The smoke from their cigarettes hung in blue swags and coils.
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Flat surfaces are punctuated by relief-carved putti heads, swags and garlands.
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More variations on the theme in minutely detailed bows and swirls and swags.
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The barn's interior had been decorated with swags of lace and a Wyoming state flag.
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The temples have stunning color combinations, like the lavender marble entablature with garnet swags on the Temple of Mercury.
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Eventually I developed a repertoire of pansies, ruffled leaves, shells, swags and roses, never perfect, but nonetheless a source of pride.
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Then canvases leave the wall and become reliefs; they are bunched up into starbursts or are draped in riotous, regal swags.
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So was the Bluebird's elegant proscenium arch, draped in lyrelike ornamental scrolls, painted gold, and framed by balconies faced with golden swags.
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Years-old swags of fir hung on the walls, smelling as if they'd just been cut, the salt air keeping them unnaturally fresh.
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Guth then wove these ribbons into a synthetic blonde braid almost 1,800 feet long, which is hung in swags from hooks on the ceiling.
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In one adorable post, a decked-out Christmas tree bares placards proclaiming "Merry Christmas" and a staircase is draped in swags of lit greenery.
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He was particularly fond of chintz, the printed cotton fabric with a glazed finish, and made exuberant use of pillows, fringes, swags, tassels, bows and ruffles.
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Although the exterior of the building is eye-catching, with large sculpted swags, wreaths and human figures, the 15,000-square-foot former bank lobby is equally impressive.
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The most noticeable use of the hue is in the drapes, which were reddish and squared-off during Obama's tenure and are now gold with more traditional swags.
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The fighters live rough, sleeping in swags in the dirt and eating meat and potatoes cooked on the campfire that also keeps them warm on the frigid star-filled outback nights.
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So it's with some surprise that I find myself under the huge yellow and blue fabric swags of the Fischer Vroni beer hall, surrounded by 78 shades of inebriation, smelling—well, fish.
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The restoration included meticulously removing centuries of overpainting on the 18th-century boiseries, fixing the gold-inflected plaster cove ceilings, reinstalling elaborate curtains and swags, and reupholstering the furniture with elaborate trim.
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Hampton developed formal window treatments — elaborately layered swags and jabots — for the homes of Estée Lauder and others, while Donghia brought in enormous palms and poufs upholstered in men's flannel suiting fabrics.
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It is a volunteer day for me, so time to wrestle an octopus of a climbing rose up onto the pillar and one of the chain swags that swoops through the center rose beds.
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There also seems to be a major focus on curtains, so if that's where your design passions lie, this might be the perfect chance to show off your knowledge of swags, drapes, and all things window covering.
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At Walker Street, a large Christmassy cone of evergreen swags recreates the ritual garlands placed on topped-out buildings in Switzerland; it is surrounded by full-length portraits of men named for the Three Magi from the East.
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One of the hags, robed in royal bedclothes, is tossed from a high window, crashing into trees beneath, and the camera lingers to survey the pictorial shock: swags of crimson drapery, worthy of Titian, hang in the green and moss-furred dankness of a wood.
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They are fashioned from thin sheets of shiny aluminum that she more or less treats as fabric, cutting them into fringelike strips, arranging them in poufs, flounces or swags that can suggest fancy ball gowns hung up for the night, while also conjuring automobiles and assembly lines.
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The second level of Switch House is home to a four-ton cube of pink glass by Roni Horn, ("Pink Tons," 2009), a silent bubble fountain by David Medalla ("Cloud Canyons No. 3: An Ensemble of Bubble Machines [Auto Creative Sculptures]," 1961, remade 2004), and swags of aluminum bunting by Marisa Merz ("Untitled [Living Sculpture]," 1966).
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Features include a living room with hand-painted beams and a solid wood fireplace surround carved with swags and medallions; a library with two walls of Gothic arched windows and floor-to-ceiling bookcases with a rolling ladder; a formal dining room with a second monumental wood-burning fireplace; and a chef's kitchen with Carrara marble countertops, multiple dishwashers and a tin ceiling.
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The building also displays a shift toward Classical influences in its garland swags, classical columns and acanthus leaves.
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The traditional Scottish sport of shinty has developed the terminology "SWAGs" to refer to the wives and partners of shinty players. The terms was given further credence by an hour long documentary on BBC Alba, following various partners throughout a shinty season. Some of the "SWAGs" featured in the programme have been given further prominence in print and at shinty events.
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It is reached via French doors which are framed by slit windows on either side. Pilasters decorated with candelabra are set between the four windows and the doors. A circular escutcheon framed with fruit-and-drapery swags tops each bay and the French doors, while fruit-and-drapery swags link the pilaters over the slit windows.Jennings, Kohler, and Carson, p. 107-108.
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Tasselled cushions support her head. The base of the tomb is decorated with corner pilasters, tasselled swags and "weeper" figures representing knights, ladies and others.
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It is typically easy to erect, and roll up can be done quickly. Swags are still heavily used in Australia, by overlanders. There are still a large number of manufacturers actively making both standard and custom-design swags. The modern swag is designed for robustness and is marketed towards those travelling by vehicle - they are too heavy and bulky to be transported long distances on foot.
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Swags have been carried by shearers, miners, the unemployed, and many others, some of whom would have been happy to have been called swagmen and some not.
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One of the many ways to set up some brands of commercial, modern swags Rolled modern commercial swags In Australia, a swag is a portable sleeping unit. It is normally a bundle of belongings rolled in a traditional fashion to be carried by a foot traveller in the bush. Before motor transport was common, foot travel over long distances was essential to agriculture in the Australian bush. It is sometimes referred to as a "backpack bed".
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Bushwalkers and hikers would use conventional lightweight tents and sleeping bags. More recently, several camping supply firms have produced readymade bedrolls along the pattern of the original swag, and refer to these as "swags".
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Carved floral swags are over the first floor windows, and there are turned details on the first and second story porches. The tower has squared shingles and cornice line brackets at the top floor level.
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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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He is currently in The Fresh & Onlys and Ty Segall and the Swags both of which performed at South by Southwest Music Festival in March 2009. The Fresh & Onlys second LP is due out on Woodsist in June 2009.
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Illustration of a set of jabots around a window Swags are shown in brown, jabots in red and yellow, curtains in red only A jabot , also called cascade or tail, is a vertical pleated piece of window treatment used with festoons or swags along the top of a window on the inside of a building. The usual purpose of a jabot is to hide the seams between individual swags, though for treatments with only one swag their purpose is simply decorative (unlike most curtains, jabots do not serve to block the passage of light). Visually, they represent a continuation of the swag over the ends of a pole, and are always made of the same decorator fabric on the facing side as the swag itself. Jabots are often lined, however with a different style or color of fabric which is then revealed along its bottom edge with each pleat.
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Originally the room would have contained around twenty seven paintings and access would have been restricted to Lady Burlington's closest friends. Prince of Wales swags and feathers can be seen in both rooms, possibly denoting the Villa as a Royal Palace.
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The two flanking sides terminate with urn-shaped finials; the ends of each wall are decorated with a laurel wreath in relief carving; the inside of the walls is further decorated with laurel swags below the urns. The rear wall bears further relief swags to either side of the obelisk; the North Eastern Railway Company's coat of arms is engraved on the pedestal of the obelisk, just above the level of the screen wall, which is surrounded by another laurel wreath. The obelisk rises above the screen wall to a total height of .Borg, p. 88.
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He also devised fire-dogs, sideboards, cabinets, console tables, mirrors and other pieces of furniture. Le Pautre was long employed at the Gobelins manufactory. His work is often very flamboyant and elaborate. He frequently used amorini and swags, arabesques and cartouches in his work.
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The central section is raised and has a tablet decorated by swags and topped by a draped urn. This conceals a hipped roof clad with corrugated iron. There are glass louvres fitted into the lower section of the windows. Early signage is visible on the entablature.
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The monument comprises a rectangular plaque flanked by Corinthian columns below a moulded entablature above which are shown the Ashford arms flanked by flaming urns. The columns sit on a shelf supported on consoles carved as cherubs heads. The apron is carved with swags, cherubs and the Ashford arms.
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The entrance to the sixth house is from Margaret Street. The building is designed in a Victorian style with Italianate influences. The arcade is decoratively treated. Short cast iron colonettes (thin columns) have Ionic order capitals incorporating garland swags, carved limestone panels, and entrances accentuated by triangular pediments.
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The Hibbard Apartment Building is a nine-story structure with 40 units. The exterior is primarily red brick, with limestone on the first two stories. The façade is decorated with limestone decorative elements such as balustrades, pediments, and quoins. A pair of swags are located below the cornice.
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The walls are covered in silk and bordered rug and it is furnished with original furniture. The room contains a family photograph and a bronze bust by Reinhardt Rahr. One of six remaining original fireplaces is located in the room, and it contains fluted columns, floral swags, and dentils.
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Morton worked in a variety of mediums including sculpture, drawing and installation.Perret, Mai-Thu. "Ree Morton" , Frieze, Retrieved 27 October 2014. Morton deployed "confrontational innocence," as described by art historian Lucy Lippard, and humor in her sculptures that referenced everyday decorative forms such as curtains, ruffles and swags.
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A clock is set in the tympana of the triangular pediments. They are decorated with bas-relief figures and swags. The secondary facades feature Ionic pilastrades set in antis. The interior of the building is organized around the central rotunda, which extends through from the basement to the attic.
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A Palladian window stands above the main entrance, and the cornice line is embellished with egg-and-dart moulding, dentil moulding, and a frieze decorated with swags. Andrew Kistler, the owner, was a leather dealer working in Boston. The house was listed on the National Register of Historic Places in 1986.
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All other floors are wooden parquet, with the exception of tile in the kitchen. Some of the doors retain their original Gorham knobs. Many of the original artwork and finishes also remain. The drawing room has walnut panelling and bolection molding with carved birds, flowers and swags around the fireplace.
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It was decorated with swags and ribbon motif in the pediment, and columns in the Tuscan order. It also featured ornamental shingling of the gable ends on the front and on the south side window bay. At one time the window surrounds had small bracketed cornices and heads with incised decorations.
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The wood screen is also ornately carved and dates from the late 15th century. Memorials in the church include a tablet to Elizabeth Banbury, died 1716, with Corinthian columns and entablature, side and bottom swags, as well as a number of 16th- and 17th-century Keinton stone slabs in the floor.
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The wood screen is also ornately carved and dates from the late 15th century. Memorials in the church include a tablet to Elizabeth Banbury, died 1716, with Corinthian columns and entablature, side and bottom swags, as well as a number of 16th- and 17th-century Keinton stone slabs in the floor.
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This kind of synthetic sheer is extracted from raw material such as wood pulp or petroleum. They are robust and sturdy, yet still delicate looking, and tend to take dye well. They are often used as window dressing as they fall into soft folds that are appropriate for scarf swags.
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Composed of Helidon freestone, it stands high on a square base. It has a fluted Queensland marble drinking fountain, surrounded by carved wreaths and swags. The whole structure is surmounted by a carved cap and ball. Three sides of the monument have marble slabs with the names of the enlisted in lead letters.
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It also reflected Arthur Ware's training at the Ecole des Beaux-Arts in Paris. The monument is an upright, fluted column surrounded by a circular basin, which functions as a fountain. A lantern sits on top of a platform capital. Bas- relief panels of lion heads and garland swags decorate the base of the column.
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The Liberty/Paramount Theatre was an early movie palace located on West Federal Street and Hazel Avenue in Youngstown, Ohio. Designed by Detroit architect C. Howard Crane, the theatre opened as the Liberty Theatre on February 11, 1918. The auditorium originally seated 1700 patrons. The exterior has extensive terra cotta ornamentation, with swags and pilasters.
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The cupola, clock tower and weathervane atop Waterbury City Hall The tower's lowest stage has corner pilasters and louvered flat-topped openings in all four sides. Above it is a blind balustrade with corner posts and swags. Pilasters frame arched openings. Another blind balustrade, its corners topped with urns, has clocks in all four faces.
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Marcotte & Co. also designed, manufactured, and installed gilded ceiling decorations. The central section of the ceiling was decorated with a large plaster panel featuring an intricate medallion flanked by swags, acanthus, escutcheons, and scrollwork. A border of acanthus, scrollwork, and egg-and- dart moldings bordered the section. On the narrow ends of the room were smaller sections, similarly decorated.
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All the upper windows have balustrading to the sills. Above the windows and niches are stone panels with swags and paterae. The Adam building was successful as a theatre. Suffolk County Record Office has playbills for the years 1776-1802. These record admission prices of boxes 3/-, upper boxes 2/6d, pit 2/6d and to the gallery 1/-.
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They are almost all rectangular in shape and taller than they are wide. Plain or spiral columns usually frame the portrait or scene featured on the altar. Along with the typical portrait and epitaph, other motifs were inscribed in the altars. These motifs often had otherworldly or funerary meanings, which include laurel wreaths or fruit –swags.
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The Whitney installation (The Studio Stripped Bare, Again, referencing Duchamp) featured swags of black electrical cords hung from a high atrium ceiling and spilled across floors, which converged on a grey, cast light bulb suspended over two of the tiny fragments under a magnifying glass.Gibson, Wesley. "Jeanne Silverthorne," New Art Examiner, December 1999–January 2000.Arning, Bill.
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The Main Hall has a vaulted ceiling and pendant lighting from the period. Swags and urns decorate the curved sides of the vaults. The stage and rear gallery both feature cast plaster with City of Malvern crests. The Compton Pipe Theatre Organ was installed in 1992, having been acquired from the Piccadilly Cinema in Birmingham, England.
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The Nataraja (Natesha) images carved in these temples are similar to those seen at Upramala. The sculpture has 16 arms and its headdress is matted. There is a large diadem carved at the centre top of the skull, which is "garnished with beaded swags." The facial features are very fine, with high arched brows and full mouth.
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The proscenium arch is almost square with a central cartouche containing a female mask. In the ceiling is a round saucer dome with four relief plaster leaf scrolls and four smaller swags dividing the dome. The whole is surrounded by a moulded cornice. In the main part, above the stalls, there is an octagonal raised cornice.
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Sash windows are visible in the wall to the rear of the loggia created. The top floor is similar in form, but the arches are separated by consoles. The area above these was originally profusely decorated with swags of moulded render, but is now plain. The roof is concealed by a simple parapet of rendered brick.
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Arched openings, enriched by keystones and swags, encompass the double-height windows that light the interior court-rooms at the third story. The north and south sides of the building are less ornate. Above the rusticated base are a series of tripartite window openings flanked by colossal Corinthian pilasters. A heavy balustrade rises above the fourth-story cornice.
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The Baroque style north door is probably by him. Internally he panelled the apse, a platform was created to support a new altar and reredos. The carved cherubs and swags were copied from the contemporary to the church, work of Grinling Gibbons in the choir of St Paul's Cathedral. He also rebuilt three galleries supported by Tuscan columns.
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A bas-relief putto stands atop each medallion and panel, supporting fruit swags. Between the third and fourth (or attic) floors is a molding decorated with repetitive small eggs which serves as the sill for the fourth floor windows. The truncated hipped roof slightly overhangs the walls. The cornice is decorated with dentils and acanthus carvings beneath the roofline.
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The monument has a white marble surround with a broken segmental pediment with rolled terminals and with festoons or swags over, surmounted by a free-carved and painted shield and crest. The entablature projects over a pair of free Ionian columns, which rest below on a black marble corbel-table supported beneath by white grooved and rolled foliate consoles. Between the columns the inscription appears on a large black marble tablet framed by white marble moulding with an applied cherub's face with wings at the top, and a small heraldic shield indented at each corner. Beneath the corbel-table, between the consoles is inset a black marble stone inscribed "Memoria justi benedicta", and below this is inset a pair of fruit-cluster festoons suspended from hanging linen swags, carved in high relief.
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The small beaded crystal chandelier fixtures identified on the wreck only hung in the forward parts of the A and Boat Deck levels, the rest contained cut-glass shades. Each staircase was built in solid English oak, with each banister containing elaborate wrought iron grilles with ormolu swags in the Louis XIV style. The staircases were 20 ft. wide and projected 17 ft.
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A parish boundary mark can be found in Little Trinity Lane. St. Michael Queenhithe had its main front on the south and east facing the Queenhithe dock. It was five bays long from east to west and three bays long from north to south. The lower level of windows were round-headed and separated from the upper tier of circular windows by swags.
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Another use for the dilly bag (also named Mukurtu) was as a holder for personal or tribal artifacts. The "Dilly bag" term is also used to describe bags used by non-aboriginal Australians, for example a smaller food bag carried by swagmen along with their swags. The term is also used by Australians to describe similar bags for other purposes.
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In England, the great school of Grinling Gibbons arose. Although he carved many beautiful mouldings of conventional form (Hampton Court Palace, Chatsworth, etc.), his name is usually associated with a very heavy form of decoration which was copied direct from nature. Great swags of drapery and foliage with fruit and dead birds, etc., would be carved in lime a foot thick.
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The porch is plastered brickwork which distinguishes it from the rest of the building. The plasterwork is rusticated, on either side of the entrance double height pilasters support a triangular pediment. The pilasters have composite capitals and decorative swags. On the upper level of the porch the arched openings have been enclosed and the space is used as an air conditioning plant room.
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Decorative terra cotta swags are located above the ornamental grillwork that flanks the main entry door. The symmetrical plan is E-shaped with a semi-enclosed courtyard at the north end. The windows are spaced evenly and are designed to create a balanced overall look for the building. The tops of the first floor windows and the main entry doorway are arched.
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The entrance surround has pilasters rising to a bracketed segmental-arch pediment. First-floor windows are elongated, and topped by headers decorated with swags. Second-floor windows are topped by splayed lintels with keystones, and have shallow wrought iron balconies. The house was built sometime after the War of 1812 in a Federal style, and was later given its present Second Empire treatment.
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The ceiling and walls were panelled in English oak, with Corinthian columns and swags of carved flowers for decoration, all by architect Frank Pearson. The staircase newel posts are ornamented with carved figures representing previous owners (e.g. Buckingham and Orkney) by W.S. Frith. Astor installed a large 16th-century fireplace, bought from a Burgundian chateau which was being pulled down.
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Inmates from the centre make padded, waterproof Street Swags, distributed by national charities to alleviate the hardship of homelessness. In June 2010 an inmate was found bleeding to death in his cell. He died several days later in a Brisbane hospital. Serving time for traffic offences, a coronial inquest heard that threats were made against the prisoner's life by his cellmate whose sleep was disturbed by snoring.
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All facades are heavily decorated. Swags are on all four chimneys, and balustrades rim most of the roof lines. A central pier on the east above the main entrance is topped with an urn, flanked by wreathed balustrades, a cornice and frieze with triglyphs and metope-ornamented medallions. The double-doored main entrance is flanked by pilasters and topped with a fanlight and ornate keystone.
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' by Claude Bertin, before 1697 (Musée du Louvre) Claude Bertin (died 1705) was a French sculptor, who was part of the highly trained team that supplied sculptures for Versailles. His monumental marble vases, following the type of the Borghese Vase, with rich bas-reliefs of fruit, swags of ivy or friezes of mythological scenes, executed between 1687 and 1705, still adorn the terraces of Versailles.
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Zinc was also cast for sculptures and decorative elements in Germany and Austria as early as 1832. Decorative architectural elements were frequently cast in zinc, since it molded readily, was inexpensive compared to stone, and could be painted to imitate more expensive metals. Stamped swags, rosettes, fleur-de-lis and acanthus leaves provided popular decorative ornamentation of both exteriors and interiors by the late 19th century.
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Once in Alice Springs again, Hong established a market garden on a new site, on Gap Road, where he also established an eating house for single men who were welcome to 'roll out their swags' in the garden for the price of a meal and built a large stone oven to become one of the town's first bakers. Hong died in 1952, at the age of 102.
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These candelabras contain two Sirens at the center holding swags that are connected to columns at the sides of the panel. Above the candelabra is a yellow frieze containing Egyptian-themed images, including deities, griffins, and comic masks, in small black-background shapes. Similar panels with this type of decoration flanked the two mythological paintings on the east and west walls of the room.
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The chapel, in particular, was a mix of architectural styles – Gothic revival and baroque.Crook (2008). p. 79. The chapel is mixture of late Gothic tracery, Renaissance swags of fruit and foliage, cherubs and cusps, fan-vaulting and Corinthian capitals. In the first place there was the old chapel of St. Mary's College, the roof and window jambs of which were used up again in the new building.
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Swags of fruit and flowers surrounding a cartouche with a sulphur-crested cockatoo Jan van Kessel or the other Jan van Kessel (c. 1620, Antwerp - in or after 1661, Amsterdam (?)) was a Flemish painter of still lifes of fruits, hunting pieces and flowers. After training in Antwerp he moved to the Dutch Republic where he is recorded as operating a studio in Amsterdam.Jan van Kessel (ca.
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The entrance to the building is slightly recessed, and is flanked with six engaged Ionic columns which extend upward to a modillioned cornice. The cornice continues around the sides of the building. The windows are set into two-story arched recesses topped by a keystone. On the front, the spandrels between the first and second-story windows contain stone lion heads and floral swags.
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Surrounded by trees, the house is covered by a hip roof that is pierced by multiple dormer windows., Ohio Historical Society, 2007. Accessed 2013-12-03. Some of the elements evoke a sense of the Beaux-Arts style, including the house's carefully designed symmetry, its decorative columns, urns, and swags, and the small wings on both sides of the central main portion of the house.
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Six stone columns decorated with rosettes, swags, and fruit echo those found at Nalanda. The rear sculpture wall, a scaled down version of one at Nalanda's Stupa #3, bears images of six Bodhisattvas. Flanking display cases hold replicas of ancient bronze sculptures found at the site. A watercolor triptych depicts male and female students at Nalanda as scholar-monk Silabhadra says farewell to 7th-century Chinese traveler Xuanzang.
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However, such dances are performed every Mayday around the permanent Maypole at Offenham, in Worcestershire. Temporary Maypoles are usually erected on village greens and events are often supervised by local Morris dancing groups. In some regions, a somewhat different Maypole tradition existed: the carrying of highly decorated sticks. The sticks had hoops or cross-sticks or swags attached, covered with flowers, greenery or artificial materials such as crepe paper.
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A variation on the Austrian is the waterfall curtain. Instead of horizontal festoons, the curtain has vertically running pleats like a traditional theater curtain, but it still gathers from the bottom in a number of swags. The waterfall has a pipe batten along the bottom edge to ensure the lines rise evenly. It is somewhat similar to a Roman shade, but with only one batten and vertical pleats.
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The front faces bear sandstone plaques with the words The Great War and appropriate dates on the western side and The Boer War and appropriate dates on the eastern side. The lower sides of each plaque is embellished with relief carved festoons of tropical fruit. The inner pillars are the same standard design as the outer pillars, but at a larger scale. They are surmounted by large urns, draped with swags.
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The bustle returned to fashion and reached its greatest proportions c. 1886–1888, extending almost straight out from the back waist to support a profusion of drapery, frills, swags, and ribbons. The fashionable corset created a low, full bust with little separation of the breasts. A usual type of undergarment was called combinations, a camisole with attached knee- or calf-length drawers, worn under the corset, bustle, and petticoat.
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Between the pediment and the large round-headed window below was a carving of a cock between two swags. The south front had five large round-headed windows. An etching of St. Stephen's, Coleman Street (Architectural Series of London Churches, published by J. Booth, 1819). The interior was a single space, undivided by piers or columns, with a flat ceiling, coved at the sides, the coving pierced by round-headed windows.
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The exterior is clad in cream-colored Bedford limestone cut into ashlar (squared and smooth) blocks. Decorative details that are consistent with typical Art Deco ornamentation are found on the building. These include stylized flowers, swags, dentils (rectangular blocks), and chevron (V-shaped) elements. The corners of the tower are chamfered with a 45-degree bevel cut and contain stylized eagle motifs that express the Federal government's presence in Dubuque.
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Another Parisian style, Beaux-Arts originated from the legendary École des Beaux Arts (School of Fine Arts). Flourishing during the 19th and early 20th centuries, it was a grandiose elaboration on the more refined neoclassical style. Symmetrical façades were ornamented with lavish details such as swags, medallions, flowers, and shields. These massive, imposing homes were almost always constructed of stone and were reserved for only the very wealthy.
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The building is seven bays wide on the east and west sides and twelve bays long on the north and south sides. The east and west facades are dominated by central projecting pavilions. Each pavilion is articulated by four, three-story Corinthian order columns flanking window openings and linked by balustrades. At the second story, French windows are framed by engaged Doric columns and topped with sculptured swags and car-touches.
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The gable is fully pedimented, with a modillioned and dentillated cornice that continues around the building. The pediment houses a floral design surrounding a central medallion. The entrance below is set in a tall round-arch and keystoned opening, the arch supported by attached Ionic columns and flanked by floral motifs. The building cornice is adorned with swags, and incised with the names of prominent European literary figures.
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In year 5 and Years 7,8, 9 and 10 in the senior school, students will camp for several days, depending on their age, at Moray near Dwellingup. Moray, close to the Murray River, is set in Australian bush. Moray allows students to camp either outside in tents, under swags, or inside cabins. Students here will learn about safety, the ecosystems and how native Aborigines lived in the area.
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To the south of the porch is a large, projecting bay window. This is topped with an overhanging bay on the second story and then the overhanging gabled dormer above it, bracketed by carved swags. On the north, the profile is broken by a projecting bay as well, on both stories, supporting another gable with carved swag brackets. A nearby stair bay is lit by a round-topped stained glass window.
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The foundations of the monument are in Runcorn sandstone, the pedestal is in granite, and the column itself is in Darley Dale sandstone. The overall height of the monument is , the column being high and the statue high. It stands on a stepped base with a square pedestal. On each side of the pedestal is a bronze plaque; at the corners are bronze eagles joined by swags along the sides.
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As the winch turns, the curtain rises and is collected in a series of swags, which are accentuated by horizontal pleats (called festoons) sewn into the curtain from top to bottom, thereby giving it both vertical and horizontal fullness. Austrian curtains reached their height of popularity in the mid twentieth century. They are considered visually attractive and simple to operate and require little fly space, but have complicated rigging and are relatively expensive.
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Doors are paneled on only one side, and the cherry stair rail has no additional finish. The most decorated piece in the house is one of the parlor fireplaces, which has carved in its mantelpiece swags flanking a central urn under the shelf with garlands hanging down the flanking pilasters. The firebox complements this with a gray marble surround. Picture windows have been added to the rear of both first floor rooms.
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The nine-window, symmetric south facade is two and a half storeys and features a five-window, slightly recessed centre section. The entrance is centrally positioned, with a pair of French doors and a plain, semicircular fanlight. The baroque surround includes a keystone and bilateral stone columns with swags and fruit. There are four windows on either side of the south entrance; each is six-paned, with the centre panes the widest.
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Parking lot where the Ponchartrain Apartments once stood The Ponchartrain Apartment building was a four-story red brick structure sitting atop a limestone foundation. Window sills, coping, and a belt course between the first and second stories were also constructed of limestone. The entrance sat in an arched opening flanked by ornamental pilasters supporting the lintel. Swags and urns decorate the entablature, and urns also graced the stone relief panels beneath the end windows.
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The Ficke Block is a four-story, brick structure built on a stone foundation. It features many details found in late Victorian architecture: rusticated, semi-circular window arches on the third floor, and flat stone lintels over the paired windows on the fourth floor recall the Romanesque style. A pair of two-story bay windows with embossed garland swags, wrought iron balconies, and ornate cornices reflect the Queen Anne style. The storefronts, however, have been significantly altered.
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They finally returned to Melbourne in April 1949, where they were greeted by the press and champion cyclist Hubert Opperman and veteran cyclist Ernie Old. Duncan published her account of the journey, Two Wheels to Adventure: Through Australia by Bicycle in 1957, and 51 years later Suart published hers, With Bags and Swags: Around Australia in the Forties. Suart had kept a diary throughout the trip, which she used as the main source for her book.
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The window valances feature heavy swags, with gold bullion fringe, and reflect similar window treatments from the 1800s. The drapes hang from carved and gilded poles whose design echoes that of similar drapery poles in the Red Room and Green Room. The walls and moldings were repainted in various shades of white and glazed, to highlight their details. A new set of 34 mahogany chairs replaced the Theodore Roosevelt-era Chiavari chairs, which had proved too large and cumbersome.
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The portico gives access to the front door, a double door under a large rectangular transom. The transom features tracery in the form of a fan with radiating ribs connected by two rows of swags and a three-petal flower in each of the upper corner quadrants. Over the transom is a lintel with corner blocks that extend beyond the door frame. This combination of elements is typical of buildings that bridge the Roman Revival and Greek Revival styles.
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Swags have been recreated over the east windows. The interior is otherwise plain, other than Corinthian pilasters. In the vestry to the north west is crazy paving made from shattered tombstones. Pulpit Surviving from the 17th century are the carved pulpit, (although on a modern base and lacking its tester), the font cover, part of the communion rail, parts of the original Wren era reredos, now installed on the south wall and the Charles II coat of arms.
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The design of the monument was made by Arcadio de Guzmán Arellano, the brother of Juan Arellano. The neoclassical structure is a massive cubic structure on an elevated square podium. A shallow dome rests on a drum fenestrated by small openings to allow the circulation of air and primarily to let the natural light to come in. Swags, frets with key patterns, and human figures that represent grief to those who died fill up the façade.
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Whilst hundreds of kilometres away, the northern edge of modern-day Calton Hill was a short stretch of the primary goldrush highway. Thousands of people began trekking past with their swags following the Caversham Valley as the only road south to the diggings of the Central Otago Gold Rush. John Sidey would supply the miners with meat from his farm and other carted supplies. Now, the area has two railway lines that have been tunnelled through the sandstone beneath.
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In Australia, the term swag is still widely used to refer to a tent or other portable shelter used for camping or outdoor sleeping. A modern swag is a waterproof canvas sleeping compartment that is sometimes insect-proof. All swags come with a foam mattress, and can comfortably be slept in with the addition of a pillow and sleeping bag. When rolled up the swag is relatively lightweight and compact, making it ideal for storage and transport.
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The Upper Chamber is the meeting room of the Society. The speaker's lectern has been dated to the 1820s and may have been built specifically for the Hall. The simplicity of the carved mantels, window moldings, doors and deep paneled wainscoting emphasizes the drama of the ornate plasterwork ceiling medallion which is based on a template designed by Asher Benjamin. It is a medallion of holly leaves surrounded by swags of smaller leaves which are framed by delicate filigree.
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The glass dome above the main staircase in Hawksley House The building was constructed in Penrith red sandstone and ashlar with a Lakeland slate roof. The exterior design is neoclassical and features Ionic porches, Tuscan window bays, architraves and dentilled cornices. The interior features a baroque, open stairwell with a glazed dome and high relief swags. The neoclassical design is repeated in the former board room, which has stucco wall panels and Ionic columns and pilasters.
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The building was constructed using locally manufactured brick (from the Drury Brick and Tile Company of Essex Junction, Vermont) laid in English bond with ivory colored trim and topped with a gray- green slate roof. The face of the main structure was fashioned in Greek Revival style with a portico installed with six 32 ft. Ionic columns.: a publication of the University of Vermont The portico's pediment has a central traced elliptical window and flanking white swags.
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Ground floor windows are topped by entablatures decorated with swags, and topped by projecting cornices. The interior continues the high quality workmanship, with decorative plasterwork and woodwork, and a stained glass window at the landing of the main staircase. The house was designed by Lewiston architect William R. Miller, and was is first residential commission. It is an extraordinarily rich Colonial Revival building for a relatively modest formerly industrial village setting in the state, but also typical of Miller's flamboyant style.
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The Committee for the Preservation of the White House had become dissatisifed with the golden silk swag valances installed during the Reagan presidency. The Kennedy-era Empire-style gold draperies were replaced with nearly identical ones, but the swags were made deeper to make them appear more substantial. The room was repainted in the same warm cream color it had for the last century. The refurbishment cost $200,000, and was paid for by private donations to the White House Endowment Fund.
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The cornice is decorated with a simple Greek key design, below which hang swags. The columns, in bas-relief at Macereto are lighter and more minimal than the pomp and splendour of those at Loreto. Where the statues of the prophets seated around the lower level of the shrine at Loreto (highly reminiscent of Michelangelo's prophets in the Medici tomb in Florence) are, at Macereto there are empty niches. Whether there were plans to install any statues is not known.
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In the interior, there is an ornamented frieze, carved with swags of fruit and flowers between the Corinthian capitals runs in an unbroken band entirely round the church. All colour is avoided, replaced by architectural enrichments and the bas-reliefs in the pendentives of the dome. The interior contains works of art that include paintings by Anthony van Dyck, Jacob Jordaens and Jacques Nicolaï, a Jesuit lay brother and student of Rubens. There is also an old, Romanesque baptismal font.
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Upon his arrival in New York in 1828, Peck continued to paint half-length portraits on wood panels as he had in Vermont. He did, however, begin to use a somewhat brighter color palette and began embellishing his subjects with personal accessories such as jewelry, Bibles, fruit, decorated furniture, and swags of drapery in the background. These were popular portrait conventions during the period and suggest that Peck was influenced by – or at the very least, observed – the work of other artists.
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The building is further decorated with swags, medallions, and other ornaments. Like the nearby First National Bank Building, the Sunshine Building was constructed with blank walls on two sides to accommodate neighboring structures. with By the time of the 1980s Festival Marketplace controversy, the building was the only structure left on the block and its detractors criticized the "not so handsome" wall greeting traffic entering Downtown. In 2001, the Century Theatres Downtown building was built next to the Sunshine, obscuring the blank walls.
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In about 1881 Halder had moved to South Africa where he practiced as an architect in Pietermaritzburg. It was here where he designed his best-known and probably best preserved house, Sans Souci (1883-1884). This home has an unusual classical portico ornamented with swags of fruit and flowers. It was among the few private houses illustrated in the 1906 book Twentieth Century Impressions of Natal. Halder moved from Pietermaritzburg to Barberton In 1886, two years after gold was discovered there.
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The building in 2018 The building displays many characteristics of the Beaux Arts Classicism style of architecture. Architect James Knox Taylor was responsible for the construction of many classically inspired buildings during his Federal career. Taylor believed that classical architecture espoused the symbolic value of Federal buildings as lasting monuments to the ideals of democracy. The building contains many character-defining features such as the central pavilion with a pediment (triangular gable), monumental paired columns, balustrades, and decorative swags and garlands.
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The decorative plinth, showing some of the regiment's battle honours The memorial is in the form of a single rectangular column of Portland stone, which is decorated with classical mouldings and stands approximately tall. At the top is a shallow cornice, on which stands a plinth supporting a sculpture of an urn at the very top. The plinth is decorated with laurel swags. The column itself stands on a square, coved base which in turn rests on a platform of two square steps.
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The building's design, by Henry Francis Lockwood and William Mawson, was chosen from more than twenty- two designs submitted during an 1849 competition. Built of ashlar sandstone masonry in neoclassical style, the building was opened on 29 August 1853. Its stone was obtained from Leeds, as the Bradford quarries were not able to supply the stone needed for the venture, as they were not in full production. The architectural sculpture, including all the exterior swags and keystone heads, was executed by Robert Mawer.
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The house from the side The home features a large front porch with columns supporting the overhanging roof, supported by brackets and complemented by dentil moulding, and balcony above, accented by a Palladian-style leaded-glass window. The shake roof is interrupted by large dormers, three chimneys, and a widow's walk. The frieze above the second-floor windows are decorated with ornamental swags. The cherry front door is topped by a leaded glass transom and flanked by leaded glass sidelights.
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The Music Room – known as the "Red Room" – features an alcove flanked by red marble columns and pilasters, both with capitals highlighted in gold leaf. Adamesque swags and garlands, also highlighted in gold, are carved into the wall and ceiling along with musical motifs such as lyres, horns and Pan flutes. These motifs recur in the stained glass window transoms. The south wall is of mahogany with brass trim; it features the Music Room's fireplace, flanked by carved Corinthian pilasters.
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Located within the basement is a 400-seat auditorium including a stage decorated with swags and a false entablature, walls adorned with classical motifs, and large Art Deco chandeliers. Within the bronze main entrance doors are a second pair of brass-trimmed wooden doors with a stained glass Art Deco clerestory. In between these two door sets is a small entry vestibule laid with Tennessee and Tavernelle marble floors. The vestibule includes a frieze decorated with a scrolling foliage design and dentils.
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An example of bunting in Wilmette, Illinois West Midlands, United Kingdom 4th of July decorations in Roche Harbor include Canadian and U.S. flags and red, white and blue bunting. Bunting (or bunt) is any festive decorations made of fabric, or of plastic, paper or even cardboard in imitation of fabric. Typical forms of bunting are strings of colorful triangular flags and lengths of fabric in the colors of national flags gathered and draped into swags or pleated into fan shapes.
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See below, "Waltzing Matilda". ; Waltzing Matilda: from the above terms, "to waltz Matilda" is to travel with a swag, that is, with all one's belongings on one's back wrapped in a blanket or cloth. The exact origins of the term "Matilda" are disputed; one fanciful derivation states that when swagmen met each other at their gatherings, there were rarely women to dance with. Nonetheless, they enjoyed a dance and so danced with their swags, which was given a woman's name.
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In 1971 First Lady Pat Nixon, working with White House Curator Clement Conger, refurbished the Vermeil Room adopting a Federal style for the room's decoration. The Georgian cornices were replaced with later period cornices. Several of the vitrines were closed up, and the paneling was given many coats of putty to transform it to a smooth finish. The room was painted a soft green and drapery was designed by Edward Vason Jones in gold, green, and blue with complex swags trimmed in bobbin tassels.
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The facade contains ornaments such as swags and wreaths. There are bronze spandrels with decorative friezes within the upper-story bays, and the facade of the top story under the parapet contains bronze lion heads. Foliated reliefs are located within the door and window frames at ground level, and antefixes are located above the shop windows and the Dey and Fulton Street subway entrances. The subway entrances also contained granite faces and bronze gates, and the decoration extended into the basement where the subway platform was located.
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Together they worked on their masterpiece, the saloon at Carton House, Co. Kildare, designed by Cassels. Here they created an ornamental plaster-work ceiling depicting the Courtship of the Gods. They worked on many major projects with Cassels, including Russborough and Tyrone House in Dublin. The decorative features they created, which included rosettes, swags, flora and fauna, decorated the ceilings and walls of many of Ireland's greatest 18th-century houses, giving these mansions the individualism which distinguishes them from other Palladian revival houses in Europe.
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Boscobel's distinguishing feature is the unusual delicacy conveyed by the front facade and its ornamentation. Unique among Federal style buildings, carved wooden swags in the shape of drapery, complete with tassels and bowknots, grace the top of the second-story balcony. Nearly one-third of the face is glass, with flanking lights integrated into contemporary windows used in the restoration to enhance the effect. The windows are slightly recessed, and the front clapboards are closely fitted and matched in an apparent effort to suggest masonry.
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The Henry Wadsworth Longellow Monument occupies a triangular plaza formed at the southeast corner of Congress and State Streets in central Portland. The southeast side of the plaza is occupied by One Longfellow Plaza, a large office building. The monument consists of a bronze statue of Longfellow, as seen late in his life, in a seated position, which is mounted on a granite pedestal. The pedestal is about in height, and has carved tablets on two sides, decorated with swags and garlands that frame the name "LONGFELLOW".
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The third zone is defined by the entablature, including a blank frieze surmounted by a heavy dentil molding, projecting cornice, and balustraded parapet, composed of alternating balusters with raised panels. A large festooned cartouche at the parapet is a crowning feature of the central bay's vertical axis. Refined Beaux-Arts embellishments accentuate the facade's key features. The main entrance is prominently centered and framed by a segmental arch bedecked by a keystone and festooned swags, and banded pilasters, which support an "audience balcony" above.
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The gable frieze on the side-facing gable is decorated with applied garland swags. The Beacon Street area west of Newton Centre was developed in the late 19th century as a fashionable suburb with high-quality, often architect-designed, houses for the upper middle class. The land this house was built on belonged to a prominent local developed, Charles Davis, as late as 1895. The quality of its design and construction suggest that it was designed by an architect, and not built on speculation.
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The white walls, delicate swags, and bands of frieze -- framed reserves containing figures or landscapes -- have returned at intervals ever since, notably in late 18th century Neoclassicism, making Famulus one of the most influential painters in the history of art. Art historian Nunzio Giustozzi writes that Famulus painted in Style IV, impressionist-like coloring with deep blue, green, indigo, purple, and cinnabar red, including motion and animation in the artwork. Famulus is credited with large mythological scenes, now lost, much like the large panel Achilles at Skyros.
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It originally had steep slate mansard roofs with dormers and a dome, but these were lost to the fire of 2014. Though stripped in appearance relative to previous Edwardian or Victorian buildings, there are many subtle external decorative features. These principally include the Greek key patterned panels on both side elevations, the cornice with modillions, vase balustrade and two sets of triple bull's-eye windows at the attic storey. On the first floor, there are moulded faience swags above windows and detailed panels illustrating musical instruments.
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The portrait includes a representation of the marble bust. Drapery panels of yellow-gold silk satin with elaborate swags and jabots of red with gold medallions with handmade fringe recall a description of drapery used here during Dolley Madison's day. The curtains were designed by Edward Vason Jones, and are based on historical patterns held by the Society for the Preservation of New England Antiquities (now called Historic New England) and the Metropolitan Museum of Art. Conger returned use of the decorative tape along the ceiling moulding but not above the dado.
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The Keesee House is a historic house at 723 Arkansas Street in Helena, Arkansas. It is a 2-1/2 story wood frame structure, built in 1901 for Thomas Woodfin Keesee, the son of a local plantation owner. It is an excellent local example of transitional Queen Anne-Colonial Revival architecture, exhibiting the irregular gable projections, bays and tower of the Queen Anne, but with a restrained porch treatment with Ionic columns. The exterior is sheathed in a variety of clapboarding and decorative shingling, and there are wood panels with carved garland swags.
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The main entrance to the building The facade is set atop a raised basement containing a stone course. On the Chambers Street elevation, at the first and second floors, rusticated granite piers and engaged columns subdivide the facade into nine bays. There is a double-height window in each bay; on the six outermost bays, there are swags beneath the windows and a stylized keystone above them. The primary entrance is in the central bay and contains a granite surround underneath an ornate arched pediment with the word .
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The Linden Flats was a three-story, brick building that was built on a stone foundation. The façade combined elements of the Victorian and Federal styles. The Federal style was found in the simple box structure, the unadorned windows, the stone columns and lintels over the doorways, and the symmetry of the building's composition. The Victorian elements were found in the building's decorative embellishments, which included the two window bays that rose and became part of the cornice, the two-toned brick pattern work and the bracketing, and the garland swags on the cornice.
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Lovat established a ladies team in 2011, which plays in National Division Two. The area had a long tradition of girls playing shinty alongside boys until a certain age, with players leaving the sport. In the 2010s, local talent was corralled by Gillian Currie and Gemma MacKinnon, two Scotland internationalists who had settled in the area, into a first ever Lovat ladies team. Scotland internationalist youngster, Laura Gallacher, also returned to her home club after several years playing for Glengarry.. The club was featured in the "Swags" documentary on BBC Alba, Christmas 2013.
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The Palladian-inspired main façade of the Factory is austere, due in part to the somber granite used in its construction, at the same time conveying an elegant understatement. There are some decorative elements, which relieve some of the façade’s solemnity. These include the slightly advanced central body, whose three central windows have triangular pediments, and the balustrade, that is interrupted by a raised section adorned with three swags of sculpted fruit. The interior of the building engages the visitor, given the scale and grandeur of its architecture design.
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A brail curtain or drapeThis is also frequently spelled "braille" and "braile" without discrimination, though "brail" is the most common spelling. in its lowered position appears as a pleated panel much like a traveler curtain; it is rigged, however, as an Austrian curtain: The multiple lines leading through rings sewn to along the seams on the back side of the curtain cause the fabric to gather along the bottom in swags as the curtain is raised. It has a faster action than a traveler curtain, and like an Austrian it requires little fly space.
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Another aspect of the Birmingham celebration is that the statue is regaled with swags of laurel and flowers, possibly due to its location by the wholesale flower markets of the city. This tradition, marked through most of the nineteenth century, was revived in 2004. Flags fly from the Nelson Monument on Calton Hill in Edinburgh on Trafalgar Day 2013 In Edinburgh, citizens commissioned the Nelson Monument on Calton Hill in memory of Admiral Lord Nelson. Weather permitting, the Trafalgar flag signal "England expects that every man will do his duty" is flown on Trafalgar Day.
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Trompe l'œil of swags of fruit and flowers pinned to a white wall together with moths and other insects Martin van Dorne or Martinus VandorneAlso referred to as Marten van DorneF. Marten van Dorne in: Jos. van den Branden en J.G. Frederiks, Biographisch woordenboek der Noord- en Zuidnederlandsche letterkunde, 1888-1891 (Leuven, baptized on 22 January 1736 - Leuven, 2 May 1808) was a Flemish painter and poet of the 18th-century, specialized in still lifes.Martin van Dorne at the Netherlands Institute for Art History He is known for his still lifes of fruit and flower.
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This is possibly the best Australian poetical play of its period, and has the merit belonging to comparatively few Australian plays that it is actable. World War I led to Brereton producing a slender volume of verse published in 1919, The Burning Marl, dedicated to "All who have fought nobly". In 1921 he was appointed professor of English literature at the University of Sydney. Brereton produced a volume of poems, Swags Up (1928), and a collection of his prose articles and stories was published under the title of Knocking Round (1930).
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Formal interior with timber pelmets from which the curtains and swags are hung External decorative pelmets fitted within a brick and stone window opening A pelmet (also called a "cornice board") is a framework placed above a window, used to conceal curtain fixtures. These can be used decoratively (to hide the curtain rod) and help insulate the window by preventing convection currents. It is similar in appearance to a valance, which performs the same function but is made of fabric. A pelmet can be made of plywood, and may be painted, or fabric covered.
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Those of the lower storey have semi-circular heads and are surrounded by continuous mouldings of a Roman style, rising to decorative keystones. Beneath each window is a floral swag by Grinling Gibbons, constituting the finest stone carving on the building and some of the greatest architectural sculpture in England. A frieze with similar swags runs in a band below the cornice, tying the arches of the windows and the capitals. The upper windows are of a restrained Classical form, with pediments set on columns, but are blind and contain niches.
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Architect Ely Jacques Kahn commented in 1926 on the emerging style that his brethren were creating with their buildings: > [It] is so characteristic of New York that it would be more logical, by far, > to call it a New York Style. [...] Decoration becomes a far more precious > thing than a collection of dead leaves, swags, bull's heads and cartouches. > It becomes a means of enriching the surface with a play of light and shade, > voices and solids. [Today's ornamental forms] respond to the bulk and > simplicity of the skyscraper itself.
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They also bought more than a million yards of her signature cabbage rose fabric. In 1937, Draper created a top-to-bottom decorative scheme for the exclusive Hampshire House apartment hotel, giving the lobby a bold black and white checkerboard floor, a thick glass Art Deco mantelpiece surround, Victorian-style wing chairs, and neo- Baroque plaster decorations. She found artisans in Brooklyn who could fashion enormous scroll-and-shell bas-reliefs, floral swags and multi-arm chandeliers. Her use of sliding glass doors rather than shower curtains at Hampshire House was considered innovative.
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Flanking the entrance, in the recesses formed by the rusticated pilasters, are two square arched openings surmounted by oculi with decorative mouldings joining the two windows. At first floor level are five, equally sized, round arched openings, in the recesses of the attached columns, with sills resting on blank balustraded panels. Mouldings surround the arched heads of these windows, and moulded swags are found on recessed panels above the windows. The engaged columns support an entablature which acts as a parapet, with a central projecting panel featuring the words, "SCHOOL OF ARTS".
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The front lobby is also lit from the rear by a six-over-six double-hung sash set with leaded and stained glass, opaque on the bottom but with a cartouche and swag on top. The stair climbs to a Palladian window, also with stained glass. It is decorated with swags and ribbons, corner cartouches and panels topped with eagles in the center and vases and foliation topped with a lit torch on the outer panels. A cartouche-enclosed oval at the top has the date "1915" carved within.
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The house was a -story brick building, built in a Colonial Revival style with Classical detailing. The large gable on the front façade was covered in slate, and embellished with console brackets, scalloped trim, a carved oculus encircled by a frame and voussoirs, and a large two-part lattice window. The window was originally contained in an ornate surround, with a sill supported by modillions, colonettes, and a lintel with carved swags topped with a shell motif. Side dormers with a central lunette, also faced with slate, crossed the slate roof.
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These bats are usually nocturnal, living in dark caves, hollows, old trees, ceilings and hollow walls. They are fairly common throughout most of Australia their roosting habits vary greatly. Their preferred roosting places tend to be small crevices such as peeling and hanging bark, in tree hollows, caves, buildings and fairy martin (Petrochelidon ariel) nests, rolled up swags, under piles of bricks and hanging clothes, or occupying the exhaust of a tractor in one instance. Their sociability ranges from individuals to small groups of two or three bats.
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The four slaves all rest on the bottom ledge of the pedestal and are chained to the harpies behind them on the upper corners of the pedestal. In Ludovico's drawing the slaves are bound with bands around their arms and chained to the harpies' hips. Other details on the pedestal are scenes of battle on the left and presumably the right side of the statue, along with "seated youths bearing swags". According to Victoria Thompson, the king and horse's pose were heavily influenced by the Roman emperor Marcus Aurelius and his own equestrian statue.
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Immediately behind City Hall is the East Point Memorial Auditorium, also known as the East Point City Auditorium, which was completed in 1931, matching the architectural style of City Hall. It features 1,500 seats with a balcony, palladian windows, quoined corners, decorative swags and medallions along the walls, and has a stage. Similar in size to the Little 5 Points venue, the Variety Playhouse, the East Point Auditorium has been the only venue of its size within two blocks of a MARTA train station. The City Auditorium has hosted city gatherings, stage productions, concerts, wrestling matches, and kindergarten and high school graduations.
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The personification of Glory had a palm branch in her right hand and next to her right foot was seen a laurel wreath in a vertical position leant against the aforesaid estipite. Surrounding the figural central panel there were different decorative motifs such as swags of fruits and flowers, egg-and- dart, scrolls, acanthus, rosettes, a pair of seated griffins, etc. Plate showing the monumental chimney by Percier and Fontaine. The main source of inspiration for Titanic only architectural clock was a monumental chimney designed by Percier and Fontaine for Napoleon Bonaparte, which included a decorative timepiece.
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This house had a bowed front and panels with classical swags, possibly of Coade stone. It was burnt down in 1841, but fortunately it was recorded in a watercolour by John Ingleby in 1794."Hubbard" (1986), 280 A further house in this style was the Old Bishop's Palace in St Asaph which was probably by Samuel Wyatt,"Hubbard", (1986), Pl.72 while at Brynbella in Tremeirchion a London surveyor, Clement Mead built Brynbella, for Dr Johnson's friend Mrs Thrale. Bryn Bella was built between 1792 and 1795 with an ashlar facade and double bays and wings with pediments on either side.
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The vaulting, under a three-tiered roof, rose to a height of fourteen meters in three tiers marked by fancy balustrades. Each tier was made up of several curving sections faced in wooden paneling to form a graceful, tiered and vaulted dome. The vaulted ceiling was supported by the four wooden corner columns that rose from the bimah, and by trusses in the roof. The Torah Ark was an elaborate, multi-tiered confection in painted, carved wood, with columns, bas-relief menorahs, vases, floral swags, roofed towers, the tablets of the Ten Commandments and an eagle.
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After 1797, McIntire worked in the style of Boston architect Charles Bulfinch, who had made fashionable here the neoclassical manner of Scottish architect Robert Adam. Unlike Bulfinch, however, whose designs were featured across the East Coast, McIntire built almost exclusively in New England. His wooden or brick houses were typically 3 stories tall, each with 4 rooms around a central hall. In 1799, he went into business with his brothers, Joseph and Angier McIntire, who erected the structures, while at the workshop he oversaw various ornamentations, including the swags, rosettes, garlands and sheaves of wheat which dominate the interior wooden surfaces.
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2 Barrack Street is a distinctive seven-story building constructed in 1892 by the architectural firm Sheerin & Hennessey, a firm that made a considerable contribution to the character of Victorian and Edwardian Sydney. The building previously served as principle offices for notable companies including Gordon & Gotch and Mauri Bros & Thompson. The building occupies and enhances a corner site in a precinct dominated by buildings of this type which served Darling Harbour as a working port. Rendered stucco masonry walls are deeply grooved with a variety of decorative motifs including fluted brackets, bay windows, pediments and swags.
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On the urban side, the central block makes some compromises with the new neoclassical style in the flat planes of the façade, which simply occupies one flank of the square centered on it, without embracing the space in a cour d'honneur (illustration, below left) and in the severe Doric portico. The structure is brick, clad in the local sandstone; forty over-lifesize allegorical figures, also in sandstone, by Rudolf Kaplunger, alternating with vases, crown the low attic above the cornice.Capitals and swags and other decorative sculpture of the exterior were provided by Martin Satorius. (Staatlichen Museum Schwerin website ).
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The central entrance is flanked by pilasters, which have fluting to the lower section of the shaft, supporting a triangular pediment surmounted by a moulded ornament at the apex. The pediment and cornice have egg and dart mouldings, the architrave has dentils, and the pilasters surmount tall pedestals, which flank entrance steps with low wrought iron gates. The arches have expressed imposts, extrados and keystones, and are surmounted by a frieze with moulded swags. The paired arches either side of the entrance have a central granite column with an Ionic capital, surmounting a tall pedestal flanked by a moulded balustrade.
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A fitted bodice held the front of the gown closely to the figure. The robe à l'anglaise or close-bodied gown featured back pleats sewn in place to fit closely to the body, and then released into the skirt which would be draped in various ways. Elaborate draping "à la polonaise" became fashionable by the mid-1770s, featuring backs of the gowns' skirts pulled up into swags either through loops or through the pocket slits of the gown. Front-wrapping thigh-length shortgowns or bedgowns of lightweight printed cotton fabric remained fashionable at-home morning wear, worn with petticoats.
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Garland paintings were usually collaborations between a still life and a figure painter.Ursula Härting, Review of Susan Merriam, Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image Allegory of the Eucharist A number of garland paintings are known in which Coosemans painted the flower or fruit garland surrounding a cartouche with a depiction of a bust, crucifix or other religious symbol. An example is A sculpted bust in a niche surrounded with swags of fruit (Christie's on 1 April 2008 in Amsterdam, lot 151) of which it is not known who the collaborating artist is.
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Stucco is an important component of the Baroque design and philosophy, as it seamlessly combines architecture, sculpture, and painting in three-dimensional form. Its combination with trompe l'œil ceilings and walls in Baroque illusionistic painting confuses reality and art. While in churches the stucco could represent angels and putti linked by swags of flowers, in a private house it might represent musical instruments or the owner's favourite foods. Changing use over the past 250 years has simplified palazzo decor further, as the ground floors are now usually shops, banks, or restaurants, and the upper floors divided into apartments, their interiors lost or decayed.
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The pavilion has trabeated six-over-six sash flanked by blind bays at its end, and the end bays have circular bas-reliefs, depicting, from east to west, "Industry" as a workman amid gears and cogs, the city seal, "Commerce", as a figure of Mercury with a caduceus, "Force" as a Roman gladiator, and Justice. In the pilaster capitals are two designs, one of which features a prominent eagle. The marble frieze below the roofline has a regular pattern of decorated discs with swags at the pavilion ends. Above it is a modillioned cornice with carved leaves and bead-and-reel moldings.
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Sydenham House is four storeys high, including the attic. It has a moulded ground floor fascia and frieze below a full-width balcony with a stone balustrade. The first floor windows, tripartite in the centre and paired in the outer bays, have upper glazing bars in curvilinear heads below the swags and the second floor balcony which projects in the centre over panelled pilasters defining the first floor central bay. The square-headed second floor lights have raised arches with pendants, the central bay is defined by plain pilasters with scrolled pediment heads under a panelled band and outer scrolled pediments.
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This building, though earlier than Samuel Wyatt's work in north Wales, lacks features such as the overarched windows. However, the Orangery he also built for Thomas Mansel Talbot at Margam Abbey from 1787 to 1790, exhibits a much more refined appreciation of Neo-classicism and may well be considered the best example of this architectural style in Wales. It is the largest Orangery in the British Isles of 17 continuous bays with vermiculated rustication to the more formal swags and arched windows."Newman" (1995), 429 Piercefield House 1840 The ruined Piercefield House, Monmouthshire A house of considerable importance was Piercefield between Chepstow and St Arvans.
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S.T. Gill, “Boundary rider”, mid 19th century (State Library of New South Wales) Boundary rider is a long-established (1864) Australasian term for a cattle or sheep station employee whose duties entail a regular tour (by horse, camel or motor vehicle) of the outer perimeter (boundary) of the property, checking condition of fences, collecting stock that may have escaped and ejecting strays that may have wandered onto the property, effecting any repairs that may be required, and reporting anything out of the ordinary to the owner or manager. On larger properties semi-permanent shelters (boundary rider's huts) may be provided for overnight accommodation, riders generally carrying their own swags.
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In the 1970s Perkins was one of a small group of female artisan glass blowers. In the 1980s Perkins built her own glass studio in Pojoaque, New Mexico where she worked on learning Venetian glassblowing techniques. She further refined her glass making technique while studying with the Murano glass master Lino Tagliapietra While living in New Mexico in the 1980s and 1990s she studied botanical forms including cacti, flower buds and bouquets and began incorporating those forms into her work. In the 1990s she began incorporating bronze, steel bars and iron into her glass work to create larger works including lattices, wreaths, swags and bouquets.
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Fletcher, p 716 Much of the work on the Banqueting House was overseen by Nicholas Stone, a Devonshire mason who had trained in Holland. It has been said that, until this time, English sculpture resembled that described by the Duchess of Malfi: "the figure cut in alabaster kneels at my husband's tomb."Halliday, p 154 Like Inigo Jones, Stone was well aware of Florentine art and introduced to England a more delicate classical form of sculpture inspired by Michelangelo's Medici tombs. This is evident in his swags on the street façade of the Banqueting House, similar to that which adorns the plinth of his Francis Holles memorial.
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Ripstop fabrics are used in yacht sails and spinnakers, hot air balloons, kites, free- flight models, parachutes, and hovercraft skirts. High-quality camping equipment such as lightweight tents, sleeping bags, and camping hammocks tend to use ripstop in order to reduce the wear on their fabrics which are in direct contact with the ground or the wind. Swags, flags, banners, and other applications requiring a strong lightweight fabric use ripstop too. Ripstop reinforcements are incorporated into heavier fabrics requiring extreme durability, such as those used in Army Combat Uniforms, Nomex protective clothing for firefighters and other workwear, Brazilian Jiu Jitsu uniforms, outdoor and sports clothing, backpacks, and luggage bags.
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An extravagant example: Anthony Wells-Cole, "An oak bed at Montacute: a study in mannerist decoration," Furniture History: the Journal of the Furniture History Society, 17 (1981:1ff). Following the success of Brussels tapestries woven after the Raphael cartoons, Mannerist painters like Bernard van Orley and Perino del Vaga were called upon to design cartoons in Mannerist style for the tapestry workshops of Brussels and Fontainebleau. Painterly compositions in Mannerist taste appeared in Limoges enamels too, adapting their compositions and ornamented borders from prints. Moresques, swags and festoons of fruit inspired by rediscovered Ancient Roman grotesque ornament, first displayed in the Raphael school Vatican Stanze, were disseminated through ornament prints.
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The hedges, some cut in swags, give height and form. The garden rooms include an Italian enclosure with box parterres; a formal rose garden laid out in a pattern based on one of the William Kent ceilings in the house; a French garden of pleached limes and plum trees which have been underplanted with spring bulbs; and a croquet lawn. Danish artist Jeppe Hein created a "Water Flame" sculpture/fountain for this garden.Houghton Hall>Garden, photo of Hein's sculpture/fountain In all seasons, this jet of water surmounted by a ball of flame illustrates a 21st century folly on a smaller scale than the contemporary pieces outside the garden walls.
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The architects have used an unusual method of "hiding" the beam by curving the ceiling down from the rear stalls wall to the soffit of the beam, then curving up again to the edge of the circle. The plan shape of the dress circle is typical of the work of the architects, Kaberry and Chard. In the early 1920s, their circle balustrade designs (with their straight central portions curved around each side to side boxes) were in plaster with swags of classical ornament and cartouches. From about 1927 they simplified the design to unadorned flat panelling (as at the Magnet Theatre, Lakemba demolished; Montreal, Tumut).
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The cabinet was expressly made to incorporate 19 pietre dure (hardstone) panels, which Evelyn purchased in Florence from their maker, Domenico Benotti (active 1630-50), in 1644. The base of the cabinet was later heightened (probably in Paris) to accommodate the addition of a series of bronze plaques, probably made in Florence by Francesco Fanelli (active 1610-42). Evelyn's Diary was first published in the early 1800s, more than a century after his death. The national recognition he achieved in turn gave the cabinet new significance, and it was further embellished with gilt brass mounts, decorated with amorini and swags, the strawberry leaf cresting, and provided with its stand.
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The lower half of the state flag is wreathed by two tethered swags of Rhododendron maximum, the state flower of West Virginia. Across the top of the state flag is an unfurled red ribbon with the constitutional designation "State of West Virginia", and across the bottom of the state flag is a tied red ribbon with the state's Latin motto Montani Semper Liberi (English: "mountaineers are always free"). The state's coat of arms in the center of the flag symbolizes the principal pursuits and resources of West Virginia. In the center is an ivy-draped boulder that has been inscribed "June 20, 1863," the date of West Virginia's admission to the Union as a state.
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New York City, Manhattan Buildings Department, Dockett Books, N.B. p.769-79; quoted in New York City Landmarks Preservation Commission. "Designation List 124", March 16, 1979 "The Queen Anne style, which characterizes this row, is an American variant of the interpretation of early 18th-century English brick architecture Specific details associated with this style include Tudor roses, sunflowers, multi-paneled wood doors and various classical motifs such as swags and wreaths, which often appear on the sheet-metal roof cornices. The characteristic details of the style were frequently combined with other architectural styles." Upon Pirrson’s death, the firm operated under the name Hubert, Pirsson & Haddick until 1893 when Hubert retired to California.
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The exterior of the house exhibits a plain style of Neoclassicism, based on Palladio, with some fussy French details. The house has an "H" plan, with a central block of three stories, and wings of two stories, constructed from yellowish Stanway limestone ashlars. The south front was originally the main entrance, with canted bays at either end, reached by a drive that swept past the main west front. The main front was originally to the west, at the centre of which is a projecting semicircular bay, with four Ionic pillars and French Neoclassical garland swags around the architrave, topped by a shallow dome with pointed Coade stone finial, and wings projecting to either side.
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Solférino station on line 12 is one of the few whose original Nord-Sud decoration has remained intact. Solférino station. To attract travelers, the Nord-Sud Company, which built what is now line 12 (line A, Porte de Versailles to Porte de la Chapelle) and part of the northern section of what is now line 13 (line B, Saint-Lazare to Porte de Clichy and Porte de Saint-Ouen) chose a more elaborate decorative scheme for the interior of its stations than that of the CMP. Most of the tile was the familiar white beveled type, but the white tile was complemented by arches of colored tile over the vault and garland-like swags on the walls.
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Construction of the Midland Theatre in May, 1927 It was built by Marcus Loew, completed in 1927, at a cost of $4 million and was the largest historic theater within 250 miles of the city. The Midland was designed by architect Thomas W. Lamb of New York and the Boller Brothers of Kansas City, and Boaz-Kiel Construction of St. Louis erected the structure. The theatre, built in French and Italian Baroque, was representative of Lamb's work in the late 1920s. The exterior of the theatre was constructed in a Renaissance Revival style in cream glazed terra cotta brick, adorned with engaged pilasters, winged figures, leaves, flowers, swags, volutes, urns, and arches.
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Architecture in the island's major cities was strongly influenced by the family of the sculptor Domenico Gagini, who arrived from Florence in 1463. This family of sculptors and painters decorated churches and buildings with ornate decorative and figurative sculpture. Less than a century after his family had begun to cautiously decorate the island's churches (1531–1537), Antonello Gagini completed the proscenium-like arch of the "Capella della Madonna" in the "Santuario dell'Annunziata" at Trapani. This pedimented arch to the sanctuary has pilasters – not fluted, but decorated heavily with relief busts of the saints; and, most importantly in terms of architecture, the pediment is adorned by reclining saints supporting swags linked to the central shield that crowns the pediment.
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There are dormer windows set into the slate-tiled mansard roof. There are three entrances: two subsidiary doorways in the outermost bays, and an elaborate arrangement in the corner bay consisting of straight-headed double doors decorated with zodiac-themed reliefs, set in an architrave with a cornice supported on corbels, below which is an escutcheon with a bas-relief coat of arms. Above the cornice and its entablature is a lavishly decorated Diocletian window surrounded by carved swags with a female face forming the centrepiece on top of the keystone. The whole of the ground floor is rusticated, including the concave, heavily recessed window surrounds in which tall round-arched windows are set.
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The landscape design of the Garden featured the collaborative efforts of architect Jean Paul Carlhian, principal in the Boston firm of Shepley, Bulfinch, Richardson and Abbott; Lester Collins, a landscape architect from Millbrook, New York; Sasaki Associates Inc. of Watertown, Massachusetts; and James R. Buckler, founding director of the Smithsonian's Office of Horticulture. The central feature of the garden is a symmetrically patterned parterre, flanked by the Moongate Garden to the west and the Fountain Garden to the east. The parterre measures 144 feet long by 66 feet wide; the low-growing plants that fill out the series of diamonds, fleurs-de- lis, and scallops or swags that make up the design are changed every six months, typically in September and May.
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After 1793, Samuel McIntire worked exclusively in the architectural style developed by Robert Adam in Great Britain and brought to America by the great Boston architect, Charles Bulfinch. The delicate Adam style, which emphasized decorative elements and ornamentation, was tailor-made for McIntire, whose unerring sense of design and proportion was exceeded only by his skill as a woodcarver. Carved swags, rosettes, garlands, and his signature sheaths of wheat dominate wood surfaces in McIntire homes built between 1793 and his death in 1811. Palladian inspired Zonnebeek (1907), Enschede, Netherlands Even in Europe, some 19th-century mansions were often built as replicas of older houses, the Château de Ferrières in France was inspired by Mentmore Towers, which in turn is a copy of Wollaton Hall.
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Rice dancer Laurie Cameron appears for the circa 1930 > fantasy La Peri (by either St. Denis or Miriam Winslow, who took over the > Boston Denishawn school of the Braggiotti sisters), wafting swags of > material that depend from her cap. The heelwork that Dansarté's Jean-Marie > Mellichamp beats out in Viva Faroan has the air of flamenco without its now > familiar complexities. In the early 20th century, what did American > audiences know or care about authenticity? On these fine programs, you can > see the influence of Isadora Duncan in Chopin dances performed with lovely > sincerity by the Rices, or get a whiff of German modernism in Miriam > Marmein's circa 1932 mime, Argument des Boulevardiers, in which Valerie > Farias Newton and Rebecca Rice wear mannish attire and gesticulate with > rhythmic fury.
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Roman sarcophagus with Cupids holding seasonal garlands; episodes from the story of Theseus & Ariadne above the swags; on the lid, Cupids race chariots. Ca. 120–150 AD. Metropolitan Museum, New York Representations of the seasons on Roman sarcophagi typically showed the gifts that nature had to offer people during each season, and thus also evoked associations with the cycle of nature and of life. The sarcophagus showing Cupids holding seasonal garlands in New York's Metropolitan Museum furnishes a good example. The Cupids here hold garlands composed of various flowers, fruits, and agricultural products, each associated with a different one of the four seasons: on the very left, flowers, representing spring, then sheaves of grain representing summer, then fruit (especially grapes and grape leaves) representing autumn, and then lastly olives representing winter.
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Roman carvers' shops outshone the more modest craft of cabinetmaking, as demanding commissions overseen by architects for carved decors, frames, altar candlestands, confessionals and pulpits came in a steady stream for the furnishings of churches and semi-public chapels. In secular apartments of parade, richly carved, painted and gilded frames came from the same shops. Carved frames and case furniture had come to rival the former primacy of textiles during the course of the 16th century. Baroque objects were grand in scale in proportion to the interiors they occupied, and would be ornamented with cartouches, swags and drops of boldly scaled fruits and flowers, open scrollwork and carvings of human figures, which swarmed over and all but effaced the tectonic forms that supported them which made them look majestic and royal in appearance.
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The building is on three floors: The ground floor, a warren of cellars and store rooms, is low; its small windows indicating by their size the lowly status and usage of the floor, above which is the double-height banqueting hall, which falsely appears from the outside as a first-floor piano nobile with a secondary floor above. The lower windows of the hall are surmounted by alternating triangular and segmental pediments, while the upper windows are unadorned casements. Immediately beneath the entablature, which projects to emphasize the central three bays, the capitals of the pilasters are linked by swags in relief, above which the entablature is supported by dental corbel table. Under the upper frieze, festoons and masks suggest the feasting and revelry associated with the concept of a royal banqueting hall.
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Drawing of Jean-Antoine Alavoine by Eustache-Hyacinthe Langlois Jean-Antoine Alavoine (4 January 1778 – 15 November 1834) was a French architect best known for his column in the Place de la Bastille, Paris (1831–1840), the July Column to memorialize those fallen in the Revolution of 1830. The column, consciously larger-scaled than the column in the Place Vendôme, has a capital freely based on the Corinthian order, with exaggerated corner volutes flanking putti holding swags, a complicated and somewhat incoherent design that found no imitators. However, in 1813 working with another architect, Bridan, Alavoine had designed to Napoleon's orders, under the direction of Ambroise Tardieu, a colossal elephant fountain, the Elephant of the Bastille. This monument was intended for the same Place, to be constructed with a cast-bronze skin over a framework.
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For some reason or other, perhaps because it contains swags and Classic capitals, it has been attributed to Sir Christopher Wren. Certainly he was in Oxford in 1656, not being elected to the Gresham Professorship till 1657, but from then onwards he spent most of his time in London, and probably did not return till his election to the Savilian Professorship in 1661. It is possible that he was interested in the matter, as an amateur: his father had very strong architectural leanings, and may have imbued his son with like interests: but there is absolutely no evidence in support of the theory, nor is there anything to show that he had any interest in architecture before his appointment to the post of Assistant Surveyor General in 1662, when the chapel was practically completed.
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Behind the last row of desks is a low paneled wall separating the center of the chamber from a visitors' area (the third visitor area in the chamber, along with the two visitors' galleries). The area has red-upholstered sofas and was originally "reserved for privileged visitors who gained admittance to the Chamber through the special invitation of a Senator." On either side of the main doorway are niches for coal- or wood-burning stoves; the current stoves are reproductions. The color scheme of crimson and gold, seen in the dais' decorations, can be seen elsewhere in the chamber as well, as in the "crimson drapery swags secured with gilt stars" in the visitors' galleries, crimson window treatments, and the carpet on the chamber floor, which is woven from long-staple virgin wool and has a "gold star pattern on a red background".
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A Sheraton style chair with rectangular back Sheraton is a late 18th-century neoclassical English furniture style, in vogue ca 1785 - 1820, that was coined by 19th century collectors and dealers to credit furniture designer Thomas Sheraton, born in Stockton-on-Tees, England in 1751 and whose books, "The Cabinet Dictionary" (1803) of engraved designs and the "Cabinet Maker's & Upholsterer's Drawing Book" (1791) of furniture patterns exemplify this style. The Sheraton style was inspired by the Louis XVI style and features round tapered legs, fluting and most notably contrasting veneer inlays. Sheraton style furniture takes lightweight rectilinear forms, using satinwood, mahogany and tulipwood, sycamore and rosewood for inlaid decorations, though painted finishes and brass fittings are also to be found. Swags, husks, flutings, festoons, and rams' heads are amongst the common motifs applied to pieces of this style.
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Buckingham Palace—the Ballroom, Grand Entrance, Marble Hall, Grand Staircase, vestibules and galleries redecorated in the Belle Époque cream and gold colour scheme they retain today—once again became a setting for entertaining on a majestic scale but leaving some to feel King Edward's heavy redecorations were at odds with Nash's original work.Robinson (Page 9) asserts that the decorations, including plaster swags and other decorative motifs, are "finicky" and "at odds with Nash's original detailing". The last major building work took place during the reign of King George V when, in 1913, Sir Aston Webb redesigned Blore's 1850 East Front to resemble in part Giacomo Leoni's Lyme Park in Cheshire. This new, refaced principal façade (of Portland stone) was designed to be the backdrop to the Victoria Memorial, a large memorial statue of Queen Victoria, placed outside the main gates.
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161–166 and in South and Central Gaul, it was not long before local potters also began to emulate the mould-made decoration and the glossy red slip itself. The most recognisable decorated Arretine form is Dragendorff 11, a large, deep goblet on a high pedestal base, closely resembling some silver table vessels of the same period, such as the Warren Cup. The iconography, too, tended to match the subjects and styles seen on silver plate, namely mythological and genre scenes, including erotic subjects, and small decorative details of swags, leafy wreaths and ovolo (egg-and- tongue) borders that may be compared with elements of Augustan architectural ornament. The deep form of the Dr.11 allowed the poinçons (stamps) used making the moulds of human and animal figures to be fairly large, often about 5–6 cm high, and the modelling is frequently very accomplished indeed, attracting the interest of modern art-historians as well as archaeologists.
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In 2002 they, once again, managed to get to the 4th round, only to narrowly lose at home to Manchester, who were in the old Allied Dunbar Premiership 2. Mowden 'legends' of this era included the likes of Tuihana, Keeligan, Brown, Lowe, Irwin, Mckinnon, Sinclair, Oliphant, Mitchell, Sanderson, Kent and Mattison. A newer cohort of legends include the Connon brothers, Zylon McGaffin, Alan 'Swags' Jones, Chris 'China' Peace, and Josh Waldin - who was later bestowed the honour of best looking man to ever play for the North East club. Players in the upper echelons of the game to have graced Yiewlsey Drive and worn the Mowden Shirt, if but for a few games, include Toby Flood (England) and Craig Newby (New Zealand All Blacks) (both Leicester Tigers RFC), Alex Tait (Newcastle Falcons RFC), Peter Browne (Harlequins RFC), Phil Dowson (Northampton Saints RFC), Tim Visser (Edinburgh RFC + Scotland) and Richard Arnold (Newcastle Falcons RFC).
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In 1908, the St. Petersburg City Council and concerned citizens began on a journey to get funding for a public library. It was the culmination of a five-year pursuit by Councilman Ralph Veillard, W.L. Straub (owner of the St. Petersburg Times), and Annie McCrae, (who became the first secretary of the library) in 1913 that the city was awarded a $17,500 grant from the Carnegie Corporation. The grant was approved and matched by the city, and the site on the banks of the city Reservoir (now Mirror Lake) was chosen on July 17, 1914."Finley, M.W. (2015, November 12)" The Mirror Lake Community Library is built in the Beaux-Arts style, with sculptural decoration along conservative modern lines, slightly overscaled details, bold sculptural supporting consoles, rich deep cornices, swags and sculptural enrichments. The Beaux- Arts style heavily influenced the architecture of the United States in the period from 1880 to 1920.
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The Mannerist stucco sculptural decor of the palazzo's front and its courtyard façades feature sculptures crowded into niches and fruit and flower swags, grotesques and vignettes of symbolic devices (impresi) in bas-relief among the small framed windows of a mezzanine, the richest cinquecento façades in Rome. Facade details. The colossal sculpture of Pompey the Great, erroneously believed to be the very one at whose feet Julius Caesar fell, was discovered under the party wall of two Roman houses in 1552: it was to be decapitated to satisfy the claims of both parties, which appalled Cardinal Capodiferro so, that he interceded on the sculpture's behalf with Pope Julius III, who purchased it and then gave it to the Cardinal. The palazzo hosts the Galleria Spada, the Cardinal Spada's collection, which includes four galleries of 16th and 17th-century paintings by Andrea del Sarto, Guido Reni, Titian, Jan Brueghel the Elder, Guercino, Rubens, Dürer, Caravaggio, Domenichino, the Carracci, Salvator Rosa, Parmigianino, Francesco Solimena, Michelangelo Cerquozzi, Pietro Testa, Giambattista Gaulli, and Orazio and Artemisia Gentileschi, and has the additional interest of being hung in the 17th-century manner, frame-to-frame, with smaller pictures "skied" above larger ones.
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T.S. Martin and Company, also known as Karlton's, Fishgalls & Cameo, is a historic building located in Sioux City, Iowa, United States. It is an L-shaped structure that fronts both Fourth Street and Nebraska Street. It was occupied by one of three locally owned department stores from 1894 to 1919. with The buildings on Fourth Street were originally built in 1885. T.S. Martin and Company itself dates from 1880 when Thomas Sanford Martin opened a dry goods store in rented commercial space. He first acquired 515-517 Fourth Street in 1885, which he leased to a clothing store, and his brother Louis opened T.S. Martin and Company Shoes by leasing 519 Fourth Street the same year. The annex at 409-411 Nebraska St. Local architect William McLaughlin was hired to renovate 515-17 Fourth and neighboring 519 Fourth Street, and T.S. Martin and Company moved their whole operation in 1894. In 1901 they hired another local architect, Henry Fisher, to design an annex along Nebraska Street. The three-story building completed in 1902 features Beaux-Arts styling that includes a roof-line knee wall, and a cornice with acanthus leaf brackets and decorative swags.
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