on multiple sides, ceiling rosettes, and others, but at Khajuraho the great height of the shikharas is given more emphasis. There are similarities with the contemporary Hoysala architecture from much further south.
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The Antique Temple was, like the Sanssouci Picture Gallery, envisioned from the beginning as a museum and at the time of Frederick the Great could be visited after notifying the castellan at the New Palace. Next to dozens of antique ornaments, such as marble urns, bronze figurines, tools, weights and ceramics, could be found the so-called 'Family of Lycomedes', ten life-sized marble statues on marble plinths. They came to Frederick the Great from the art collection of the French Cardinal Melchior de Polignac. Fifty busts of marble, basalt and bronze sat on brackets, 31 of which also came from Polignac's collection; the rest were from Friedrich's favourite sister, Princess Wilhelmine, Margravine of Brandenburg-Bayreuth.
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In addition, the revamp also saw the removal of the plinths used by the former hosts' cars (including the one for Toyota Hilux) as well as the cars used on them, but retaining the banner for The Stig. In addition to work being done to create the new series, the BBC announced on 27 April 2016, that production of a spin-off show called Extra Gear for BBC Three, was also being worked on, which was to feature additional clips and behind-the-scenes look at some of the films shown on each episode that was broadcast of Series 23, with both Rory Reid and Chris Harris announced as the presenters for it.
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In the main hall of the imperial palace during the Tang and Song dynasties there were two stone statues. One was of a dragon and the other of Ao (), the mythical turtle whose chopped-off legs serve as pillars for the sky in Chinese legend. The statues were erected on stone plinths in the center of a flight of stairs where successful candidates (jinshi) in the palace examination lined up to await the reading of their rankings from a scroll known as the jinbang (). When the list was published, all the names of the graduates were read aloud in the presence of the emperor, and recorded in the archival documents of the dynasty.
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The design is based on two large dragon sculptures, high, which were mounted above the entrance to the Coal Exchange on Lower Thames Street, designed by the City Architect, J. B. Bunning, and made by the London founder Dewer in 1849. The dragons were preserved when the Coal Exchange was demolished in 1962–3. The two original statues were re-erected on high plinths of Portland stone at the western boundary of the City, by Temple Gardens on Victoria Embankment, in October 1963. The Corporation of London's Streets Committee selected the statues as the model for boundary markers for the city in 1964, in preference to the fiercer dragon by C. B. Birch at Temple Bar on Fleet Street.
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Cleese was a scriptwriter, as well as a cast member, for the 1963 Footlights Revue A Clump of Plinths. The revue was so successful at the Edinburgh Festival Fringe that it was renamed Cambridge Circus and taken to the West End in London and then on a tour of New Zealand and Broadway, with the cast also appearing in some of the revue's sketches on The Ed Sullivan Show in October 1964. After Cambridge Circus, Cleese briefly stayed in America, performing on and off-Broadway. While performing in the musical Half a Sixpence, Cleese met future Python Terry Gilliam as well as American actress Connie Booth, whom he married on 20 February 1968.
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The game features Top Gear "Car Football" (only available online with Xbox Live) and a Top Gear bowling mini game, both set on the official Top Gear test track. The BBC Top Gear studio is part of the Home Space when viewing a car. The studio has the original TV series cars on plinths, such as the destroyed Toyota Hilux and Clarkson's Fiat Coupé police car as seen in Series 11, Episode 1, and all of the original Top Gear logos, Stig posters, and lighting arrangements, that reflect off the paintwork of the car the player is viewing, similar to how they would on the real Top Gear show. A live action commercial was produced and contained a voice over track by Jeremy Clarkson.
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1887 groundplan for the late-19th-century restoration work St Nicholas, Blakeney, is a large Gothic parish church with an aisled nave, a deep chancel of two bays, a large tower at the western end, and a smaller tower at the eastern end, to the north of the chancel. The north porch was rebuilt in 1896. The west tower is surmounted with crenellations and pinnacles and is supported by stepped buttresses at each corner. The buttresses are constructed from flint and stone, and have arched insets on the faces.Brandon (1860) p. 20 They rest on stone plinths, each bearing carved shields, that on the north buttress with an inaccurate rendering of the arms of the see, and the other with a cross and a dolphin.
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Since the establishment of the Kamarupa Anusandhan Samiti, some of these scattered relics have been collected and placed in the small museum of the Society. These collections include some sculptured images of deities, chiselled octagonal or hexagonal stone pillars, carved stone pedestals of pillars and finely carved panels containing figures of elephant-heads en face, lion-heads and human heads, used to decorate the outer side of the stone plinths of palaces or temples. The elephant-head en face is a peculiarity of Pragjyotisha as the kings invariably used the same emblem in the metal seals of their copper-plates. The rock-cut images of Vishnu and Ganesa found in or near Guwahati similarly go back to an early age.
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The bottom right-hand corner An original, much smaller, composition just showing the basic two figures of the standard Pietà subject in Christian art, which consists of Virgin Mary cradling the dead body of Christ, was expanded after being completed and delivered (see below).Jaffé, 153; Hale, 704–705, 720–721 Behind the central figures there is now a large rusticated Mannerist aedicule or niche, flanked by statues standing on plinths carved with giant lion heads. Along the top of the broken pediment six flaming lamps give a dull light, with another half-hidden in the centre, with vegetation around them, perhaps "the figleaves of the Fall of Man".Hale, 721 A patch of dark sky can be seen at top left.
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The archeological site preserves an enigmatic set of battlement walls built between the San Bernardino and Chapingo rivers; the better-preserved section is west of the former convent. Towards the east two plinths can be visited, on top of the “La Comunidad” section are remains of rooms with tlecuiles or braziers. Over the San Bernardino river are several pre-Hispanic architectonic sets, two are especially interesting; the circular basement is a sample of temples dedicated to Ehécatl, “Wind God” (invocation of Quetzalcoatl), next to it is a small foundation, probably from a previous or contemporary to the first circular stage construction. At the location of structures 1 and 2, is an INAH office, with an attentive keeper, that readily provides site information and literature.
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In 2007 a programme of reconstruction and restoration was undertaken by Bath and North East Somerset Council and supported by the Heritage Lottery Fund. This included the renovation of two Medici lion statues on plinths each side of the Queen’s Gate entrance to the park, replacing the original iron armatures inside the limbs, returning them to their bronze colour, and giving each a gilt ball under its front paw. Further work will add two cast iron replicas of the original lanterns and the replacement of the decorative iron gates to the three main entrances to the park. The original gates were removed, along with all the railings around the park, as part of a Second World War national scrap metal campaign.
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The general layout of the main facade is identical on both sides of the arch, consisting of four columns on bases, dividing the structure into a central arch and two lateral arches, the latter being surmounted by two round reliefs over a horizontal frieze. The four columns are of Corinthian order made of Numidian yellow marble (giallo antico), one of which has been transferred into the Basilica di San Giovanni in Laterano and was replaced by a white marble column. The columns stand on bases (plinths or socles), decorated on three sides. The reliefs on the front show Victoria, either inscribing a shield or holding palm branches, while those to the side show captured barbarians alone or with Roman soldiers.
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D. 337 by Jerome Jordan Pollitt (30 June 1983) page 19 The oldest statue in Rome is now the statue of Diana on the Aventine.Samnium and the Samnites by E. T. Salmon (2 September 1967) page 181 For a successful Greek or Roman politician or businessman (who donated considerable sums to public projects for the honour), having a public statue, preferably in the local forum or the grounds of a temple was an important confirmation of status, and these sites filled up with statues on plinths (mostly smaller than those of their 19th century equivalents). The wonders of the world include several statues from antiquity, with the Colossus of Rhodes and the Statue of Zeus at Olympia among the Seven Wonders of the Ancient World.
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Brooke-Taylor, Garden and Oddie were cast members of the 1960s BBC radio comedy show I'm Sorry, I'll Read That Again, which also featured John Cleese, David Hatch and Jo Kendall, and lasted until 1973. I'm Sorry, I'll Read That Again resulted from the 1963 Cambridge University Footlights Club revue A Clump of Plinths. After having its title changed to Cambridge Circus, the revue went on to play at West End in London, England, followed by a tour of New Zealand and Broadway in New York, US (including an appearance on the Ed Sullivan Show). They also took part in various TV shows with other people, including Brooke-Taylor in At Last the 1948 Show (with Cleese, Chapman and Marty Feldman).
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In the late 1850s most of the unfinished detailing was made good in a simple manner with mitered, moulded architraves instead of the elaborate aedicular forms of the original work. At this time two storied verandahs of cast iron columns on sandstone plinths were built instead of the single storey colonnade originally planned, for which sandstone columns had been quarried and moulded. The workmanship of the first build and the materials used - in particular the Ravensfield stone and the cedar - are of the highest quality. The house retains in its wallpapers and paint finished, together with its services (bells, water closet and ballroom) remarkable evidence of both building, the effect of the financial depression and the taste of its builders.
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The arboretum was unveiled on 23 February 2009 following a £14,000 grant from the Forestry Commission English Woodland Grant Scheme and funds from First TransPennine Express. Blackpool Council's Parks Service designed the plans for the memorial woodland, while rangers worked with local school children and community groups to plant trees. Officially opened on 26 June 2009 with a service of dedication, the arboretum has a main memorial plaque as well as 16 smaller plinths. It is run by the Arboretum Committee, an offshoot of the Fylde Ex-Service Liaison Committee, with the aim of providing the service associations, and the people of Blackpool and the Fylde, with "a place of peace and beauty in which to remember their fallen comrades and loved ones".
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The Sanctuary of Our Lady of Lapa and Residence of the Society of Jesus is a Christian sanctuary in the civil parish of Quintela, municipality of Sernancelhe of northern Portugal. The historical residence of the Society of Jesus, this site was transformed to support pilgrims to the site, and is marked by a chapel delineated by Corinthian columns, supporting plinths surmounted by simple frieze and cornice. The interior was decorated in azulejo tile of polychromatic vegetal design, with triumphal arch dividing the sanctuary from the college, identifiable by the large granite rock in its interior, where legend says the image of the Virgin Mary was first discovered. In this space is the oratory of Senhora das Dores (Our Lady of Sorrows) with its nativity by António Ferreira (particularly visible in the juxtaposition of various representations).
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The events carved on the decennalia base represent ceremonies that the emperor would have performed in commemoration of the tenth jubilee. Although we have epigraphic evidence for other bases from this monument, it is difficult to determine what any of the other four column plinths would have depicted or how the decennalia base would have fit specifically within its monumental context. A symmetrical organization has been proposed, with the columnar statues of the Augusti immediately flanking that of Jupiter, and metaphorically introducing the exterior Caesares, in what Kalas believes could represent a peaceful transition of power from senior to junior successors. Arch of Constantine relief, featuring Constantine in front of the Five-Columns Monument The Arch of Constantine aids in our understanding of how the Five-Columns monument functioned in the Forum.
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A combination of vandalism and natural aging (most likely rusting of the chains) meant that by the 1980s more than half has disappeared – most of those remaining were removed. The restoration of the Avenue, begun in 2002 by Friends of Soldiers Walk (now Friends of Soldiers Memorial Avenue) and the Hobart City Council has seen over 480 bronze plaques placed at trees along the Avenue. These are mounted on concrete plinths and carry details of full name, unit, place and date of death, age, occupation and a range of other information about family, military career and civilian life. The discussions about the intended Hobart war memorial were underpinned by the existence of the Avenue with a resolution passed by the War Memorial Committee that any war memorial should be adjacent to the Avenue.
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This move resulted from the belief that either two or all four of the statues represented Nubian slaves shown in manacles. Both histories of the hotel, that of 1951 by Elizabeth Bowen and that of 1999 by Michael O'Sullivan, state that two of the statues represent slaves or servants, with Bowen stating "on each stands a female statue, Nubian in aspect, holding a torch shaped lamp". Kyle Leyden, an art historian at the University of London, argued that none of the statues are of the established "Nubian slave" type, and that all four figures wear anklets indicating aristocratic status, rather than shackles. After an examination by Paula Murphy, an art historian at University College Dublin, concluded that the statues were not representations of slaves, it was announced that they would be restored to their plinths.
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Following the death of King George V in 1936, the square was widened to include the area which had been Albert Street, and renamed King George Square in honour of the King. The bronze Lion sculptures, which "guard" the King George Square entrance to the Brisbane City Hall, were initially on large sandstone plinths, as part of the George V memorial, which was unveiled in 1938, as a tribute to the King from the citizens of Brisbane. Vehicular traffic, including a trolley-bus route, operated through the square until 1969, when the roadway was closed to traffic. Buildings on the northern side of the square were acquired by the City Council including the Tivoli Theatre and the Hibernian Building and demolished and work commenced on the construction of the underground King George Square Car Park.
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Writers about these works often reference counter-cultural movements, hippies, shamans and marionettes when describing them. Comparisons have been made to the earlier work of Bruce Conner and Paul Thek and Upritchard's closer contemporaries Ryan Trecartin, Lizzie Fitch and Saya Woolfalk. Upritchard often collaborates with furniture designer Martino Gamper (also her husband) on the plinths her sculpted forms stand on, which sometimes take the forms of tables and bureaus, and more recently of steel pedestals. Natalie Hegert writes: > The care taken in the aesthetic choices of furniture reveals Upritchard’s > interest in craft, further evidenced by her attention to textiles, lamps, > jewelry, urns, and other accoutrements. In Upritchard’s sculpture, it is not > enough for the figure to be sculpted from clay and set upright—the drapery, > adornment, and environment related to the figure are integral to the work > itself.
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The visual imagery of the 1902 designs, replete with suggestions of architectural features such as caryatids, friezes, plinths, marble columns etc. (many of them iconographically suited to the persons portrayed), was paralleled by an equally eclectic approach to typography, several different fonts being employed for letters and numerals, and several different styles of curvature being applied to some text. One notable feature of the designs is the tendency of pictorial details to protrude into left and right borders of the stamps: the arms, knees or robes of allegorical statues, the tops of flagstaffs, the beaks of eagles, the shields enclosing the numerals--even a sailor's grappling hook and a marine's musket. All fourteen original designs were the work of Raymond Ostrander Smith, whose designs for the Pan-American series and the Trans-Mississippi Issue had won much acclaim.
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The municipal government voted to begin construction of the new theatre in 1874, on a 3,000 square metre plot granted by the State of Geneva and formerly occupied by the moats of the ancient city wall, according to plans drawn up by the architect Jacques-Élysée Goss. The first stone was laid in 1875, and the official inauguration took place in 1879 with a performance of Rossini's William Tell opening the season. The new building, placed between the Musée Rath and the Conservatory of Music, was rated among the ten best opera houses in Europe, close behind the recently completed Palais Garnier in Paris, from which it drew considerable architectural inspiration, in its Second Empire style. The building's facades are built of freestone, with plinths of Jura limestone and the rest of the building in sandstone and molasse.
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Purkess has a joinery firm (producing exhibition plinths and counters) and still does some session work for other outfits. In September 2011, a collectors edition CD of all the material recorded for Epic Records during the 1981-83 period, was released on Rhythm Rock-It Records, entitled Epic Rock'n'Roll. After a few line up changes (which included having Henri Herbert on piano for many gigs - playing mostly with the band's alter ego's 'The Rock 'n' Roll Society') the band settled down to a steady gigging six piece who were ready to start recording again in around 2013. This line up consisted of Danny Brittain - original vocalist, Pete Davenport - original guitarist, Tim "Trundle" Purkess - long standing upright bass man, Jim Russell - drums since 2005, Aaron Liddard - sax man of almost 10 years standing and Jamie Rowan - the 'newbie' piano man since 2012.
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Ramps for the northern front were originally included in proposals for a rebuilding of the medieval palace Tre Kronor in the mid-17th century, and elevations from the 1690s also featured lions. Though the old palace was completely destroyed in the devastating fire on May 7, 1697, a new proposal for the northern front was quickly produced, presenting the ramps mostly in their present shape. The portions of the ramps next to the façade were quickly completed and the lions and their plinths were installed in 1704. The work on the lower lateral parts were however not begun until after Norrbro, the bridge extending north from the palace, was completed in 1807, and not finished until 1826-1834 when the last stage of the construction was realized to the plans of Per Axel Nyström (1793-1868).
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The church is implanted behind a small courtyard and comprises a single-nave extending to a narrower corp (corresponding to the presbytery) and annexes that included the sacristy and annexes off the principal space. The building is constructed in masonry stone plastered and painted white, with the cornerstones, pilasters, entablatures and frames in stonework. The principal facade, which includes a belfry/steeple, is divided in three sections by entablatures (on the first floor an architrave, simple frieze and cornice and the second by just frieze and cornice) and in the three sections by a vertical pilasters (with plinths and capitals on the ground floor). The ground and first floor are complemented by arched windows; the first floor marked by rectangular doorway flanked by two windows and the upper floor with three windows corresponding to the openings on the ground floor.
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In the wake of the September 11 attacks, the Forrestal Building was identified as one of several federal buildings at high risk of terrorist attack due to its location near the U.S. Capitol and the National Mall and because of the work it does (nuclear weapons development). In July 2003, the National Capital Planning Commission approved preliminary perimeter security enhancements for the Forrestal Building. These included the placement of bollards at pedestrian entrances, and a low wall of plinths next to the sidewalks. In 2004, DOE added jersey barriers along 10th Street and around the median running down the middle of L'Enfant Promenade (the esplanade), blocked off the taxicab stands, built temporary guard booths on the 10th Street median, and successfully petitioned the District of Columbia Department of Transportation to ban truck traffic along the northernmost portion of 10th Street.
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The exhibition presented works such as Fire, neon light tubes mounted on a gallery wall; Volcano, a tree stump covered in colored wax from candles alight atop it; and Left, an oversized street sign bent into an S-shape.The Modern Institute Mark Handforth's outdoor exhibition (2011) on the Museum of Contemporary Art, Chicago’s plaza displays three large-scale and one small-scale work: PhoneBone combines an oversized femur set upright with an equally oversized yellow phone handset affixed to the bone’s side; LamppostSnake and Blackbird—a large, bent lamppost and a massive black aluminum hanger, respectively—sit atop the building’s plinths on either side of the staircase; BeatProp displays an English Bobby hat atop a safety cone, each colored with dripped paint.Mike Thomas, "Museum of Contemporary Art hopes artist can liven up the building," Chicago Sun-Times, July 7, 2011. Retrieved July 9, 2011.
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The sale was held over 17 days (catalogue is shown here) and raised a large sum of money, enabling him to pay his creditors. He died in 1815, and Catherine moved to London and died in 1798. The house was inherited by his eldest son, John Willett Willet (1784–1839). However, he had a mental disability, so the property was largely managed by his brother Henry Ralph Willett (1786–1857). It was during this time that the two wings that had been added in 1772 were demolished, as they were no longer needed to accommodate the books and paintings. In 1819 a sale notice appeared in the newspapers for "120,000 bricks, mathematical tiles, a large quantity of Portland stone, cornices pediments and plinths", which were "part of the mansion house at Merley lately taken down".Salisbury and Winchester Journal - Monday 26 April 1819, p. 2.
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The book soon became notorious for its story of the physical (and emotional) relationship between a working-class man and an upper-class woman, its explicit descriptions of sex, and its use of then-unprintable four-letter words. The story is said to have originated from certain events in Lawrence's own unhappy domestic life, and he took inspiration for the settings of the book from Nottinghamshire, where he grew up. According to some critics, the fling of Lady Ottoline Morrell with "Tiger", a young stonemason who came to carve plinths for her garden statues, also influenced the story.. Lawrence, who at one time considered calling the novel John Thomas and Lady Jane (in reference to the male and female sex organs), made significant alterations to the text and story in the process of its composition. Lawrence read the manuscript of Maurice by E. M. Forster, which was published posthumously in 1971.
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As part of the reorganization of the garden that was ordered by Louis XIV in the early part of the 18th century, the Apollo grouping was moved once again to the site of the Bosquet du Marais – located near the Latona Fountain – which was destroyed and was replaced by the new Bosquet des Bains d'Apollon. The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin. The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985). Bosquet de l'Encélade Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mt. Etna, being consumed by volcanic lava.
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Power House at the North Ipswich Railway Workshops, circa 1914 The North Ipswich Railway Workshops is a place which contains an extensive complex of buildings and linking rail tracks constructed between 1878 and the present day. A considerable number of these have architectural merit those constructed between 1884 and 1905 were a result of the first major expansion to the northern end of the site in the 1880s and further development resulting from criticisms levelled by an 1899 Inquiry into two boiler accidents. These buildings include the gable ended brick structures to the north of the Traverser, which although simple and robust industrial buildings, are carefully articulated and detailed in the late Victorian style with bold use of brickwork in projecting plinths, pilasters, corbels, dentil courses and string courses. Some buildings such as the Bogie Repair Shop and Blacksmiths' Shop feature the restrained use of coloured brickwork.
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The statue was reputedly one of the first statues to be made from a photograph. It was erected by public subscription in 1861, on a granite plinth, matching the statue of General Charles James Napier erected to the west in 1855–1856.Havelock statue, London Remembers A copy in Mowbray Park in Sunderland was also erected by public subscription and unveiled in 1861.Monument to Major General Sir Henry Havelock, Public Monuments and Sculpture Association In 1936, it was suggested that the statues of Generals Havelock and Napier in Trafalgar Square should be replaced by statues of Admirals Beatty and Jellicoe, the naval commanders at the Battle of Jutland in 1916, but a place was eventually found for bronze busts of the Edwardian admirals (and later for Admiral Cunningham) against the north wall of the square, without removing the statues of the Victorian generals from their plinths.
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The William A. Jones Memorial Bridge, commonly known as the Jones Bridge, is an arched girder bridge that spans the Pasig River in the City of Manila, Philippines. It is named after the United States legislator William Atkinson Jones, who served as the chairman of the U.S. Insular Affairs House Committee which had previously exercised jurisdiction over the Philippines and the principal author of the Jones Law that gave the country legislative autonomy from the United States. Built to replace Puente de España (Bridge of Spain), the bridge connects Quintin Paredes Road at the Binondo district to Padre Burgos Avenue at the Ermita district. Originally designed by Filipino architect Juan M. Arellano using Neoclassical architecture, the first incarnation of the bridge features three arches resting on two heavy piers, adorned by faux-stone and concrete ornaments, as well as four sculptures on concrete plinths allegorically representing motherhood and nationhood.
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The attraction starts in the real armoury of the Towers, decorated with scaffolding and artefacts, which starts to tell the story of the renovation and the discovery of the vault, through video screens found along the twisting atmospheric queue-line. Statues draped in dust sheets decorate plinths high up near the darkened ceiling and sound- effects of chiselling can be heard to give the suggestion that this renovation is currently ongoing and unfinished. At the end of the queue line is a large painting of the Earl hung on the wall, and visitors hear a short narrative which gives a brief introduction to the legend before they are shown onwards into the cinema area (still part of the real building) where visitors watch a short film which dramatises the legend and makes it clear that they will soon be visiting the recently discovered vault where the original branch is located.
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Portrait of the Four Tetrarchs Missing heel portion kept in the Istanbul Archaeology Museum The Portrait of the Four Tetrarchs is a porphyry sculpture group of four Roman emperors dating from around 300 AD. The sculptural group has been fixed to a corner of the façade of St Mark's Basilica in Venice, Italy since the Middle Ages. It probably formed part of the decorations of the Philadelphion in Constantinople, and was removed to Venice in 1204 or soon after. Spolia from the Fourth Crusade, the statues were originally designed as two separate sculptures, each consisting of a pair of armoured late Roman emperors embracing one another. The paired statues stand on plinths supported by a console of the same stone, and their backs are engaged in the remains of large porphyry columns to which the statues were once attached, carved all of a piece.
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The critical component of the related sets is that the interactions between rooms are set out, with details as to the type of interaction. For example, if escorted patients, beds and medical equipment are to be moved, or if individuals or groups of people will move between spaces, the architect's design will need to acknowledge the different design responses to be made. The information used to assemble a 'space dictionary' can be quite detailed, with a schedule produced that lists, for each room, parameters, the requirement against the parameter, and any particular performance needs. Parameters might include: population (median and peak), area, minimum height, floor loading, floor finish and skirting requirements, including any plinths, hobs or set-downs, wall finishes, including wall protection needs (pertinent in hospitals, warehouses, etc.), ceiling finish, including acoustic needs, engineering services required: power, lighting, air-conditioning, water, drainage, communications, etc.
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Statue of Proserpina with the owl Askalaphus, by Dominik Auliczek, 1778 Cybele with mural crown, by Giovanni Marchiori, 1765 There are two types of sculptural decoration on the Garden parterre, twelve large statues on plinths and twelve pedestal decorative vases with figural reliefs, all in the form of a series of Cherubs, matching the mythological theme of the statues. While the vases are set up on the narrow sides of the four compartments forming the Garden parterre, the statues are placed on their long sides. Viewed from the palace garden staircase, on the far left are: Mercury, Venus and Bacchus on the far right are: Diana, Apollo and Ceres and facing each other on the central road: Cybele and Saturn, Jupiter and Juno and Proserpina and Pluto. Sculptor Roman Anton Boos created all decorative vases (1785-1798) and the sculptures of Bacchus (1782), Mercury (1778), Apollo (1785), Venus (1778), Diana (1785) and Ceres (1782).
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The nave has, on each side of the chancel arch, the 13th-century respond column of the former arcades; they are semicircular with moulded capitals and bases. The 17th-century north wall has a reset late-15th-century three-light window; a reset 14th-century archway to the porch, of two chamfered orders (probably the old arch between the aisle and transept re-used), the lower order resting on mutilated corbels, reset and altered in the 17th century; and a slight recess close to the west end, as for the inner splay of a window. The 17th-century south wall has features similar to those of the north wall. Both walls have splayed plinths, but those on the south appear to be of rather coarse workmanship and do not extend round the porch, while those on the north are finely wrought and are carried along the east and west walls of the porch.
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The original pivoted cage which supported a mast and antenna erected by the Eastern Telegraph Company in 1902 at Pedn-men-an-Mere near Porthcurno to monitor wireless transmissions by Marconi from Poldhu, across Mount's Bay A small headland to the west of the Minack Theatre called Pedn-men-an-Mere, which is now owned by The National Trust, (Cornish: 'rocky headland by the sea') is known locally as 'Wireless Point'. Here, exposed areas of granite bedrock and concrete plinths retain the preserved remains of the base and guy wire tether points of a wireless telegraphy antenna mast that was erected in 1902 by the Eastern Telegraph Company.Godwin; p 72Information from the plaque fixed to the concrete plinth. It was thought that this was used to 'spy' on the early wireless transmissions by Marconi, a developer of radio, from the Poldhu cliff top about to the east, across Mount's Bay on the west side of the Lizard Peninsula.
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" In describing Colon's work in the historical context of California Minimalism and Light & Space movements, critic Dr. Suzanne Hudson states, "Colon's 'Glo-Pods,' 2013—, irregularly shaped wall mounted acrylic orbs, recall the languid organicism of Craig Kauffman's candy-colored bubbles; their intimation of light emanating from within the impossibly smooth contours additionally channels Helen Pashgian's illuminated monoliths. Unlike Pashgian's plinths, or Doug Wheeler's neon-backlit canvases, Colon's scarab-like objects achieve their iridescence via the play of natural light, yet the sculptures appear to change color as one moves around them, as if lit by multihued bulbs.Perhaps more to the broader point, Colon's labors are very much her own…" Art critic Mat Gleason explained: "Rather than have some technological trick embedded into the art, [Colon] has made objects that are altered by the world around them yet never stop being themselves. This artist has thus delivered a meditation on the flexibility of the feminine as antidote to the rigidity of the masculine.
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The opera house was the first major building on the Vienna Ringstrasse commissioned by the Viennese "city expansion fund". Work commenced on the house in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll. It was built in the Neo-Renaissance style by the renowned Czech architect and contractor Josef Hlávka. Play bill for the opening performance of the new Opernhaus, announcing the opening performance of Don Giovanni on 25 May 1869 Coeval watercolour painting of the opening performance (Kunsthistorisches Museum) The Ministry of the Interior had commissioned a number of reports into the availability of certain building materials, with the result that stones long not seen in Vienna were used, such as Wöllersdorfer Stein, for plinths and free-standing, simply-divided buttresses, the famously hard stone from Kaisersteinbruch, whose colour was more appropriate than that of Kelheimerstein, for more lushly decorated parts.
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The remaining columns of Villa Porto The ten brick-column shafts that dominate the great 15th century farmyard of the Porto family at Molina mark the first stage of a grandiose project conceived by Palladio on behalf of Iseppo (Giuseppe) Porto: in fact, the patron’s name is inscribed on the plinths of the splendid stone column bases, next to the date 1572. The rich protagonist of one of Vicenza’s most important families, and brother-in-law of both Adriano and Marcantonio Thiene (patrons of the homonymous palace by Palladio), Iseppo Porto already owned a grandiose city palace, which Palladio had designed him over twenty years earlier, Palazzo Porto. Archival documents show that the enormous columns are not the fragments of a monumental barchessa, like that for the Villa Pisani at Bagnolo, but rather of the façade of a true and proper country residence. The large Corinthian colonnade, a direct quotation from the pronaos of the Pantheon, would have reached an overall height of over thirteen metres.
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The large boulder that shelters the retables of the church and niche dedicated to Our Lady of the Grotto The church/sanctuary is located in an isolated rural environment of Quintela, on the mountain of the same name, over an accented rocky plateau, near the mouth of the Ribeira de Gradiz. The sanctuary is actually erected on a slightly sloping ground, over a large granite pediment. The site includes four rock crosses, referred to as Miradouros which are oriented towards the four cardinal points: the northern cross, called Forca dates to 1672, and is dedicated to Saint James; to the south, is Aguiar da Beira, situated around away, and dedicated to Saint Dominic; in the east, Trancoso dating to 1626; and to the west, Lamego, dedicated to Our Lady of Piety (), situated away, and which includes a pillar surmounted by a niche, with the image of the Virgin Mary. In front of the main facade is a granite cross over a rectangular platform, and two orders of plinths, surmounted by Latin cross.
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It bears an inscription stating that Napier was "born in MDCCLXXXII and died LXXI years later in MDCCCLIII". It was quickly criticised as being one of the worst pieces of sculpture in England.Statue: Sir Charles Napier statue, London Remembers Charles James Napier, The Victorian Web A similar marble statue of Napier, also by George Gammon Adams, stands in the Crypt of St Paul's Cathedral, with Napier similarly in uniform and bearheaded, with his right hand resting on his sword and his left hand on his hip holding a scroll.Charles James Napier at St Pauls, The Victorian Web In 1936 it was suggested that the statues of Generals Napier and Havelock in Trafalgar Square should be replaced by statues of Admirals Beatty and Jellicoe, the naval commanders at the Battle of Jutland in 1916, but a place was eventually found for bronze busts of the Edwardian admirals (and later for Admiral Cunningham) against the north wall of the square, without removing the statues of the Victorian generals from their plinths.
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The tomb is built on the site of a Pratihara era (700-1100CE) Hindu temple [archnet.org/sites/1586 Archnet - Hindu temple origin of Sultan Gahri ] as the tomb resembles images and structures present in ancient Hindu temples and incorporates Hindu era motifs on the plinths, columns as well as the chamber of the Tomb which is supported by four towers that are raised by two pillars each supporting a beam which showcases ancient relics of Hindu Temples on the Columns as well as on the floor.Delhi Information - Sultan Ghari tombIndia profile - Architecture of Sultan Ghari TombAccording to Asaru’s-Sanadid by Sayyid Ahmad Khan: “the dome of the mosque which is of marble has been re-used and has probably been obtained from some temple”, and that the domes on the four pavilions outside “are in Hindu style in their interior.” Stones from Hindu temples have been used in this tomb also, as in the Quwwat al-Islãm Masjid.“…In the middle of the corridor on the west there is a marble dome.
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Equestrian statue of General Longstreet on his horse Hero in Pitzer Woods at Gettysburg National Military Park Longstreet is remembered through numerous places that bear his name in and around Gainesville, Georgia, including Longstreet Bridge, a portion of U.S. Route 129 that crosses the Chattahoochee River (later dammed to form Lake Sidney Lanier), the local Longstreet Chapter of the United Daughters of the Confederacy,Digital Library of Georgia and the James "Warhorse" Longstreet chapter of the non-profit WarFigMotorcycle Club. In 1998, one of the last monuments erected at Gettysburg National Military Park was dedicated as a belated tribute to Longstreet: an equestrian statue by sculptor Gary Casteel. He is shown riding on a depiction of his favorite horse, Hero, at ground level in a grove of trees in Pitzer Woods, unlike most generals, who are elevated on tall plinths overlooking the battlefield.Dedication of the James Longstreet Memorial at Gettysburg The Longstreet Society is an organization and museum in Gainesville dedicated to the celebration and study of his life and career.
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Sketch comedy has its origins in vaudeville and music hall, where many brief, but humorous, acts were strung together to form a larger programme. In Britain, it moved to stage performances by Cambridge Footlights, such as Beyond the Fringe and A Clump of Plinths (which evolved into Cambridge Circus), to radio, with such shows as It's That Man Again and I'm Sorry, I'll Read That Again, then to television, with such shows as Not Only... But Also, Monty Python's Flying Circus, Not the Nine O'Clock News (and its successor Alas Smith and Jones), and A Bit of Fry and Laurie. In Mexico, the series Los Supergenios de la Mesa Cuadrada, created by Mexican comedian Roberto Gómez Bolaños under the stage name Chespirito, was broadcast between 1968 and 1973, creating such famous characters as El Chavo del Ocho and El Chapulín Colorado. While separate sketches historically have tended to be unrelated, more recent groups have introduced overarching themes that connect the sketches within a particular show with recurring characters that return for more than one appearance.
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22 The brick walls and concrete plinths of the lower levels of both Blocks B and E have been painted. By 2000, the school incorporated 16 teaching buildings, an assembly hall and sporting facilities including a swimming pool. The principal's residence was still onsite in the northwest corner of the site on Brooke Avenue.Aerial, 2 Aug 2000, QAP5740-59, DNRM Removal of buildings from the site took place in this century. By 2009 the principal's residence had been removed and in 2011 Blocks A, C and D were demolished; however, their associated 1950s covered walkways remain.Aerial, 10 June 1964, QAP1585-2197, DNRM Of the few reasonably-intact Hawksley prefabricated school buildings identified in the Queensland Schools Heritage Conservation Study, 1996, only the two at Southport SHS and five at Mt Isa SHS (1953) are extant in 2016.Project Services, Summary report - project No 47170, p .29 Along with another Hawksley "type K plus six bays" at Maryborough Central State School, they are rare known surviving examples of the 27 original Hawksley prefabricated school buildings imported by the DPW, and the only known examples of types F and H in Queensland.
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Retrieved 30 October 2018. Prior to the 2016 Anzac Day commemorations, more than 200 people attended the official opening of The Gatehouse - a structure that houses 26 separate information panels telling the stories of local men and women from Emu Park who served during the World War I, as well as general information about the war.McDonald, Madeline (25 April 2016) The Gatehouse showcases region's Anzac stories, The Morning Bulletin. Retrieved 30 October 2018. Later that year, three sandstone plinths were unveiled at the memorial to acknowledge the history of the RSL.Haydock, Amy (22 September 2016) Marking history of RSL by unveiling of monument, The Morning Bulletin. Retrieved 30 October 2018. In 2017, more elements to the memorial were added including groups of silhouetted figures representing Australian soldiers, and more than forty battle markers.(25 April 2017) New art pieces installed at Emu Park's memorial precinct, The Morning Bulletin. Retrieved 30 October 2018. Since it opened, the Centenary of ANZAC Memorial Precinct has been used for annual Anzac Day and Remembrance Day services, with more than 5000 people attending the dawn service on 25 April 2018.
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Identified Historical Archaeological Items located within the existing boundaries of the Prince Henry site are: A. Rock-Cut Steps B. Retaining Wall C. Canalised Water Courses (Canals) D. Rock Shelf, Rock Cutting and Graffiti E. Canalised Watercourse F. Resident Medical Officers Quarters Site G. North Rock Anchor Site H. Footings/Kerbing I. Rock Cutting 'South Drain' J. Remnant Garden Beds K. Cemetery Road L. Sandstone Platform M. A small number of Movable Items (in addition to those identified in the Conservation management Plan), include cut sandstone blocks, the 1937 Entrance Gates (also identified as a movable item in the CMP) and concrete plinths. Other items are located within Historical Archaeological Zones as identified in the attached plans including retaining walls, sandstone drains, sandstone kerbing, remnant timber split rail fencing, defence related items and rock-cut features. Although features associated with the two cemeteries including the former Cemetery Road, gravestones, timber post-and-rail fencing and sandstone blockwork are beyond the study area, they are also associated with the Prince Henry site. Historical archaeological evidence, including sandstone drains and road alignments, of the former Working Patients Dormitories, also continues to exist to the south of the Prince Henry site.
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