This is two ancient, strong, smooth-faced men quarreling with half-banter like 12-year-olds.
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But there's something about the smooth-faced puppets that make it harder to convey anguish and sadness.
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She was much more surprised to see walking in, smooth-faced and smiling, Vladimir Putin, with a large bunch of flowers.
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He had a full black beard that contrasted starkly with the smooth-faced, grinning school portrait circulated widely after his arrest.
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The smooth-faced Mr. Wilmore seemed younger Thursday night than the graying, hoarse Mr. Stewart, but he is actually a year older.
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Meanwhile, an informal survey of men who have won the show in the past reveals an overwhelming number are as smooth-faced as Don Draper.
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Being a child, smooth-faced and twig-thin, filled with wonder and intrigue and a delight in learning, filled with that so fragile and precarious thing: innocence.
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The other is the smooth-faced scion of a scandal-tinged real estate empire who got where he is today thanks to being the president's son-in-law.
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The rookie point guard, the smooth-faced teenager Frank Ntilikina, showed flashes here and there of the instincts needed to guide a team, and he played surprisingly sturdy defense.
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Its lineup of about 150 pieces includes torques and cuffs, stackable bangles, smooth-faced signet rings, chokers, charms and objects like guitar picks, dreidels and a D.J.'s headphone jack.
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He may have only a razor-thin chance of winning in June, but Mr Corbyn wears his facial hair with pride, a counter-cultural badge of defiance against smooth-talking, smooth-faced capitalists.
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And as we sit here, contemplating the smooth-faced Krablr founder, Wilson Poney, gazing out at the Pacific ice blue from inside his underwater glass cube, it's clear this company hasn't had any such clouds of doubt fogging its public trajectory.
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" Naturally, our man followed up this success by ignoring his producer's advice and fully indulging his boozy, vulgar whims on 703's polarizing masterpiece Son of Schmilsson—all to the horror of any smooth-faced LA executive who had admired the dulcet tones of "Without You.
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In the words of smooth-faced, sweet potato-muscled men in the driving seat of shiny navy cars along clifftops wearing cashmere sweaters with just a couple of wrinkles and strong handshakes everywhere, may I say once and for all: rabbit rillettes—they're the best a man can get.
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I can't quite decide if Barron Trump is a Damien-from- The-Omen type haunted child dead set on killing us all or just some smooth-faced kid who is really, really freaked out by this whole thing, essentially the only voice of reason left within the confines of the White House.
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The breed comes in two varieties: Rough-faced (Poil Long) and smooth-Faced (Face Rase). Rough-faced males are at the withers, and rough-faced females are . Smooth-faced males are at the withers, and smooth-faced females are inches at the withers. The weight is between , aiming for lithe and muscular, never fat.
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You know, or you ought to know, the difference between a pistareen and a smooth-faced shilling.
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The base is a smooth faced step with a chamfered top edge. Surmounting this is the pedestal plinth which is smooth faced and capped with large cyma recta mouldings. The front face displays a high relief carving of a trooper's hat and bandolier. Rising from the plinth is the pedestal dado.
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Andrena miserabilis, the smooth-faced miner bee or miserable andrena, is a species of miner bee in the family Andrenidae. It is found in Central America and North America.
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The First World War Memorial is situated in one of the main intersections of Atherton facing the RSL building. It is located within a park setting and is complemented by a gun or "war trophy", a flagstaff, flower beds and poinciana trees. The painted sandstone monument comprises a pedestal surmounted by a digger statue. It sits on an octagonal base consisting of three smooth faced steps of the same height surmounted by a larger step, also smooth faced.
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The coat has two basic varieties, smooth-faced and rough-faced (demi-long or long-haired). The smooth-faced variety has short, fine hairs on the muzzle, with a modest ruff around the face and neck, and some feathering along the legs, tail, and belly. In contrast, the rough-faced has longer hair on the muzzle and face, though never enough to cover or obscure the eyes or create a bearded effect, and demi-long or long, coarse hair over the rest of the body. The rough-faced dog can also form cords over his hindquarters and front legs.
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Sandstone segments form the arched entrance of the tunnel. The exit portal deck and cornice is stepped. Internally, the arched ceiling of the tunnel is lined with smooth-faced stone. From mid-height a coarsely dressed stone wall extends to the base of the tunnel.
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It sits on a square base of rock-faced grey granite, slightly higher than the surrounding sandstone wall. The remainder of the monument is of Queensland Ulam marble. The obelisk sits on a slightly larger base comprising a single smooth-faced step with an angled top surmounted by a larger tapered smooth- faced block with cyma recta moulding to the top. The step has a leaded inscription on the front face and the larger block bears the leaded names of the 132 men who served in the First World War, including the 15 dead and 11 wounded, whose names are recorded on the front face.
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The exit portal arch segments are of quarry-faced stone. Internally, the arched ceiling of the tunnel is lined with bricks, meeting with a lining of smooth-faced stone. A coarsely dressed stone wall extends to the base of the tunnel. Tunnel 2 is located at .
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The tunnel is straight with a length close to . The spandrels of the tunnel portals are infilled with regular coursed quarry-faced sandstone crowned by a deck and projecting cornice. Sandstone segments form the arched entrance of the tunnel. Internally, the arched ceiling of the tunnel is lined with smooth- faced stone.
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But George Hewitt had a younger brother named John [sic], and John > was foreman of the shop. He was a husky, smooth-faced fellow under thirty. > Every feature in his clean cut, rather elongated face, bespoke intelligence > and kindness, in fact a big heart. He had taken a fancy to Louis from the > start.
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The spandrels of the tunnel portals are infilled with regular coursed quarry-faced sandstone crowned by a deck and projecting cornice. Sandstone segments form the arched entrance of the tunnel. Internally, the arched ceiling of the tunnel immediately inside the entrance is lined with smooth-faced stone. Brick lining may occur further inside the tunnel.
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Stock removal generally requires a harder, serrated rubber contact wheel, and coarse grade ceramic abrasives. Finishing generally requires the use of a smooth faced contact wheel and fine grade abrasives.Wolfgang Heidtmann, Martin Pischel: Bandschleifen mit Schleifmitteln auf Unterlage S.689-991, in: Uwe Heisel, Fritz Klocke, Eckart Uhlmann, Günter Spur: Handbuch Spanen. Hanser, Munich, 2014. .
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The entrance portal is crowned by a stepped deck with missing sections of cornicing. The exit portal has a straight deck and cornice. Internally, the arched ceiling of the tunnel is lined in different sections with brick and smooth-faced stone. From mid-height a coarsely dressed stone wall extends to the base of the tunnel.
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There are two main divisions of play, pre-1935 and pre-1900. The pre-1900 group play a Gutta- Percha style ball, and clubs are limited to those produced before 1900 or approved reproductions. Iron clubs are smooth-faced and woods are splice- necked. The main tournament for this group is the National Hickory Championship organized by Peter Georgiady.
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A driveway on the east leads to parking in the rear, also accessible from West Avenue north of the building. The building itself is in two sections. On the south (front) is a one-story seven-by-one-bay main block. Its smooth-faced ashlar limestone exposed basement has granite-trimmed window wells with cast iron railings.
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The lower of these two steps has a diaper pattern, margined and chiselled on all faces. The upper step is smooth faced and is capped with cyma recta mouldings. The pedestal rises from this base and is in two parts. The lower part consists of a recessed square section with small barley twist columns at each corner.
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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 openings in the central bays of each elevation are surmounted by round arched pediments, similar to those in the central bays of the ground floor. The faces of the building which do not have street frontage are smooth faced and are lined with double storeyed timber framed verandahs which are infilled on the upper floor.
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These have since been demolished. A larger telephone exchange building was added, probably in the late 1960s. This presumably replaced earlier telephone exchange facilities. Architecturally this does not relate to the earlier Post Office buildings, being crowned with a massively proportioned box-framed metal roof and fascia, with aluminium-framed windows and finished in smooth faced cream bricks.
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The Helidon sandstone Boer Memorial comprises a pedestal surmounted by a digger statue. It sits on a slightly concave base constructed of sandstone blocks. This is surmounted by a curved moulding and a smooth-faced step which is capped by a series of curved mouldings with shadow reveals between. The pedestal comprises a recessed square section with freestanding columns at each corner.
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The monument itself stands on a concrete base step. Above this are two smooth-faced marble steps capped by a rounded moulding. The first step is square in plan, whilst the upper one steps in at the centre of each face. Statue of the weeping mother, 2012 Above this base is a mausoleum type structure comprising four columns and a roof.
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The spandrels of the tunnel portals are infilled with regular coursed quarry-faced sandstone, crowned by a deck and projecting cornice. Sandstone segments form the arched entrance of the tunnel. Internally, the arched ceiling of the tunnel is lined with bricks, meeting with a lining of smooth-faced stone. Exposed sections of the ceiling reveal a second lining of brick.
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Earlham Public School open in 1871. Jennings P. Osborn, a local builder, constructed the two-story structure of smooth-faced limestone that rests on rusticated limestone foundation. The building soon proved to be too small and a brick addition was added to the south side of the original building. The college plans fell through because of a lack of financing.
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The roof steps down at the east end to mark the narrowing of the church for the chancel. The body of the walls of the church are of pointed sandstone, with smooth-faced stone around the narrow pointed arched windows. The walls have been repointed in cementious mortar. At the west end is an elegant belfry, still with its bell.
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They all stand at ease and are remarkably Italian in detail. In the centre of the four statues is a large obelisk sitting on a smooth-faced base capped with cyma recta mouldings. Bronze wreaths are located on the side and rear faces. Latin crosses are attached to the front and rear faces, as are bronze letters forming the words LEST WE FORGET.
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It features a Greek Revival style entry porch with eight 26 foot high smooth faced columns with Ionic order capitals. The porch was added in 1835. Note: This includes In June 2012, it was the site of the trial of Jerry Sandusky in the Penn State sex abuse scandal. It was added to the National Register of Historic Places in 1976.
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The four columns support a large entablature comprising a smooth faced fascia and a concave cornice. Each corner is surmounted by large acroteria. Positioned in the centre of the entablature is a red granite column which sits on a square base step. It has a simply moulded base and no capital and is capped by a polished red granite sphere.
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Small dormers are located on all sides of the roof and modillion blocks are located under the eaves. Tall stone chimneys rise above the roofline. The exterior is covered with smooth-faced, coursed ashlar that alternates with a narrow course of rusticated ashlar. The structure is basically rectangular in shape, however, the north half of the main facade projects slightly from the rest of the house.
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The tunnel is straight with a length close to . The spandrels of the tunnel portals are infilled with regular coursed quarry-faced sandstone, crowned by a deck and projecting cornice. Sandstone segments form the arched entrance and small rendered side walls face the entrance. Internally, the arched ceiling of the tunnel is lined with bricks, meeting with a wall lining of smooth-faced stone.
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Despite the additions of the annexes, the building presents a cohesive appearance because both additions were designed to be compatible with the original building. The foundation is clad in smooth-faced granite, and limestone ashlar covers the principal facade and side elevations. The rear elevation is clad in economical buff-colored brick. The building displays many character-defining features of the Italian Renaissance Revival style of architecture.
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The steel structure and masonry bearing walls are faced with granite quarried near Laurel, Maryland, and Mount Airy, North Carolina. The primary facade fronts Gay Street. A smooth-faced basement level (extending from grade up to a watertable course) rises to a heavily rusticated first floor. The second through fourth stories are articulated by three-story engaged Ionic columns, flanking the recessed window bays.
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The square section continues above a shallow cornice and is capped by a series of curvilinear inverted steps. Surmounting this is a second section, smooth-faced with recessed panels on each face and stop-chamfers to each corner. This is capped by a further series of inverted steps which are arched over recessed panels. Standing on a small block above this is the digger statue.
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War memorial in the grounds of the Woocoo Historical Museum, 2008 The First World War Memorial is situated in the grounds of The Woocoo Historical Museum. It comprises an unusually designed pedestal surmounted by a digger statue. The sandstone memorial sits on a concrete base step. Above this are three smooth- faced sandstone steps, two of which are the same width, separated by a thinner step.
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A course of stonework projects from the wall near the top of the structure. Incorporated in the Ann Street face of the wall, adjacent to St Ann's is a gatekeeper's lodge and gateway. The gateway which is constructed from rock faced porphyry and smooth faced sandstone is the principal entrance to the school and provides access to the driveway. The symmetrically composed structure employs classical details.
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The First World War Memorial is located in a park setting and is surrounded by cast iron posts with decorative finials. The sandstone and granite memorial sits on a stepped concrete base with the cast iron posts fixed into the lower step. Above this is a smooth faced step capped with a cyma recta moulding. The front face bears the words "Their Name Liveth Forever More".
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St. Mary Cathedral is a Gothic Revival style church constructed in a cruciform shape of rock-face limestone with the water table and other details of smooth-faced limestone. The church sits on a granite foundation, and had a red ceramic tile gable roof. On the main facade is a central, Gothic-arched portal flanked by two smaller portals of similar design. A rose window is recessed above the center entrance.
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The main church building consists of three separate sections, now joined. At the north, set back from East Main, is the original church, a three-by-five-bay structure faced in rock-cut limestone blocks with smooth-faced trim. A square bell tower pierces the wood-shingled low-pitched gabled roof. Just to the south, the lower Sunday school wing, also of limestone, has two cross-gables on its roof.
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The nearby small site of Rancho la Cobata, on the northern flank of Cerro El Vigía, may have functioned as a monument workshop – most of the basalt stonework at Tres Zapotes was crafted from the colossal, "spheroid", smooth-faced boulders found even today at the summit of Cerro El Vigía. Some of these boulders are more than 3 meters in diameter.Williams and Heizer, p. 9. BCE to 250 CE.
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Both manual and automatic tools are available as combination tools, which perform the tensioning, sealing and cutting, or as separate tensioners, sealers, and cutters. Manual sealers for plastic strap always use a seal and a compression (serrated seals) or crimp joint (smooth-faced seals). Manual and automatic hand sealers for steel can use a seal or a seal-less joint. Automatic hand tools for plastic strap use a friction weld.
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Many of the clubs manufactured between 1901 and 1935 came from Scotland, but more and more started coming from larger US manufacturers. These early clubs had hickory shafts and wrapped leather grips. To secure the joins between the shaft and the head of the club, and between the grip and the shaft, whipping of black, waxed linen thread was used. Pre-1900 clubs (smooth-faced gutty era) used 7-ply thread.
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In front of the enclosure is a painted timber fence with a centrally placed cast iron gate. The monument is of Helidon sandstone and sits on a granite base with rough stone faces, margined and chiselled around. Surmounting this are another two steps, both smooth-faced. The lower step has a chamfered top and the words Apple Tree Creek Roll of Honour carved in high relief on the front face.
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It is built of buff-colored, smooth- faced brick. The building features corner quoining and terra cotta trim, and is one of only two buildings in Durango to feature terra cotta ornamentation. At the top of the building's front is an arched parapet bearing a terra cotta plaque which reads "1916", above a rectangular plaque which reads "High School". On the east and west wings are two plaques which read "DHS".
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Master Mandrag: Master Alchemist, originally reminded Kvothe of his first mentor, Abenthy. Described as "clean-shaven and smooth- faced, with hands stained a half hundred different colors, and seemed to be made all of knuckle and bone." Master Brandeur: Master Arithmetician. Brandeur does not feature prominently in the first two parts of the trilogy and is primarily known as a henchman for Master Hemme, thus often voting against Kvothe in any matter before the masters.
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However, the commonality of size, scale, and materials throughout DeMun, and in each distinct residential area, gives the neighborhood a sense of unity in design. The majority of the buildings have cut stone foundations with brickwork walls that are dark in color and vary from heavily textured to smooth faced brick. The brick varies in color including greens, tans, yellows, and browns. The brick is generally laid in an American common bond pattern.
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The opening is through a round headed archway, the arched section of which is filled with a cast iron plate bearing the letters AMDG. The surrounds of the archway including the voussoirs and keystone are of rough cut porphyry. Rounded and tapering pilasters with Ionic capitals, of smooth faced sandstone, flank the opening. A sandstone entablature surmounting the pilasters features a moulded cornice supported on corbels with a smaller sandstone architrave above.
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Surmounting the base is a smooth faced step with a chamfered central section on each face. The non-chamfered corners provide bases for columns with Doric order capitals and bases which surround a recessed plates of red polished granite. The plates bear an inscription and the cut and (originally) gilded names of the 51 local who served from the First World War. The uppermost section of the front plate bears an AIF badge.
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The main facade features an entrance portico with six Ionic columns in antis. The pedimented portion above it is similar to that of Santa Maria Novella in Florence. The steel and reinforced concrete construction is covered with a veneer of Indiana limestone laid in courses of smooth-faced ashlar. The main doors into the cathedral are etched glass produced by Baut Studios of Pittsburgh, and they were installed when Monsignor Thomas Madden was pastor/rector (1972-1987).
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The First World War Memorial is located in a prominent location facing the intersection of William and Steley Streets. It is surrounded by a low green painted fence of cast iron posts with decorative finials joined by circular rails. The sandstone and Italian marble memorial comprises a pedestal surmounted by a digger statue. It sits on three steps of red painted concrete which are surmounted by a base step of smooth- faced sandstone with chamfered corners.
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Acker and Evans Law Office (also known as Ogdensburg Bank) is a historic office building located at Ogdensburg in St. Lawrence County, New York. It is a rectangular Greek Revival style structure with a facade of smooth-faced, locally quarried white marble. It was built about 1830 as a bank, then used as a ticket agency, insurance office, express office, and finally as a law office. See also: It was listed on the National Register of Historic Places in 1983.
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The base is articulated by a screen of giant order trachyte columns. Flanking both sides of this screen are bays of smooth rusticated stonework which extends vertically to level seven. The shaft springs from the level two cornice and terminates at the metal cornice between Level 6 and 7. The shaft's plain appearance is modulated by the presence of a string course at the Level 2 ceiling height and flanking the east and west bays of smooth faced rusticated stonework.
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St Mark's Anglican Church is a sandstone building located on the intersection of Grafton and Albion Streets, Warwick. The building conforms to a traditional cruciform plan, with additions in the corners of the chancel and transepts, and a tower abutting the western end of the nave, adjacent to the entrance. The building is constructed of coursed sandstone blocks, from the Sidling Quarry, with picked surfaces. Window reveals and sills, tracery, carvings and buttress facings are all of smooth faced sandstone.
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Side view of monument, 2008 The First World War Memorial is situated in a park in Dalby facing Patrick Street. The park is entered from Patrick Street through a set of memorial gates flanked by sandstone pillars surmounted by torch shaped lights. The pillars sit on slightly larger base steps with picked stone faces and smooth-faced margins to the sides and top. They are of similar design to the pedestal of the memorial and capped by the same wide cornice.
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The Lord Nelson Hotel is a smooth faced, three storey sandstone building in the Old Colonial Regency style. The building has a hipped, corrugated asbestos cement roof, following the "L-shaped" form of the building. The roof cladding is not original and is partially concealed by a decorative parapet and moulded capping, which extends around both facades along the full length of the building. The building has a splay corner, featuring a central arched doorway with paired timber doors and a fanlight at ground level.
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Unusually for this type of statue the mouth of the soldier his open and he stands alone, without the traditional tree stump support. WP MACINTOSH is carved onto the side of the plate on which the soldier stands. The World War One Memorial, again constructed largely from smooth faced sandstone and marble, comprises a three-part pedestal on the central part of which sits an obelisk. The central part of the pedestal projects from the flanking elements and the whole sits on a three stepped base.
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Simple round columns with Doric order bases and capitals are found on each corner of the pedestal. Small carved field guns are mounted on the side tops of the pedestal flanking the obelisk which rises from the centre. The obelisk comprises a square planned shaft with various mouldings on its faces above which is a cornice of a cyma recta moulding with foliated carving. Surmounted on this is the obelisk, of smooth faced sandstone; a tapering column with carved shields affixed to the north and south.
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More recently, a two storeyed administration block was added to the northern corner of the original building. The original sections of the City Hall are constructed from face brickwork with white limed tuckpointing and regular bands of smooth faced stucco. The two storeyed Kent Street section is dominated by a large central pedimented portico supported on six two-storeyed Doric columns on the entablature above which is the lettering "CITY 1906 HALL". A triangular pediment above this is filled with brickwork and has a central oculus.
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It sits on a smooth faced step capped by two cyma recta mouldings of decreasing scale. Rising from this is the pedestal dado which has bronze plaques with brass lettering on each of the four faces. Bronze wreaths are located above each plaque which bear the names of the 360 local men who took part in the First World War including the names of the 64 fallen. The dado is crowned by a large cornice comprising a number of cyma recta mouldings and steps.
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His work > soon caused "Snake" Ames, then captain of the Princeton eleven, to invite > the smooth-faced youth to take a place at right end on the scrub team. > Warren filled his position so admirably that Ames had no cause for regret > when circumstances called for a new man and Warren was placed on the > 'varsity team. He played in the Harvard game, but it was in the memorable > battle of '89 on the Berkeley Oval that the freshman distinguished himself. > Aided by Donnelly's splendid interference he dropped on the ball when > McBride muffed it.
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If gallop is likely to be a concern, designers can employ smooth-faced conductors, whose improved icing and aerodynamic characteristics reduce the motion. Additionally, anti-gallop devices may be mounted to the line to convert the lateral motion to a less damaging twisting one. Increasing the tension in the line and adopting more rigid insulator attachments have the effect of reducing galloping motion. These measures can be costly, are often impractical after the line has been constructed, and can increase the tendency for the line to exhibit high frequency oscillations.
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The house is a two-and-a-half-story five-bay stone building on a raised basement with a shallow hipped roof with small cupola and identical chimneys on the north and south. It is sided in a locally quarried granite with an unusual natural marbleized appearance in a smooth-faced ashlar pattern with quoins on the front (reverting to random ashlar on the rear and sides). The roofline has a plain frieze, simple cornice and is set off by a stringcourse. The east (front) facade has a central entrance portico featuring classical ornamentation.
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Unusually, all windows retain their original timber sashes, with different pane sizes and patterns to each floor. The masonry of the facade is richly textured and detailed; the ground storey and tower corners are faced with the "astrakhan"-type vermiculation used on parts of the Louvre, and smooth-faced ashlar walls to the upper storeys. An arched central doorway has a deeply recessed surround and carved keystone head. Internally, the accommodation was spacious, featuring a hall with a cantilevered stair at each end with cast-iron balusters of unusual design using geometric shapes.
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The street elevation walls are constructed of brick but faced with granite, with the exception of a section of the McAllister Street elevation, which is faced in terra cotta. At the first two stories, the granite is rusticated to articulate the base of the building. The upper stories of the south facade, which faces United Nations Plaza, are covered with smooth-faced granite and dominated by a colonnade of detached two-story Doric columns that are aligned with Doric pilasters on the building. A classical balustrade supports the railing between the columns.
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All stone detailing, including tracery and window surrounds, mouldings, carvings, copings, chimneys is of smooth faced sandstone. The corrugated iron roof is generally hipped, and gabled over the transverse wings. Three dormer windows project through the roof on the northern and southern faces of the central wing of the building. The entrance facade, addressing Locke Street, consists of the central bay, the gabled ends of the transverse wings, a prominent entrance porch and the bell tower, attached to the building at the intersection of the central bay and the eastern, chapel, wing.
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These windows have hood mouldings and traceried awnings. Tripartite elongated rectangular window openings are found on the upper, cement rendered, section of the tower. The north and south elevations of the church consist of the transepts with small entrance porches and the nave and 1939 chancel extensions. Entrance is through a pointed arched opening above which is an inverted eyelet window in the transept porches, which have steeply pitched gabled roofs, with smooth faced sandstone coping terminating in carved corbels at the base of the sides of the gable.
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Atop the roof of the bay is a four-sided cupola supported by upright beams. Stairs lead from the sidewalk to the entrance, and people are visible standing on the sidewalk and stairs. Largely unchanged, the structure was designed in the Gothic Revival style by an unknown architect, with masonry-bearing walls with timber framing at the roof and floors, and brownstone foundation walls and exterior door and window trim. The front facade (west, on Norfolk Street) is "stuccoed and scored to simulate smooth-faced ashlar", though the other elevations are faced in brick.
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Above this is a smooth faced marble step capped with cyma recta mouldings and a leaded unveiling inscription on the front face. This is surmounted by a marble plinth carved to represent chamfered blocks and capped with a simple cornice. Rising from the plinth is the pedestal comprising recessed square plates of a finer marble with engaged pillars at each corner. The recessed plates bear the leaded names of the 292 local men who served in the first World War, including the 38 fallen whose names are recorded on the front face.
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It is orientated with the sanctuary to the southeast and comprises a combined nave and chancel, sanctuary, a southern vestry and northern porch attached, an organ chamber with a gallery and a western bell tower with a baptistry at its base. There is also a corrugated iron rainwater tank on the south side of the church. The walls of the church are of random ashlar sandstone, their thickness indicating a rubble core. The stone is rough dressed with a birds eye texture on the exterior and smooth faced on the interior.
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It was listed on the National Register of Historic Places in 1994. Denver architect William Norman Bowman designed the building, which was completed in 1923 and has undergone only minor alterations. The building features a projecting central bay of smooth-faced sandstone, stairs rising from street level, Roman Doric columns supporting a lintel engraved with the county's name, and three sets of double doors with grillwork transoms at the main entrance. The roof is made of red tile, and walls flanking the entry are made of rough sandstone.
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No official document declaring his precise birth date is known to exist."Police Get Biff Ellison", The New York Times, 27 April 1911Birthplace cited in Alfred Henry Lewis, The Apaches of New York (G. W. Dillingham, 1912), page 254Description "smooth-faced" cited in Alfred Henry Lewis, The Apaches of New York (G. W. Dillingham, 1912), page 258"A fop in matters of dress" cited in Herbert Asbury, "The Passing of the Gangster", The American Mercury, April 1925, page 362 Ellison was closely associated with gangster Jack Sirocco during the wars against the Eastman Gang during the early 1900s.
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The Great Stone Face and a portrait of Joseph Smith, Jr. Pahvant Valley in Millard County has several ancient lava flows and extinct volcanoes, including the "Black Rock" lava flow. About 17 miles (27 km) southwest of Delta, near Black Rock's northwest perimeter is a feature named the "Great Stone Face", which protrudes about four stories above the general elevation. Locals claim that this rock formation, when viewed at the correct angle, appears similar to a profile of Joseph Smith. At ground level, within view of the "Great Stone Face", is a large, smooth-faced rock covered in Native American petroglyphs.
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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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St Joseph's Roman Catholic Cathedral is a substantial sandstone building with traditional cruciform plan, comprising a nave, side aisles, transepts, apsidal chancel and two towers flanking the western front of the building. The cathedral is constructed from rockfaced coursed sandstone, with smooth faced sandstone detailing including coursing, mouldings, window and door surrounds and tracery. The principal facade of the building, the west front, is symmetrically composed and comprises a central entrance, a large traceried window above, several smaller openings and all flanked by two large towers. The towers are surmounted by broach spires, constructed from ashlar sandstone.
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Whelan was found guilty of murder and sentenced to death. In Mountjoy Gaol, he was imprisoned with the writer and activist Ernie O'Malley, who described him as: > "... smooth-faced, quiet and brown eyed with wavy hair; he smiled quietly > and steadily. His voice was soft and when he laughed with the others one > knew that the fibre was not as hard and that there was a shade of > wistfulness about him." Whelan was hanged at 6.00 am along with Patrick Moran, the first of six men to be executed that day – the six were executed in twos.
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Aerial view of the John O. Pastore Federal Building A product of the New Deal- era Works Progress Administration (WPA), the three-story Pastore Federal Building is an example of Stripped Classical architectural style, with Art Deco elements. The Stripped Classical style features classical design tenets, such as symmetry and historical references in ornamentation, but is simple in its execution. Art Deco is noted for low-relief geometrical designs, accents in terra cotta and glass, and exterior wall coverings such as concrete, smooth-faced stone, and metal. The building's exterior materials are red brick and limestone, with a granite base.
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A centrally located half glazed entrance door is flanked by two pane vertical sash window openings. These openings are all surmounted by transom lights, narrow over the windows and more generous above the door. The northern facade of the building is a flush gabled sandstone wall, with two four pane vertical sash windows on the second floor and one on the ground floor. These openings, like others to the house generally, have sparrow picked sandstone quoining, margined on the opening edge, with a smooth faced sill, a sparrow picked stone lintel is surmounted with a simple voussoir detail.
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The interior is generally of coursed rock faced sandstone, with arch linings, corbels and interior detailing of smooth faced sandstone. The chancel, which is housed in a gabled section of lower height than the body of the church, has a ceiling lined with timber rafters which are supported on simple sandstone corbels. The eastern wall of the chancel features a quinpartite lancet window arrangement, above which, partially concealed by the roof framing, is a trefoil window. Lining the lower part of this rear wall is a stained timber reredos, with panels of pointed arches and carved trefoil and quatrefoil motif.
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Also a reinforced concrete building, this was designed to be an imposing feature and is vaguely Mediterranean in its design inspiration, with an arcaded loggia of three smooth faced arched openings forming a central entrance porch to the building. The living quarters were on the ground floor and the sleeping accommodation is above. A newspaper reports that the external walls were to be finished in the "traventene style, whilst white plaster boards are being used on the inner walls and ceilings." In 1950 another residence was constructed, facing Yaralla Street and designed by architects, Prangley and Tesch.
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Nuits is built in a sophisticated interlocking arrangement of cubes built of smooth-faced Caen stone, stones laid so tight that even over a century after it was originally laid it is impossible to put a penknife between them. The roofs are low-pitched with overhanging bracketed eaves. The arched main entrance is located in the middle of the south elevation, a three-bay facade with central tower and balustraded balcony with hooded window above. It has been compared to the entrance John Notman designed for Princeton University's Nassau Hall after that structure was damaged by an 1855 fire.
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The corrugated iron roof is gabled and has overhanging eaves lined with wide timber beaded boarding which returns to the interior of the space. The eastern entrance facade features a small gabled entrance porch, with a pointed arched opening formed with smooth-faced sandstone blocks. Buttressing is formed by extensions of the faces of both the porch and main body of the church, this detail is repeated on the transepts and western end of the building. Above the porch is a rose window, of heavy tracery, with some early glass panels; above this is a ventilation opening in the form of a Latin Cross.
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This symmetrical elevation has two chimney stacks which have picked-faced sandstone to the base, and smooth-faced sandstone above surmounted by a large cornice with curved capping pieces. The western wall has marks in the sandstone above the northern door which indicate the roof profile of the covered way which was originally located connected there. Dining room, 2015 Internally, the building has a symmetrical plan with a central hall and stairwell flanked by the former dining room on the north and former drawing room on the south. The first floor has a bedroom at either end, separated from the stairwell by an ante room and linked by a short hallway.
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Smooth-faced concrete or plastic- lined raceways that are kept clean and free of contaminated water keep aquaculture facilities free of the disease. Lastly, some drugs, such as furazolidone, furoxone, benomyl, fumagillin, proguanil and clamoxyquine, have been shown to impede spore development, which reduces infection rates. For example, one study showed that feeding fumagillin to O. mykiss reduced the number of infected fish from between 73% and 100% to between 10% and 20%. Unfortunately, this treatment is considered unsuitable for wild trout populations, and no drug treatment has ever been shown to be effective in the studies required for United States Food and Drug Administration approval.
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The church has a remarkably geometric influence, the plan being completely symmetrical with balanced porches and transepts, and the plan being seven bays of long by two bays of wide. The building is more pretentious than country parish churches, and the octagonal bell cote distinguishes it from more common parish churches that feature a rectangular bell cote. The external stonework (sandstone) is in remarkably good condition, predominantly due to the severity of the detailing. The interior has suspended timber floors, tongue and groove, which are generally sparrow-picked stone, with smooth faced stone around openings, indicating that the walls are not intended for render.
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The building is shaped roughly like the capital letter I, with the main facade emphasizing vertical lines, tall windows, and two tall dormers on either side of the bell tower. The facades were built of light gray Monson granite in rough-faced random ashlar masonry, with smooth-faced trim. The overall design reflects Richardson's evolution as a designer, showing development from the Brattle Square Church. In his 1972 treatise on Springfield history, Town Into City, Dr. Michael Frisch, professor of American Studies at University at Albany, described the structure as "the single most impressive building of the period [1840 to 1880], well symboliz[ing] Springfield's new importance in the life and economy of its region".
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The pinnacles, which extend from the angled buttressing strengthening the tower, are surmounted by sandstone fleur-de-lis, a motif which continues throughout the building. The tower features a number of openings repeated on all sides: a cinquefoil rose at the base; above which is a pair of double lancets with fleur-de-lis opening above; two quatrefoil openings; surmounted by two comparatively small tripartite lancet openings and finally, at the top, two larger lancet openings. The building is constructed from coursed rock-faced sandstone with smooth-faced arch mouldings, string courses, copings, parapet detailing, tracery and carvings. The glazing in the building consists of leadlight panels, with stained and coloured glass sections.
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The ground floor verandahs had timber floors which have been removed, and a central set of sandstone steps accessing the main entrance on the eastern side. Fanlights, 2015 The east and south walls have smooth faced sandstone blocks, while the north and west walls have picked faced sandstone. Both floors have French doors with arched fanlights opening onto the verandahs, with three sets of doors either side of the central entry, and all arched headers have expressed vermiculated keystones. The central entry has double doors with sidelights, and an arched fanlight with coloured glass segments surmounted by an expressed keystone carved in relief with the initials JD 1867 surrounded by a garland of leaves.
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The library building was designed by Boston architects Robert Wambolt and Amos A. Lawrence, and is set on a small grassy lot with several small memorials to the community's soldiers in front. It is a small single-story structure, with a hip roof and a projecting hip-roof entry facing north. The walls are fashioned out of concrete blocks that are rusticated on the outside, except for corner quoins, basement courses, and a single belt-course just below the roof, which are smooth-faced. The entry section has two bays, the left one with the main entrance, which is slightly recessed, and the right one with a grouping of three sash windows.
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The building is two storeyed, and with the cutting down of Ann Street after the lodge's construction a retaining wall has been added as a base to the Ann Street facade of the building. This facade projects slightly from the face of the retaining wall and is detailed with smooth faced sandstone string coursing in line with the sill of the two storeys of windows. The steeply pitched hipped slate roof is concealed on the Ann Street facade by a parapet, being an entablature, consisting of a cornice with dentils surmounted by an architrave. Two storeys of round headed arched windows are featured on this facade, reflecting the early levels of the building.
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On its north side is a small one- story flat-roofed extension. A parish hall, with a gabled roof pierced by gabled dormer windows, is off to the northeast. alt=An L-shaped stone building with a pointed roof and a red door at the right end, similar to the tower shown above, which is visible in the left rear The church's corners have stone buttresses, alternately smooth-faced and fieldstone. At the main and rear (east) end are entrances with a pointed-arched wooden door set in a gray square surround; a set of stone steps with iron railings lead to the main entrance from the driveway, flanked by rhododendrons and other trimmed shrubbery.
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The Rucellai Palace demonstrates the impact of the antique revival but does so in a manner which is full of Renaissance originality. The grid-like facade, achieved through the application of a scheme of trabeated articulation, makes a statement of rational humanist clarity. The stone veneer of this facade is given a channeled rustication and serves as the background for the smooth-faced pilasters and entablatures which divide the facade into a series of three- story bays. The three stories of the Rucellai facade have different classical orders, as in the Colosseum, but with the Tuscan order at the base, a Renaissance original in place of the Ionic order at the second level, and a very simplified Corinthian order at the top level.
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The memorial is surrounded by a low fence, consisting of evenly spaced bollards linked by steel rods. The sandstone memorial sits on a base step with picked stone faces, margined and chiselled around. Surmounting this is a smooth faced stone step with plinth, on the faces of both of which are marble plaques with details of the opening of the statue and the names of the Allora men who took part in the war along with the names of the fallen with details of their death. The plinth supports the shaft of the memorial comprising a recessed square pier which features a wreath on the southern facing side and has a base element comprising a cyma recta moulding with foliated carving.
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Within the hall four doorways, with four panelled doors and operable transoms above lead to rooms on either side, and a round arched doorway in the far, south western wall, leads to the rear rooms of the house. Some early door furniture surviving in this section is of black enamel with handpainted scenes of foliage and birds in gold lacquer. To the north west of the entrance hall are two large, public rooms, connected to one another by a squared arched opening in their shared partition. Both rooms are lined with a similar dado panelling to that mentioned previously, although in the room closer to the front of the building, the lighter timber in the body of the panelling is fluted, rather than reeded, and in the rear room, the lighter timber is smooth-faced.
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After an Islamist periodical condemned as immoral the broadcast of the ballet Swan Lake on television, he argued that the problem lay with "the onlooker (mushahid) rather than the looked upon (mushahad)" and quoted passages from a 1979 book The Jurisprudence of Looking in Islam, which directs men to avoid looking at both women and males and, "in particular, smooth-faced boys". In a column in October magazine, he lamented, "the world around us is busy with the conquest of space, genetic engineering and the wonders of the computer," while Muslim scholars concern themselves with sex in paradise. He was assassinated on 9 June 1992 by members of Islamist group al-Gama'a al-Islamiyya after being accused of blasphemy by a committee of clerics (ulama) at Al-Azhar University. In December 1992, his collected works were banned.
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James T. Ellison born (c. 1861-1920s), better known as Biff Ellison, was a New York City gangster affiliated with the Five Points Gang and later a leader of the Gopher Gang. He was noted for his propensity for physical violence as well as a dapper appearance that led The New York Times to describe him as "looking like a prosperous banker or broker" and contemporary chroniclers as "smooth- faced, high-featured, well-dressed, a Gangland cavalier" and "a fop in matters of dress".He gave his age as 49 in a June 1911 newspaper article, "Ellison Convicted of Manslaughter", The New York Times, 9 June 1911. That statement is ambiguous, since it could mean he was born in 1861 (meaning he would turn 50 later in 1911) or in 1862 (meaning he had turned 49 between 1 January 1911 and 9 June 1911).
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Within the Church of Scotland, the closeness of congregation and clergy was expressed in the domestic plainness of 1950s dual-use hall churches, as at Reiach's Kildrum Parish Church, Cumbernauld (completed 1962), a steel framed building, clad in timber and brick with a flat roof.M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), , pp. 471–2. Of 129 buildings erected by the Church of Scotland between 1948 and 1959, 108 were on this basic pattern. The influence of more radical Expressionism and Modernism can be seen in buildings such as Basil Spence's Mortonhall Crematorium, Edinburgh (1964–67), with a series of irregular chapels, with smooth-faced blockwork and Wheeler & Sproson's Boghall Church, Bathgate (1965), influenced by Beaux-Arts architecture. The pioneering contribution from the Church of Scotland was St. Columbia's, Glenrothes (1960), which had seating for the congregation on three sides of a central platform, with the choir and elders on the fourth side behind the pulpit.N. Yates, Liturgical Space: Christian Worship and Church Buildings in Western Europe 1500–2000 Liturgy, Worship & Society (Aldershot: Ashgate, 2008), , p. 156.
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