1000 Sentences With "tracery" | Random Sentence Generator

The living room has Gothic-style ceiling tracery and a stone-faced fireplace.

The outer shells have tracery in interlocking circle patterns, resembling rose windows in Gothic churches.

Dusk; the yellow-green tracery of fireflies lit the blacker corners of the edge of the clearing.

White pilasters rising at intervals set up a pleasing counterpoint to the walnut tracery of the bookshelves holding Neri's collection.

Upstairs, she found an apartment that seemed ideal, with hefty crown molding, paneled doors and a foyer with a tracery ceiling.

The women's post-Bauhaus trajectories, many affected by the rise of the Nazis (who forced the school to close), form a dizzying tracery.

She told The Verge via Twitter DM that the bot uses a combination of generative and static statements sourced from the Javascript library Tracery.

Because Leonardo came up with the design, produced drawings for it, set up the tracery formatting and the crystal ball — he started and finished the painting.

She photographed the tracery of dead leaves on autumnal trees, a flyaway newspaper tumbling down a dark street, a discarded Raggedy Ann doll on the ground.

"The long span hangs between earth and heaven, an intricate tracery of gray wire against a background of flowing river, rocky shores and embracing sky," The Times reported.

By measuring the actual dispersion of matter, visible as the fine tracery of stars and galaxies in the night sky, it should be possible to distinguish between competing explanations.

The intricate carving on the staircase balusters and newel caps matches the wooden tracery on the large window illuminating the switchback staircase to the second floor, where the bedrooms are.

The shifting facade mixed the ornate tracery of Gothic cathedrals, the slit windows and bulky turrets of Scottish castles, and the heart and plant shaped openings that are all Mackintosh.

Original tracery patterns made of thin strips of molding decorate the ceilings, with lattice in the living room and a chevron pattern in the dining room, which has a bow window.

She felt self-conscious about doing it under Shifa's eye, whose electronic tracery might be picking up God-knew-what biometric data, and tried not to grit her teeth either in pain or frustration.

Pocket doors open to the original library — now used as a living room — which has built-in bookcases with Latin inscriptions; a gas fireplace with an elaborately carved overmantel; ceiling-high, multipaned windows with folding shutters; and a gilded tracery ceiling.

They are also known as poison dart frogs, a reference to how native Indian tribes reportedly rubbed their arrow tips along the tracery of glands on the back of a golden poison frog—the most toxic animal alive—before they went hunting.

A gorgeous brass ewer with a tall spout rising from a fluted, round-bottomed gallon-size container made in Khurasan circa 1180–1210 is wonderfully decorated with signs of the zodiac and mythic creatures entangled with an elaborate tracery of incised and silver-inlaid bands.

But as I learned from Kate Compton, a PhD candidate in computer science and member of Expressive Intelligence Studio at UC Santa Cruz whose Tracery platform allows non-programmers to easily create their own creative AI bots, those projects are far simpler than what we see on Westworld.

"Gullane Hill, with the sun shining and the wind blowing, the black clouds banked beyond the Forth, and just a glimpse in the distance of the mighty tracery of the Forth Bridge, is one of the most beautiful spots in the world," Darwin wrote in Country Life magazine.

Although he stood in front of an enormous painting, a fantastic tracery of loops and swirls that most readers would have found perplexing or ridiculous, the man himself was something else: rugged, intense, with paint-splattered dungarees and a cigarette dangling, with a touch of insolence, from the corner of his mouth.

A bus arranged by the hotel took our group of 893 to the closest of the marvels we would see on our trip, the Gothic Cathédral Notre Dame de Strasbourg, the monumental church, one of the world's tallest, constructed of red sandstone and decorated with delicate tracery, gargoyles and sculpted figures of the prophets, the Virtues and Vices, the Wise and Foolish Virgins.

Of no precise species (the pout suggests macaque, the tail langur), he appears in a trompe l'oeil tracery of faux windows in a 16-foot-long and 10-foot-high mural — the first sight to greet visitors walking into the flat-roofed contemporary house built in accordance with the Hindu principles of Vastu Shastra, which strives for an alignment with the natural elements.

The side aisles each have four 2-light plate tracery lancets. The transepts have large single 4-light plate tracery windows. The chancel has three 2-light plate tracery windows. To the north east, the attached schoolroom has a canted south front with three 2-light plate tracery windows.

Between them is a doorway with a pointed arch. The organ chamber is gabled and contains a three-light window with Perpendicular tracery. The vestry has a two-light window with Y-tracery. The east window has three lights with intersecting tracery.

Tracery with George Bellhouse up after winning the St. Leger. Tracery was entered in races as a two-year-old, but did not run as he had problems in training caused by "thorough-pins". Tracery made his racecourse debut in The Derby on 5 June 1912. Tracery started a 66/1 outsider and finished strongly to take third place, six lengths behind the winner Tagalie.

The other doorways are Early English. The west window and windows in the transepts contain Decorated-style tracery, the tracery in the east window being Perpendicular.

A large Gothic tracery window is above them, topped by a small recessed quatrefoil window in the gable apex. At the roofline is a pierced tracery parapet. There are small arched tracery windows in the facade's flanks. The towers rise four and a half stories to their spires.

The side bays of the church are separated by prominent buttresses. Three gables break up the roofline on the side elevations. Tracery and paired lancet windows alternate down the side elevations with the tracery windows in the bays with the gables. Above the main entrance is a tall tracery window that is flanked by two shorter lancet windows.

The arches of the cloister and the first floor towards the heavenly court are maintained in the Gothic style. The tracery of windows isn’t original; windows in two arches of cloister and neogothic extension in court have neogothic division. The first lanced arch consists of small saddle portal; tapered tracery with three and four-leaves, is decorated by another tracery in flamboyant style. The second tracery is divided by more dense net of spherical triangles and three and four-leaves.

The west window has three lights and Perpendicular tracery. The top stage contains paired louvred bell openings with Decorated tracery. The parapet is embattled, decorated and pierced. At the corners are pinnacles and water spouts.

The chest is decorated with tracery and lierne vaulting in relief.

In 1924 Tracery contacted colic and died at the Cobham Stud.

The front façade in the west has three-part apex windows with a tracery. One of the windows contains the tracery in the form of a simple circle with cross. The façade is finished by two supporting piers and a horizontal portal. The lateral walls of the nave contain two pairs of apex windows decorated by a tracery consisting of small flames.

In the north transept is a four-light window with Geometric tracery, and the south transept contains a ten-light wheel window surrounded by ten circular windows. In the apse are three-light windows containing decorated tracery.

There is a five-light east window in the chancel with tracery.

The two-light window in the vestry contains re-used medieval tracery.

Gothic detailing in the form of gargoyles, quatrefoil tracery, and sandstone proliferate.

The chancel is situated beneath the tower. It has a polygonal apse with plate tracery. The west end has three lancet windows, with a plate tracery rose window above. The aisles and clerestory have pointed windows in pairs.

In the top stage of the tower are two-light bell openings with pointed heads containing tracery. The west window has eight lights, and also has a pointed head containing tracery. The south porch is in two storeys and has angle buttresses; it is also decorated in flushwork. The aisle windows have three lights, and the east window has five lights with Perpendicular tracery.

In the bottom stage are windows with Geometrical tracery, in the stage above are niches containing statues and flanked by lancet windows, and above these are paired lancets. The top stage contains louvred bell openings. The chancel and the gable of the nave contain windows with Geometrical tracery, the windows along the sides of the aisles have Perpendicular tracery, and the clerestory windows are paired quatrefoils.

Tracery is formed by setting together separate parts of a circle called foils; their points of contact are named cusps. By means of tracery the pointed arches of the windows were constantly filled with new forms and devices, simple in the early Gothic, artificial and confused the more the style developed, until finally in the late Gothic or Flamboyant style the wavy tracery was used which no longer consisted of circles and segments of circles but assumed forms comparable to flames, a style particularly in vogue in England and France. Towards the end of the Gothic period greater sobriety of form came into use and tracery began to decline. The elaboration undergone by the tracery was also shared by the shafts of the windows and intrados.

The chapel is lightened by a window on the south side and geometric tracery.

It is of an octangular shape, and the outside is adorned by tracery work.

He held a wand of silver covered with elegant tracery and topped in filagree.

The spire is set back and contains lucarnes. There were originally eight pinnacles, but these were removed because of erosion. The windows on the sides of the church are large and straight-headed, with Perpendicular tracery. The east window contains Decorated tracery.

The windows in the south walls are in the Decorated style. There is varying tracery.

The 14th-century windows contain Perpendicular tracery. The east window has three lights. On the south wall of the aisle are three windows with Y-tracery. The porch dates from the medieval period, but the south doorway is Romanesque Revival from the Victorian era.

The transepts are buttressed, and contain three- light windows with Perpendicular tracery. The east side of the church has a five-light window with Perpendicular tracery, and a gable cross. On the north and south sides of the chancel are two-light straight-headed windows.

A very early example of Flamboyant tracery is found in the top of the Great West Window in York Minster—the cathedral of the Archbishop of York. It also appears in the Flamboyant curvilinear bar-tracery of St Matthew's Church at Salford Priors, Warwickshire.

The apsidal chancel is divided into five bays by pilasters acting as buttresses. In the south bay is a two-light window with Y-tracery. The southeast bay contains a lancet window and a memorial tablet. The east window has two lights containing Decorated tracery.

Each of the gable ends has a triangular pediment, and on the north and south gables are small gabled finials. The windows have pointed arches and Gothic-style tracery. The windows have cast iron frames and tracery in Perpendicular style. These were made in nearby Coalbrookdale.

There is a square, 3 stage west tower and a projecting south west porch with a pointed arched and moulded doorway, later restored in 1887. The north vestry was added in 1805. There is a 'Y' tracery, cusped four-light east window with later perpendicular tracery.

Above the niches the buttresses rise to crocketed pinnacles with gargoyles. The faces between them contain tracery and above are crocketed gables. The octagonal turret is decorated with blank tracery, and at its top is a cornice with gables. The turret is surmounted by the spire.

The nave is in four bays and contains two-light windows with Decorated tracery. The clerestory has four two-light windows on each side containing Y-tracery. The chancel is in two bays, with three-light Perpendicular windows in the aisles, and a five-light east window.

It is octagonal and carved with tracery. In the south chapel is a re-set medieval piscina.

Spherical view of the interior, click here. The church retains its 14th-century Mudéjar layout with Gothic tracery creating elaborate star- shaped geometric lines. The aisles have four chapels: two of Mudéjar design, including the baptistry. The other two were built in the 18th century with gothic tracery ceilings.

Each transept has a rose window above three smaller lancet windows. There are gables above the windows over the aisles and above the polygonal apse, with Greek crosses carved into them. The tracery is decorated, including the large west window. It has geometric tracery with an arched doorway below.

Over the east crossing is a lead-covered flèche. The windows are either lancets or have plate tracery.

The west window has two lights and contains Perpendicular tracery. On the south side of the chancel is one single-light window and one with two lights. The east window has a pointed head and four lights, with Perpendicular tracery. The tower has buttresses on its north and south walls.

Tevenson Chapel was built in 1806–09 as a Church of England chapel- of-ease in the parish of Illogan. The chapel has a thin castellated west tower; the pointed windows are of granite with cast iron tracery. This tracery has been replaced with modern replicas.Pevsner, N. (1970) Cornwall; 2nd ed.

Similar tracery also appears in windows in the Lady chapel and the west wall. Some of the clerestory windows have plate tracery. The north side has an organ chamber in the form of a transept, lit by narrow windows and an oculus. One bell is held in a gabled wooden chamber.

Along the sides of the church the bays are divided by buttresses, each bay continuing a two- light lancet window with Y-tracery. At each corner of the church is a pinnacle. The east window has three lights with intersecting tracery. Inside the church is a west gallery carried on octagonal iron posts.

At the west end is a two-light window. The north wall contains a door and two three-light windows, and in the south wall there are four three-light windows. The east window also has three lights. Some of the windows contain Decorated tracery, and in others the tracery is Perpendicular.

The chancel, with two bays, has three-light 14th- century flowing tracery windows and a five-light reticulated east window.

The width of each bay is devoted to stained glass windows. The design of the Flamboyant tracery is generally uniform throughout, with only a few small deviations between bays. Only the entry portal features a gable, which pierces the balustrade above. The openwork gable is steeply pitched and complements the tracery in the windows below.

It is surmounted by a crocketted spire with lucarnes rising to . At the west end of the nave is a doorway and a window with five lights containing curvilinear tracery. Along the sides of the aisles are two-light windows with tracery in varying styles. The east window in the chancel has three lights.

The south transept also has buttresses, and a large five- light window containing Perpendicular and curvilinear tracery. The chancel has a large east window with six lights containing Perpendicular tracery. The tower has diagonal corner buttresses that rise to octagonal turrets surmounted by crocketed pinnacles. The summit of the tower has an embattled parapet.

The Bishop's Eye rose window Lincoln Cathedral features two major rose windows, which are a highly uncommon feature among medieval architecture in England. On the north side of the cathedral there is the “Dean's Eye” which survives from the original structure of the building and on the south side there is the “Bishop's Eye” which was most likely rebuilt circa 1325–1350. This south window is one of the largest examples of curvilinear tracery seen in medieval architecture. Curvilinear tracery is a form of tracery where the patterns are continuous curves.

Lancet windows were supplanted by multiple lights separated by geometrical bar-tracery. Tracery of this kind distinguishes Middle Pointed style from the simpler First Pointed. Inside, the nave was divided into by regular bays, each covered by a quadripartite rib vaults. Other characteristics of the High Gothic were the development of rose windows of greater size, using bar- tracery, higher and longer flying buttresses, which could reach up to the highest windows, and walls of sculpture illustrating biblical stories filling the facade and the fronts of the transept.

The west window is simple with Y-tracery. The bell turret is at the west end and has a pyramidal roof.

He raced just behind the leaders until half way, but then quickly dropped out of contention and finished unplaced behind Tracery.

The nave has six bays and internally there are stone piers. The chancel has a large east window with mouchette tracery.

At the west end of the south aisle is a doorway with a pointed head. Along the walls of the aisles are three two-light windows containing Y-tracery. On the south side of the chapel are a priest's door and a square-headed window containing three lancets. Its east window contains 19th-century Perpendicular-style tracery.

Only one horse, the French-bred six-year-old Long Set, opposed Tracery in the one and a quarter mile Champion Stakes later that month. Although his rival, the winner of the Cambridgeshire Handicap, Royal Hunt Cup and Doncaster Cup was well-supported in the betting, Tracery was never headed and won easily by six lengths.

On each side of the oriel window are niches with ogee curved heads similar to the tracery. At both ends, the facade culminates in a turret. The turrets are decorated with tracery, bands of floral ornamentation and are surmounted with a finial. The turrets originally extended from the street level, but the lower sections have been removed.

The top stage contains paired bell openings, and at the corner of the parapet are pinnacles. The spire is recessed, and has three tiers of lucarnes. At the west end of the church is a doorway, above which is a five-light window containing Geometric tracery. Along the sides of the aisles are three-light windows with Decorated tracery.

In the chancel are a round-headed sedilia and piscina. The octagonal font dates from 1896, and is carved with buttresses and blind tracery. It has a tall wooden 20th-century cover in Gothic style. The square pulpit also dates from 1896, it was made by Dent and Marshall from Runcorn stone, carved with blind tracery.

Above this is a large three-light window containing reticulated tracery. The two-light bell openings contain louvres, and above them is a small top stage containing clock faces. The parapet is embattled with pinnacles at the corners. Along the sides of the aisles and at their east ends are 19th-century windows with reticulated tracery.

Around the summit is an embattled parapet with pierced tracery. At the east end of the church is a five-light window.

The interior space is fashioned with a stuccoed Gothic tracery ceiling with Tudor-style paneling. Stables are located directly behind the house.

The Echyngham family bore the arms azure fretty argent. The East wall of Barsham church, with reticulated or "fretty" flushwork and tracery.

The window at the eastern end of the south wall has three lights with tracery, set in a pointed arch frame with a plain hoodmould around it. The two windows at the west end have single lights topped with tracery; the windows at the east end have three lights, tracery and hoodmoulds. Five of the windows, including the main east window, have stained glass by the London artist E. R. Suffling; the east window in the north aisle, by C. A. Gibbs (1849) depicts the Good Samaritan. The large octagonal font dates from the 13th century.

As a four-year-old Tracery was aimed at the two and a half mile Ascot Gold Cup. He prepared for the race by running the Burwell Plate at Newmarket Racecourse over one and a half miles in which he was matched against Lord Derby's five-year-old Stedfast. After disputing the lead with the outsider Coora, Tracery took the lead in the closing stages and won comfortably from Jackdaw and Stedfast. The Gold Cup, which took place sixteen days after the "Suffragette Derby", featured a meeting between Tracery and the previous year's winner Prince Palatine.

The lower part of the window is of three lights, separated by chamfered mullions and divided and topped by transoms containing castellated details, with tracery of trefoil heads and spandrels. Two further ranks of lights above are subdivided vertically into panel tracery--a Perpendicular style of upright straight openings above lower lights--with 'Y' tracery, trefoil heads, and quatrefoil openings. All lights are clear glazed within diamond leading. On the south and north side of the tower are blocked arches mirroring that on the west side, but cut through by the later added north and south aisles.

The nave has a clerestory with pairs of two light windows in each bay with flowing tracery while the lean-to aisles have three-light windows with varied Decorated tracery. The transepts have large windows with a transom: each has a different design in the tracery but in both cases based on a circle. At the east end the chancel has a low parapet pierced with trefoils, a five-sided apse and crocketed pinnacles at the angles of the apse. The roof over the nave has hammerbeams and that over the chancel is a keel shape.

The use of brick, highlighted with sandstone, to construct the church is illustrative of Blacket's adaption of the Cookham Dean design (which was built in stone) to suit local conditions. All six church windows are of a gothic style and feature elaborate stone tracery. The four nave windows and the single example in the vestry all have two lights and simple quatrefoil tracery in the heads. The large east chancel or sanctuary window is far more detailed with three lights and a very elaborate tracery panel (varied quatrefoil) and features a brightly coloured geometric glass design.

The tower rises for a single stage above the nave; it has angle buttresses, triangular bell openings with tracery consisting of three circles, and a corbel table. The spire is splay-footed, with lucarnes on the cardinal sides, and clock faces on three of the oblique sides. The windows are lancets containing Geometric tracery. Inside the church is a timber three-bay arcade.

The church is built in red sandstone with gabled grey slate roofs in early Decorated style. Its plan consists of four-bay nave with north and south aisles under separate roofs, and a chancel with a north vestry. On the west end is a corbelled belfry with small steeple containing two bells. The windows contain either Geometric tracery, or Y-tracery.

The south transept is east to west, and north to south. It contains on its east side a restored 14th-century window with ogee-headed twin lights and tracery within a square head. The south wall 14th-century window is of ogee-headed twin lights and tracery with an arch surround and hood mould. The south transept has twin- stepped diagonal buttresses.

1245–), then in the choir of Cologne's cathedral (c.1250–), and again in the nave of the cathedral at Strasbourg (c.1250–). Masons elaborated a series of tracery patterns for windows – from the basic geometrical to the reticulated and the curvilinear – which had superseded the lancet window. Bar- tracery of the curvilinear, flowing, and reticulated types distinguish Second Pointed style.

The openings are spanned by two stones meeting at the apex. They project forward to form a rain hood. In the chancel the tracery is more complex with stepped 'capitals' formed by three blocks in the lower tracery each faintly suggesting the Crucifixion. The windows are glazed in Prior's Early English Glass, except for the chancel east window and the Lady Chapel.

The architect preserved the original 11th-century walls, covering them with Flamboyant mullions and panels. The east window of Gloucester choir has a Tudor arch, filling the wall with glass.The window tracery matches the tracery on the walls. The Henry VII Chapel at Westminster Abbey is a major example of the late Perpendicular style, with its walls of glass and elaborate fan vaults.

The room was lighted through large windows with a simple tracery and in the lower part of the end several alcoves could be found.

In the other windows Burn inserted new tracery based on late medieval Scottish examples.Gifford, McWilliam, Walker 1984, p. 107.Marshall 2009, pp. 114-115.

Both the west and east windows are large and contain elaborate tracery; the west window has four lights, and the east window has five.

Above it is a tympanum set with intricate tracery. A similar window is located opposite; it has no smaller window closer to the east.

The east end of the chancel is canted, with two-light windows containing Geometric tracery. In the chapels are two-light north and south windows.

The side windows are mainly 19th-century replacements of earlier windows, and are mullioned. The east window has three lights and contains Decorated-style tracery.

At its southwest is a projection for stairs. The windows in the south nave wall contain Perpendicular tracery. The chancel is in Early English style.

The east and west windows have tracery, and there are foliage corbels on the chancel arch. It had a plain interior which was later whitened.

The upper stage has paired bell openings on each side. At the summit is a quatrefoil frieze, an embattled parapet, and pinnacles at the corners. In the body of the church the bays are separated by full-height buttresses. The tracery in most of the windows is in Decorated style, inserted as part of the restoration, but some windows have retained their original tracery.

The choir is the same width as the nave. The sacristy was built on the north side of the choir under a cat-slide roof; it is now a chapel. The main building material was basalt, which is covered with white plaster. The buttresses, tracery, doors, pillars, arches, and vaults are made of grey , except for the choir window tracery, where red sandstone was used instead.

Dorchester Abbey, Dorchester, Oxfordshire The north window in the sanctuary is unique as it combines tracery and sculpture with stained glass in a single theme. It shows the ascent of Christ from Jesse. The tree with five undulating branches carved in foliage rises from the sculptured recumbent form of Jesse. Much of the 14th-century glass is fragmentary, but still in its original tracery.

St Elizabeth's is constructed in red brick and red terracotta, and has a red tiled roof. Its plan consists of a three-bay nave, a chancel, north and south transepts, a northeast vestry, and a southwest porch. On the west gable is a stone bellcote. The windows in the nave contain Perpendicular tracery, while those in the transepts and the east window have Decorated tracery.

Most of the building's spandrels, or triangles between the top corners of the window and the top of the arch, have golden Gothic tracery against a bright blue backdrop. On the 25th, 39th, and 40th stories, the spandrels consist of iconography found in the royal coat of arms of the United Kingdom. Gold-on- blue tracery is also found on the 26th, 27th, and 42nd floors.

Timber double-leaf door in northern bay with switch-line tracery overlight. Two smaller pointed lancet windows to gable flanking altar with tilting Y-tracery opening light to head over six-pane fixed lights, now blocked up to the outside. Square-headed window to west, door opening to gable, now boarded up. Interior composed of two-bay nave to south having remnants of original furnishings.

The windows in the lateral blocks have Gothic-style arches and contain Y-tracery. In the loggia the windows each have two lights under almost circular heads. Above and behind the loggia the upper storeys of the entrance hall also contain Y-tracery. On the right side of the entrance front is a square five-storey tower, which is linked to an octagonal turret containing arrow slits.

Featured on each of the gables is a large pointed arch stained glass window, integrating many smaller lights with geometric tracery. The western wall features a portal entrance framed by a ribbed pointed archway. Pointed arch windows flank the portal and feature hood mouldings, which are integrated with a string course. Above the entrance is a large three arched window, incorporating four lancet lights and geometric tracery.

In the middle bay is a three-light window with Perpendicular tracery. In each of the two lateral bays is a two-light window with Y-tracery. The south wall of the chancel contains two two-light windows and a priest's door. The chancel roof is at a lower level than that of the nave; the east gable of the nave is hung with slates.

The windows in the chancel have Y-tracery, while the tracery in the windows of the south aisle is curvilinear. Internally the roof is supported by massive tie-beams, and the ceilings are plastered. At the west end is a gallery on two Ionic columns, with a panelled front and an entablature with triglyphi. In the southeast of the aisle is a piscina with a trefoil head.

Around the apsidal chancel are round-headed blind arcades in pairs, in some places pierced by lancets. Between the arcades are pilaster buttresses. The east window has a pointed arch, and two lights with Y-tracery. The north wall contains a blocked round-headed window pierced with a lancet, which is also blocked, a single-light window, and a two-light window with Y-tracery.

The nave has a south and a north porch, and flowing tracery in the three-light aisle windows. The five-light great west window also has flowing tracery, though inaccurately restored in 1885. The aisle-less chancel has four large windows on each side, reticulated forms alternating with flowing forms of Lincolnshire type. The great east window, blank below the central transom, is most emphatically Perpendicular.

In Letitia Elizabeth Landon' s poem Lincoln Cathedral of 1836, she remarks on the derivation of Gothic tracery from 'the arches of the old oak trees'.

It is based fairly closely on the style of Lincoln Cathedral, the tracery of the huge chancel window being almost a replica of that at Lincoln.

According to the Star Rise liner notes, the Nitin Sawhney remix of Tracery, created after Khan's death, is the only track not to receive Khan's feedback.

In the south wall of the chancel is a single-light window, and a doorway with pointed arch. The east window has three lights with reticulated tracery.

The clerestory contains quatrefoils under pointed arches. In the transepts are two-light west windows, and five-light north and south windows. The windows contain geometric tracery.

The main building is a five-story Tudor Revival style structure with a squared tower in the front containing the main entrance. Projecting pinnacles and stone tracery are set around the entrance; some of the windows in the tower above contain similar stone tracery. A stone niche with a statue of the Madonna is set above the entrance; above that is the order's blazon. The facade is topped with battlements.

The bays are separated by shallow weathered buttresses that terminate in triangular gablets above the coped parapet which has pierced quatrefoils above the chancel. The nave and chancel are differentiated by their windows. The nave has three-light windows below blank arches while the chancel has four-light windows with reticulated tracery. The east window between angled buttresses topped by crocketted pinnacles has seven lights decorated with flowing reticulated tracery.

It has a high gable roof with a large round window in the facade gable, below a pointed-arch tracery pattern at the top of the gable. The side walls have four pointed-arch windows on either side, separated by piers. Cornices, Gothic "tracery" treatment in the front gable, and hood moldings are made of galvanized iron. A vestibule containing the entry, added in 1963, projects from beneath the round window.

Flamboyant had little influence in England, where the Perpendicular style prevailed. Flamboyant architecture was not common in the British Isles but examples are numerous. The flame-like window tracery appeared at Gloucester Cathedral before it appeared in France. In Scotland, Flamboyant detailing was employed in window tracery of the northern side of the nave at Melrose Abbey, and for the west window that completed the construction of Brechin Cathedral.

Tracery in the east window of Christ Church Cathedral, FrederictonMost of the cathedral's stained glass windows were installed between 1850 and 1852. The east window is by William Wailes. Its tracery is a copy of that in the east window of Selby Abbey, and its seven panels depict Christ and six of his apostles. It was jointly donated by Wailes and by New York City's Trinity Episcopal Church.

The windows with their fine tracery, the staircase and the platter for holy water are especially noteworthy architectural details. Of the interior, only the limestone altar is original.

There is a series of flying buttresses around the exterior wall of the chancel, which also has lancet windows with tracery work. The Lady chapel has similar features.

Trinity Abbey, Vendôme, highlighting the flame-like motifs associated with the Flamboyant style (completed 1507) Great West Window, York Minster (1338) Flamboyant (from ) is an ornate architectural style that was developed in Europe in the Late Middle Ages and Renaissance, from around 1375 to the mid-16th century. A form of late Gothic architecture, it is characterized by double curves forming flame-like shapes in the bar-tracery, which give the style its name. Flamboyant tracery is recognizable for its flowing forms, which are influenced by the earlier curvilinear tracery of the Second Gothic (or Second Pointed) styles. Very tall and narrow pointed arches and gables, particularly double-curved ogee arches, are common in buildings of the Flamboyant style.

The exterior of Wells Cathedral presents a relatively tidy and harmonious appearance since the greater part of the building was executed in a single style, Early English Gothic. This is uncommon among English cathedrals where the exterior usually exhibits a plethora of styles. At Wells, later changes in the Perpendicular style were universally applied, such as filling the Early English lancet windows with simple tracery, the construction of a parapet that encircles the roof, and the addition of pinnacles framing each gable, similar to those around the chapter house and on the west front. At the eastern end there is a proliferation of tracery with repeated motifs in the Reticulated style, a stage between Geometric and Flowing Decorated tracery.

Paired windows were sometimes surmounted by a simple opening such as a quatrefoil cut in plate tracery. This form gave way to the more ornate, multi-light traceried windowed.

There are lancet windows with ornate tracery on all sides and on the middle and upper stages of the tower. The stone dressings on the exterior have intricate carvings.

The tracery in the windows is very simple (round) and made of stone. The same is repeated on the west side in the middle part of the main wing.

The chancel contains a priest's doorway and a number of windows, including a three-light east window with Decorated tracery. The vestry has a two-light 19th-century window.

The central window is a large lancet of three lights with intersecting tracery. The aisle gable windows hold two lights under "Y"-shaped tracery. Below the central window at the east end is a low, Renaissance-style semi-octagonal porch with a door in each of the three full faces and a pitched roof. The interior in the 21st century, showing the timber ceiling and reconstructed arcades added by Henry F. Kerr in 1932-38.

The two columns separate two side rooms from the main hall. Remnants of baldachin ribs and uprights in the tracery window that went with the baldachin show that when the ciborium was built in the nave's southeast corner, this window, too, was renovated. The year 1521 that was formerly to be seen on the church might have had something to do with this work. The other two tracery windows were added in 1892.

In the clerestory are three- light windows with trefoil heads. The west window of the nave has four lights containing Geometric tracery; this is flanked by lancet windows. Below the window is a gabled entrance. The chancel has a four-light east window, the vestry has a three-light west window with plate tracery and three trefoil- headed east windows, and the organ loft has three lancets with a spherical triangle window above.

On the south side are three windows of identical style and construction, with twin lights and 'Y' tracery set within a chamfered pointed arch. The north side contains two identical plain lancet windows. The chancel east window with hood mould is of three lights with intersecting 'Y' tracery within a double-chamfered surround. Immediately to the east of the east window is a table tomb within iron railings, to Mary Skelton (died 1767).

Above are two square-headed lancet windows and a clock face. The top stage is octagonal and contains two-light louvred bell openings, and this is surmounted by an octagonal spire with lucarnes. Along the sides of the aisles are buttresses between which are arched three-light windows with intersecting tracery. The clerestory windows each have two round-headed lights, and the chancel windows are similar to those in the aisles, but with Perpendicular tracery.

There are slender pointed windows with new tracery between the rests, simple window in the end of choir, the north window is immured and the south window is two part with new flame tracery. The original bevelled mouldings are preserved only in the end of church, otherwise they are covered with plaster. There were penetrated new portals in the western half of the nave. The portals have pointed arch with pinnacles on the sides.

Gothic interior features include "ribbed vaulting" and a "tall and lofty rectangular nave and apse." Originally the window over the main door was a circular rose window, and the two front towers had crenellations in tracery, instead of the present plain tops. The square windows below are original, but the former quatrefoil wooden tracery is gone in many cases. The bandcourse of quatrefoil originally extended across the center section of the facade.

The transept is in two bays, each containing a triple lancet over which is a rose window. In the chancel are three windows, each of two lights containing plate tracery.

This was often achieved by very elaborate designs in the rose windows and the lace- like tracery screens on the exterior to cover the facades and elements like the buttresses.

While others kept Gothic elements clearly separate from Renaissance forms, Dietterlin would cover Renaissance elements in Gothic tracery or allow one to morph midway into the other.Fulton, p. 166-167.

The chapels next to the Angel Choir were built in the Perpendicular style, with an emphasis on strong vertical lines, which survive today in the window tracery and wall panelling.

South-western corner of the nave were done by Clayton & Bell in 1881, and the previous decade aisle improvements were completed. They included 14th c stained glass in the tracery.

The chancel arch is richly moulded. The octagonal font dates from the 16th century, and is decorated with blind tracery. The organ was built at an unknown date by Young.

The tracery lights still contain ancient glass. Beneath the windows are 51 stalls, the canopies of which are enlivened by carvings including many heads carved in a light-hearted manner.

The central attic gable has a raised segmental pediment over an eclectic tracery of a wide arched light containing smaller cusped lights. Its steeply pitched roof has an end chimney.

The elaborate melodic tracery of Robert Fayrfax and John Taverner gave way to a completely unelaborate kind of choral counterpoint designed to allow the English words to be clearly heard.

The new church was consecrated in 1480. Further reconstructions occurred in 19th-century. The nave has pilasters leading to gothic tracery. The interior has a number of decaying 16th-century frescoes.

On the tower is a tall octagonal spire supported by flying buttresses. The west window of the church has four lights, and the east window has five lights containing elaborate tracery.

The glazing within is stained glass, commissioned as a Centennial Project in 1967 by then Speaker of the House of Commons Lucien Lamoureux. Each window contains approximately 2,000 pieces of hand-blown glass—created in Ottawa by Russell C. Goodman using medieval techniques—arranged in a Decorated Gothic style pattern designed by R. Eleanor Milne. Divided into four sections by stone mullions, the upper parts contain geometrical tracery and provincial and territorial floral emblems amongst ferns; in the tracery at the head of the windows are symbols extracted from the coats of arms of the provinces and territories. As with other areas of the Centre Block, the commons walls are enriched with shafts, blind tracery, friezes, and a sculpture programme.

Tracery was leading the field with six furlongs to race when a spectator, identified as a Trinity College student named James Hewitt, ran onto the racecourse waving a suffragette flag and a revolver. After shouting a warning he attempted to grab the reins of the leader and was knocked to the ground. Tracery fell heavily, but was not seriously injured. His jockey, Albert "Snowy" Whalley, who also escaped unhurt, claimed that he would have won the race.

The former three-bay south arcade has been blocked in and two two-light windows with Perpendicular tracery have been inserted. The south wall of the chancel and the north wall of the nave each contain a similar widows. Also in the north wall of the nave is a three-light window, and in the chancel is a two-light window with Y-tracery, There is no east window. There are few remaining contents inside the church.

On the cornice above each window, a demi-angel bears a shield while below each window is the escutcheon and coronet of each Knight at the time of Chapel's construction corresponding to the arms depicted in the window. The curvilinear tracery of these windows evokes the surviving medieval tracery of St Giles'. At the east end, the parapet rises to accommodate a canopied niche, in which stands a statue of Saint Andrew.Gifford, McWilliam, Walker 1984, p. 108.

This is flanked by buttresses, lancet windows with hood moulds, and more buttresses on the corners of the tower. Above the doorway is a window with a pointed head containing Y-tracery, and at the top of the tower is a projecting battlemented parapet. Along the aisle and the south wall of the nave are lancet windows, and the chancel windows are cusped. At the east end are three buttresses, a three-light window containing intersecting tracery, and trefoils.

The common element to the design was Y-shaped tracery throughout, chamfered roof beams of timber. The Norman nave was marked by capitals in the Decorated Style with lozenges, rosette and chevron.

The south doorway contains a door dated 1648. In the chancel are lancet windows and two-light windows containing Y-tracery. The east window consists of three stepped lancets under one arch.

The bays of the aisles are separated by buttresses, and each bay contains a three-light window. At the east end of the church is a five-light window with Perpendicular tracery.

The chancel is low and narrow in comparison to the nave. Its three- light, arched windows also have tracery. The east window has three lights under a pointed arch, with chamfered mullions.

The church has benefited from repairs made under the Scarborough Squares Partnership Grants Scheme which ran 2006-11. This included rebuilding the top five metres of the spire and rebuilding the tracery.

Wahnfried's pedigree includes 1903 English Triple Crown winner Rock Sand, who was also grand-sire to Man o' War. Great- grandsire Tracery won the St. Leger and sired many excellent racehorses in Britain.

Under the organ loft is a jump vault in the center field, which has ribs decorated with lacy tracery. These ribs converge into a circular keystone with the letter G (Gradec) – as Hradec.

More so than the great churches of northern France, palaces constructed by royal and elite patrons provided "fertile grounds for innovation" with curvilinear tracery in France while England turned to the Perpendicular style.

Though probably first built in the 12th century, the interior dates from the 13th-century remodelling. The tracery and delicate decoration is a sophisticated example of Gothic architecture, probably dating from the 1230s.

Interior of the abbey church; note the Gothic tracery in the window The abbey is quasi-cruciform in plan with a high tower over the crossing. It has only one aisle and transept.

The presbytery is of four bays, with a great east window, originally of eight lights. Almost all of the tracery is gone, with the exception of the central column and the mullion above.

The north wall of the chancel contains a two-light and a three-light window and two blocked ogee-headed windows. The east window has four lights and contains Decorated tracery. In the south wall of the chancel are a two-light and a three-light window, two ogee-headed windows, and an ogee-headed doorway. The south wall of the nave contains a two-light 13th-century window with Y-tracery, The gabled porch dates from the 14th century.

Meticulous preparation was said to have gone into producing the window, including the making of a suit of armour for the St Michael figure from papier-mâché - which his assistant had to wear. The window shows Adam and Eve in the outer main lights flanking Gabriel and St Michael with the Virgin & Child in the centre light. The tracery lights are based on the Mysteries of the Rosary. At the apex of the tracery is the Coronation of the Virgin.

The building has buttressed walls, pointed arched tracery windows, and rosette windows to the gable ends. The street elevation has a recessed entry with floriated colonnettes surmounted by a large tracery window and small lancet windows. The building is decorated with white cement render to copings, cornices and window surrounds; it also has stone hood mouldings, beige brick voussoirs, a dado with quatrefoil motifs and a rendered plinth. The gables and turrets to the Brookes Street end are topped with small finials.

On the first floor, the middle three bays are outlined by slightly-projecting arches, the central bay (where the entrance is) being slightly wider. The entry consists of a single door, flanked by pilasters and sidelight windows embellished with oval tracery, and topped by a semi- elliptical fanlight with similar tracery. The entry is sheltered by a portico supported by four Corinthian columns, with a latticework balustrade on top. Above the central projecting arches, four fluted Corinthian pilasters rise to the roof level.

Gothic Window Tracery Gothic architecture is a prime example for the effectiveness of procedural shape design: In the Gothic style, all geometric constructions are exclusively executed using compass and ruler. Variations were obtained by procedurally combining in ever changing ways a set of simple basic parameterized geometric operations. Therefore, it is practically impossible to find two tracery windows in different buildings that follow an identical geometric construction. Interactive CAVE Designer The interactive CAVE designer helps to fit a CAVE into a small room.

Sandstone for St George's was quarried at Peel Quarry in Little Hulton. The church was built in the Early English Gothic style with a seven-bay nave and clerestory which, according to Pevsner have, "unconvincing Geometric aisle windows and squashed Y-tracery on the clerestory". The chancel has two-light windows to the south and north walls and a three-light east window, all with geometrical tracery. On the north side is a vestry and a porch in the westernmost bay.

On the south wall are three windows containing Perpendicular tracery. Between the nave and the chancel is a buttress. At the west end of the church is a single- light window with a trefoil head in the aisle, a buttress between the aisle and the nave and, in the nave wall, a carved panel containing the name W. Croft and the date 1602. The east window dates probably from about 1300 and has three lights with intersecting tracery and a pointed head.

One of these depicts a Green Man. The window at the east end of the north aisle, now inside the church because of the later addition to the east, contains a rare example of figural carving on the tracery. It is of the mid-14th century, with four lights and flowing tracery, and carved against the central mullion is a rood flanked by the Virgin and St John on the other two mullions: a complete rood group. The clerestory dates from around 1430.

Windows became larger, increasing the number of mullions (the vertical bars dividing the main part of the window) between the lights; above them, within the arch of the window, the tracery was formed using shapes styled 'daggers' and 'mouchettes', trefoils and quadrifoils; completely circular rose windows were made, incorporating all manner of shapes. More formal reticulated (netlike) tracery can also be found, as in Wells Cathedral. Exotic forms included the ogee arch, in which the curves of the arch are reversed in the upper part thus meeting at an acute angle at the apex; others included so-called Kentish tracery with its insertion of spikey points between the rounded lobes of trefoils and quatrefoils. Larger windows inevitably weakened the walls which were now supported by large exterior buttresses which came to be a feature.

The upper chamber over the main entrance has on both fronts a single tall arched window of pierced stone tracery: a central mullion branches to form two equal cusped ogee arches supporting a circular member in the head of the main window arch, intersected by a sigmoid curve in the north side and by a triskele device in the southern window. Externally this appears (on both fronts) as the central window in an arcade of three equal arches filling the breadth of the wall. The outer arches are executed in blind flushwork tracery: those of the north front both have a fourfold division of the upper circle, but with opposing or mirrored rotation. On the south front the flushwork tracery represents windows with paired mullions branching into a lattice of cusped quatrefoils above.

The tower is in the position of a north transept. The south door is original and has blank Perpendicular tracery; the communion rails are c. 1700.Pevsner, N. (1952) North Devon. Harmondsworth: Penguin; pp.

The parapets of the aisles and nave are embattled. The south porch has two storeys with a staircase turret to the east, and crocketed pinnacles. The east window has five lights and Perpendicular tracery.

Diogo Boitac was also responsible for the first floor of the vast square cloister with its Manueline decorations. He built the groin vaults with wide arches and windows with tracery resting on delicate mullions.

Internally, the furniture includes a 14th-century font in Decorated style with carved tracery on its sides, an 18th-century pulpit which is in a collapsed condition, and what remains of a 19th-century screen.

The church is in Early English style. The tower is in three stages with short angle buttresses. The two-light bell openings contain Y-tracery. At the summit is a battlemented parapet decorated with flushwork.

Inside the church the arcade is carried on round columns. The chancel arch has corbels, one of which is carved with a sower. There are four chandeliers. The font is round with interlaced blind tracery.

At the end of the 12th century and the early 13th century, the monastery was home to 30-40 monks and about 50 conversi or lay brothers. During this time, the abbey's estates were managed by the lay brothers. In the 14th century, the number of lay brothers decreased and the abbey was forced to lease out the farms. Under Abbot Peter Rych (1320–28) the cloister was decorated with tracery windows and the gothic church choir was decorated with six tracery and stained glass windows.

The west bay is part of the church building itself, while the east bay represents the facade of the Sunday School Building, constructed after the completion of the sanctuary. The west gable is pierced by a tracery window, composed of two paneled lancet windows with a rose window above. Sculpted panels of blind arcading interrupt the lancets at a level one-third the height of the window. Pointed label moulds with carved label-stops surround the tracery to protect the windows from the weather.

The church was described by Francis Carolus Eeles ("St Decuman's Church") in 1932. He highlighted a fine geometrical east window with original tracery dating from the end of the 13th century and the perpendicular window tracery in the south isle. The series of wagon roofs with rich carving are above the rood screen in the nave and south aisle. The Wyndham Chapel occupies the east end of the north aisle and is dedicated to the Wyndham family of nearby Orchard Wyndham House, former lords of the manor.

The pointed arches used in Perpendicular were often four-centred arches, allowing them to be rather wider and flatter than in other Gothic styles. Perpendicular tracery is characterized by mullions that rise vertically as far as the soffit of the window, with horizontal transoms frequently decorated with miniature crenellations. Blind panels covering the walls continued the strong straight lines of verticals and horizontals established by the tracery. Together with flattened arches and roofs, crenellations, hood-mouldings, lierne vaulting, and fan vaulting were the typical stylistic features.

The northeast bay contains a small lancet window, and in the north bay is a two-light window with ogee heads. There are windows with Y-tracery dating from about 1300 in the east and west windows of the north aisle. In its north wall are a two-light window with Y-tracery, two lancet windows, and a blocked round-headed doorway dating from the 12th century. The Norman south doorway also dates from the 12th century, and is described as being "very fine".

Situated in the northwestern corner of the Claustro Real, this work of Mateus Fernandes consists of a fountain and two smaller basins above, illuminated by light seeping through the intricate tracery of the arches around it.

The bridge is a single span, of cast iron, with "lancet tracery in the arch spandrels." The bridge is constructed on rubble piers and is 2.09 meters in length. The railings are replacements from the 1980s.

Over the century, additional chapels were built off the aisles of the nave and the choir. Finally, the south transept's facade was remodeled in the early fourteenth century, resulting in the current twin doors and tracery window.

Lorimer's design takes inspiration from late 15th century Gothic architecture and, in its form and in its use of curvilinear tracery, displays the influence of George Frederick Bodley.Gifford, McWilliam, Walker 1984, p. 107.Matthew 1988, p. 20.

The areas in the arches are filled with cast iron tracery decorated with green, red and blue glasses, so that the floor of the verandah demonstrates as a colourful mosaic pattern by casting shadow from the sun.

The gables are decorated with tracery verge boards, and an ornamental circular window in the gable end. Brackets support the remaining eaves. The building has tall rectangular windows; the ones in the bay ends have Gothic arches.

The earliest style was characterised by windows resembling a lancet "in its length, breadth, and principal proportions". These windows might be single, or in groups of two, three, five, or seven. This style he termed the "Lancet Period".. During the next period, tracery appeared in the windows, and originally consisted of simple geometric forms, in particular the circle. This period he called the "Geometrical Period".. Later the tracery became more complex, including the ogee curve; the characteristic feature being the "sinuosity of form" in the windows and elsewhere.

The chancel's east window is also 15th-century, with three lights headed by trefoils (a three-leaf pattern) and decorated with tracery. It has 19th-century glass depicting the Ascension. The south side of the chancel and the north transept have 19th-century windows; the south chancel window has three lights with tracery headed by cinquefoils (a five-leaf pattern), with geometric patterns of glass. The east and south chancel stained glass is in memory of the wife, son, and daughter of Hugh Wynne Jones, who died in the mid-19th century.

Tracery (1909-1924) was an American-bred, British-trained Thoroughbred racehorse and sire, best known for winning the St. Leger Stakes in 1912. In a career which lasted from June 1912 until October 1913 he ran nine times and won six races. After finishing third on his debut in the 1912 Epsom Derby Tracery never lost another completed race at level weights. He won the St. James's Palace Stakes, Sussex Stakes and St. Leger Stakes in 1912 and the Eclipse Stakes and Champion Stakes as a four-year-old in 1913.

Interior of the Brisbane Synagogue during the 1930 Anzac Day ceremony The building is constructed of stuccoed brickwork on a concrete foundation. The principal feature of the Margaret Street frontage is a doorway surmounted by a massive arch above which is a large circular tracery window of Oamaru stone. The window carries the circular motif through to the geometry of the tracery, and features leadlight panels. The front is flanked on either side by a minaret turret that becomes octagonal in its upper portion with narrow slit openings, and is topped by an octagonal cupola.

The tracery is reserved in freestone and infilled with carpets of neatly squared flints which shimmer in sunlight. Beneath this the south front has a shallow flushwork frieze of cusped arches or canopies with crocketed pinnacles, and in the gable above is the imitation of a rose window of wheel type. The Gatehouse from the south-east The north towers beside the entrance also have blind tracery, and the two inner buttresses, which face forward, have niches to contain statues which are lost. A figure is shown in the west niche in Buck's engraving.

The northern frontage has timber verandahs giving access to first level classrooms, with squared sheeted spandrel panels, and supported on paired columns with foliate capitals. The verandahs have battened balustrades, raked timber ceilings to the upper level and ripple iron ceilings to ground level. Part of the verandah to the east has been closed in with fibre cement sheeting. The projecting bays to the south, east and west have pairs of pointed arch tracery windows with single rosettes above, with a single larger tracery window to the northern and southern end of the Great Hall.

Worms Cathedral Branchwork tracery at Ulm Minster, c. 1475 Branchwork portal of the former monastery church of Chemnitz (1525) Branchwork or branch tracery () (Dutch: Lofwerk of Loofwerk) is a type of architectural ornament often used in late Gothic architecture and the Northern Renaissance, consisting of knobbly, intertwined and leafless branches. Branchwork was particularly widespread in Central European art between 1480 and 1520 and can be found in all media. The intellectual origin of branchwork lies in theories in Renaissance humanism about the origins of architecture in natural forms and barely-treated natural materials.

It is octagonal, with its ribbed vault supported on a central column. The column is surrounded by shafts of Purbeck Marble, rising to a single continuous rippling foliate capital of stylised oak leaves and acorns, quite different in character from the Early English stiff-leaf foliage. Above the moulding spring 32 ribs of strong profile, giving an effect generally likened to "a great palm tree". The windows are large with Geometric Decorated tracery that is beginning to show an elongation of form, and ogees in the lesser lights that are characteristic of Flowing Decorated tracery.

There is a door and a window on the west face of the tower, and bell openings in the top stage on all sides. The windows in the nave all date from the 19th century, the window to the east of the porch being particularly large. The east window of the chancel has been re-set from the earlier church; it dates to the early 17th century and contains Perpendicular-style tracery. The chapel has a large three-light east window dating from the 16th century with brick tracery.

The church is constructed in red sandstone with a Welsh slate roof. Its architectural style is Decorated, and the church has a cruciform plan; the plan consists of a nave with a clerestory, north and south aisles under lean-to roofs, a south porch, north and south transepts, a tower at the crossing, and a chancel. At the west end is a large five-light window containing Decorated tracery. Along the sides of the aisles are eight lancet windows, and the clerestory has four three-light windows with Decorated tracery, between which are pilaster buttresses.

Undivided at first they gradually received richer contours and were separated into main and subordinate pillars. The earliest tracery of which the date is known is that still existing in the choir chapels of the Reims Cathedral (1211).

Facade with access staircases. Church seen from above town. Interior towards apse with gothic tracery. San Fortunato is a Gothic- and Renaissance-style, Roman Catholic church in the center of Todi, province of Perugia, region of Umbria, Italy.

Other elements of the richly ornamented exterior include barge boards on the second story and entry gables, and a front porch with Gothic tracery millwork. The house was listed on the National Register of Historic Places in 1983.

The octagonal limestone font dates from about 1400. The rest of the fittings date from the 19th-century restoration. These include the pulpit with its elaborate pierced tracery. The two-manual organ was built in 1863 by Bevington.

Mansfieldstown Church is an undivided nave and chancel with a bell-cote at the west end. The Late Gothic east window has tracery. It has two stone masks as label-stops with a third mask at the apex.

On the summit there were three apples, two of gold and one of silver, with lilies of six petals. The minaret is four-faced, with fourteen windows, having arches upon jasper columns, and the structure is adorned with tracery.

To the west of the porch is a 14th-century window with reticulated tracery, and to the east of the porch are two Perpendicular windows. On the north side of the church is a staircase to the rood loft.

West tower and stone broach spire. Geometrical tracery, treated in Nash's quirky way. The best thing inside is the open timber roofs, those in the transepts especially evocative, eight beams from all four directions meeting in mid air.John Newman.

Constructed in brick, the church has a tiled roof. It is in four bays with a porch. On the sides of the church are two-light mullioned windows. On the north side is one original window containing Y-tracery.

At the west end of the nave, flanking the tower, are arched doorways with two-light arched windows above. The bays of the nave are separated by buttresses, and each bay contains a three-light window with plate tracery.

Fawcett, Elgin Cathedral, pp. 12–13 From 1960 to 2000, masons restored the cathedral's crumbling stonework (Fig. 19) and between 1976 and 1988, the window tracery of the chapterhouse was gradually replaced, and its re-roofing was completed (Fig. 20).

There are two lancet bell openings on each face, and at the top of the tower is an embattled parapet with corner pinnacles. On the south face of the tower is an octagonal stair turret. The windows contain Perpendicular tracery.

It follows the cross-domed design and has a single apse. The cella is divided into three naves by two rows of columns. The columns' capitals are decorated with plastic carving and tracery. The church has a high, massive iconostasis.

All the windows are arched with three lights and tracery. Both the porch and the vestry are gabled. Items reused from former churches include a doorway dating from the 14th century, the tower arch of the 1530 church, and the gargoyles.

It is made with a profiled planner lining. Double, cassette door portal is counted the same year as the construction site. The secondary setting Gothic tracery window creates a fanlight portal. Casting is done in a nice breaking into older masonry.

St Andrew's Church has an early 14th- century west tower. There is also a 15th-century porch with some Flushwork and the nave retains the tracery window which would have originally been part of the chancel, which was demolished around 1700.

Its lining is richly profiled and crossed in the peak. The portal area is decorated with blind flamboyant tracery. It leads into the southern stellar vaulted hall, which was built in 1509. Another church portal is on the north side.

A row of shrubs in front provides further shielding. All five bays of the second floor are set with lunette windows with simple tracery. They have plain molded surrounds. Above them is a shallow molded cornice and copper rain gutter.

The church is a hall church with three naves of five bays and a prominent choir. The walls are structured by buttresses and tracery windows. The interior is structured by slender columns with leaf capitals, which support a high rib vault.

Over the clouded > surface there now lay an intricate tracery of whorls and lines where my > finger had wandered aimlessly. Holmes clapped his hand to his brow and, > throwing open the other window, he shouted an order to the cabby.

The portal is reached through elaborate levels of stairs. The interior has a nave divided from the aisles by compound piers. The vault displays gothic tracery, and the apse has tall lancet windows.Visitodi website, tourism website of the Region of Umbria.

The three- to four-story building features leaded glass windows with Gothic tracery, decorative concrete sculptural elements, and a gable roof with slate shingles. and Accompanying six photos It was listed on the National Register of Historic Places in 2013.

The chapel contains a rose window. The tracery in the windows is in Decorated style. The windows in the church hall are simpler in design. Inside the church is a west gallery, and a pulpit and lectern, both in pitch- pine.

There are three bays with square headed windows with "flamboyant" tracery. The chapel has octagonal corner pinnacles and at the north eastern corner there is a small embattled octagonal turret with a small bell tower which originally contained two bells.

St Mary's is constructed in stone with a slate roof. At the west end is a gabled single bellcote. The door is on the north side. In the north and south walls are two two-light windows with wooden Y-tracery.

The east window is larger, also with two lights and tracery that is probably in concrete. There is no west window. In the interior, the walls are plastered and the roof trusses are whitewashed. The floor is paved with quarry tiles.

It was built for attorney William Nottingham in 1901. The house was designed in the Jacobethan Revival style by architects Brockway and Benson of New York City. Leather lines the library walls. The living room ceiling is decorated with Gothic tracery.

There are large round-headed pairs of arched windows with Y-tracery, (possibly added later) and plain architraves. There are three such windows on the north side and four on the south side with more round- headed windows in the apse.

The hammer beam roof trusses with their carved tracery and mullioned windows with their stone tracery were authentic English decorated style detailing that were new to the Colony at the time. The spire and its features, engaged buttresses, correct moulding, and finial, were correct to new Victorian Gothic Revival and likewise new features to the Colony. At the time of its completion the building was of a superior quality with a high standard of craftsmanship in its fittings. Its font communion rail, windows, and the enormous stone flagged floor of the nave are all of particularly fine craftsmanship.

The western three windows on the north side and the westernmost window of the south side are simple lancets with no tracery. All the windows of the western half of the church are clusters of lancet lights. The third window from the west on the south side holds three lights and intersecting tracery while, in the second window from the west on the same side, two lancet lights support a light in the shape of a mandorla. In each of the middle two bays of the north side stands a round-arched doorway with a sculpted angel's head on the keystone.

Unlike the Decorated Gothic tracery at St Paul's, the Perpendicular Gothic tracery is repetitious in its form. The visual effect of the church is one of harmony and elegance of proportion. Because of the Evangelical nature of this church, there is no figurative decoration, but the east window by James Powell and Sons of Whitefriars, "variegated with flowers and interspersed with texts", cost £200 and is one of the finest non-pictorial windows in Sydney. St. Andrew's Cathedral 1837-68, is a very tall building for its width, appearing a cathedral rather than a large parish church.

His performance disappointed the crowd as he deprived the King's colt Pintadeau of third by a short head. Later that summer, Tracery showed improvement to win the St. James's Palace Stakes at Royal Ascot in which he defeated the 2000 Guineas winner Sweeper. In the Sussex Stakes at Goodwood in July he again defeated Sweeper and became a leading fancy for the St Leger, with Lomond being regarded as his principal rival. On 11 September at Doncaster Racecourse, Lomond started 6/4 favourite for the St Leger, with Tracery and Tagalie equal second in the betting at odds of 8/1.

The main structural features are a simple timber roof with exposed beams and a more intricately decorated chancel arch of the early 14th century, built of clunch. A notable architectural feature of the church is the wide variety of window designs that have survived ("a history in miniature of window architecture"): Norman slits with crude lancet heads give way to taller lancets with Early English Gothic and Decorated Gothic tracery, and later wide lancets. Six styles of window have been identified overall. The three-light east window, the only modern replacement, was put in after its predecessor's tracery gradually disappeared over the centuries.

The remains of St John's Chapel are visible in the east wall of the north transept: these include fragments of vaulting and a medieval window, which faces into the Chambers Aisle. The bottom half of this window's tracery, as far as its embattled transom, is original; curvilinear tracery was added to the upper half by MacGibbon and Ross in 1889–91. At the Burn restoration, the north transept was heightened and a clerestory and plaster vaulted ceiling inserted. A screen of 1881-83 by William Hay crosses the transept in line with the original north wall, creating a vestibule for the north door.

The north aisle has similar features as the chancel with double plinth eaves course, gargoyles, battlements, buttresses, and three-light windows of standard tracery in hollowed pointed-arched recesses. The nave dates from 1476; it is visible as a clerestorey and includes three-light windows. 15th-century stained glass fragments are found in the east window tracery, and there are also late-17th- century windows resembling those of Low Ham Church. There is a small, almost triangular, arched, moulded doorway, an arched chamfered doorway, and a near semi-circular arched doorway with 19th-century wrought iron gates.

This window is also interesting and unique in that the focus of the tracery was shifted away from the centre of the circle and instead placed in other sections. The glazing of the window was equally difficult as the tracery for many of the same reason; therefore, the designers made a decision to cut back on the amount of iconography within the window. Most cathedral windows during this time displayed many colourful images of the Bible; however, at Lincoln there are very few images. Some of those images that can be seen within the window include saints Paul, Andrew, and James.

The side was constantly enriched with elaborate tracery (Dennington, Norfolk) or with tracery and domestic scenes (North Cadbury, Somerset), or would consist of a mass of sculpture in perspective, with canopy work, buttresses and sculptured niches, while the top of the bench end would be crowned with figures carved in the round, of the finest craftsmanship. Such work at Amiens cathedral is a marvel alike of conception, design and execution. In the Kunstgewerbemuseum Berlin some beautiful stall ends are to be seen. Out of a dragons mouth grows a conventional tree arranged and balanced in excellent proportion.

The windows of the nave all feature typical early- to mid-14th century tracery. The forms of these windows are varied, some pointed, some segment-headed, several (three of the four aisle end windows) square-headed: the masons of the East Riding during this time commonly employed square-headed windows, adapting Decorated tracery motifs for use in them (see St Helen’s Church, Skipwith, the foremost example). Buttresses are used between bays and at the angles. There is an elaborate projection below a window on the south aisle wall; this is only explained when one goes inside the building (see below).

The ceilings consist of slate slabs supported by cast iron rafters, which are decorated with cast iron tracery. The second church resulting from this collaboration was St Michael's Church, Aigburth (1813–15), Here, in addition to the cast iron framework of the interior, and the window tracery, the parapets, battlements, pinnacles, hoodmoulds, the dado, and other details are also in cast iron. The area around the church, known as St Michael's Hamlet contains five villas containing many cast iron features. The third cast iron church was St Philip's Church (1815–16) in Hardman Street, Liverpool, which was closed in 1882 and demolished.

Papyrus a medium-sized brown horse "of fine quality" with a white star, was bred by Sir John Robinson at the Worksop Manor Stud in Nottinghamshire. He was sired by the American-bred Tracery, a son of Rock Sand who was sent to Britain to race following the passing of the Hart–Agnew Law and whose wins included the 1912 St Leger. He later became a highly successful sire, with his best runners, apart from Papyrus, including The Panther (2000 Guineas) and Transvaal (Grand Prix de Paris). Tracery was exported to Argentina but was returned to England following Papyrus's Derby victory.

The Decorated tracery of the East window and the distinctive ogee (onion shaped) arch of the Sacristy doorway in the north wall of the Sanctuary are part of a re-modelling of circa 1340, but earlier is the North Aisle with its windows with Y tracery of the early 14th century. The Nave with the addition of the Clerestory and magnificent Roof is a re-building in two stages in the 15th century. The three Eastern bays with their arcade of unusual basket arches dates to circa 1413–18. The Western bay (circa 1480) is where the tower originally stood.

Decorated Gothic similarly sought to emphasise the windows, but excelled in the ornamentation of their tracery. Churches with features of this style include Westminster Abbey (1245–), the cathedrals at Lichfield (after 1257–) and Exeter (1275–), Bath Abbey (1298–), and the retro choir at Wells Cathedral (c.1320–). The Rayonnant developed its second 'international style' with increasingly autonomous and sharp-edged tracery mouldings apparent in the cathedral at Clermont-Ferrand (1248–), the papal collegiate church at Troyes, Saint-Urbain (1262–), and the west façade of Strasbourg Cathedral (1276–). By 1300, there were examples influenced by Strasbourg in the cathedrals of Limoges (1273–), Regensburg (c.

Part of the north and west walls that formed the nave and crossing, designed in Gothic style by architect Simon of Pabenham in the 13th century, remain standing. The ruins include dummy lancet windows, tracery windows and "tracery remains to show that the patterns alternated between a single large circle over two lights and three small circles over three lights".Wilson and Burton, St Mary's Abbey York p. 8 The column capitals are decorated with foliage in a stiff-leaf style as well as in a naturalistic style, although this stonework is weatherworn and so this decoration is hard to distinguish.

She did, however, intend the broken flagstaff to poetically suggest that the Confederacy's hopes of victory had been destroyed by Johnston's death. Ney designed the statue's enclosure with open ironwork bars and railings so that the tomb and statue would be visible from all sides without visitors having to enter the mausoleum. She included Gothic elements (such as pinnacles on the roofline, tracery on the gables, and crocket capitals on the corner columns) to give the site a solemn and religious quality. Ney also incorporated Texas lone stars into the Gothic tracery to mark Johnston's grave as a commemoration of a notable Texan.

The porch has an arched doorway over which is a lancet window. Its top is gabled and has a cross finial. The east window has five lights and Perpendicular tracery. Inside the church is a west gallery supported on four slim iron columns.

His forehead shows a tracery of scars.Van Johnson was in a devastating automobile accident in April 1943 during the filming of A Guy Named Joe. His face was permanently scarred. The damage to Lawson's countenance was far more severe than the movie shows.

The church was restored in the 19th century; this was a limited restoration and consisted of renewing some window tracery, and restoring the roof. St Michael's was declared redundant on 1 November 1975, and was vested in the Trust on 11 October 1977.

Internally, the stalls and rails date from 1868, while the pews and pulpit were added in 1877. The pulpit is carved with pierced tracery panels and sunflower patterns. Douglas' organ screen was resited in 1913. The font cover was designed by Evelyn Wybergh.

Inside, the two strings of vaulted rooms enfilade system. Outside windows arched with the profiled frames with tracery. Crowning cornice with lancet arches, a wall above them originally decorated with panels. The walls in the lowest level are rusticated, dismembered deep lancet arches.

There is a gargoyle at each corner. The east window has five lights and geometrical tracery. All the windows along the clerestory and the aisles are flat-headed. On the north wall of the church is a chimney and a priest's doorway.

Near the westerly of these windows is a rectangular recess that may have been a squint. In its south wall are another lancet window and a 13th-century doorway. The Decorated Gothic east window is 14th- century and has reticulated tracery with ogees.

The church itself is located third from north. It is an asymmetrical brick building with cross-gabled roof topped by a cupola. Windows and doors are in rounded arches. The western (front) facade has a large, detailed rose window with quatrefoil tracery.

The station opened in 1938, its architect was Alexey Dushkin. The station features red and yellow marble arches resting on low pylons faced with black Armenian marble. The spaces between the arches are partially filled by decorative ventilation grilles and ceiling tracery.

The stone was from a quarry on Tunnel Hill, and the fine stone for the tracery and door frames came from Sydney. The carving on the Western Australian karri pews was designed to represent the Scottish heritage of the Walker / Barton family.

The two-storey thatched hall house is made of local stone with hamstone dressings. Externally the house measures by wide. It has four bays along the south front which incorporates original Gothic doorway and tracery windows. Inside is a 15th-century fireplace.

The cornice was made of Caen stone and Philadelphia brick. The building had seventeen arched, stained glass windows with the tracery made of Caen stone. Located at the north-west corner of the church was a tower that measured forty-one feet.

The southern nave is vaulted by Gothic rib vault with wedge-shaped ribs. Then it continues to bays corners onto cornice capitals, finished with prismatic console. Round keystones are plain and unadorned. On the southern nave there are original Gothic windows without tracery.

On the north side of the church, between the nave and the chancel, is a projecting stair turret. This has a flat top, and a parapet decorated with chequerwork. The tracery in the windows is in a fusion of Decorated and Perpendicular styles.

The windows along the sides of the aisles are flat-headed, and also contain rounded tracery. At the west end of the church buttresses flank the baptistry, above which is an arched four-light window. On the tower base is a pyramidal roof.

The tympanum is decorated with two letters "A" inserted in an "O", and a mullion divides the entrance in two smaller, twin-arched portals. The South side of the apse is decorated by a beautiful, large mullioned window with late Gothic tracery.

It was destroyed by fire during Hussite Wars. But in the presbytery the vaulting is still original. It is made up of one rectangular cross vaulted servery and ends with pentagonal finish. Chapel is illuminated by three two- part Gothic windows with simple tracery.

Some unusual features are that the nave and an aisle appear roofless, as well as a window with geometrical tracery that features an eight-petalled flower patterned central circle cut from a single stone. Dedicated to Saint Michael, it is a Grade I listed building.

The windows on the north side lit chapel of St. Savior. In the western part of the northern wall is angled restored Gothic window (1914-1915) with Gothic mangered lining. Tracery windows disappear. The Gothic manger in the years 1717-1722 was replaced the Baroque.

The turrets have square bases that broach to octagons. The bell openings are gabled and above them are spirelets. At the west end of the nave is a five-light window containing Perpendicular tracery. Beneath the window and between the turrets is the baptistry.

The roof comprises elaborately worked trestles and tracery, somewhat after the lines of the famous roof of Westminster Hall. The floor is of alternating black and white marble. The chapel was designed to seat 350 boys, with the west balcony reserved for household staff.

The tower was constructed in two stages. The lower section of the tower has lancet openings with "Y"-shaped tracery on every side.Gifford, McWilliam, Walker 1984, p. 108. This had likely been completed by 1416, in which year the Scotichronicon records storks nesting there.

Internally the westerly three bays of the north arcade are Norman and include zigzag carving and a carved ram's head. The two easterly arcades are Transitional. The south arcade is mainly Perpendicular in style. The pew ends are carved with Gothic tracery above Renaissance arabesques.

It has tall and narrow windows decorated with tracery. Pairs of lancet openings fill the belfry stage of the tower. The tower has many pinnacles, which used to end in leafy finials, since lost. They punctuate the intricate battlements that surround the narrow spire.

W tower with pierced parapet and polygonal pinnacles. Nave, aisles, clerestory, high and a little pinched. Perp[endicular] tracery in the tall aisle windows and the lower clerestory windows with thin four-centered heads. Very tall thin piers of standard Somerset section (four hollows).

The church contains much early woodwork moved from elsewhere. The octagonal pulpit is Jacobean in style and was moved here from Holy Trinity Church, Hull. The 15th-century vestry door, containing carved tracery, came from York Minster. The source of the other woodwork is unknown.

The stone trim and shape of the gable end reflects the pavilion of the Sunday School building. The wide Tudor arch and tracery panel at the entrance reflects the church's entry. The church, Sunday School building and the entrance pavilion form a U-shaped complex.

The church was built in the 12th century the oldest part being the south doorway of ca. 1200. The ornate window tracery of the south aisle and the chancel, dating from ca. 1300-40, is the chief feature of interest. The west tower is Perpendicular.

The nave and transepts also have lancet windows. The chancel has three two-light windows to the south, trefoil-headed windows in an arched surrounds and ogee-headed windows in a square surrounds. The three-light east window has geometric tracery and a ballflower border.

Glanworth Abbey was built in the 13th century next to the castle by the Dominican order; the priory was desecrated in the 16th century. The priory's gable tracery window, now restored, was once part of the Protestant church, which is located in the Catholic graveyard.

The north porch is gabled. The second stage contains a round window. In the third stage are two small windows and a three-light bell opening containing Perpendicular tracery. Around the top of the tower is a traceried parapet with crocketed pinnacles at the corners.

Each bay of the nave contains a three- light transomed window. These contain tracery in Perpendicular style constructed in cast iron and painted to look like stone. Between the bays are buttresses rising to pinnacles. The pinnacles at the corners of the church are crocketed.

The windows on the sides of the church have two or three lights. In the chapel is a circular east window. The east window in the chancel has four lights with Perpendicular tracery. Inside the church is a two-bay arcade leading to the chapel.

In the upper storey of the Tower and the connecting gallery there are a series of two-light windows and keyhole-shaped gunports. These were unblocked in the late nineteenth century when the window tracery was also restored. The roof of the tower is modern.

She was foaled in 1933 on the stud of Erlenhof in Germany. Nereide was by the German sire, Laland, her dam was the Federico Tesio owned mare, Nella da Gubbio (ITY) by The Derby winner, Grand Parade (GB) from Nera di Bicci (GB) (dam of Neroccia (ITY), won 1926 Italian Oaks)ASB: Nera Di Bicci (GB) Retrieved 2010-9-2 by Tracery (USA). The third dam of Nereide was Catnip (IRE) (who was second dam of the undefeated Nearco, and a daughter of Spearmint and Sibola). Catnip was in England during World War I and went to Dormello stud in Italy in 1918, with her Tracery foal, Nera di Bicci (GB).

The first tier has blind tracery panels separated by pillars with pinnacles, standing on a moulded base, with sixteen carved heraldic shields, representing the arms of England, Kingston upon Hull, Beverley, the Holy Trinity, the See of York, Archbishop William Maclagan, a Gallic cock, and the arms of families related to the Sykes family. Between the first and second tier is a band with carved flowers and animals. The second tier has four canopied open niches, each containing a different statue of Queen Eleanor designed by Moore; traces remain to indicate that these statues were originally painted. The third stage has four blind tracery panels.

But the more general custom in chest decoration was to employ tracery with or without figure work; Avignon Museum contains some typical examples of the latter class. A certain number of seats used for domestic purposes are of great interest. A good example of the long bench placed against the wall, with lofty panelled back and canopy over, is in the Musée Cluny, Paris. In the Museum at Rouen is a long seat of a movable kind with a low panelled back of pierced tracery, and in the Dijon Museum there is a good example of the typical chair of the period, with arms and high panelled and traceried back.

All elevations have lancet windows in a combination of tracery and plate tracery. The entrances from the two towers lead to vestibules, while the main entrance leads to a space between them. The sanctuary, , referred to as the building's auditorium, has the pews, still the original white oak with black cherry trim, facing north instead of east, reflecting the influence of the New England meetinghouse tradition. They are arranged in a semicircle, with the floor rising 1 inch (2.5 cm) for every two feet (50 cm) radiating out from the pulpit, making the bottom of the rear seats approximately higher than the pulpit base.

Samuel Sanders Teulon had to fit his design for Holy Trinity Church into the difficult, restricted town centre site (described by Nikolaus Pevsner as "crazy"), and the layout is consequently very unusual. The nave is of six bays and has a south aisle, a chancel with an apse, a vestry with a conical roof, and a porch formed from the base of the intended tower. The west end, facing Claremont, has two gables and a large lancet window with tracery and stone dressings. The north side, facing Trinity Street, is divided into six cross-gabled bays, each with a three-light window with similar tracery.

The Church of St Mary is located next to the village green and contains six bells, five of which were made by Joseph Hatch in 1605, which makes them the oldest complete set by the same bellfounder in Kent.Chartham Parish Design Statement, Canterbury City Council & Chartham Society, March 2005 It was built in approximately 1294 and features a number of brasses, including that of Sir Robert de Setvans (d 1306). The stonework of its chancel windows exhibit a form of tracery, known as Kentish or split cusp tracery, which originates here. The tower is 14th century and the renovation was in 1875 by Oxford University architect George Edmund Street.

The whole church stands on a plinth. The tower is supported by diagonal buttresses, and has a pointed west window with two lights. There are two-light pointed bell openings on each side. The parapet consists of pierced battlements containing tracery, and it has ornate corner pinnacles.

At the summit is a battlemented parapet. The parapets of the nave are also battlemented, while those of the aisles are plain. The east window and the two windows in the walls of the chancel contain Decorated tracery. The double arcade dates from the 14th century.

The church was fortified with a chemin de ronde and a small north entrance. It has a Gothic cut stone window. There is a triple sedilia in the south wall. Along the top of the north and south walls is a series of corbel-stones with tracery.

It is in the simple round-headed style, of the long-wall entry type. The walls are rendered and whitewashed, with a slate eaved roof above. The windows are small-paned sashes with intersecting tracery in their heads. The interior of the chapel was gutted in 2000.

The body of this goniodorid nudibranch is black with a tracery of fine interlinked white lines. The gills, rhinophores, lateral papillae and oral tentacles are translucent with black and white spots. There are white bands across the body between the rhinophores and in front of the gills.

The transepts are also buttressed, and they contain windows with varied tracery; the south transept also has a circular window. The east window in the chancel has five lights, above which is a tripartite niche with a crocketed surround, containing a statue of the Virgin Mary.

This was followed by the south aisle, whose arcade has octagonal columns. The nave and aisles were then extended eastwards with the addition of a third bay. The present chancel was built about 1300. It is lofty and has large, square-headed windows with Decorated Gothic tracery.

The side gables, framed in wood, are fully pedimented, and have rectangular windows with tracery at their centers. A single-story ell with garage extends to the north. The property also includes a 19th-century shed. The house was built in 1834 by Benomi Case, a farmer.

The west door has a pointed head above which is a three-light window with Perpendicular tracery. The aisles have embattled parapets, as does the porch. Above the door of the porch is a niche with a sundial plate and above that a small one-light window.

"Moyne Abbey", Discover Ireland, Failte Ireland The friary was built in the late Irish Gothic style and has extensive ruins, consisting of a church and domestic buildings situated around a central cloister. Its west doorway is a seventeenth insertion. Its east window displays fine switchline tracery.

In each bay is a three-light decorated window with tracery. The clerestory has paired windows with ball flower decorations and gargoyles. There are traceried pinnacles at the east end of chancel. There is a seven-light east window in the chancel with lancet windows above it.

The structure is capped with a steep hipped roof and intersecting gables. The window openings are largely rectangular and some include tracery. There are also a few lancet windows. The front porch and a walkway that connects the rectory to the cathedral feature wide Tudor arches.

The two retables in Dijon Museum, the work of Jacques de Baerze (1301), a sculptor of Flanders, who carved for Philippe le Hardi, Duke of Burgundy, are masterpieces of design and workmanship. The tracery is of the very finest, chiefly gilt on backgrounds of diapered gesso.

The west window, re-glazed in 1997, has each piece of glass in the tracery inscribed with the names of, or a quotation from, the donors. In the three circular windows the glass was the gift of Stowmarket Rotary Club, the Arbon family and the Mothers' Union.

The bays of the nave are divided by buttresses and contain three-light windows with Decorated tracery. Towards the east end of the north side is a doorway, over which is a rose window. The interior is described as a "wide short auditorium over a basement".

The interior elevation is very sober like many of the Flamboyant Gothic churches in the region. It consists of two stories: nave arcade and clerestory. The clerestory windows feature dynamic tracery patterns largely composed of mouchettes and soufflets. The nave vaults contrast with the otherwise conservative articulation.

Between the portal and the floor cornice is located the niche with the baroque statue of the Saint Bartholomew. Above the portal there is a pointed window with a neo-gothic tracery. The simple gable on the middle nave can also be included into the western frontage.

The aisles, clerestory and tower have three-light windows with Perpendicular tracery. The tower also has paired three-light bell-openings, diagonal buttresses, an arcaded, embattled parapet and pinnacles. Inside is a six-bay arcade with cast iron columns. The windows are also made from cast iron.

All the window openings are filled with stained glass. The ceiling in the nave is vaulted, and it is held up by a line of columns. Wood tracery extends from the columns to the side walls over the side aisles. The chancel floor is elevated above the nave floor.

It was constructed by Farmer and Brindley in 1876. The reredos and the floor mosaic date from 1876, and were designed by J. R. Clayton. The east window has tracery of an elegant Decorated Gothic design which is filled with stained glass of 1884 by Heaton, Butler and Bayne.

The Perpendicular choir of alt=This interior view at York shows the Gothic style becoming less about projecting forms and more about surface treatment. The walls, vault and east window are all covered with a decorative net-like tracery. The pattern of the vault ribs resembles interconnecting stars.

The Perpendicular window on the east side has two lights. The western part of the church has three-light windows with varied tracery. The west end has a two- light window with cusped lights, square head and hood mould. The south transept has a two-light Perpendicular window.

There are Tudor arched doorways in both the north and south walls. On the east gable is a finial. The east window has three lights. In the south wall of the chancel is a pair of two-light windows with Decorated tracery, and a round-arched priest's door.

In the centre is a porch with corner turrets and an oriel window in the upper storey. The west front contains two two-storey bay windows containing Perpendicular tracery. The south front has a single-storey canted bay window. To the east of the hall is the stable block.

The choir stalls and pews are carved with tracery and have poppyheads. The pulpit is constructed in differing coloured marbles. The font has a carved white marble bowl. In the chancel window is stained glass by Jean-Baptiste Capronnier of Belgium that depicts scenes from the life of Christ.

N. Evans, 'The Tasburghs of South Elmham: the rise and fall of a Suffolk gentry family', Proceedings of the Suffolk Institute of Archaeology XXXIV Part 4 (1980), pp. 269-80, at pp. 270-71 (Suffolk Institute pdf). The window tracery is variously 14th and 15th century in style.

Built in the Shingle style, the structure combined both stone and shingles. It also included "Gothic Revival features, such as tracery windows".Brown, Warmflash, DelGiudice (2001), p. 153. The congregation added an extension to the building in 1952 which included meeting and school rooms, and an additional sanctuary.

The chapels can be distinguished from each other externally by the difference in their window tracery. In his Passages from the English Notebooks of 1876, Nathaniel Hawthorne commented that the church "has not exactly a venerable aspect, being too good in repair, and much restored in various parts".

13 The aisles and nave clerestory are embattled. The aisles, of 14th century origin and refenestrated in the 15th century, have large perpendicular windows. The windows have vertical tracery in a consistent, but different, pattern on each side. The nave clerestory has pairs of 15th-century two-light windows.

Over these is a four-light window containing Geometric tracery, flanked by lancet windows. The hexagonal tower is in four stages with louvred bell openings in the top stage. It is surmounted by a broach spire. Along the sides of the church are mullioned and transomed lancet windows.

The pieve church is near the Villa Medicea La Ferdinanda. The church is cited in documents from 998 by Emperor Ottone III. The church was expanded in the 12th century, under the patronage of Countess Matilde di Canossa. In the 14th century, gothic tracery was added to the interior.

The tower has a polygonal southeast stair turret. The merlons of the parapet are decorated with flushwork tracery, and below the parapet is a frieze. At the corners are slender pinnacles. The nave has a battlemented parapet, and at the ends of the gables are crow-stepped parapets.

This polycerid nudibranch is translucent orange with large iridescent blue spots. There is a tracery of blue-green iridescence along the pallial margin and on the midribs of the gills.Picton, B.E. & Morrow, C.C., (2010) Greilada elegans Bergh, 1894. [In] In: Encyclopedia of Marine Life of Britain and Ireland.

Three sides of the tower have clocks and there are three-light, arched belfry louvres on all sides. The Gothic- style nave has a crenellated parapet and a copper roof. It has five three- light windows in its north and south walls. The windows are arched, with tracery.

Window tracery was all in wood. Much of the original work remains on the side elevations.Beth Hamedrash Hagodol Synagogue NRHP Registration Form, June 20, 1999, Section 7, pp. 1–2. Characteristically Gothic exterior features include "vertical proportions, pointed arched window openings with drip moldings, three bay facade with towers".

St Mary's is constructed mainly in ironstone rubble with some clunch, and has ashlar dressings. The roofs are tiled. Its plan consists of a nave with a south porch, a chancel, and a northwest bell turret. The east window in the chancel has five lights and contains panel tracery.

The church is constructed in yellow sandstone rubble with ashlar dressings and has slate roofs. Its plan consists of a nave, a southwest porch, a chancel, and a northwest vestry. On the west gable is a single bellcote. The windows are lancets, some of which contain Y-tracery.

The church is first mentioned as belonging to Frati Minori in 1289. The church with a bicolored (travertine marble and pietra serena) facade has a rose window in the center. The rounded portal is highly decorated with spiraling pilasters. The apse has a series of vaults with Gothic tracery.

In the middle stage is a three-light window containing reticulated tracery, and in the top stage are two two-light bell openings on each side. At the summit is an embattled parapet with corner gargoyles. The windows are Decorated in style, and those in the clerestory are circular.

It has a west doorway, a four-light west window, and two-light bell openings. On its summit is an embattled parapet. The windows along the sides of the nave have two lights with Y-tracery. There is a priest's door on the south wall of the chancel.

At the west end is a three-light window containing Geometrical tracery, and along the sides of the aisles and clerestory are two- light windows. The windows in the transepts have four lights, and those in the chapels have three lights. The chapel and the porch are gabled.

A cornice above projects well, and is supported on brackets. The parapet is pierced with tracery work; and the corner support little kiosks which look like miniature dargahs. While the summit is crowned with a little drum, the lower portion of the dome is adorned with lotus leaves.

On the tower is a broach spire, the broaches being bowed. At the west end is a five-light window containing Geometric tracery. The windows along the sides of the aisles have three lights and are placed between buttresses. The windows along the clerestory are lunettes with pointed arches.

British Library Newspapers, Part II: 1800–1900: "District News: Harrogate" The church was designed in the style of the second or Curvinilear Period of Decorated Gothic of 1290 to 1350. Due to cost, the decoration of capitals and vaulting are minimal or non-existent, but there is some tracery in the windows, and varied carved finials under some arches. The church is built of dressed ashlar blocks of Killinghall stone, while the boundary wall, also built in 1880, has contrasting rough coping to blend with the contemporary local style. The west wall faces the highway, and has two aisle-end, two-light windows, whose tracery is in the form of a Canterbury cross.

The building was conjoined with its neighbours, which all stood in an unbroken row, and its eaves faced the street. The side with the eaves was framed with lesenes between which were found windows, Rundbogen windows in both the outer fields and above these tracery-filled round windows, while in both the inner fields, twinned windows with mullions, also topped with tracery. A report appeared about the consecration in the Kirner Zeitung on 26 February 1888: :“On 24 and 25 February, on the part of the local Jewish religious community, the consecration of its newly built synagogue took place. From near and far, a great number of coreligionists attended to participate in this lovely festival.

View of the cloister showing tracery in the Spanish style The original cloister was a Romanesque structure, dating to the late 12th-early 13th century. All that remains of the first cloister is a hexagonal central shrine, containing the laundry By request of King James II, the original cloister was largely demolished and replaced by a Gothic cloister designed by Reynard of Fonoll, whose work was continued by his disciple Guillem de Seguer. The style of tracery which fills the upper parts of each ogival opening in the cloister arcade varies from English Geometric to Catalan in design. The clustered columns have highly ornamented capitals with foliate, animal and human figures, as well as biblical scenes.

The outermost lights show, to the north, St Augustine of Canterbury; and to the south, the martyred St Thomas Becket, also of Canterbury. Above the main lights is a representation of the Eucharistic Host, set in the circular centre of a tracery rose window. Around the Host cluster six angels, so to speak within the 'petals' of the 'rose', while, in the spaces between the 'petals' are depicted six lilies, the stem of each shown surrounded by a circlet inscribed with 'Ave Maria'. The Marian theme is reiterated in the outer elements of the tracery, where the acclamation, Gloria tibi Domine/ qui natus es de virgine is seen, written on two scrolls.

These doors were usually divided into some six or eight oblong panels of more or less equal size. One of the doors of Bourges Cathedral is treated thus, the panels being filled in with very good tracery enriched with crockets and coats of arms. But a more restrained form of treatment is constantly employed, as at the church of St Godard, Rouen, where the upper panels only are carved with tracery and coats of arms and the lower adorned with simple linenfold design. To Spain and the Teutonic countries of Europe we look for the most important object of church decoration, the retable; the Reformation accounting for the absence in England of any work of this iec kind.

19th-century window depicting the "Apparition du Sacré-Cœur" in the cathedral Saint-Paul-Aurélien in Saint-Pol-de-Léon This stained glass window dates to the 19th century. It has 5 lancets plus tracery in the tympanum.. The depiction of the "Apparition du Sacré-Cœur" appears in the central lancet with the inscription "VOILA LE COEUR QUI A TANT AIME LES HOMMES". The tracery includes the Dresnay arms crossed with those of La Hay with the motto "En Bon Espoir" and the arms of the Legge family crossed with those of the Dresnays and the motto "Mal se repose qui n'a contentement". The artist who created this window is not known.

St Paul's Presbyterian Church Hall, designed in the gothic style with classical nuances, is a low, wide brick building with buttresses and stone facings, built to a T-shape plan with the leg abutting the street. It is capped with a gabled roof clad in broad profile galvanised iron, above which square brick and stone pinnacles rise from the buttresses at the ends of each of the four gables. The front facade, which has a northwest aspect, features a central, pointed-arch window with drip moulding, three green glass lights, tracery, and mullions; and gothic arched doorways with stone pediments above, on either side of the window. Above this is a broad pediment decorated with abbreviated blind panel tracery.

The vaulting sprang directly from the top of the arcade. The wall at the eastern end of the sanctuary, probably built after 1260, had a large window which features an upper rose and elaborate tracery; the aisle windows were simple paired lancets recessed within an arch. In the nave, the south aisle had plain triple lancets set high in the wall to avoid the cloister roof. The north aisle windows by contrast had richly decorated cusped tracery, reflecting the changes in taste over the long period of construction, and suggesting that this was among the last parts of the church to be finished, probably in the very late thirteenth or early fourteenth centuries.

Minshull Vernon United Reformed Church Minshull Vernon United Reformed Church is located at the junction of Cross Lane, Brookhouse Lane and Eardswick Lane. Originally a Congregational Chapel, the grade-II-listed church dates from 1809–1810 and was substantially altered in around 1880. It is in brown brick with Victorian stained-glass windows featuring ogee tracery; a single original arched window with "Y" tracery survives in the north gable.Images of England: Minshull United Reformed Church (accessed 4 March 2009)Cheshire County Council: Revealing Cheshire's Past: Minshull United Reformed Church (accessed 5 March 2009) The Church of England parish church of St Peter, Leighton-cum-Minshull Vernon, on Middlewich Road north of Bradfield Green was founded in 1840.

A circular window with tracery tops both. The upper stage has the belfry, with lancet arched balustrades and paneled corner piers topped with pinnacles above the eaves. The wood-shingled pyramidal roof is topped with a crocket. The south (front) facade has a single tripartite lancet arch stained glass window.

On the north side of the church are two gabled transeptal bays with rose windows forming confessionals. There is also a gabled porch and a baptistry. At the east end of the chancel is a three-light window, and on the sides are lancets. The east window contains Geometrical tracery.

An attempt to make it into a separate parish in 1737 failed because sufficient endowment could not be raised. Probably in the middle of the 19th century, a dado of bricks was added to the exterior in an attempt to keep out damp, and in 1897 the window tracery was replaced.

A major reconstruction of the church started at the end of the 14th century under a Bartolomeo Gillij. A new façade was added in 1400. The Gothic tracery of the ceiling was added from 1383 to 1407. From 1535 to 1557 the architect Antonio Morandi also called Terribilia participated in reconstruction.

The tower is built of iyellow sandstone with angle buttresses. It has a west door above which is a hood mould, its stops carved with faces. Over this is a window with Geometric tracery. Higher on the tower are more windows, some of which are lancets, and others have trefoil heads.

The church dates from the 15th century. The roof of the nave collapsed in a storm on 15 July 1752; the nave and tower, of Perpendicular style, is in ruins. The nave is of knapped flint, and has large windows with remains of tracery."All Saints' Church, Billockby" Norfolk Heritage Explorer.

On the west side is a 15th-century doorway inserted into the lower part of a 14th-century window. The window has three lights containing Y-tracery. The top stage contains some patching with brick and a two-light bell opening in each side. Above this is a coped parapet.

The 1876 gallery on the third storey has since collapsed leaving a seven-bay front of two storeys, with a small part surviving of the third. Some of the medieval tracery from the original house has since been reincorporated into Penhow Castle. The house is still owned by the Williams Family.

The Woodward facade has a five-bay loggia, with a parapeted front gable. Above that are rounded windows with tracery framed by a rounded arch. The church also features a 120-foot campanile with many narrow arcades. The church is topped by an 8-foot copper figure of the Archangel Uriel.

Walnut grove is a five-bay house with a raised brick basement. The front porch is distinctive Greek Revival. The flat porch roof over the entrance is supported by four square Tuscan columns joined by the original balustrades. The entry is adorned with carved sidelights and a leaded tracery transom.

There are Perpendicular bell openings on three sides of the tower, and a clock on the fourth side. The parapet is embattled. The nave is in two storeys, with two tiers of windows along the sides. These are round-arched, in Georgian style, and contain tracery from the Victorian period.

Selma's central entrance is surmounted by a large semicircular fanlight with tracery and flanked by engaged fluted Roman Ionic columns. A board-and-batten smokehouse, frame garage, and frame barn with three cupolas also lie on the Selma property and appear to date from the early 20th century as well.

The head of each light is embellished with Gothic style tracery, composed of ogee curves. On both upper levels the windows extend from the floor to the ceiling. Decorated turrets flank the oriel window. The parapet is castellated and in the centre is a badge bearing the crest of the Society.

Modris also had great interest in ornamentation. He was involved in researching the symbolism of the Latvian traditional Lielvārde Belt (Lielvārdes josta) with 22 ancient symbols. This Latvian ethnic group was a major part of his creative work."Ornamental Sign Language in the First Order Tracery Belts" Retrieved October 8, 2010.

The Cathedral's design evokes nature. The tree-like columns have their foliage-carved capitals; the murals contain tracery of vines and leaves. The pointed arches on doors and windows and the spires evoke the mountains. The ceiling and the blue dome spangled with stars reflect the sky and the heavens.

The tower rises two storeys above the nave. It has three bays, with a stair turret to the north-west corner. The bays are articulated by slender buttresses with crocketed finials above the castellated parapet. Each bay on both stages contains a tall two-light mullioned-and-transomed window with tracery.

The East end of the church has a transept and an apse with three chapels. The crossing area is illuminated by the large windows of the transept arms and main chapel, as well as by a small rose window over the main chapel with tracery in the shape of a pentagram.

The Tetramorph appear in the tracery. A window by Lucien Léopold Lobin of Tours dating to 1888 and depicting John the Evangelist's apocalyptic vision at Patmos. Saint John kneels writing as God appears to him. In the vaulting keystone facing this window is a shield bearing the arms of Forêt Villeneuve.

The west window of the south aisle is similar to one in the Church of Little St. Mary's Cambridge, which was erected about 1850. Each window has tracery of a different pattern. The stone used with the flints is Bath stone. The roof and floor are covered with Broseley tiles.

It was opened on 30 June 1843. There are two crenellated side towers and a recessed centre, which is two storeys high, with three bays divided by buttresses. In the centre are heraldic beast finials. There are three windows between the buttresses with 'Perpendicular' tracery and a central four-centred doorway.

Above the doorway is a three-light window containing Y-tracery. The nave has a shaped cornice and a plain parapet, and contains four round-headed windows on each side. In the chancel are windows dating from the 20th century, the one on the north side being a rose window.

The patronage of the church was held by Glastonbury Abbey until the dissolution of the monasteries when it passed to the Marquess of Bath. The chancel pre dates the rest of the building, having been built about 1270. It still has the original window tracery. There is also a sculptured Sedilia.

In the bottom stage is a west doorway with lancet windows above. The middle stage also contains windows with pointed arches. In the top stage are two-light bell openings containing quatrefoil tracery, flanked by blind arches. The tower is surmounted by a broach spire with two tiers of lucarnes.

The tower rises from a central carriage arch with an ogee-shaped hood mould above the pointed arch. The lancet windows have intricate tracery. The tower is buttressed and rises in three stages to a belfry and a broach spire. The elaborate Ginnett family tomb is topped with a marble pony.

The windows had stone tracery. Stone bosses where the supporting ribs meet on the ceiling are covered with representations of oak leaves and the Green Man. The building is seen as a fine example of the Early English architectural style. In the 14th century, Bishop Ralph of Shrewsbury continued the building.

The church dates from the 13th century. It comprises a chancel, nave and two aisles of the 13th century and a west tower which is 15th century. The altar rails are of the early 17th century. The chancel windows have some very unusual tracery which may date from the 17th century.

In the south transept is blind arcading containing slit windows. At the west end of the church are three buttressed gables, each with topped by a small stone cross. The west window has four lights, and in each of the aisles is a two-light window; all have Decorated tracery.

The authors of the Buildings of England series state that this a small church, but that its broad west tower is "impressive". The tower is supported by stepped angle buttresses, and it has a pyramidal roof recessed on two sides. The windows contain tracery based on the Decorated and Perpendicular styles.

St Mary's is built in rubble stone and has tiled roofs. It consists of a nave with a clerestory, north and south aisles, a chancel, a south porch, and a west tower. The tower has corner buttresses, paired bell openings, and an embattled parapet. Its west window contains Decorated Y-tracery.

A small board-and- batten gabled shed is located to the southeast. It is a contributing resource to the National Register listing. Inside, both the chapel and school building retain much original finishing and decor. The chapel has an ornate carved tracery dividing the nave from the rest of the sanctuary.

Above its west window, the tower has a canopied niche. Its windows have Somerset tracery. There is a smaller hexagonal tower with a spire to the east of the nave. St Andrew's is one of only three churches in England to have both a western tower and a central spire.

The angled corner belfry tower and decorative brickwork are additional hallmarks of Mix's design. Perhaps the most striking feature is the rose window with elaborate tracery on the front facade, composed of teardrop-shaped stained-glass panes. The building was added to the National Register of Historic Places in 1975.

On January 12, 2017, during a winter storm, strong winds pushed in a significant portion of the west rose window. Large stone pieces of the window's tracery and sections of stained glass fell onto the tracker-action pipe organ located below the rose window, causing severe damage to the instrument.

Trim on the exterior consists of cream-painted wood. It serves as cornerboard, window surround, and cornice dividing the clapboard and shingle sidings. The porch's flat roof is supported by turned columns, with some wood tracery brackets at their tops. Paneled vergeboard in blue and cream is at the gable roofline.

The footprint of the 1914 building is rectangular with a gabled roof. The facade is dominated by a large lancet window with wood tracery. Below the window twin entrance doors inside gothic arches are framed by a crenellated parapet. The 1968 addition is in the Brutalist style and has four floors.

Windows No two windows have the same tracery. Starting at the West end, and proceeding clockwise, the subjects are as follows: West. (Hardman) Bishop Monk kneels to offer a model of the Church to Christ on His throne. On the left, St. Peter; on the right, St. Paul. North Aisle.1.

The church building was designed by William Thomas (architect) in the style of English Gothic revival. The building's exterior is grey limestone which comes for the most part from local Hamilton quarries by stonemason George Worthington. Many windows are adorned with Gothic tracery. The sanctuary is made of dark wood.

In 1971, a second phase of renovations expanded the Chancel area; restored and refinished the Altar, Reredos, pews and floor; upgraded lighting, sound and electrical systems; covered sanctuary walls with vinyl; replaced the wooden tracery of the rose window with stone; installed an air conditioning system; and painted exterior woodwork.

It has an internal staircase and an embattled parapet. In the top stage are two-light bell openings with Y-tracery. The south porch dates from the 15th century, and has a plain doorway and two two-light windows in each side wall. It is floored with medieval coffin lids.

The parish church dates from the 14th century.Norfolk 1: Norwich and North-East, By Nikolaus Pevsner and Bill Wilson, Banningham entry. The church's most notable feature is its steep- pitched hammerbeam roof with seven angels along each side. The spandrels are adorned with tracery in wheels and other elaborate forms.

The choir is aisled and is made up of four bays, intersected by buttresses with a mixture of gabled and pinnacled terminals. The windows between have simple curvilinear tracery dividing two main lights. The cornice below the eaves has foliate carving. The clerestory is unbuttressed and has double-lighted windows beneath two mouchettes.

The second bay from the east contains a priest's door, above which is a lancet window. To the right of the door is a small trefoil-headed window. The other bays contain two-light windows with Early English tracery. Battlemented parapets run around the walls of the aisle walls and the clerestory.

Of the northern row there are four standing in place, two prostrate, and fragments of two others. Of the southern row, three are standing and two are lying. One of the upright columns has an Ionic capital with delicate tracery work below the volutes. Its height in all is about twelve feet.

The windows along the sides of the church are divided by buttresses. In the nave the windows have two-lights with alternating quatrefoil and trefoil heads, and contain plate tracery. The chancel windows are pairs of lancets with trefoil heads. The east window has three lights, and the west window four lights.

The church is constructed in sandstone rubble. Its plan is cruciform consisting of a four bay nave, a chancel, single-bay north and south transepts, and a vestry. On the south side is a tower, with louvred bell openings and a pyramidal spire. The east window has three lights and contains Geometric tracery.

Within the coffin was a pectoral cross across, made of gold and mounted with garnets and intricate tracery. There was a comb made of elephant ivory, a rare and expensive item in Northern England. Also inside was an embossed silver-covered travelling altar. All were contemporary with the original burial on the island.

The tower is in three stages with angle buttresses. In the bottom stage is a west door, over which is a window containing Y-tracery. The middle stage contains circular clock faces, and the top stage has three-light louvred bell openings. At the summit is an embattled parapet with corner pinnacles.

The walls are both divided by two bays with round arches, and there are four elevators on each wall. The elevator doors in the lobby were designed by Tiffany Studios. The patterns on the doors have been described as "arabesque tracery patterns in etched steel set off against a gold-plated background".

The north and south transepts are derelict. The style is mainly Perpendicular, with some Decorated. Retrieved 25 Nov 2011 It has an octagonal font, carved wooden bench ends and Decorated tracery, and a carved rood screen. St Margaret's is a nationally important building, with a Grade I listing for its exceptional architectural interest.

The east window has three lights with Perpendicular tracery. There are two-light windows elsewhere in the chancel and chapel, and three-light windows in the vestry. Inside the church is a west gallery carried on two octagonal iron columns. The nave has a flat ceiling and the chancel a waggon roof.

In the south wall of the chapel is a square three-light window. The west window has six lights, and the east window, five lights; These windows are in Decorated style, with terracotta mullions, and sandstone tracery. The bellcote contains two-light windows, surmounted by a broach spire, with a metal finial.

His work included the removal of the belfry floor and the opening up of the lantern tower to expose the beautiful internal tracery panelling. Scott described the lantern as the finest in the country after that of Lincoln Cathedral. The tower pinnacles were added in 1871.Wilson, Dr. M. and Crawford, Rev.

The altarpiece of the Belen Church in Havana was built by Talleres de Arte in 1915. This Jesuit church is one of the only Gothic Revival buildings in Cuba. The altarpiece is also Gothic, with pinnacles, elaborate tracery and tiny hunky punks. The central image is a large statue of the Sacred Heart.

On either side of the door are semicircular windows. In each of the north and south walls are three tall two- light windows with arched heads and timber Y-tracery. The presbytery has conventional sash windows. The building was designated a Grade II listed building by English heritage on 16 August 1983.

The nave is divided into bays by buttresses, each bay containing a two-light window containing Geometric tracery. Projecting from the roof, on each side, are two timber dormer windows. The tower has diagonal buttresses, and contains a doorway with a pointed arch. The bell openings have two lights, and are louvred.

The tower is surmounted by a parapet and a recessed spire. The east window has five lights under a pointed head, and contains Geometric tracery. Inside the church is an open timber roof. The two- manual pipe organ was made in 1872 by Henry Willis, and restored in 1974 by N. P. Mander.

The exterior is gray sandstone, with a green tile roof. The interior is extensively finished in marble, even in the toilets. The dome interior has bronze lining. The clerestory windows feature opalescent glass in a simple tracery pattern, with similar colored glass at the tops of the windows at the main level.

The triforium of the tower bay was constructed in an earlier and different style (Late Gothic Flamboyant, with a network of reticulated tracery) than the one of the nave proper. Bronze decoration of the central portal's doors was undertaken in 1482. The second phase took place from c. 1470 to c. 1490.

The term "Rayonnant" comes from the radiating spokes of the rose windows of the major cathedrals. In England, it is sometimes called the Decorated style. The term was first used by 19th-century French art historians (notably Henri Focillon and Ferdinand de Lasteyrie) to classify Gothic styles on the basis of window tracery.

Each bay contains a traceried window. The tracery produces a pair of trefoil-arch lancets topped by a quatrefoil. The front gable of the building features a by traceried window over the entrance. The three-stage bell tower is also buttressed and measures square and to the top of the octagonal spire.

On the gable at the east end of the nave are the remains of a bellcote. The east window of the chancel has three lights with Early English tracery, above which is a niche. The north and south walls of the chancel contain lancet windows. The interior of the church is limewashed.

The tower has angle buttresses, a west entrance, and a north two-light window with plate tracery. The bell openings are louvred with trefoil heads. The tower is surmounted by a shingled broach spire. Set into the wall of the porch is a stone bearing the fossilized footprint of a Chirotherium, an archosaur.

The tower and chancel have buttresses with quoins and dressings of ashlar. The tower also has an interior stair-turret in one corner. Its west door, in the Perpendicular style with a hood mould, is not original: it was inserted in the late 15th century. The windows above it have elaborate tracery.

One pew end is inscribed with "T.K.", for Rev Thomas Kempthorne, who was vicar from 1539 to 1594; another has the date of 1575. The Norman font is roughly shaped with ropework decoration beneath a plain bowl. The pulpit dates from the 20th century and incorporates some earlier woodwork as blind tracery.

There are still some remnants of 15th century stained glass in the windows. The windows have decorative tracery. The interior includes monuments to Sir Edward Hext and to several generations of the Stawell family. There is a wooden chancel screen and a stone screen which was brought from St Mark's Church, Bristol.

There are cross finials on the east and west gables. At the west end there are three two-light windows under a rose window. Along the north wall of the nave and the south wall of the aisle are two-light windows containing plate tracery. The clerestory windows are quatrefoils in roundels.

At the same time some conservation work was carried out to the surrounding stonework in the porch, and also around the west window. In 2007–08 the Trust carried out more extensive repairs to the church, including some re-roofing to make it weatherproof, and repairs to the stained glass windows and tracery.

The third window remaining is Romanesque in style. At the top of the arch are two small carved heads. In the west wall are two lights with trefoil heads and transoms showing signs of tracery. The existing ruins can only be accessed through the entrance to Movilla Cemetery, on Old Movilla Road.

It features fluted columns following the Ionic order. The main entrance into the house is framed with sidelights and a transom with Adamesque tracery. There is art glass on the double-door entrance onto the upper level of the portico. Above the portico is a large central dormer with a Palladian window.

The presbytery and the nave are supported by diagonal and setback buttresses with roof-like skews. The church's entire parameter is encircled by a window ledge. The presbytery is surrounded by plinths culminating in a cornice of the window-sill. All four presbytery windows are Gothic with the Flamboyant, a flame-like tracery.

The rendered concrete ceiling is suspended below timber roofing members and incorporates simplified Gothic-style tracery and V-shaped coffers. The main church floor is now a raked concrete slab on ground, however timber flooring survives to the elevated choir. Internal joinery is generally silky oak including an altered choir front and pulpit.

The facade facing Old Town Square is the most beautiful from the whole house. Compared to the other facades it is much more sophisticated and can boast with intricate stone carvings. Western lancet windows are regularly arranged in three axes. It has Gothic tracery with trefoils and quatrefoils which end with nuns.

The tower on the east side was crenelated at the top. The entrance itself was white glazed terra cotta. The façade featured different window shapes, such as a rose window, pointed arch chapel windows, gothic outlined and tracery windows and simple multi-paned casements. Lewis Hall was designed by architect Edward Lerch.

Tracery can also be found in the five-light window on the south face of the church, whilst another five-light window can be found on the east face. The church hall is similarly styled in ashlar dressings, which have been diagonally tooled, and features two bays of three-light mullioned windows.

The depository originally functioned as an almarium, later as a tracery for the storage of valuable liturgical objects. The space is vaulted with two fields of cross vaulting. According to certain inaccuracies, we can tell that they were probably constructed for different spaces. Into the space of the depository they were inserted additionally.

Pugin is depicted presenting this church. Above, in the tracery lights, put in by Pugin in 1849, are King Saint Louis of France and angels bearing censers. This chapel also contains the altar that Pugin had in his own chapel in his house. It was moved into this chapel in the 1930s.

The Decorated Gothic style, with traceried windows, is further subdivided dependent upon whether the tracery is Geometric or Curvilinear. Many cathedrals have important parts in the Geometric style of the mid 13th to early 14th centuries, including much of Lincoln, Lichfield, the choir of Ely, and the chapter houses of Salisbury and Southwell. By the late 13th century the style of tracery evolved to include a greater number of narrow shapes that adapted easily to Gothic openings in combination with circular shapes as can be seen in the windows of the chapter house of York, the Octagon of Ely and the west window of Exeter. Decorated Gothic at alt=The interior of the nave at Exeter shows a great richness and diversity of decoration.

This type of tracery is often seen in combination with vaulting ribs of extreme projection and very rich moulding, as is seen in the chapter house at Wells, and the vault at Exeter, which stretches, uninterrupted by a central tower, for 91 metres (300 ft) and is the longest medieval vault in the world. The last stage of Curvilinear or Flowing Decorated Gothic, is expressed in tracery of very varied and highly complex forms. Many of the largest and most famous windows of England date from 1320–30 and are in this style. They include the south transept rose window known as the “Bishop’s Eye” at Lincoln, the “Heart of Yorkshire” window in the west end of York and the famous nine-light east window of Carlisle.

Around 1889, Hicks returned to New York City and began working at the Baynes Mosaic-Tracery Company making designs for metalwork. Simultaneously she continued her studies at the School of Artist Artisans on West Twenty-third Street to learn wallpaper design and book-cover designing, also teaching metalwork at the school. In 1892, one of her stencil designs was chosen to adorn the frieze of the assembly room for the Woman's Building at the World's Columbian Exposition the following year. She sold wall paper designs and made metal tracery patterns for Tiffany Glass and Decorating Company, but found she was unable to financially support herself without taking on additional work as a director of art works at the Lotus Press and several other printing houses.

The east end, with chancel and gable window Cullen Old Church, also known as Cullen Auld Kirk (and, as a Roman Catholic church prior to the reformation, St Mary's Church), sits within a high-walled churchyard, amongst many ornately carved tombs and memorial slabs. It is a simple, cross-plan church, rubble-built with sandstone and granite ashlar detailing for windows, corner stones and tracery. At the apex of the west gable there is an 18th-century bellcote, its south gable has four tall lancet windows, and there is a point-headed window, featuring intersecting tracery, in the gable at the east end of the nave. Rectangular heraldic plaques celebrate the Ogilvy and Gordon families, in honour of the founder of the college and his wife.

At Royal Ascot late in June Sweeper was dopped back in distance and started odds-on favourite for the St James's Palace Stakes over one mile but was beaten into second place by Tracery. At the same meeting he came home second behind Hector in the Triennial Stakes, with Jaeger in third place. In July he finished second by a neck to the King's colt Le Lac in the Dullingham Plate over one and a half miles at Newmarket and then finished runner-up yet again when chasing home Tracery in the Sussex Stakes at Goodwood. On 11 September Sweeper contested the St Leger Stakes over fourteen and a half furlongs at Doncaster Racecourse and rated at oddsof 12.5/1 in a fourteen-runner field.

In the 1901 edition it was revealed that all the commentaries were written by John Hill Burton, the edition included a foreword by Robert Rowand Anderson. Anderson wrote in the foreword of it being "in the front rank of Architectural publications, and from this position it has yet to be displaced." His other published works were An Attempt to define the Geometric Proportions of Gothic Architecture, as illustrated by the Cathedrals of Carlisle and Worcester (1840) Illustrations of Geometric Tracery, from the panelling belonging to Carlisle Cathedral 1842 ; The Infinity of Geometric Design exemplified (1849) and The Power of Form applied to Geometric Tracery (1851). The Attempt to Define the Geometric Proportions of Gothic Architecture has been the subject of scholarly interpretation.

These were Reims Cathedral (begun 1211), where coronations of the kings of France took place; Amiens Cathedral (1220–1226); Bourges Cathedral (1195–1230) (which, unlike the others, continued to use six-part rib vaults); and Beauvais Cathedral(1225–). In central Europe, the High Gothic style appeared in the Holy Roman Empire, first at Toul (1220–), whose Romanesque cathedral was rebuilt in the style of Reims Cathedral; then Trier's Liebfrauenkirche parish church (1228–), and then throughout the Reich, beginning with the Elisabethkirche at Marburg (1235–) and the cathedral at Metz (c.1235–). In High Gothic, the whole surface of the clerestory was given over to windows. At Chartres Cathedral, plate tracery was used for the rose window, but at Reims the bar-tracery was free-standing.

On the left are the entry into > Jerusalem, the Betrayal of Judas and the Ecce Homo: on the right, the > Scourging, Christ bearing His Cross, the Crucifixion. The scenes are linked > with a pattern of leaves. Palm is used for the Entry into Jerusalem, and > among other plants represented are the Star of Bethlehem, the Passion Flower > and the Thorn. The lowest medallion on the right, portraying the > crucifixion, is darker than the others, suggesting the darkness that was > over the land. The uppermost tracery light depicts the Pelican in her Piety, > and the remaining tracery lights contain the symbols of the Passion; the > betrayal money, Peter’s lantern, pillar and scourges, dice, ladder and > nails, hammer and pincers, crown of thorns and chalice.

The rear building did not have a gallery on its facade. Instead, it had a striking bay window, which was supposed to take away the tube-like character of the narrow courtyard. The parapets were designed with Gothic-style tracery, with no repetitive ornamentation. The interior of the Pellerhaus was also very elaborately decorated.

Double ogee tracery heads make an inventive display of circles, quatrefoils and wheels. The bressumer has intricate trails of running ornament, incorporating leaf designs, together with flower, vine, pomegranate and seaweed.the carving is still coloured in gold, red and green. A section of coving is also preserved, with its elaborate panels and drop scrolling.

The structure comes to a peak with its slender prismatic tower, which has Gothic core. The portal from the north is fitted with a fanlight, whose tracery was made up of a number of stylized nuns. The late- Rococo main altar (around 1770) remains the Gothic fittings. This was originally dedicated to St. Michael.

The window is damaged, it has the center portion broken. A series of five nuns semicircular záklencích created tracery windows. Arches were made with mangered profiles of rods. This design of the window portal in the Czech Republic is very rare, but rather used as in France layout portals in the 14th and 15th centuries.

The rose windows in the east and west transept arches were installed when the building was completed in 1872 and are attributed to Gibson. In each, elaborate stone tracery enclosed a central eight-lobed multi-foil surrounded by eight quatrefoils. These are filled with decorated, patterned glass in color similar design in the two windows.

All tombs are decorated with coats-of-arms. Gothic cloister of Lisbon Cathedral. Each oculum over the twin arches has a different tracery pattern. In the last quarter of the 15th century it is believed that the famous Saint Vincent Panels, painted by Nuno Gonçalves, were placed in the St Vincent chapel of the ambulatory.

A large three-part window is located above the main entrance. It is filled with original stained glass and Gothic tracery. Another stained glass window is located in the northwest corner of the nave. Inside the church, exposed timber arches rise from the floor on the side aisles to the ceiling's exposed wooden decking.

At the top four corners are gargoyles, three of which depict winged monsters, the other a human being playing a recorder. The west window has four lights with Perpendicular tracery. The bell-openings have two lights and louvres. At the corners are diagonal buttresses and at the northeast of the tower is a stair turret.

The west tower has octagonal turrets which become angled buttresses above roof level and open tracery embattled parapet with corner crocketted pinnacles. The tower has a four-sided clock and louvred bell openings. ;Interior The church has north, south and west galleries supported by chamfered diagonal piers. There is a plaster rib vaulted ceiling.

In the top stage the bell openings have two lights, and on the summit of the tower is a plain coping. In the south wall of the chancel is a two-light window with a segmental head. The east window has five lights. Its tracery is in a mixture of Perpendicular and Decorated styles.

The Lady chapel is lit by a pairt of two-light windows with trefoil heads and a quatrefoil above, both with plate tracery. There is also one smaller lancet window. One original 11th-century opening survives in the nave wall, but it is now blocked. The other windows are 15th-century, arched and hood-moulded.

The Late Gothic Malteserkapelle arose as a church of a settlement of the Sovereign Military Order of Malta/Knights Hospitaller. The quire was built in 1456 and the nave completed in 1465. The chapel's quire stands taller than the nave. The building's exterior is framed by stepped buttresses and windows with fish- bladder tracery.

Internally, the chancel has a ceiled wagon-roof, with moulded ribs and plaster panels. The tower exhibits the tracery typical of Somerset towers. The under-tower space has a lierne vault, and a 15th-century octagonal font with quatrefoil panels. The building has been designated by English Heritage as a Grade I listed building.

Inside the church the six-bay arcades are carried on alternate round and octagonal piers. The columns for these are monoliths. The roofs are scissor-braced, that of the chancel being carried on corbels carved with angels. The chancel screen dates from 1912, and is carved with tracery and motifs including cherubs and vines.

Fittings include Aston Webb's stone reredos—in a triptych form with carved figures and tracery on each panel—an octagonal carved stone font dating from 1888, the high- quality Willis organ of 1890 (housed in its own chamber off the chancel), and a stone pulpit donated by Rev. Cumberlege's widow and designed by Pearson himself.

On the south side of the tower is a small ringers' window and the belfry windows have two lights. The east window has five lights and contains panel tracery. On the exterior north wall of the tower are pitted marks which are said to have been made by muskets fired during the Civil War.

The tower, which dates from around 1462, has a ring of six bells, the tenor weighing . On the corner plates of the tower are hunky punks in the shape of daemonic animals. Internally, the chancel has a ceiled wagon-roof, with moulded ribs and plaster panels. The tower exhibits the tracery typical of Somerset churches.

Castilho changed the original round columns of Boitac into rectangular ones, and embellished it with Plateresque-style ornamentation. Each wing consists of six bays with tracery vaults. The four inner bays rest on massive buttresses, forming broad arcades. The corner bays are linked by a diagonal arched construction and show the richly decorated corner pillars.

During this period sanctuary side was vaulted, entrance hall of the church was finished and jambs and windows were stone craved. Master builder Brengyszeyna cooperated with stonemason Nicholas from Levoca. The new church nave and the south hallway with oratory were built in 1511. Oratory has decoration with Late Gothic motifs of rotating flamed tracery.

The chancel has a small rose in the gable with three lancets below. The west end of the chapel has a simple but attractive perpendicular window in the upper section with a door in the lower section. The original stone tracery of the window has been replaced with wood. Externally the sandstone has weathered badly.

Above it was a frieze that bore the inscription "Arnink Garage 1915" carved into the cast stone. The garages were set with casement windows that continued with the large, pointed- arch windows in the upper stories. Between them the tracery continued. At the top of the Arnink were cast-stone finials shaped like bells.

The tracery of the windows is reflects architectural developments between 1250 and 1350. The stained glass of the windows is late Victorian and regarded as of particularly high quality. The woodwork is Victorian or later, and the south porch is a late Victorian addition. A feature of the church is the spire and bell tower.

It is the work from the second half of the 14th century by a follower of Giovanni Pisano. This was the original entrance door. Most of the tombs are under the arcades, although a few are on the central lawn. The inner court is surrounded by elaborate round arches with slender mullions and plurilobed tracery.

In a field of flushwork tracery, a cinquefoil surrounds a single carved presentation of the arms of Sir Guy Ferre the younger. Where these arms are recited in the Galloway Roll (c.1300)College of Arms, London, MS M.14, ff. 168–75. it is specified that they are for Guy Ferre "the nephew".

250px The Church of St Nicholas is a Grade I listed church in Tingrith, Bedfordshire, England. It became a listed building on 23 January 1961. The brown sandstone walls date from the 15th century; the tracery of the windows is of white freestone.Betjeman, J. (ed.) (1968) Collins Pocket Guide to English Parish Churches: the South.

Much of their detailing and ornament, such as their buttresses and tracery, echoes or mirrors that found on the church and priory. The Society building and school date to 1930 and 1948 respectively and are not considered sufficiently historic to be included in the National Register listing with the church and priory at this time.

On the wall behind them the original pendant tracery was replaced with the current rose window. The original box pews were replaced with the current open oak pews. The church began the first of several renovations near the end of the century. A general renovation campaign began in 1994 and was completed in 1998.

The tower has three stages with buttresses to the lower two, and is topped by a plain parapet. The spire was added in the 18th century and is octagonal with pinnacles at the corners. Several of the windows date from the 15th century and have pairs of cinque-foiled lights with vertical tracery between.

The tower is in three stages with diagonal buttresses, a clock in the second stage, four-light bell openings, and a castellated parapet with gargoyles. The parapet of the nave is also castellated. The porch has angle buttresses which terminate in crocketed pinnacles. The doorway is of Tudor pattern with panels of carved tracery.

In the chancel is a large 14th-century seven-light east window with complex tracery. On the south side of the chancel is a low door flanked by two tall 14th-century three-light windows. There are two similar windows on the north side. The vestry is constructed in English bond brickwork on a plinth.

There is a three-light west window, and the bell openings contain Y-tracery. In the north wall of the nave is a single lancet window. The south porch contains the re-used former 13th-century doorway of the nave. The chancel dates from the 14th century, and its east window has three lights.

The entrances along Main and Locust are decorated with terra cotta buttresses, pointed arches, and brass double-doors flanked by transoms with Gothic tracery elements. The garage is accessed via a Tudor arch entrance along Locust Street. The first floor interior contains a marble floor and walls, and upper level hallways contain marble wainscoting.

In the eighteenth century, the church was baroquified. The tower over the crossing was replaced with a narrow flèche. The windows of the south side of the cathedral were widened and lost their gothic tracery. The steep roofs of the westwork were replaced with baroque onion domes and the bell story received a clock.

Architecturally it must have been strikingly modern at the time. The façade is richly ornamented with coats-of-arms and tracery. The roof line is castellated, the battlements purely for ornament, not defence. The two upper floors have large oriel windows; between these is the finely sculpted the coat of arms of King Henry VIII.

The arch is screened with delicate oak tracery of the same age. There is a chest tomb, possibly that of the founder of the chancel, against the north wall, just at the foot of the steps. It is covered with old English marble. Formerly there were labels around its rims, but they have been lost.

There are two windows with pointed arches, incorporating some 14th- century stonework, but without tracery. The easternmost arch is blocked and there are two square-headed windows. The west end elevation has a blocked pointed doorway. The south aisle has a single pitch roof, diagonal corner buttresses and also buttresses at the bay divisions.

St Mary's is constructed in stone with a slate roof. Its plan consists of a nave and chancel in a single cell, a south porch, and a north vestry and transept. On the west gable is a double bellcote. On the south side is a lancet window and three two-light windows containing plate tracery.

It has two-light bell openings containing Y-tracery, and a flat parapet. The nave contains 15th-century two-light windows. Its north doorway is blocked, and the south nave doorway and porch date from the 19th century. The chancel has two- light windows on its sides, and a three-light 19th-century east window.

There is a porch in the westernmost bay of the south aisle, and another porch in the angle of the south transept. On each side of the clerestory are ten square-headed two-light windows. The west window has five lights and contains intersecting tracery. Along the aisles are buttresses and two-light windows.

The church is constructed in bright red brick with stone dressings. The windows contain tracery in Decorated style. The plan of the church includes north and south chapels, the columbarium to the north, the baptistry to the northeast, and the narthex to the west. The interior of the church is lined with red sandstone.

St John's is constructed in sandstone rubble, and has a stone slate roof. Its plan consists of a nave with a south aisle, a chancel, a vestry, and a south porch. On the west gable is a bellcote. Also at the west end of the nave is a three-light window containing Perpendicular tracery.

The interior also is furnished with religious paintings and murals. The pews are made of cast iron, with Moorish tracery, rosettes, and designs particularly symbolic of scriptural references. The chandeliers of fine bronze are of both Moorish and Byzantine styles. The brilliant altar was handmade in Lyons, France, and is 24 karat gold-plated.

The window contains Perpendicular tracery. Above the windows the bell openings have two lights and pointed heads, and at the top of the tower is an embattled parapet with corner pinnacles and gargoyles. The windows of the south aisle have three lights, and the eastern bay is gabled. The parapet of the aisle is embattled.

The church is built in red sandstone with grey-green slate roofs. Its plan consists of a five-bay nave with north and south aisles, all under separate roofs, a chancel, a southwest tower with a broach spire, a flat roofed vestry at the southeast, and a north porch with a gable. The windows have plate tracery.

Lower cloister. Between the years 1517 and 1528 the cloister was built, which combines flowery Gothic in domes and pillars, with plateresque in the tracery of the arcs. Most gravestones of the mural tombs located there belong also to this style. The arcs, in the number of 24, are decorated with stone traceries, each one of different motifs.

The tower is in three stages with diagonal buttresses and is surmounted by a battlemented parapet. In the lowest stage is a west door with a pointed arch over which is a window with ogee tracery. The middle stage has lancet windows and in the upper stage are two-light bell openings. The east window has three lights.

A copper-gilded statue of Saint Joseph, to whom the church is dedicated, can be seen on the top of the gable. It is tall and was reportedly replaced after the original fell down during a 1921 storm. The Heuvelse kerk features flying buttresses and tracery. Furthermore, a ridge turret sits on top of the crossing.

View of the southern side of Hauterive Abbey Tracery windows in the cloister Choir stalls in the abbey church Hauterive Abbey () is a Cistercian abbey in the Swiss municipality of Hauterive in the canton of Fribourg. It is a Swiss heritage site of national significance. The entire Hauterive area is part of the Inventory of Swiss Heritage Sites.

The porch is gabled and has diagonal buttresses. In each side of it are two-light windows. In the north wall of the nave are two two-light early Perpendicular windows, dating from the middle of the 14th century, and a doorway. There is a similar window in the south wall, and a two-light window with plate tracery.

The 14th-century stone carving in the chancel is "exquisite". This is to be found in the six-bay arcades, the window tracery, the stalls with canopies, the sedilia and piscina, and an Easter sepulchre. In the baptistry is a 15th-century font with an octagonal bowl. This is carried on pilaster shafts with four carved lions.

At the top are squat pyramidal pinnacles, and a broach spire surmounted by a weathervane. The window at the west end of the church has two lights and contains plate tracery. Along the wall of the south aisle are triple lancets with roundels above. On the north side the windows are either triple lancets, or double lancets with roundels.

All windows are decorated with Gothic tracery and topped with heavily molded labels. As late as 1890, a wooden porte cochere with an open balcony above it stood before the main entrance. Two wooden verandas also opened out from the original building, as did a greenhouse on the south end. All these had disappeared before 1900.

The parish church is situated on raised ground north of the village. On its west elevation is a tall perpendicular tower with flushwork panelling at its base and battlements.Norfolk 1: Norwich and North-East, By Nikolaus Pevsner and Bill Wilson, Honing entry, page 169/170. The tower has a three light window with transom and tracery.

The oldest part of the church is the chancel, which was built in the 13th century. The nave was built in the 14th century. The nave used to have aisles, but these were demolished in the 15th century. In the 15th century the west tower was built and a wooden tracery screen was inserted in the chancel arch.

The organ case is elaborate with carved tracery, and has three gables. It was built in 1856, and was designed by Revd T. N. Hutchinson. The church contains three copies of paintings by Old Masters, which were donated by the Duke of Westminster. The stained glass in the east window was designed by the students of the college.

The north and south elevations have nine bays on a projecting plinth separated by buttresses and three-light windows with Geometrical tracery. The chancel has two and three-light windows. The three-stage tower has angled buttresses with an octagonal stair turret in one corner. Above the arched west door at the second stage is a statue and niche.

The font is Norman and tub-shaped, with a cover dated 1872. The pulpit is carved with tracery and has a backplate dated 1670. The stained glass in the east window, dated 1869, is by Frederick Preedy, and depicts subjects relating to Saint Edith. In the nave are windows by Done and Davies dated 1859 and 1869.

The church is built in stone with a slate roof. Its plan consists of a seven- bay nave with north and south aisles under one roof, a small single-bay chancel and a west tower. The tower is in three stages with corner buttresses rising to pinnacles. The windows are thin lancet windows, containing Geometrical tracery.

Unlike the other sections it has an asymmetrical facade that consists of two symmetrical sections joined together. One section is three bays wide and the other is 5½ bays wide and features a central pavilion. Its mansard roof was altered later. The tracery windows on the third floor mark the room that served as the chapel.

Inside the church are original fittings. The font is a square bowl carved with tracery and family shields, standing on a cruciform stem and an octagonal base. The Easter Sepulchre is a rare example of its type and consists of a carved wooden chest with a canopy. In the windows are fragments of medieval heraldic stained glass.

St Leonard's is constructed in sandstone with a stone slate roof. Its plan is simple, consisting of a nave with a continuous chancel, a north vestry and a south porch. On the gable at the west end is a bell cote and on the east gable is a cross. The west window has four lights with Perpendicular tracery.

The nave and chancel are divided by an arch and by three steps leading up from the nave. The chancel and sanctuary are separated by an altar rail set on top of some wooden panels. There is a pair of windows in the west wall decorated with tracery (stonework within the window frame forming a pattern).

The east side entrance, now primary, was provided with a pointed overhead arch and granite columns on both sides. The expanded vestibule was given a proper entrance to the nave. Three doors were installed in a wooden frame of tracery and overhead glass windows. Inside, the original wooden sanctuary floor was replaced with tile and the benches with pews.

South side has moulded uprights. Above, two square wooden oriels on moulded brackets and a 4-light window with wooden mullions and gothic tracery The interior has stud walls with jowled bay posts, two of them with arch braces, and arch braces to the spine beams. Principal rafter roof with collars and spine beam. Two stud walls without nogging.

Inside the church, the chancel is characterised by a tripartite division. Along with the low-lying ambulatory the area follows on to a small triforium gallery. The clerestory with tripartite tracery windows stands at the end. The contrast between the high-reaching clerestory and the low-lying ambulatory gives the room arrangement and vision guidance a particular dynamic.

A minaret with winding staircase around it. These mausoleums are known for amalgamation of Indo- Islamic, Gothic and European style. These mausoleums have the carvings on its inner and outer façades and arches with yellowish light brown exterior. They have onion-shaped domes, French windows, sculptures, marble tracery work, marble columns, marble jalis and silver doorways.

The walls are heated with cavities, which contains windows and tracery frames and decoration. In other areas occur among umbrella of the lancet vault lunettes. Slender and graceful Opinogóra castle is one of particular importance for the history of Polish architecture of the 19th century. The palace in Dowspuda is the next all-new neo-Gothic mansion built.

The nave was rebuilt in about 1250–1300. Later in the Middle Ages, the east and south walls of the chancel were rebuilt and were given late Perpendicular Gothic windows. The eastern window in the south wall of the nave was also revised with Perpendicular tracery. The Perpendicular Gothic belltower was added in either the 14th or 15th century.

Access from the nave is via four ogival arcades resting on simple round columns. Today, a medieval sarcophagus and several Roman spolia are kept in the side aisle. In the first half of the 13th century, the originally smaller chancel was converted into the present chancel tower. Around 1260, a cross-ribbed vault and large tracery window were added.

The back wall is flat, concealing the rounded apse within. The interior features a rib vaulted ceiling that is supported by ten heavy hardwood hammer beams. The beams are embellished with trefoil, quatrefoil, and circular tracery. A large pointed arch frames the main altar area, and it is flanked by two smaller arches that frame the side altars.

The Parish Church is called All Saints and dates back to the middle of the 14th century.Norfolk 1: Norwich and North-East, By Nikolaus Pevsner and Bill Wilson, Bale entry. The chancel is slightly older and there is a north transept which indicates that another was planned but never built. The windows have impressive tracery around them.

A church has been on the site since 642 AD, and the site is traditionally associated with St Oswald. The tower dates from the late medieval period, and the nave was built in 1804–05. The parapet was added to the tower in 1844. In 1895–96 the chancel was built, and tracery was installed in the nave windows.

The other windows contain several other types of tracery. In the northern and southern walls there are two supporting piers. There is a side entrance on the southern side, which includes a small annex with portal. We can find the coat of arms of the house of Lichtenburks here and an inscription dated back to the late Gothic period.

The church was deemed an "excellent example of Gothic Revival ecclesiastical architecture on a scale suited to a small, western rural town." It has a generally vertical character. Gothic Revival elements of its design include its steep roofs, its tall central portico rising to a steeple, and its tall Gothic-shaped windows with tracery and transoms. With .

Oak Hill Cemetery Chapel is considered an excellent example of Gothic Revival architecture, and often called a "miniature Gothic gem". It features a steeply designed pitched roof, buttresses, and stained glass lancet windows accented with tracery. The chapel is a one-story, rectangular building measuring high and long. The building materials consist of Potomac gneiss, sandstone, and wood.

The tower at the west end, dating from the 16th century, is built of red and buff sandstone in Perpendicular style. On the south face of the tower are carved a chalice and the initials "I. B.". These initials are those of the parish priest of the time, John Bybber, or Byber. The bell openings contain Y-tracery.

Gothic in style, several of them have been repaired and have had their original tracery replaced. The tower is crowned by an octagonal wooden spire. It has also been repaired and renewed occasionally. The door in the main portal of the church is from the 19th century, but it contains decorative ironwork from an earlier, 14th-century door.

The bowl is also octagonal. Within the chancel there are two decorated windows with a priest's door in between them. On the eastern elevation there is also a decorated window under brick arch with drip moulds and tracery. The west door is perpendicular with a double hollow chamfered four-centred arch and fleurons and ball flower decoration.

The pulpit is in stone, and is carved with tracery, arched panels, and buttresses. There are blind arcades on the east chancel wall, and on the reredos. The font is carried on shafts with angel corbels, and has panels carved with symbols. The stained glass in the west window dates from 1862 and is by R. B. Edmundson.

Ground plan is created by crosswise fields and deep five sided ending. The presbytery is located on the same socle as the nave. It is supported by eight load-bearing pillars similar to more tiny rests supporting the nave. The windows in the presbytery are narrower than the windows in the nave and they fill only two sectioned tracery.

He had cut up a photo of his painting 4096 farben from 1974 and pasted it behind the tracery of the window. In 2005 the cathedral chapter asked Richter to develop the design further. In 2006, the artist was finally commissioned. The in manufacturing costs were funded by about 1,200 donors; Gerhard Richter himself worked without a fee.

Parts of bend shafts and brackets on the north side have been preserved from the original Gothic church. The south part of the side nave is vaulted with cross vault with figural brackets at its end. The cathedral has original Gothic windows with graduated tracery all around its circuit. The original supporting pillars are preserved as well.

The other bays contain either a tracery or paired lancet window, which alternate down the nave. The church measures in length and its nave is wide. Across the back, where the sacristy and St. Margaret's chapel are located, it is wide. The roof rises above the ground and the spire on top of the tower is tall.

Lahore Fort Complex: Shish Mahal . Retrieved 21 April 2008 The decorative features also include stucco tracery (munabat kari) and carved marble screens in geometrical and tendril designs.Dogar (1995) The roof of the central hall rises up to two storeys. The hall was originally decorated with fresco paintings that were later replaced with glass mosaic in different colours.

Inside the church the north arcade has three bays, and the south arcade has two bays with the vestry occupying the western bay. The chancel screen and pulpit are both made from traceried timber. The organ occupies the chapel to the south of the chancel. On the south chancel wall is a sedilia with heavy terracotta Perpendicular tracery.

The windows are otherwise symmetrically placed, with cut stone sills and lintels. In the gable end at the attic level is a window exhibiting Gothic tracery. A single-story ell extends the building to the rear. The house was built about 1828 for Captain James Loomis, whose family was locally important, with numerous houses in the immediate area.

The new church was completed and dedicated in 1912. R. F. Graf was the architect of the Gothic Revival style building. Martha Henson contributed almost $90,000 toward the $100,000 cost of the project as a memorial to her husband, James A. Henson. Gothic elements in the building include arches at windows and doorways, exterior buttresses, and tracery.

The shallow, gable roof features a narrow wood cornice. The three-stage central tower on the main facade includes the primary entry on the lower level and a belfry at the top. It is capped with a crenelated parapet. The door at the primary entrance is deeply recessed within a four-centered arch with a tracery-window transom.

Many memorials were removed and the window tracery was renewed. The bells were rehung in 1896, a weather vane was added to the tower in 1897, and the clock was replaced in 1902. In 1960 the heating and lighting were improved and in 1963 restoration work was carried out on the tower and the roof were re-covered.

In the tower is a west doorway with a round arch, a three-light west window, and three-light bell openings. The windows in the sides of the aisles and clerestory corresponding to the nave have two lights, and those corresponding to the chancel have three lights. The east window has four lights containing Perpendicular tracery and ogee quatrefoils.

Christ Church is constructed in yellow sandstone with a Welsh slate roof. Its architectural style is Early English. The tower is in four stages, and it has a tall, slender spire. On the west side of the lowest stage is a portal, and above this in the next stage is a west window with plate tracery.

An arch rises over the 49th floor of each major elevation. The central pier on each side rises above the arch to support one of four figures in the building's crown. Each of the figures depicts a deity holding forked lightning. The building's crown contains Gothic tracery, which is intended to represent electricity and radio waves.

The paired two-light bell-chamber windows have Somerset tracery flanked by attached shafts and pinnacles, with quatrefoil grilles. There are similar single windows on the stage below. On the stonework are hunky punks representing dragons with the one on the left side of the west face being a mixture between a Basilisk or Cockatrice and a Griffin.

This room is accessed through a pointed arch decorated with openwork tracery similar to that of the large windows, divided by stylized maineles. The Refectory or Throne Room used as a reception room, began to be built in 1560 and belongs to the Baroque style.Bérchez, J., Arquitectura renaixentista valenciana (1500-1570). València, Bancaixa, 1994, p. 90.

The south aisle has six bays and is fitted with three-light flowing tracery windows, between stepped buttresses. Outwardly the north aisle had seven bays, because of the addition of the east chapel; its fenestration is similar to the south. There are four-light aisle west windows. Those of the north aisle have three cusped roundels beneath.

The capitals are illustrated with carvings of parables and miracles. At the clerestory end are three-light windows in the first two bays and plate tracery in the third. The chancel is separated from the nave by a prominent arch. Unlike the nave, it is groined in brick and is extensively decorated with mosaic and inlaid marble.

The nave roof is barrel-vaulted. The apse contains a large reredos. The pulpit has carvings of Saints Peter and Paul, and there is an alabaster font with tracery decoration. Nathaniel Westlake contributed many stained glass windows and some murals on the vaults including his last work, and local firm Cox & Barnard designed a single window in 2001.

It is a two-storey Victorian Gothic style church constructed of face brickwork on sandstone base with stone dressings, buttresses and gable roof. The building is symmetrical, with triple gothic arched leadlight windows with stone tracery above panelled doors at ground-floor level. Remnant elements of cast-iron palisade fencing and gates with sandstone gateposts survive.

Inside the porch are stone benches, and the side walls contain embrasures. In the other bays are two-light windows with trefoil heads containing Geometric tracery. The organ chamber has two lancet windows on the north side, and a two-light window on the east side. The north wall of the chancel also contains a two-light window.

In the top stage are double louvred bell openings. Along the sides of the aisles are two-light windows, and along the clerestory are alternate two-light and circular windows. At the west end of the nave are two narrow lancet windows, above which is a sexfoil rose window. The east window has four lights containing Geometric tracery.

Tracery divides the rectangular panels into three openings, a lancet-esque opening with tre-foiled arched head and, above this, two smaller tre-foiled shapes. The openings are glazed with diamond mullioned glass. A timber sill projects from the base of the windows. Along both the northern and southern facades of the buildings are three similar window openings.

Built in ashlar stone, the building has an octagonal plan with two towers, one at the east end, the other at the west. Its main windows have three lights and contain Y-tracery. Around the summit of the church is a battlemented parapet with crocketted pinnacles and a moulded cornice. Below this is a string course.

Plan at Medieval Bristol – St. Mary's Redcliffe The tower was added to the building in the 13th century. It has broad angle buttresses and Y tracery to the windows. The bell stage has ogee gables and polygonal corner pinnacles. After the collapse of the original spire in 1446 it remained truncated until the 1870s when George Godwin rebuilt it.

The windows lie either side of the main entry doors. A door in the southern wall of the hall provides access from the rear of the church directly into the main room of the hall. Windows are typically paired tracery windows with timber sashes. The main floor is timber-framed with a part-basement space underneath.

The choir replaced an earlier, Romanesque choir with an apse. The current choir instead has a straight eastern wall, adorned with a single tracery window, in which fragments of medieval stained glass panes remain. The sacristy was built in 1820-21. Inside, the church has a painted ceiling, decorated at the end of the 17th century.

The largest middle foil had a lancet arch with a tracery on the top placed on brackets with vegetal patterns. At the bottom it was finished off with a protuberant cornice, which replaced an altar. Square-shaped niches by the sides complemented with gamblets served as tabernacles and reliquaries. All three niches are decorated with crochets and flowers.

At the top of the east gable is a small stone cross. Along the north aisle are buttresses, two-light Geometric-style windows and a porch. The north transept has a three-light window, and an adjacent apsidal vestry. Along the south aisle are windows, some of which are lancets, the others containing plate tracery, and a gabled porch.

This fenestration features a Tudor arch and extensive tracery. The building is located at 787 E. Broad Street. Thes stone building is the second church built by the local Episcopalian congregation. It was listed on the National Register of Historic Places on December 17, 1986 as part of a group of properties the, "East Broad Street Multiple Resource Area".

Internally, the roof of the chancel has a boarded ceiling with rafters decorated with bosses. The roof of the nave is plastered. A 15th-century tracery screen from Teston church is located at the base of the tower. The church contains wall monuments to Elizabeth Scott (died 1598) and Katharine Scott (died 1616), both featuring kneeling female figures.

The chancel is the earliest part of the church, and is unusually large in relation to the rest of the fabric. It is long, and is both wider and higher than the nave (which at is slightly longer). The design of the chancel windows' tracery indicates a building date of c. 1300–1310, as does the contemporary armorial glass.

The church is constructed in red brick with Runcorn sandstone dressings. It has a slate roof. Its plan consists of a three-bay nave with a north aisle and a south porch, a two-bay chancel with a north vestry, and a central tower. Along the sides of the church are two-light flat-headed windows with Decorated tracery.

Each aisle bay contains a two-light window, and in each bay of the clerestory is a taller three-light window. The windows contain Decorated-style tracery. The doors at the south end of the church and on the sides are in oak with beaten copper cladding in Art Nouveau style designed by Richard Llewellyn Rathbone.

The current building, designed by renowned church architect Ralph Adams Cram, dates from 1907. It remains unfinished, the bell tower never having been completed. The church is built of limestone, using medieval construction techniques, with no supporting steel superstructure. The building boasts soaring, pointed arches, wide expanses of stained glass, and elaborate tracery, exemplary of Gothic architecture.

From the nave can be seen the intricate tracery of the east window echoed in the rich lierne pattern of the tower vault, which is scarcely higher than the choir, and therefore clearly visible. The two aisles of the choir both also have vaults of unique character, with open transverse arches and ribs above the stone bridges.

The foundation stone was laid on 20 June 1867 by the Bishop of Worcester. The funding of the church was provided by Miss Louisa Ann Ryland. The church was designed by J A Chatwin and built in brick, with the tracery of the windows in Corsham Down Bath stone. The contractor was Charles Jones of Belmont Row, Birmingham.

It has an arched north doorway, and a three-light west window with Perpendicular tracery. On the north and south sides, at a higher level, is a two-light window with a circular clock face above it. The bell openings have two lights, and are louvred. At the summit of the tower is an embattled parapet.

They may be decorated with a symbolic motif carved in relief, such as an hour glass, or a drooping flower. The Neo-Gothic style stones have tops that rise to pointed arches. Several such stones are carved with detailed Gothic tracery and other architectonic features. There are also a number of stones with steeply pointed "gables" and Gothic details.

Thomas Butler. The chapel's four-light east window has renewed 15th century tracery and glass of 1872. In the eastern jamb of the window in the north wall is a merchant's mark, a square sunk panel with a shield bearing a monogram – the sign of the Woolstaplers' Guild. Opposite the north door, there is a 13th- century piscina.

The front facade is symmetrical, with two double-door entrances flanking a central tall Gothic-arched window with tracery. The entries are also topped by smaller Gothic windows. Similar windows are found on the building sides. The building originally had box pews, but these were removed in the 19th century in favor of auditorium-style seating.

There are three panel windows with tracery in the choir, though they have been altered or replaced. The Organ is also located in the choir. The elaborately worked choir screen, which separates the choir from the nave, dates from 1927, the 400th anniversary of the university. It was added post hoc, just like the galleries and the organ.

At the top of the tower is a double-pitched roof with a lead spire. The south front of the church is clad with close studding, and it contains four-light windows with perpendicular-style tracery. The vestry has a half-hipped roof and a six-light casement window. In the chancel is an east window.

The church is constructed of stone, with slate roofs, in the English Gothic style. Its plan consists of a four-bay nave with an octagonal crossing, around which the aisles and transepts lie. The lead roof over the crossing is pyramidal and has an octagonal wooden lantern with side tracery. The lantern itself has a pyramidal roof of copper.

The exterior is of flint and ironstone random rubble, partly rendered, with freestone dressings and ashlar, brick and tile buttresses. The windows in the nave have a Y tracery. The gabled porch has a square headed doorway with shields in spandrels. Inside there is a carved effigy of the Crusader Sir Richard de Montfichet on a window sill.

The oldest of the aisle windows date to 1890, but most were installed at the same time as the chancel redecoration. The designers include Tiffany Studios of New York City and Clayton & Bell Studios. In the 1930s, the faux blocking was removed, leaving only tracery around the windows. The chancel was renovated for cleaning and maintenance in the 1990s.

The cathedral construction began in 1498 at the site of an older Visigothic cathedral and a later mosque. The cloister was built in the 14th century. In the next century, designs for the church were pursued by Martín de Solorzano and Pedro de Ybarra. The nave has Gothic tracery, while the facades and doorways show Renaissance decoration.

The brick was stuccoed. Internally he used it for the columns, for the tracery of the ceiling, and for mouldings. Cragg worked with the architect Thomas Rickman on the design of both churches, although the relationship between the two was not always happy. The church was consecrated by the Bishop of Chester (George Henry Law) on 21 June 1815.

The next stage has a clock on three faces and above this are three-light bell-openings which are partly glazed and partly louvred. On the summit is an embattled parapet with pinnacles at the corners. All the windows have cast iron tracery. Internally the nave has arcades of cast iron and the aisles have galleries.

In the south wall, from the east are a six-light window set higher than the others, a doorway into the chancel, and three windows with Y-tracery. On the middle buttress are three scratch dials and the gnomon of a former sundial. The porch is timber- framed on a brick base. Above the doorway, in the gable, are three wooden niches.

The window at the east end of the choir was built in 1877, and consists of four lights with contemporary tracery. One of the finials shows an angel playing the bagpipe. On the north side of the choir there is a medieval sacristy, which is now an ecumenical chapel and mausoleum of the Maitland family dedicated to the Three Kings.McWilliam, p. 230.

The clerestory has seven bays on either side, each containing a four-light Perpendicular window. At the east end are three windows. The central window, at the end of the chancel, is Perpendicular with seven lights. This is flanked by two aisle windows with plate tracery, the one to the right having four lights, and that to the left five lights.

The church is faced with flint, an unusual building material in Liverpool, with dressings in red brick and terracotta. The roof is in slate with a cresting of red tiles. It has a T-shaped plan, consisting of a nave and transepts as wide as the nave, and a southwest tower. The tracery in the windows is Perpendicular in style.

In the garden is a former chapel with an early 19th century window featuring tracery. Eagle House c. 1890 The house was built in the late 17th or early 18th century, then remodelled in 1724 and again in 1729 by the architect John Wood, the Elder as his own house. The house was later associated with his son John Wood, the Younger.

The cathedral was built from 1572 to 1600, when the bell-tower was complete. Among the architects were Martín de Castañeda, Quinto Pierres Vedel, and Alonso del Barrio de Ajo. The church has a single nave and the ceiling has Gothic tracery. The nave interior and the Chapel of the Virgen del Pilar was redecorated in stucco and gilding in Baroque style.

The East Window depicts the Crucifixion and Saints of England and Wales. Both East and West windows are by Harry Clarke of Dublin; the stone tracery in the East Window is Pugin’s. A more recent feature is the installation of a cross by the Salvadoran artist Fernando Llort in 2013, as a national shrine to the murdered Archbishop of San Salvador Óscar Romero.

47 it represents the first example of Renaissance-influenced royal architecture in that country. It was worked on by a number of English craftsmen, and incorporates some English design ideas, being comparable to Edward IV's hall at Eltham Palace, built in the late 1470s.Fawcett, p.41 It includes Renaissance details, such as the intersecting tracery on the windows, within a conventional medieval plan.

The font dates from the 15th century; it is octagonal with carved tracery, shields, and foliage, in "unusually rich" Perpendicular style. The benches also date from the 15th century, as does the circular east window. The memorials include a kneeling figure of Rector William Makesey who died in 1424. There is also a plaque to the memory of Thomas Inskip, 1st Viscount Caldecote.

The green rolled asphalt roof is steeply pitched, cross-gabled with smaller dormer gables. Bargeboards decorate the cornices of the intersecting gables, with turned finials at the apexes. Two large brick chimneys further accentuate the vertical Gothic motifs. A veranda on brick piers matches the Gothic trim on the gables, with clustered octagonal-capitalled columns and open-work tracery at the soffitt.

The south wall of the chancel has a two-light window dating from 1902 and a priest's door. The east window has three lights and dates from about 1300. In the north wall of the chancel is a 13th-century lancet window and a dormer window with Y-tracery illuminating the organ loft. Around the exterior of the church are carved heads.

When construction resumed in the late 1840s, there would be a new row on Bleecker, and individual rowhouses all over the district. Orr built one of the most distinctive rows in the district, 6-10 Madison, from 1845-48 specifically with wealthy homebuyers in mind. The pointed-arch windows and Gothic tracery suggest the possible influence of Andrew Jackson Downing's architectural theories.Botch, 14.

The five bays connecting the east and west gabled ends are identical except for the fifth bay from the west which holds a door at its ground level. Each bay, separated by pilasters, contains a tracery window. Projecting modillions support an unornamented frieze and cornice. These bays are covered with a gable roof supporting three copper dormers with ornamental hoods.

The bellcote sits on the ridge towards the west end of the church. Inside the church is a large Jacobean pulpit with a tester dating from the early 17th century. Dating from the same period is a manorial box pew. Some of the benches date from the 15th century, and one of these is carved with tracery and poppyheads on its ends.

The windows mainly date from the 19th century. The south wall of the nave has a blocked-up round-headed window from the 12th century. The 19th- century east window has three lights (sections of window separated vertically by mullions) topped by tracery in trefoil shapes (decorative stonework in a three-leaf circular pattern). The chapel's north and west window are similar.

Jesse has a splendid four-poster bed. In the tracery, the central section has the form of a Sacred Heart and contains the Virgin and Christ Child rising from a lily and surrounded by radiant light. Cathedral Notre-Dame, Moulins, Central France Tree of Jesse window above Jesse can be seen a king on horseback from the 15th or 16th century.

The south porch is gabled, and above the entrance is a niche containing a statue. The three straight-headed windows along the south side of the nave contain Perpendicular tracery. The west end of the church has large buttresses, a four-light window and a gable cross. Along the north side of the aisle are windows with three or four lights.

This process is now on the facade of the church are still visible, thanks to the survivors of the visible part of the Baroque segmental arches. On the east wall of the south aisle is more rectangular probably the Gothic window. The window that is performed again with tracery in which a pair of nuns. Similar was the window on the west wall.

Below the windows is a sill carved with a text. The south end of the each aisle contains a doorway. Above the left doorway is a niche containing a statue, and over the right doorway is an oculus. Along the sides of the aisles are square- headed two-light windows, and in the clerestory are windows with pointed heads containing Perpendicular tracery.

The roof comprises elaborately worked tussels and tracery work, somewhat after the lines of the famous roof of Westminster Hall. The floor is of alternating black and white marble. The chapel was designed to seat 350 boys, with the west balcony reserved for household staff. In the First World War, 927 Leysians joined the armed services and 146 of them died.

The upper part of the chancel screen has Perpendicular Gothic tracery of an unusual type. The lower part has two rows of eight panels which had 15th-century paintings of saints, most of which survive. In February 1982 a thief using a screwdriver removed from the screen a panel bearing a painting of Saint Eligius. The panel has never been recovered.

At the west end are diagonal buttresses, an entrance, and pointed windows containing Geometric tracery. The windows along the sides of the nave have two lights. In the south transept is a four-light window, and the north transept contains two two-light windows with a rose window above. In the chapel is a five-light window flanked by diagonal buttresses.

In the bottom stage is a two-light west window with a sharply pointed arch, containing Decorated tracery. The middle stage contains circular clock faces and, on the north and south sides a narrow rectangular opening below the clock. In the top stage are two lancet bell openings on each side. Inside the church is a hammerbeam roof with floral bosses.

Holy Trinity has a three-bay nave, each bay containing a triple lancet window. At the west end are four lancets, one on each side and two over the entrance. The chancel, added by Paley and Austin, has two bays and a three-light east window containing Decorated tracery. At the west end of the church is a double bellcote.

The cathedral in Amiens showing three portals with wimperg and pinnacles and rose window. A Wimperg, in German and Dutch, is a Gothic ornamental gable with tracery over windows or portals, which were often accompanied with pinnacles. It was a typical element in Gothic architecture, especially in cathedral architecture. Wimpergs often had crockets or other decorative elements in the Gothic style.

1800, now disused. Pitched slate roof with clay ridge tiles, rendered chimneystack to south party-wall, recent concrete barge coping to north gable, replacement uPVC rainwater goods on uPVC fascia. Ruled- and-lined rendered walls. Pointed arch window and door openings to street front, having stone sills and multiple paned timber sash windows with switch- line tracery to upper sash.

In 1914 the tie beam in the chancel was cut out and replaced by an iron rod, drawing by Inskipp Ladds, but in 1914 the vicar, Rev. John Cooper, commented that the tie beam is 'a real eyesore disfiguring as it does the east window and hiding the tracery.' An additional tie beam was added across the east face of the west tower.

There are two pairs of lancet windows in the porch, each with trefoils above. A wide seven-light lancet window with tracery and trefoils is above this. The double doorway in the porch has a carving of a verse from Psalm 100: . The Susans Road façade is of five bays, each with a gable and arched windows at the upper (gallery) level.

The original interior survives. A wooden gallery, supported on slender iron columns, runs round below the hammerbeam roof. Other fittings dating from the church's opening include pews, a pulpit and an organ case originally fitted with a three-manual pipe organ. The church hall is a two-storey Decorated Gothic building of stone, with gables, cast ironwork and lancet windows with tracery.

It has been suggested that this represents either Queen Maud, or Margaret of Navarre. In the roof of the tower are carvings of three elongated wingless angels. The oak altar rail dates from the late 19th century, and is ornately carved with grapes and vine leaves. The reredos is also from the 19th century and consists of five arched panels containing tracery.

Most of the original Federal details have been retained. The entrance on the central portion of the side of the house exhibits Federal influence. It has a molded architrave as well as in the transom that is tall with tracery that is both neoclassical and fine. A two-story piazza with Tuscan columns, ceiling panels, and plain balusters is on the west facade.

The original plans called for lierne vaulting, and the piers of the choir were built to conform with them. Ultimately, a complex fan vault was constructed instead. Reginald probably designed the window tracery at the extreme east of the church's north side: the east window of the easternmost side chapel, which unlike the Perpendicular style of the others is in curvilinear Gothic style.

The upper two stages are ornately decorated. Each side is arched and contains a louvred three-light bell opening incorporating a clock face. At the bottom of the stage is an openwork balcony, and at the top is a crocketed gablet. The top stage is octagonal and contains blind tracery, a stepped parapet, and short flying buttresses linking to the pinnacles.

It has diagonal buttresses, and a Perpendicular west window. In the upper stage, the bell openings are small and square. There is a stair turret set at an angle on the north side of the tower. The transept has a five-light north window and three-light windows on the east and west sides; all these windows have Decorated tracery.

The screen contains sculptures of the patron saints of the Incorporated Trades of Edinburgh by John Rhind as well as the arms of William Chambers.Marshall 2009, p. 133. The ceiling and open screens within the vestibule were designed by Esmé Gordon and added in 1940. A fragment of medieval blind tracery is visible at the western end of this screen.

Some heavy rifts were detected in the construction of the church in the 19th century. This was a reason for general reconstruction of the church made by architect Mocker. He tore down the old gothic platform in the west part and replaced it with a replica. In the windows of the nave he replaced old tracery for the new ones.

All roofs are of slate. As originally designed, the nave and its adjacent aisles consisted of one open-plan area demarcated by narrow cast iron columns and piers. A stone chancel arch led to W. Gilbee Scott's chancel, with one bay and a window with tracery work. The vestry was on the north side of the chancel, opposite the organ chamber.

The tower, which was built in the first quarter of the 16th century, rises two storeys above the nave. It has three bays, with a stair turret to the north-west corner. The bays are articulated by slender buttresses with crocketed finials above the castellated parapet. Each bay on both stages contains a tall two-light mullioned-and- transomed window with tracery.

Many of the ground floor windows and doorways are exaggerated with ornamental archivolted brickwork. One of the most intriguing features of the town hall is its use of colour on the exterior. The highlighting and trabeation of the exterior are white and the tracery and decorative grills are dark blue. The rest of the building is composed of red brick.

The top stage contains a three-light louvred bell opening on each side, and above them a string course with gargoyles. At the top of the tower is an embattled parapet, and it is surmounted by a pyramidal roof with a weathervane. Both aisles have two cusped, tracery-less, three-light windows and above them are three three-light square-headed, mullioned windows.

The parish church of Saint Mary has a nave built in the perpendicular style which is illuminated with transomed windows. There is a canonical sundial on the south wall. The chancel and west tower are in the decorated style. The chancel has a large Decorated five-light window with reticulated tracery, and there is an elaborately moulded tower arch on the west tower.

The remains of 18th Century Wesleyan chapel, located close to Florencecourt Primary School. The chapel was a small limestone 3 bay gabled hall with wooden double Y tracery windows. Now an unglazed outhouse, the gables have been reduced and it has a flat roof. The chapel was closed in 1887 as it was letting in rain and no longer suitable.

The living space measures 15,000 square feet and includes a dining room with a tracery ceiling, as well as a "huge solarium with a coffered ceiling with plaster detailing and three exposures," according to the brokerbabble. Also on the property: formal gardens, a grass tennis court, two greenhouses, an apple orchard, a 75-foot- long heated pool, and a 1,800-foot-long driveway.

A private chapel (St.Augustine's) built in 1838. The chapel is a single storey rendered brick building with corner buttresses and a rectangular floor plan. The design has been described as Gothicised Georgian as it features not only pilasters, a string course and a pedimented gable but also Gothic Revival style pointed arches, rudimentary tracery with amber glass and quatrefoil vents.

It is in two parts, the easternmost of which consists of a series of wide trusses. The chancel roof has beams supported on decorated corbels. Most of the windows in the church are lancets. The north wall has four, there are three on the south and east sides, and the west wall has two and a rectangular window with tracery work.

At the top of the tower is a battlemented parapet with pierced tracery panels, and pinnacles at the corners. Inset on the tower is an octagonal spire with a pinnacle attached to each of its diagonal faces. On each cardinal face is a two-light lucarne. The upper part of the spire has been removed and around its top is a pinnacled coronet.

The cemetery was abolished but the church was still not restored. In 1909, the city council appointed architects Eduard Sochor (1862-1947) and Ferdinand Čapka (1905-1987) with the restoration. A terrace was created around the church, the tracery was restored, nevertheless the renovation works stopped one year later. They were not finished till the church was bought by The Czechoslovak Hussite Church.

The church of St. Margaret is an ancient building of stone, consisting of chancel, nave without aisles, north porch, and an embattled ashlar tower to the west containing 3 bells. Most of the windows are plain lancets, that is, with pointed heads but no tracery. It has a stone slate roof. The present tower was added during the 15th century.

Above the crossing is the base of a dome rising from pendentives surmounted by a lantern with a short spire. Above the south porch is a detached belfry spire. The west porch is Romanesque in style, and above it is a rose window. Some of the other windows in the church are Romanesque, while others have pointed arches with plate tracery.

Some of the inscriptions and names of donors can still be seen, one dated 1470. The building was in a very poor state by the mid 19th century. It was restored in 1881 by J. E. K. Cutts and again by F.E. Howard c.1923. The pews were replaced in 1904, but some 15th-century bench ends with decorative blind tracery were retained.

The church is built in buff sandstone. Its plan consists of a west tower, a five-bay nave with a clerestory, north and south aisles, a north porch, transepts, a chancel, and a vestry. The tower is in three stages with diagonal buttresses and an embattled top. Its west window is in Perpendicular style, and the bell-openings are paired with panel tracery.

At the top is an observation deck with a tracery railing. Behind the observation deck is a room for watchman, because in the past was the tower a part of the town defense system. At each side of the observation deck are clocks, which were moved from the city castle in 1860. There are some pointed windows at each side of the tower.

St. John's Episcopal Church is a High Victorian Gothic structure made of yellow brick. The steeply pitched gable roof is clad with grey and yellow slate, and the windows make extensive use of stained glass. Two towers, a lower squared one and a teller hexagonally roofed one, balance the facade. Additional exterior moldings, tracery, and carvings provide details to the facade.

In the lowest stage is a simple blocked doorway with a lancet window above it. In the middle stage is a circular window on the west side. The top stage contains large bell openings with Y-tracery on each side. The north nave wall contains the Norman fabric, which includes large areas of coursed flint walling and two blocked lancet windows.

The chancel also contains many 14th- century mosaic tiles with line-impressed decorations, dating from the 14th century. The rood screen is still partly present, and there is a door and stairs to the previous rood loft. The limestone font dates from the 14th century. It is carried on five columns, and its octagonal bowl is carved with different tracery on each face.

31 with Dec windows which have been isolated to date 1330–40, the church's original foundation was probably older. There are south facing windows with Y-tracery. Medieval wall paintings of 1300 of the south wall showing the Feast of the Annunciation, the Visitation of the Angel Gabriel, and the Crucifixion of Christ are from early fourteenth century. The stoup is 15th century.

The font consists of a tub in Norman style with an octagonal painted cover dated 1736. In the north aisle are boards painted with the Ten Commandments and the Lord's Prayer, and over the chancel arch is a painted text from Genesis. The stained glass in the tracery of the aisle and nave windows dates from the 15th century and depicts saints.

Procedural Model of Cologne Cathedral With procedural models, the model complexity is no longer directly (i.e., linearly) related with the file size. The Procedural Cathedral, a basic model of the Cologne Cathedral, contains 70 tracery windows, and a single window in highest resolution contains about 7 million triangles. These are "unfolded" from only 126 KB of GML code (18 KB zipped).

Parish Church 1844: brick with Welsh slate and stone slab roofs, stone dressings, coped gables with kneelers. Nave with apse, gabled porch, bell turret. East front has central porch with coped gable and cross, four centred archway doorway with label mould and close boarded door flanked by two double lancets with Y tracery. Apse has 3 singlet lancets and pitched roof.

A great part of the cemetery, surrounded by a gray stone wall with deciduous plants encrusted in it, is covered with grass and walkways all paved with gravel. Close to the north of the vestry lies two blocks of graves with stone frames. The oldest graves are located immediately south and west of the church. Some with cast iron tracery.

Gelduin endowed the abbey with enough revenue for Benedictine monks to build a huge church, dedicated to the White Virgin. From the east, it looks like a complete Gothic cathedral with flying buttresses and trefoil stone tracery in the windows of the radiating chapels. There is a gravel courtyard where the nave should be. The monks treated the sick and educated children.

Robinson, pp. 26, 121. This curved brick and timber building is said to have been designed to resemble the shape of a fetlock, one of the badges used by Edward IV. George Gilbert Scott heavily restored the building in 1871 and little of the original structure remains. Other ranges originally built by Edward III sit alongside the Horseshoe, featuring stone perpendicular tracery.

Further to the right is a five-bay chapel. This has a five-light east window containing Perpendicular tracery, and three-light windows along the sides. To the left of the entrance porch, and set back from it, is a round turret with a conical roof. The window in the main part of the building are framed in stone, with mullions and transoms.

In the eastern window the original tracery has survived. Nave and choir are separated by a profiled choir arch. Decorative shields can still be made out on the rib intersections on the net vaulting above the choir. Only the base of the original wall survives on the north side of the nave, the remaining material was changed during an inappropriately executed renovation.

The building's structure features three tall vaults and an ambulatory, with fine tracery windows and numerous stained glass windows. The interior is characterized by unity of style (late Gothic), except for the dome, built around 1630 by Pedro de Brizuela. The Gothic vaults are 33 meters high by 50 meters wide and 105 long. The bell tower reaches almost 90 meters.

The Anglican Church of St Bartholomew in Cranmore, Somerset, England, dates from the 15th century and has been designated as a Grade I listed building. The chancel was rebuilt in 1848 in a perpendicular early English style. It has a three-stage embattled tower, supported by buttresses with corner pinnacles, tracery and gargoyles. There is a stone fan vault under the tower.

The hammerbeam roof includes both blank and openwork tracery. The authors of the Buildings of England series consider that the 17th-century furnishings of the chapel are the most complete of their date in Cheshire. F. H. Crossley states that the chapel holds "the most valuable post-Reformation church furniture we possess in the country". The chancel is panelled in old oak.

The nave is divided into bays by buttresses and at the corners of the east end are octagonal pinnacles with crocketted caps. In the bays are two tiers of three-light windows with Perpendicular tracery. The windows in the chapels are flat- headed. In the chancel the windows are in two tiers, with one of four lights and two of two lights.

The main gable, which has a stepped front, has a four-part stained-glass window with tracery at its center. The church was built in 1853 to a design by James Renwick, Jr. Best known for St. Patrick's Cathedral, New York (built 1858-73), Renwick was in 1853 overseeing construction of the Smithsonian Institution Building. This church is his only known Maine commission.

The entire new addition was cast in the Greek Revival style. The subsequent owner made further alterations to the house in 1902. The owner added a 20-foot (6.1 m) by 12 foot (3.7 m) Victorian front porch, complete with a gable roof and Victorian style wood tracery. He also reversed the home's staircase and filled in all four original fireplaces.

On the north side is one similar window and a doorway. In the south wall of the chancel are a two-light window with Y-tracery, a priest's door, and a late medieval two-light window. The east window has three lights and dates from the 19th century. At the southeast corner of the church is a buttress through which is a passage.

The portal boasts with a finely profiled jamb with a tracery at the top. On the sides there were brackets in the form of lions' heads and out of these grew pinnacles. Also worth mentioning is a private oratory located in the southern wing. Unlike the chapel on the ground floor, which is located directly below the oratory, the purpose here is clear.

The main entrance was at the west end with three Gothic, panelled doors. In the centre and over the doors was a geometrical pointed tracery window, glazed with coloured glass. At the same end were two pointed windows one on each side to light the aisles. The west end parapets were capped by a five feet high gilded Latin cross.

The furniture, other than the recently added altar and communion rails, was designed by Paley and Austin. The choir stalls are decorated with pierced friezes, and have poppyhead finials. The wooden pulpit is polygonal, and is decorated with a frieze of pierced tracery. The font consists of a square bowl in an octagonal stem, with black marble shafts at the corners.

The east window is a three- light lancet with tracery in the Decorated Gothic style. Jean-Baptiste Capronnier added a stained glass depiction of the Resurrection to it in 1873. Faith and Hope are depicted in an 1886 window in the south side, and Charity is shown in a north-wall window of 1875. These were probably by the Clayton and Bell firm.

In the south aisle is a small painting of The Widow's Mite by Jules Bouvier. A second pulpit, made of stone and dating from the late-14th century, is attached to the northeast pier of the crossing. This is designed to appear like a large chalice, and is decorated with panel tracery. The wooden crossing vault was designed by Scott.

The east window has three lights and contains Geometrical tracery. Inside the church is a 20th-century octagonal font, a pulpit with traceried panels, and a timber screen on a stone base with a trefoil frieze and Tudor roses. The choir stalls have large fleur-de-lys poppyheads. The stained glass includes windows by Powells and by Clayton and Bell.

The exterior of the church is largely red brick with stone dressings, and the roof is tiled. The tower with its saddleback gabled roof is in the North German style, with three arcaded openings to the belfry and plate tracery above. The detail of the nave, chancel and aisles is Early English revival. The nave has four bays with narrow aisles.

The east window. The windows of the church were originally planned to be glazed with plain glass with ornamental geometric tracery. Over the years these were replaced by some modest coloured stained glass panels commemorating worthy members of the resident community. The East Window originally showed Christ the Good Shepherd and was installed to commemorate Queen Victoria's Diamond Jubilee in 1897.

St John's was designed by the Lancaster architect E. G. Paley and built in 1862–63. It is constructed in whinstone with a slate roof, and was built to replace an older church, also dedicated to Saint John the Baptist. Its plan consists of a nave, with a short chancel and a bellcote. The windows are lancets containing plate tracery.

Inside the church the arcades are carried on eight thin piers. There are galleries on three sides carried on cast iron pillars, their fronts being decorated with tracery. The ceiling is flat, carried on cast iron, decorated hammerbeams. At the west end of the north aisle is a baptistry containing a white marble font consisting of an angel carrying a scalloped bowl.

The arcades are supported on five columns consisting of clustered shafts. The west window is particularly large, and has complicated tracery in its upper part. The bosses in the roof are carved with a variety of objects, including angels, a lion, two-headed eagles, and a bat. Near the entrance to the church is a dole cupboard, carved with a rat.

St John's was designed by Norman Shaw in the Gothic Revival style. The church is made up of snecked rubble stone and features ashlar dressings and a plain tiled roof. An octagonal bellcote can be seen above the nave. Lancet arches run the length of the nave and clerestory, whilst internally the nave arcade is carried on piers of quatrefoil tracery.

There is a blocked doorway and window to the west and a pointed window, without tracery, in the second bay from the east. The west end elevation has a pointed window reconstructed from 13th century masonry, with a hood mould. In the nave roof there are two flat-roofed dormers. The chancel, dated from about 1860, is by G. E. Street.

The World War I Memorial group has twin Army and Navy towers with Lyon Hall to the north and McFaddin Hall to the south, both built in 1928. Mennen Hall was built in 1931. Names of those who served are inscribed on plaques between unglazed tracery windows in the cloister. Over the windows are names of battles in which they fought.

The church of Saint Mary is an almost complete example of an Anglo-Saxon church. "St Mary’s Church, One of England’s most important Anglo-Saxon Churches," by Simon Jenkins The building consists of a chancel and aisleless nave separated by square central tower. The east window with net like tracery dates from 1340. There is a "leper window" in the north wall.

The church is constructed in yellow stone from Mow Cop with red sandstone dressings, and has Westmorland slate roofs. Its plan is cruciform, consisting of a nave, north and south transepts, a chancel, and a central tower with a spire. The windows contain plate tracery. The interior walls are faced with ashlar, and the capitals are richly carved with foliage.

Richmond's First Congregational Church is a Gothic Revival structure constructed of red brick on a fieldstone foundation. The front facade is asymmetrical, with a square tower with wooden belfry standing to one side of the entrance. Stepped buttresses and lancet windows containing tracery decorate the exterior, making the building a significant and well-reserved example of 19th-century Gothic Revival architecture.

They were rare in England until the 13th century, after which there is scarcely an altar without one. They frequently take the form of a double niche, with a shaft between the arched heads, which are often filled with elaborate tracery. If there is no drain, a niche for washing is a lavabo, though the usage of the two terms is confused.

Its windows and door openings have pointed heads. Detailing to the spire includes: recessed pointed head arches, accented by tracery; voussoirs, alternately projecting; and elaborate moulding. A lighter coloured brick articulates the pointed heads of the church's other window and door openings. Internally the church still contains most of its original fittings and furnishings including timber bench pews and decorative timber entrance screen.

Harvey, J. (1974). Early Nurserymen. p.104. Phillimore & Co. Ltd. 1975. Traditionally believed to be a cultivar of the Wych Elm U. glabra, its fastigiate shape when young, upward-curving tracery, small samarae and leaves, late leaf-flush and late leaf-fall, taken with its south-west England provenance, suggest a link with the Cornish Elm, which shares these characteristics.

Inside the church, the semicircular chancel arch, dating from the seventeenth century, contains nineteenth century tracery. Above the chancel arch are the Royal arms of Queen Victoria. At the west end of the church is a gallery, and on the walls of the church are benefactors' boards. On the wall adjacent to the door is a poor box dated 1623.

Its tracery is elaborately carved with a vine-trail rail, and depictions of such subjects as the Instruments of the Passion, and pigs eating acorns. The font has a "bowl of weird organic forms". Also in the church are painted Royal arms dating from before 1801. The Gwydir Chapel contains 17th-century fittings and fixtures, including stalls, a lectern and a communion table.

The oak box pews installed at this time were especially noted as a fine example of carved ornamentation in the Decorated Gothic style with tracery heads and foliate spandrels. A further restoration project was undertaken in 1987, including repairs to the roof and organ. In 1979 a new octagonal church hall was constructed on the south side of the church.

The church was formally opened on 18 February 1844, and consecrated on 26 June 1845 by John Bird Sumner, the Bishop of Chester. The land for the church was given by the 2nd Earl of Bradford. It provided seating for 471 people. Originally the church had an openwork spire, with crocketed pinnacles, a parapet with open tracery, and traceried windows.

Second Baptist Church is a historic Baptist church located at Bloomington, Monroe County, Indiana. It was designed by noted African-American architect Samuel Plato and built in 1913. It is a one-story, "L"-plan, Romanesque Revival style stone building on a raised basement. It features broad round arched openings, a two-story bell tower, lancet windows, and oculus tracery.

The tie beam of the chancel roof is inscribed with the date 1633 and initials. The benches in the nave are a mixture; some carved with poppyheads (and one with pierced tracery) date from the 15th century, and the rest are from the 19th century. Under the tower arch are the remains of a screen. The font dates from the 15th century.

The exterior of the 1870 building was rough-hewn stone, and the windows had complex tracery. The chancel was added later in 1888 by another architect. Between 1936 and 1949 the church became defunct and was temporarily closed. Services resumed briefly, then it closed again by 1982, to be partially demolished in 1988 to make way for a road and offices.

St John, Copthorne St John at Copthorne, West Sussex was begun in 1877 and consecrated in 1880. It was built in imitation of the late thirteenth-century style. It has a short, north-west tower and a stone broach spire made of smooth ashlar. The main building is faced with roughly dressed stone, and has lancet windows with simple tracery.

The church consists of the chancel and nave with small north and larger south transepts. The chancel is by with south vestry, and the nave by . The chancel arch and walls, and part of the nave walls date from the 12th century. The east window of the chancel dates from the 15th century, with three cinquefoiled lights and tracery over.

In the transepts are two-light Decorated windows, with a rose window above them. The tower rises for two stages above the body of the church, and has angle buttresses that rise to octagons and end in pinnacles. In the south east corner of the tower is an octagonal stair turret. The bell openings are in pairs, louvred, and contain plate tracery.

It was here that Blacket was able to really indulge a love of Flowing Decorated ornamentation. There are three very large windows, of seven and six lights in the chancel and transept ends, each with highly elaborate and distinct tracery, inspired by, but not identical to, famous Medieval windows. That in the North transept has a wheel based on the Visconti emblem of a window in Milan Cathedral, but by the judicious placement of two small tracery lights, Blacket has turned it into a sunflower, an emblem frequently used by one of the stained glass firms he employed, Lyon and Cottier. Other decorative features include the foliate carving of the capitals, much of it in the stiff- leaf style of Wells Cathedral; pierced cinquefoil openings in panels above the hammerbeams; and a screen of white New Zealand stone.

The flanking doors in the west wall of the church, though featuring similar arched heads and tied pilasters, have simple hood mouldings instead of the elaborate frieze. Each of these doors is accessed by two to three stone steps - the central door having been fitted with quite discrete modern steel handrails and the north door having a removable timber ramp with attached handrail to facilitate disabled access. The bays of the north and south walls of the nave are punctuated by pairs of lead-light, stained glass windows set in gothic stone tracery with variety given by the changes in the detailing of the quatrefoil in the spandrel above the main lights. The rear vestry wing has smaller pairs of gothic arch-headed windows without tracery, buttressed corners and a stone finial surmounting the apex of the stone coping on the end gable.

The cloisters were restored in the 20th century, and the stained glass windows contain the images of some 130 saints. The cloister garth contains a modern sculpture entitled The water of life by Stephen Broadbent. The refectory roof is dated 1939 and was designed by F. H. Crossley. The east window with reticulated tracery was designed by Giles Gilbert Scott and is dated 1913.

The top stage is battlemented and contains small bell openings. The east wall of the church has angle buttresses, and a parapet surmounted by a cross finial. The east window has three lights. Towards the east end of the north wall of the church is a two-light window with Y-tracery, and to its west is a lancet window, a three-light window, and a doorway.

The nave or body is now > roofless and dilapidated; and, from its moss-grown and impaired appearance, > must have been a ruin for a long period. It is said that the nave of the > church suffered during the rule of the Parliament or of Cromwell. Its > exterior walls, the mullions, and most of the tracery work (which is > undoubtedly handsome) of its windows are, however, still existing.

Wardlaw Junior High School, also known as Wardlaw Middle School, is a historic Middle school located at Columbia, South Carolina. It was built in 1926–1927, and is a three-story, rectangular brick structure with a central courtyard. It features Gothic window tracery, arched entrances with one-story porches, and decorative cast stone panels. It was the first junior high school building in South Carolina.

The brass lectern is dated 1518. The benches date from about 1500, or earlier, and are carved with pierced patterns, tracery, figures of saints in niches, crenellated buttresses, animals and poppyheads. In the north aisle is a monument to Sir Henry Kervil who died in 1624. It consists of an alabaster tomb chest on which lie the recumbent effigies of Sir Henry and his wife.

The chapel is rectangular, again with a carved ceiling with two orders of beams in the Plateresque style. Immediately above the entry is the choir loft, whose carved ceiling has a single order of beams. The center of this ceiling is decorated with Plateresque motifs alternating with tracery and pineapples. Over this ceiling is the rostrum of the upper choir, composed of a sill of wooden balusters.

The lancet window first appeared in the early French Gothic period (c. 1140–1200), and later in the English period of Gothic architecture (1200–1275). So common was the lancet window feature that this era is sometimes known as the "Lancet Period".Gothic Architecture in England accessed 24 October 2006 The term lancet window is properly applied to windows of austere form, without tracery.

25 Unusually for an English religious building, much medieval glass survives intact. Of the seven pairs of windows in the side walls of the Quire, twelve retain original 13th century glass, set in Decorated tracery. The glass was donated to the Chapel sometime between 1289 and 1296 by Henry Mansfield. The scene of the Annunciation in the East Window also dates from the late 13th century.

At the west end is a wooden belfry and spire, both of which are weatherboarded. The east window dates from the 19th century and has three lights containing Decorated-style tracery. In the north wall of the chancel are two two-light windows from the 15th century, and between them is a blocked doorway. There are similar windows in the south wall, and a 15th-century doorway.

It served as an observatory facing German lines and resting place for the regiments taken out of combat. In 1938 a machine gun turret was removed and mounted at the Bastion de la Riene at the Citadel of Verdun. The fort displays an unusual degree of attention to design, with window frames resembling Gothic tracery. The fort is maintained by an association for its preservation.

The west tower, which was built around 1467, has four stages with set back buttresses terminating in diagonally set pinnacles at the bell chamber stage. One of the bells is engraved with the arms of Sir Francis Popham. The nave has a clerestorey of four 2-light trefoil-headed windows. The east end of the chancel has an early Perpendicular (restored) 3-light window with reticulated tracery.

While the exterior is simple, made of irregular stones with a central oculus, two filled in windows,and with a portal flanked by doric pilasters; the interior is notable for Gothic tracery in the arches. The ceilings are painted with a starry sky. There are frescoes from the 16th century Umbrian school depicting an Annunciation.Churches of the Italian Dioceses website, short description of the church.

They are of three lancets, with pointed heads, geometrical tracery—typically circular rosette devices dating from c.1250–1310—and hood moulds. Below the west wall south window is a late 14th-century door, now blocked, within an ogee-headed stone surround. The spandrels between the ogee and outer rectilinear enclosure contain on one side a dragon motif, and on the other, a shield.

The arrival of the new monastic orders in Scotland from the twelfth century led to a boom in ecclesiastical building using English and continental forms, including abbeys at Kelso, Holyrood, Jedburgh and St Andrews. In the thirteenth century, the east end of Elgin Cathedral incorporated typical European Gothic mouldings and tracery. In the fifteenth century continental builders are known to have been working in Scotland.

There are clock faces high on each side of the tower. At the north-east corner of the tower, where it joins the nave, there is a polygonal turret. The west wall of the tower has a pair of large windows with transoms and tracery; there are also belfry windows on that wall. The windows of the clerestoried nave have two lights and cinqufoil heads.

The Durán Madonna, oil on oak wood, circa 1435–1438. Museo del Prado, Madrid. The painting is a Madonna Lactans. The Madonna and Child stand in a space delimited by the rich brocade of the throne at the back and the delicate curtain of tracery in the front, a flattening of the picture space into a kind of relief regarded by Panofsky as already unmistakably Rogerian.

St Austin's is built in brick with stone dressings, a gabled stone west façade, and a slate roof. The west façade has a protruding gabled porch with diagonal buttresses and two lancet windows, above which is a niche containing a statue. Flanking the porch are lancet windows, and above it is a rose window with iron tracery. At the top of the gable is a louvred lancet.

The bays on the west wall of the nave are separated by buttresses, each bay containing a three-light window with reticulated tracery. At the south end is a castellated bow window for the baptistry, above which is a three light window. The aisle has three-light windows with trefoil heads in rectangular surrounds. The interior of the church is lined in brick with stone bands.

St Thomas' is constructed in stone with a tiled roof. Its plan consists of a five-bay nave, a chancel, a southeast vestry, and a west tower. The tower is in two stages with clasping buttresses, and is surmounted by an octagonal broach spire. The bottom stage of the tower contains a two-light window with Decorated tracery, above which is a clock face.

Also in the south wall is an external tomb recess containing a tomb-slab carved with a cross. The south organ chamber has a west doorway. The three-light east window of the chancel contains 19th-century tracery in Perpendicular style. The north wall of the chancel contains a Norman-style window, and there is another Norman window in the north wall of the nave.

Image of Elizabeth de Mowbray, Duchess of Norfolk in one of the medieval stained glass windows. The nave, at , is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure. The interior is lit by 74 tracery windows, many of which retain original medieval glass.

In a window of a traditional type, it is usually left to the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies. A full- sized cartoon is drawn for every "light" (opening) of the window. A small church window might typically have two lights, with some simple tracery lights above. A large window might have four or five lights.

All the windows contain Geometrical-type tracery. The tower has gabled angle buttresses, a stair turret to the northeast, two two-light windows on the south side, pairs of louvred two-light bell openings, and an embattled parapet with pinnacles. It is surmounted by an octagonal spire with lucarnes. The chancel has a five-light east window and three-light windows on each side.

Fanlight Montgomery's Inn, Ontario A fanlight is a window, often semicircular or semi-elliptical in shape, with glazing bars or tracery sets radiating out like an open fan. It is placed over another window or a doorway, and is sometimes hinged to a transom. The bars in the fixed glazed window spread out in the manner of a sunburst. It is also called a "sunburst light".

At the western end of the church there is the tomb of Sir Thomas Fairfax, a local landlord, who died in 1828. There was some restoration during the Victorian era, which included the addition of the current organ chamber, which was installed in 1883. The east window, with reticulated tracery, was also installed in the 19th century. The current clock was installed in 1908.

Nearby is the former stable of the Rector, who sometimes lived at Wood Dalling. The church lacks a chancel, this having been demolished early in the 18th century. The east window has cross- linked tracery, clearly used to fill the arch of the lost chancel, and the east end of the north aisle has an unusual rectangular window.Knott, Simon, St Andrew, Thurning dated July 2006 at norfolkchurches.co.uk.

It comprises an arched pediment with the inscription "OUR BOYS" above a laurel wreath set within the tympanum, and a gabled ridge, which is capped with an edge roll and terminates with tracery infills above the columns. The aedicule is topped with an urn that has bevelled corners. The modern concrete slab, flagpole, metal posts and chains surrounding the memorial are not heritage-listed.

The tower first stage contains one large pointed arch Decorated window, this on the west side, with no hood mould and plain glazed with twin lights (lancets) leading to trefoil heads. The central mullion runs to an oval rosette with quatrefoil insets, characteristic of c.1250-1310 Geometrical tracery. The second stage contains small and narrow single light windows on all but the east side.

The south chapel south side contains two Tudor windows, both wider than high. The window to the east is of two sections, each with three lights with arched cinquefoil heads, and is clear glazed. The window to the west is of five lights, again with arched cinquefoil heads, but with panel tracery above. Both windows are dressed with flattened arch hood moulds with label stops.

Other sources state the construction date to the years 1556-1563. According to one hypothesis, the synagogue was built by emigrants - Sephardic Jews, perhaps from Greece or Italy. It appears to be in a Renaissance manner with certain modifications common north of the alps (most notably the tracery, which resembles that of St-Pierre in Caen). It was the third synagogue to be erected in Kazimierz.

The Tolchkovo Church (1671–87) is representative of the last phase of medieval Russian architecture. It is characterized by elaborate brick tracery and the vertical ascent of its 15 domes Russian churches often have various recurrent elements in their architecture. The onion dome is for example a recurrent and important element in the architecture of Russian churches. Often Russian churches have also multi-colored filigree ornamental elements.

St Bede's is built in red sandstone with a slate roof. Its plan consists of a west tower, a nave with a clerestory, north and south aisles, a chancel and a south porch. The tower has angle buttresses and gargoyles, and is crenellated. The windows in the nave are paired lancets, those in the clerestory have trefoil heads, and the tracery in the chancel windows is curvilinear.

The building is a good example of masonry church design of mid nineteenth century Queensland, influenced by the English revival of early Gothic architecture. The place is important because of its aesthetic significance. It is a well composed and constructed stone building, with fine stone tracery. The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.

The windows have the remains of good- quality Decorated Gothic tracery that suggests they were added in the latter part of the 13th century. Between 1496 and 1518 St. Martin's lacked a priest, but it was served again from then until 1547. Thereafter St. Martin's lapsed from use for worship and was re-used as a barn. It was re-roofed with thatch in the 19th century.

The gable side was fitted with two gables, each with a side façade with a chamfered round arch. Late Baroque wooden doors were removed during conversion work in 1950. The upper floor was formerly adorned with Renaissance windows, only two of which are still preserved. During conversion work in the late 18th century, the tracery windows were replaced with oval windows and the oriel window was removed.

The complex of buildings is Gothic Revival in style, built of yellowish Bargate stone dressed with ashlar and with slate-tiled roofs. The lancet windows have Decorated Gothic-style tracery. The tall four-light window on the steeply gabled Bridge Street façade is flanked by two projecting gabled stone porches with doorways set beneath pointed-arched hood moulds. Full-height buttresses rise alongside this window.

The church is constructed in yellow sandstone with red sandstone dressings; the annexe is in concrete. The plan consists of a 3½-bay nave with a clerestory, north and south aisles, and an apsidal chancel with north and south vestries. At the west end is the base of the uncompleted tower, and an attached single-storey annexe. The windows are lancets containing Geometrical tracery.

After his father died in 1399, Johann continued work on St. Vitus Cathedral. He oversaw construction of the South Tower and was probably the designer of the tracery balustrade, which completes the facade. He then moved to Kutná Hora (), where he became master builder of St. Barbara's Church. He was the first architect of the church, construction of which had already been started in 1388 but interrupted.

The most elaborate feature is the double-pointed belfry window underneath a flower-let formed by a tracery pattern. The south wall is partly built of rubble suggesting that it was an interior wall. There are signs that a tall pointed object, such as a funerary monument, was connected to the south wall. The abbey church most likely was connected to the tower from the south.

From the south elevation there projects a long wing. On its east it has a two-story semicircular stone portico with a shed roof. A flat roof on its east supported by four round wooden columns shelters a stone porch with steps and iron railings on either side. At the top is an arched double wooden door with ornate tracery inside a wooden surround.

But the main arches in the arcade and beneath the central tower are slightly pointed in the Gothic manner. The three-bay aisled nave and transepts continue the style. Between 1383 and 1385, a large tracery window was inserted in the west front, and the clerestory windows in the nave were enlarged and a north porch added. Several medieval encaustic tiles survive on the floor.

The font is octagonal in design with tracery panels, and was noted for being of unusual design on Rev. A Baylay's summer excursion in 1910. The font is dated from the 14th century and is constructed out of a single block of stone. During the 1889 restoration the font was repositioned from the centre of the nave to the rear of the nave, below the west window.

The roof is laid with pantiles. The main entrance, a round-arched doorway in a slightly recessed bay, sits below five tall, narrow windows with elaborate tracery; the brickwork surrounding these is diapered. Inside, the ceiling of the long nave is of concrete, painted and laid out in a hexagonal pattern. The nave is flanked by aisles with plain arches, above which runs a tunnel vault.

In the middle of the altarpiece, the Coronation of the Virgin by the Trinity is depicted. In the background, angels are holding a brocade drapery, which creates an illusory sense of depth. The scene is framed by tracery pillars which end in pinnacles mounted by angels playing music. Two angels hold the folds of the dress of Mary, creating a linkage with the podium below.

The ribs are attached to the target pins. The whole arch is completed by crosswised ribs in a semi-circle and creates the impression of a spreading arch. The presbytery is connected with the nave by the stone pointed triumphal arch sitting on the profiled socle with reciprocally cut deeply channelled tracery. The floor of the presbytery and the nave are covered with plasters.

The terminal wall holds a large late-Gothic window divided into four lights by mullions. Its head is filled with reticular tracery. This window must in the 15th century have replaced an earlier smaller Romanesque window. In front of this window stands the table of the high altar, the front of which is divided into nine panels decorated with late-gothic cusped arches and foliage in relief.

It consists of a stone table, similar to the altar in the choir, and a canopy consisting of a high pointed arch with tracery. The style is late Gothic. The O'Connor mural is on the wall of the choir to the right of the altar. It shows reliefs of O'Connor and his wife kneeling in prayer in an architectural frame, decorated with heraldic and religious motives.

In the south wall of the chancel are two three-light windows with Decorated tracery, and a corbel table with carved heads. The chancel roof is gabled with a finial at the apex and pinnacles at the corners. The 19th-century east window has four lights and is flanked by buttresses. The east window in the chapel also dates from the 19th century, and has three lights.

Imrich on the heel of vault on the southern wall of the south nave were polychromed by painter Peter Moler. Fillings of tracery windows were painted red, arch ribs in naves were painted white. An inscription tape was painted on the triumphal arch of the south with the beginning of rebuilding of the temple in 1502. In 1514-1515 Master Jan rebuilt the temple tower.

In the 15th century the chancel was enlarged and its present east window with Perpendicular Gothic tracery was inserted. In 1870 the church was restored under the direction of George Gilbert Scott. The present south porch was built to his Gothic Revival design, incorporating various worked stones ranging from the Saxon era to the 13th century. The church is a Grade I listed building.

The walls are made of balayong as well. The doors are wide and have tracery cutwork, also known as callado, that provides space for air and light to pass through. Hofileña's living room, or sala, displays old photos of every family member. On top of its 200-year- old German Steinweig piano stand the photos of the nine siblings, each one of them involved in the arts.

The series continued after Pevsner's death in 1983, financed in part by the Pevsner Books Trust and published by Yale University Press. Pevsner's approach was of Kunstgeschichte quite distinct from the antiquarian interest of local and family history typical of English county histories. Consequently, there is little mention of monumental brasses, bells, tracery, the relationship of the building to the landscape.Harries, Pevsner, p. 392.

The windows, all lancets, have intricate tracery. The (liturgical) west window is large, with seven lights, and the east window is similar. Stained glass was added to two nave windows by the Heaton, Butler and Bayne firm in 1930. The interior is noteworthy for its intricate naturalistic foliage carvings, especially on the capitals in the nave, on the corbels and on the chancel arch.

By 1620 the church was poor condition. It was partly demolished, rebuilt, and on 24 September 1624 John Buckeridge, Bishop of Rochester, reconsecrated it. The rebuilt church was completed with Geometric Decorated Gothic tracery windows: an example of 17th-century English Gothic Survival architecture. The church was restored between 1860 and 1862, when the windows were replaced with Gothic Revival ones, again replicating a Decorated Gothic style.

Caröe, 'The later history of the priory and the gatehouse', in Myres et al., Archaeological Journal: see Plan, Plate III facing p. 234, and Plates. Detail of flushwork tracery on the south front The exterior decorative work covers the whole of the north and south gabled frontages and the faces of the north towers, in a dramatic scheme integral to the proportions of the building.

All the windows were filled with stained glass and decorated with wooden tracery, with stone sills below and a keystone above. The original cupola was replaced by a bell tower and a tall octagonal steeple which is crowned with a cross. Narrow louvered lancet openings are located on the four sides at the base of the steeple. Triangular vents are placed in the middle of the tower.

This part has two large pointed three-light windows on each side, all with graceful flowing tracery of the same pattern. The southeast window was later altered very lopsidedly to include a fourth light. Below the southwest window is a blocked doorway. The fine east window of five lights with subdivided reticulations can be dated to 1358 by a will bequeathing money for its construction.

The parish church of Saint Peter was constructed in the late 12th century and is a grade I listed building, extensively restored in the 19th century. The tower, with two-light plate-tracery windows of c.1260, is made of ironstone rubble with stone dressings and dressed stone to north aisle. In addition it has a wooden- shingled spire with a wooden cross surmounted.

At the west end of the nave is a four-light window with Decorated tracery. To the right of the window is a niche, and to the right of this is the three-light aisle west window. Along the south side of the aisle are two-light windows separated by buttresses, the second bay containing a gabled porch. The clerestory contains spherical triangular windows.

The spire is supported by flying buttresses, and contains lucarnes. The clerestory contains two-light square-headed windows, it has an embattled parapet, and octagonal angle turrets at the east end. The aisles have plain parapets, and buttresses rising to gables. The west windows have two lights, the windows along the sides are tall and also have two lights, and all contain Decorated- style tracery.

The chancel roof likely dates to the 16th century and is a hammerbeam roof with gilded angels. The outstretched wings are a modern gift from the 1960s by George Bailey. In the 1770s, rebuilding included the addition of tracery into the windows and a resurfacing of the walls with moorstone. The addition of the vestry chapel of St Katherine destroyed the cruciform shape of the plan.

In the early 1930s the church was altered to have a broader, steeper pitched roof, removal of several small double-hung windows, arched windows were replaced with wood tracery, and two side-by-side, arched steeple openings were replaced with a smaller, single, centered arched opening. The church moved to 826 Boulder Street in 1965. The St. Vrain building has always been a place of worship.

The result is an "extraordinary, continuous and closely moulded net of tracery", complementing the new stained glass windows commemorating the fire, designed by Joseph Nuttgen,Nicolson, pp. 246, 264. based on an idea of Prince Philip's. The Great Kitchen, with its newly exposed 14th-century roof lantern sitting alongside Wyatville's fireplaces, chimneys and Gothic tables, is also a product of the reconstruction after the fire.

Rood Screen of five lights survives, without cresting, but with five different ogee tracery heads robustly carved in oak. Crossley observed that the semicircular heads and boarding at the base are characteristic of the Dee valley screens and resemble the screen at Pennant Melangell.Crossley, F H & Ridgway, M H, 1947. Screens, lofts and stalls situated in Wales and Monmouthshire, Part V, Archaeologia Cambrensis 99, 221.

It is decorated in a Gothic style. Its walls are oak-panelled and it has an ornate wooden ceiling imitating a ribbed groin vault. The centre of that ceiling is occupied by a pendant in wooden Gothic tracery. The sitting-room on the second floor has a coffered ceiling, the panels of which are filled with painted roundels formed by circular inscriptions enclosing coronets or crests.

On the rainbow arch that separated the nave from the apse traces of a Romanesque paining from the second part of the 15th century was found with tracery. The nave was covered by a dome with a concentric arrangement of stones. The nave is 13 metres high, the apse is 6.8 metre high and the total height of the rotunda is approx. 15 metres.

The current clay tiles were used in the early 20th century. The kitchen block was added in the late 15th century or early 16th century and has no direct connection with the rest of the house. The Solar Block is the oldest part of the building dating from around 1250. It has a plate tracery window with a Trefoil cusping surrounded by wall paintings.

The Church of Saint Michael, Framlingham, has been built, rebuilt and added to down the ages. A surviving feature, the capitals of the chancel arch, date from the twelfth century, but the majority of the church was built in the Perpendicular style between 1350 and 1555. The roof is especially glorious with intricate fan tracery which conceal hammer beams. The roof itself dates from about 1521.

Each bay on the south side of both the aisles and the clerestory contains a pair of windows. The transepts have buttresses, a corbel table, two-light north and south windows in Decorated style, and small west windows. The chancel also has a corbel table. Its east window has five lights with Perpendicular tracery, and the two two-light south windows are in Decorated style.

The tower has louvred bell openings, a battlemented parapet, and an octagonal stair turret on the northwest corner. The windows contain curvilinear tracery. Carvings by Norbury and Sons are located around the doors and windows and along the sides of the church. These include depictions of King George V and Queen Mary, King Edward I and Queen Eleanor, and foliage, seaweed, a dragon, and a medieval monk.

In 1861 merchant İ. Ğ. Yunısov donated the addition of stairs, and in 1863 he donated the extension of mihrab and the breaching of new window. In that period the mosque was called Yunısovs' mosque after his family. In 1885 merchant Z. Ğosmanov donated the renovation of the minaret. In 1887 merchants W. Ğizzätullin and M. Wälişin added the tracery balcony to the minaret.

The church is of Decorated style, the tower of three stages with diagonal buttresses and a turret at the north-east. The upper bell stage has two-light louvered abat- son. Above the south entrance is a niche with a figure of St Michael. There are three windows in the chancel, the east being of three lights with geometrical tracery and stained glass imagery depicting Christ.

The architects, Charles Amos Cummings and Willard T. Sears, also designed the Isabella Stewart Gardner Museum. The exterior of the church is primarily built of Roxbury Conglomerate commonly called puddingstone. Many arches, and several walls of stone are striped with alternating courses of yellow-beige and deep red sandstone. The porticos and large open arches in the campanile are decorated with simple plate tracery.

Frascati's Tuscan portico and classical detailing are Jeffersonian architectural characteristics. The 57' x 39' structure is executed in very even Flemish-bond brick with tooled penciled joints. Frascati's shallow hipped roof covers the two-story, double-pile residence. Frascati's main entrance has paneled double doors set within a frame containing a large semicircular transom and complementing sidelights all encircled with elaborately patterned wooden tracery.

All these windows contain simple Perpendicular-style tracery. On each side of the vestry is a flat- headed two-light mullioned window. Inside the church are a Perpendicular-style reredos, an octagonal font, a brass lectern, and a brass chandelier. The two manual organ was installed in 1964, having been moved from a Congregational church in Warrington; it was made by Hall of Kendal.

At its top is a carved corbel table and a plain parapet. In the lowest stage is a three-light west window. This is decorated with ball flowers, and in the centre of its tracery is a carved head. The middle stage contains a small window with a trefoil head in each side and on each side of the top stage is a two-light bell opening.

The middle stage contains a stepped triple window, and in the top stage are two-light bell openings. Along the sides of the nave are four two-light lancet windows. The chapel has two-light windows on the north and south sides, and a three- light window on the east. The east end of the chancel has a four-light window containing trefoil plate tracery.

The parish church of St Nicholas is built in the perpendicular style. The tower of the church is decorated with blank tracery windows. Inside, the chancel arch has unusual corbels of a man and a monkey. At one time there was also a Methodist Chapel in the village. The Beacon 500 yards (500 m) from the church is a small man-made hill, about .

The church's windows have middle pointed tracery and there is a rose window in the north transept. Heaton, Butler and Bayne of London supplied the stained glass of the chancel's five-light window and south transept's east window. The pulpit and choir fittings are made of oak and walnut wood. The organ was built by Henry Willis & Sons and gifted by Mr T. Sheldon.

The church was built in 1864 in Irish Gothic Revival architecture by the Irish architect Alfred Gresham Jones.Record at the National Inventory of Architectural Heritage of Ireland It was built with granite and sandstone material. The main facade has a neo-Gothic arch topped with wooden doors and a rose window in the center ornamented with stained glass. The windows are pointed arch with geometric tracery.

The interior is of sandstone with an open timber roof, which shows the influence of the great hammerbeam roof of Westminster Hall. The beams are decorated with fine tracery and end in large carvings of angels. The roof weights 93 tons (94.5 tonnes), spans 22 ft (6.7m) over the 100 ft (30.4m) long nave and is 60 ft (18.2m) high.St. Martin's in the Bull Ring.

The doorway is Norman in style. To the left of the porch is a lancet window, there are two lancets in the north wall of the chancel, and similar windows in the south wall. The east window dates from the 19th century; it has three lights, and contains plate tracery. The interior wall of the church is limewashed, and the windows contain stained glass.

Above these is a round window containing Decorated tracery. To the right of this is a three-stage stair turret, surmounted by a timber-framed octagonal lantern. To the left is another, lower, stair turret, the upper stage of which has continuous glazing under a hipped roof. Along the sides, each bay contains two lancet windows with a flat-headed three-light window above.

The main façade of Évora Cathedral, built with rose granite, resembles that of Lisbon Cathedral. Its two massive towers, completed in the 16th century, flank a narthex (entrance gallery) which encloses the main portal. Over the narthex there is a huge window with Gothic tracery that illuminates the interior. Each tower has a different conical spire, one of them covered with mediaeval coloured tiles.

The church is painted pink with white bargeboards. The authors of the Buildings of England series describe it as a "candyfloss-pink tin tabernacle". Its plan consists of a three-bay nave, a short chancel at a lower level, and a north vestry. Along the sides of the church are windows containing Y-tracery, and the east window in the chancel consists of stepped lancets.

The side walls have diamond- glazed coloured-glass edged tracery windows, with smaller half-lights over the doors. Above the altar is a large stained glass window depicting the Resurrection of Jesus. The pointed arched doors are timber-framed and boarded. The chancel contains a richly carved Gothic-inspired Oamaru stone altar which sits on a stepped marble base bounded by a marble balustrade with brass gates.

The tracery on the window at the south of the nave replicates the Fleur de Lis. This is unusual in Léon. The pulpit has medallions depicting the four evangelists. There are many statues in the church including a 1.25 metre stone depiction of a bishop or abbot possibly Saint Guévroc, a seated Saint Anne teaching the Virgin Mary to read and an "Ecce Homo".

The front facade has entrances in the tower and the flanking sections, set in lancet-arched openings. Above each is a Gothic window with tracery, that in the tower considerably larger. The side elevations each have three tall Gothic windows. The church in 2012 The Episcopal Church in Gardiner was organized in 1772 by Sylvester Gardiner, a major landowner for whom the city is named.

The chancel was pulled down in 1779 and rebuilt. This was pulled down in November 1882 and a new one erected in 1885 to the designs of Charles Hodgson Fowler. The exterior walls were repaired, and the transept walls which had leaned outwards were returned to the vertical. The tracery in the windows was restored and a new window inserted in the west end of the nave.

All around the tower, there are pairs of pointed arch windows leading to a gallery just below the gables. The original upper part of the tower was probably similarly decorated. The wooden roof was rebuilt but probably follows the original shape. The tower has an additional two Gothic windows decorated with tracery, one in the south wall and a smaller in the west wall above the portal.

The church was built in 1824–25, replacing an older church on the site, and designed by Robert Roper. A chancel was added in 1852, possibly designed by Joseph Hansom. The tower, designed by the Lancaster architects Paley and Austin, was built in 1873. It is thought that the roof of the nave was replaced at this time, and Decorated tracery was installed in the windows.

The transepts have diagonal buttresses, three-light windows to the north and south, and two-light windows on the east and west sides. The central window in the chancel has three lights, and the flanking windows have two lights. The windows contain Geometric tracery. The tower has diagonal buttresses, and an entrance on the north side above which is a hood mould, its stops carved with heads.

The entry is framed by sidelight and transom windows with tracery. The interior also retains high quality wood work from its period of construction. The house was built about 1830 to a design by John Kutts, a prominent Boston-based architect. The house is of particular note because its original architectural drawings survive, as do contractor bills and other documents related to its construction.

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.

From this ledge there are growing triangular pinnacles lying on supporting pillars. There are four pinnacles for each of the pillars – on the sides is one bigger pinnacle, two smaller in front, which converge at an acute angle. Large pinnacles are decorated with tracery – one with a circular eight-pointed star – the Sternberg sign. On the edges and in corners are added to the pillars slender pinnacles.

The lower part of the tower is round and the upper part is octagonal. In the upper part are bell openings on each of the four cardinal faces, with similar but blank windows on the faces between. On top of the tower is a lead-covered spirelet. The windows in the chancel are Early English with Y-tracery, and those in the nave are in Perpendicular style.

In front of the roof is a cornice and parapet with some decorative scrollwork. The main bay has two pairs of lancet windows on the ground floor and a large, four-light oriel window above. This projects from the surrounding brickwork and also has tall, extremely narrow windows on each side. Above each pane is a panel with tracery described as "highly original" and "of great inventiveness".

The church tower is to the west; it has four stages with angled buttresses and corner pinnacles, and buttressed aisles with clerestories. There are three-light windows in the aisles and four-light windows in the nave transepts. Stained glass in the nave windows was designed by Frances Barnett of Leith. The windows of the 1894 extension are larger than elsewhere and have reticulated tracery.

Two of the windows have 15th-century glass in the tracery. In the north window, stained glass depicts Archangel Gabriel calling Mary.The King’s England series, NORFOLK, by Arthur Mee, Pub:Hodder and Stoughton, 1972, page 22 Banningham, The interior also has several wall paintings, notably one of Saint George slaying the Dragon, and one of the feet of Saint Christopher. The church is a Grade I listed building .

Over this is a five-light window with Decorated tracery. The porch is canted, and has a doorway with lancet windows above it. Along the sides of the aisles each gabled bay contains three lancets and a two-light Decorated window above. On the north and south sides of the transepts are two groups of three lancets, with a four-light Decorated window above.

There is a section of 15th century screen with perpendicular tracery in the north chapel, which was renovated in 1883. The semi-octagonal panelled pulpit is early 17th century, with an integral carved lectern. The font is octagonal, of granite with carved panels and a moulded shaft, and may date to 1538. The north wall of the chancel holds a slate memorial dated 1681 to Wilmot Veale, wife of the rector.

The base is three stories tall and clad with Fox Island granite. There are segmental arches at ground level, and a cornice runs above the second story. At West Street, there are single-width arches within the outermost bays, and double- width arches in all the other bays. The center bay consists of a double-height arched entrance flanked by red marble columns, foliated bosses with tracery, and a sign saying .

The main entrances into the church are located on the west face of the tower and on the east side of the narthex in a gabled structure facing High Street. The front gable of the cathedral has a tracery window and a stone cross at its peak. The nave is six bays deep with a pointed-arch window in each bay. There are similar, but shorter, windows in the clerestory.

The west front is in two storeys, with a central entrance surrounded by a Tuscan architrave containing a round-headed doorway. This is contained within a round-headed blind arch in which is a lunette. The entrance is flanked by two two-light windows, also round-headed, and containing circular tracery, and there are two similar, but smaller, windows in the storey above. Also in this storey are three tie-bars.

The east window has three lights and contains simple tracery. It is thought that this may have been moved from another church or re-fitted because its top has been truncated. At the west end of the church is a simple open bellcote containing two bells, and on the gable at the east end is a cross finial. On the outside of the north wall is a weathered carving.

The closing of the side doorways and insertion of the west doorway were done before that time. Scars and repairs in the arcades are evidence of the damage caused to the masonry by the erection of galleries in 1841. Probably the vestry south of the tower was then added. Since then the church has been well restored, the chancel windows provided with tracery, and the north vestry and organ chamber added.

The upper story is a tent-like structure where the Boyar Duma convened. The exterior, exuberantly decorated with brick tracery and colored tiles, is brilliantly painted in red, yellow, and orange. The interior used to be painted as well, but the original murals were destroyed by successive fires, particularly the great fire of 1812. In 1837, the interiors were renovated in accordance with old drawings in the Russian Revival style.

St Mary seen from the east The church is of brown and grey rubble stone with limestone dressings. Above the west entrance door is a rose window, given by Lady Ashburton in memory of her husband. At the east end is a polygonal apse, whose gables have two-light bar tracery windows. There are four sets of three tall lancet windows in the side walls of the church.

Some restoration work has been carried out since then, but this has been disturbed by vandalism. Since 1994 the church has been used as a studio by the stained glass artist Benjamin Finn. The windows of the church have been reglazed with oak tracery designed by Julian Limentani. The church now contains a new altar which was sculpted by Rory Young, and a statue of Saint Peter by Nicholas Hague.

The font dates from the 15th century and is carved with tracery; the bench ends date from a similar period. In the north aisle are monuments to the Catesby family. The most prominent is a wall monument to the memory of Francis Catesby who died in 1636, and there is a brass to another Francis Catesby who died in 1556. In the chancel are monuments to the Shedden family.

The opening between the two center columns is extremely wide to visually show off the wide front entrance. The cornices are bracketed, and the tympana has a semi-circular fanlight with radiating tracery. There are pilasters at the junction of the portico with the house that terminate at the second-floor level. A wide porch is located on the west and on a portion of the south elevations of the clubhouse.

The openings on the ground floor are topped by blind arches. The main entrance is set in a wider arched opening, with flanking sidelight windows exhibiting tracery, and a multilight arched transom window above. The interior retains original Federal period woodwork, including paneling, chair rails, and a partially hung circular staircase in the main hall. with The house was probably built not long after Jedediah Strong purchased the land in 1815.

The older part of the tower is constructed in limestone ashlar, with greenstone rubble used in the 20th-century re- building; it also contains some red brick. It is built in three stages and has four-stage angle buttresses. In the bottom stage is a pointed doorway, above which is a string course. In the middle stage is a four-light window with rich tracery, over which is another string course.

1350, and of the three cinquefoiled ogee lights with leaf tracery in a two-centred head; the internal and external labels are chamfered. In the north wall is a Victorian doorway, and further west a two-centred arch of c. 1450 and two hollow chamfered orders; the responds are moulded and shafted, with moulded bases and capitals. In the south wall are two windows; the eastern is of c.

Its roof is pyramidal, and on its north side is a stair turret. On the apex of the gable at the east end of the nave is a crucifix finial. The entrance is on the south side of the church through an arched doorway. To the left of the entrance is a two-light, square-headed Perpendicular window and to its right is a two-light Decorated window with Victorian tracery.

St. Ann's Catholic Church of Badus is a historic church in Ramona, South Dakota. It was built in 1884 and was added to the National Register in 1979. It is a one-story vernacular-Gothic Revival building with a gable roof and clapboard siding. It is west-facing with four bays on its north and south sides, and it has Gothic-style tracery within pointed arches of its windows.

St. Luke's Episcopal Church, also known as The Rock Church, is a historic Episcopal church located at 604 Morgan Road in Eden, Rockingham County, North Carolina. It was built in 1926, and is a one-story Mission Gothic style solid masonry church. It has a gabled roof that is intersected by gabled transepts and a pointed arch tracery stained glass window. It features a three-stage crenellated corner tower.

First Baptist Church is a historic Southern Baptist church located at 401 S. Scales Street in Reidsville, Rockingham County, North Carolina. It was built in 1918, and is a Late Gothic Revival style brick church. It has a three bay wide front facade with crenellated towers of unequal height and a three-part tracery stained glass window. It was home to an African-American Baptist congregation until the mid-1970s.

Founded in 1092 and completed in the early 15th century, Carlisle Cathedral is one of England’s smallest cathedrals since the demolition of its nave by the Scottish Presbyterian Army in 1649. Its most significant feature is its nine-light Flowing Decorated east window of 1322, still containing medieval glass in its upper sections, forming a “glorious termination to the choir” and regarded by many as having the finest tracery in England.

The church is constructed in squared coursed sandstone and has slate roofs. Its plan consists of a nave, a west baptistry, a north porch, a north transept, a north vestry, a chancel with a lower roof, a south aisle with a chapel, and a south porch. At the west end is a pair of turrets. Most of the windows in the church have pointed arches and contain Geometric tracery.

The English Heritage listing of Barrow Town Hall describes the external architecture as: Snecked red sandstone with ashlar dressings, graduated slate roofs. 3 storeys and attic with 6-stage tower; 1:1:5:2:4:1:1 bays in near symmetrical composition. Bays 2 & 14 have oriel bay windows corbelled over ground floor; the 2-bay section is occupied by the tower. Gothic Revival style with Geometrical tracery.

The tall decorated chancel has very large windows. The side windows have reticulated tracery. The large east window was partly rebuilt in 1875–76, and is composed of six lights with two large mouchettes nodding to each other, as well as a very large reticulation unit. The sedilia and piscina are thought to date back to William de Herleston, who was rector of St Peter's from 1325–29.

Several modern windows have been inserted on the west (left) and south sides. The small rectangular building was always a single-cell chapel with no internal division. It has two storeys and walls of flint and sandstone with red-brick quoins and window dressings. The oldest structural features are the two lancet windows in the north wall, which have -tracery in a style typical of the early 14th century.

The east end above the apse and a cast iron tracery rose. The coved ceiling still partially remains but the decoration of a high standard for the period, has been stripped and a floor inserted. Holy Trinity was also important in reflecting the High Church movement of the Anglican Church at the time. The first vicar was succeeded by Rev Dr Joseph Oldknow who was Birmingham's first Ritualist priest.

In the chancel is an east window dating from the late 13th century, and a lancet window in the south wall. The transept has two two-light windows in its east wall, and a five-light south window. At the west end of the church are two gables, an arched window, and a round window. The porch is gabled and has a bargeboard pierced with quatrefoils, rosettes and tracery.

The paintings made in 1958 by the artist and the Kraków art conservator Paul Mitka. In the temple there are three Neo-Baroque altars constructed in 1955 by Wojciech Adamek and neo-rococo organ. The main altar is the crowned image of Our Lady of Perpetual Help. Interesting is also a small stone stoup adorned with cherubs heads and Gothic tracery located in the vestibule of the church.

On the south side of the church the windows have four lights, while those on the north side have three lights. Along the clerestory are square windows, two to a bay, which contain two different types of tracery. To the east of the vestry and organ chamber is an octagonal turret. The west and east windows are large, the west window having seven lights, and the east window six.

Further east, we find the Puerta del Mercado, formerly "Puerta de La Cadena", which overlooks the Plaza Mayor, Romanesque style, from the 12th century; this door is covered by a closed portico, Neoclassical style, built in 1797 by the architect Bernasconi commissioned by the bishop Juan Díaz de la Guerra. On the portal, a Romanesque rose window of transition, from the 13th century, with a very original tracery design.

Lok Virsa is the finest cultural museum in Pakistan. It showcases art works that help in preserving the living folk and traditional culture and crafts of Pakistan. It is located near Shakarparian Hills and has a large display of embroidered costumes, jewellery, woodwork, metalwork, block printing, ivory and bone work. Traditional architecture facades exhibiting such skills as fresco, mirror work and marble inlay; tile, mosaic and stucco tracery are also displayed.

Above this is the facing of Barrabool Hills sandstone. Two types of limestone, both of New Zealand origin, have been used for the external dressings: Mount Somers limestone for the plinth course, doorjambs and window tracery, and Oamaru limestone for all other dressings. The colonettes, flanking the window and door openings, are of polished Aberdeen (red) granite. The roof of the church is clad in Westmorland slate, with 'tile ridging'.

Dominated by the exquisite Hardman Studio window in the style of a fourteenth century Gothic window; the five lancets depict pivotal scenes from the Gospel and the tracery at the top of the window details heavenly images, from 1869. The rose window in the west end of the Cathedral (1981), the Pentecost window (1989), and the Heroic and Saintly Women (1995) are other windows specific to the cathedral.

Reredos with cresting and canopy date from 1923. At the west end of the nave is one of the church's original box pews. The organ loft has a three-light mullioned window. There is a stained glass window of 1874 in the south aisle and the east window dates from 1927 incorporating some earlier glass and the Ridgway arms in the tracery at the head of the window.

On the north tower the top half- story is faced on all sides with a clock while a sexfoil window occupies that position to the south. From a castellated base rise the spires, pierced by small narrow gabled dormers just above the base. Rows of vertical crocketing decorate the section lines. Four more buttresses rise two stories to the roof along the sides of the nave, setting apart Gothic tracery windows.

St Michael's is constructed in stone rubble with ashlar dressings, and has slate roofs. Its plan consists of a four-bay nave, a south porch, an apsidal chancel, a south organ chamber with an aisle, and a west tower. The tower has diagonal buttresses, a two-light west window, straight-headed bell openings, and an embattled parapet. The nave windows have two-lights and straight heads, and contain Decorated tracery.

The western tower stands imposingly over the roof of St. Marien, representing the old market church. The design of the north and south sides of the Marienkirche is symmetrical. A total of four portals enable entry into St. Marien, two each on the north and south sides. The market place is characterised by the visible side of the church, featuring four gables crested with tracery and narrow elevated lancet windows.

The flint and ashlar building is Decorated Gothic Revival in style and has a later tower (built in the 1870s) topped with a tall stone broach spire. All of the large windows have tracery in the Decorated style. The entrance porch dates from 1906–07. The worship space was cut down in 1990–92 when part of the building was converted by architect Mark Hills into the Cornerstone Community Centre.

The church is constructed in stone with a concrete tile roof. Its plan consists of three-bay nave with a clerestory, north and south aisles, a chancel with a north organ chamber, vestries to the south and east, and a west tower. The tower has entrances on the north and south sides, and a four-light west window containing Perpendicular tracery. At the northwest corner is a stair turret.

Surmounting the apex of the gable is a carved stone Latin Cross. The north and south, transverse elevation feature projecting side entrances and transepts, among regularly spaced single lancet window openings. The entrances from the sides of the church, feature pointed arched doorways on the eastern face, and single window openings of plate tracery, with small quatrefoil opening above. The transepts feature large rose windows in the gables.

The western, chancel, face of the church features a large geometric tracery opening, incorporating four lancet openings, two quatrefoils and a rose feature above. Internally, the building retains very little of its ecclesiastical character, with the exception of the window openings. The walls are rendered, the floor carpeted and a ceiling of fibrous sheeting has been inserted. The space is divided into several smaller spaces with v-j boarding.

The nave and sanctuary are separated by a tall lancet arch standing on rectangular columns. The sanctuary, which has windows on all three sides, has retained the vaulting and tracery windows in their period shapes. Of the old furnishings, the lavabo and the sacramental niche are preserved. In 1998, the denominational breakdown in Niedereisenbach was as follows: Evangelical 283; Catholic 57; other 1; no answer 7; none 30.

The south-west window has two complete apostles, one in green and yellow and the other in brown and lilac. The plain sedilia and piscina niche have ogee arches. In the southeast corner is a vestry with a Y-tracery window. Against the south wall is the tomb-chest of Dame Anne Browne (died 1623) with a black marble lid and an inscription in black lettering on the wall.

All but one of the remaining sections are two bays wide; the last is a single bay wide, housing the main building entrance on the ground floor. Each of the other sections corresponds to a storefront on the ground floor. Adornment on the lower floors is minimal, with Gothic tracery between the top floor and roof edge. The building was constructed in 1912 for the Dunlap Realty Group.

The seating on both levels is stepped and faces the centre where there is a carved timber platform. An arched recess approached by stone steps is located in the end wall. This has a circular tracery window above it, and is flanked on either side by marble plaques. Brightly coloured stained glass is situated in the circular windows on the gallery level and also the arched lower openings.

It probably dates from when the church was built. The church has a "typically 18th- century" interior despite its mostly 13th-century exterior. The pale woodwork (mostly pine), large areas of plain glass and whitewashed walls give a bright appearance. The best feature, with no rival in Sussex for completeness and structural condition, is the late 18th-century pine box pews with Gothic Revival-style tracery at the ends.

That on the north side was built so it could bear a tower, but this addition was never made. Instead a belfry was added, "astonishingly situated astride the ridge" of its roof according to Nikolaus Pevsner. The transept wings have windows with Decorated Gothic tracery, showing a further evolution in window design. Also in about 1290 the church was given some small stained glass windows depicting the Coronation of the Virgin.

Later additions date to post-1711 and improvements to c. 1911. Interior of chapelcourtesy Dr Mike Sheldon ;External features There is a small stone chapel in the grounds, believed to date to about 1450 and built by the Hungerford family for use by themselves and their servants. It has an east window with Perpendicular tracery. After a long period of use as stables, it was restored in the twentieth century.

Compton Bishop Church The Church of England parish church of St Andrew dates from the 13th century, being consecrated by Bishop Jocelin in 1236, with more recent restoration. It has a 15th-century pulpit with tracery panels, carved friezes and cresting. Above the pulpit is a large pedimented wall monument to John Prowse who died in 1688, as well as several of his children. It is a Grade I listed building.

The west front is flanked by octagonal turrets joined by an arch, below which are two two-light windows and a balustraded balcony. On the south side of the church is a porch. The aisle extends for four bays, each of which contains a four-light window with Perpendicular tracery. On the north side are two similar bays, and a transept with two gables, each containing a three- light window.

The oldest part of the building, as can be seen from the tracery figures, is the single-nave choir, on the south side of which there is the sacristy. On the north side there is a two-bay Chapel of the Holy Cross. The entrance portal is also on the south side. The building on the west wall of the church, which emerged from medieval booths, is of great urban significance.

The fourth bay is the most substantial, wider and higher than the others, and projecting forwards. It contains three pairs of two-light windows and has a shaped gable in which there is a circular window with star- shaped tracery. There are finials on all the gables. On the right of the main front is a turret which has a square base and is octagonal above with broaches at the transition.

The Honolulu House is a two-story House clad in white vertical board and batten siding and sitting on a five-foot high sandstone foundation. The house measures 77 feet long by 37 feet deep. The front of the house has a deep, wide veranda supported by ornamental columns on sandstone piers. Massive triple brackets are atop each column, and ornamental wood tracery arches connect each pair of columns.

The clockface is under the east window. During restoration work the parapet of the tower was examined and a stone was discovered with a carved date of 1731 which suggests that the decorative parapet may have been added then. The tracery on the north side has been marked out but never cut. In general there is little sign of more than one phase of construction although repairs are evident.

Lutheran Church of the Reformation is a historic church complex located at Rochester in Monroe County, New York. It was built in 1900–1902, and is a Late Romanesque Revival style sandy grey brick church with stone embellishments. It features two flanking towers of differing sizes on the main facade, round arched windows, corbel tables and stone window tracery. The larger tower has a steeply pitched pyramidal roof.

Of this chapel Pevsner writes "the uncusped tracery is almost convincing Henry VIII but not quite." Beyond the Wilton Chapel are the organ chamber and the choir vestry. On the south of the church the Lever Chapel occupies a corresponding position to the Wilton Chapel, and to the east of this is the Birch (or Lady) Chapel. The tower is in three stages and rises to a height of .

The decorative brickwork, especially the corbel table at the eaves, is one of its most distinguished features. Its verticality is achieved by way of the exaggerated pendant corbelling and the tall, pointed-arch windows. The windows on the main facade, along the side walls and in the apse are all paired lancet windows that are filled with stained glass. There is also a tracery rose window in the tower.

The 19th- century windows on the south side of the church contain Decorated-style tracery. A fragment of Foxe's house remains on the south side of the church. At the east end is a blocked round-headed Norman arch, which was originally the chancel arch. Inserted into this is a blocked three-light Perpendicular window, and above it in the gable is a blocked mullioned window remaining from Foxe's conversion.

He completed the retaining walls and the unique single- span ribbed vault, a combination of stellar vaulting and tracery vaults spanning the 19-metre-wide church.University of Minho (January 2005), pp. 20–21 Each set of ribs in the vaulting is secured by bosses. The bold design (1522) of the transversal vault of the transept lacks any piers or columns, while Boitac had originally planned three bays in the transept.

Two-storey cloisters Decorated cloister arches Work on the vast square cloister (55 × 55 m) of the monastery was begun by Boitac. He built the groin vaults with wide arches and windows with tracery resting on delicate mullions. Juan de Castilho finished the construction by giving the lower storey a classical overlay and building a more recessed upper storey. The construction of such a cloister was a novelty at the time.

The chancel arch of St. James the Great parish church is Norman. The five-light east window is 13th century but its present intersecting tracery is a modern replacement. The Church of England parish church of St. James the Great was originally a Norman building, established as a dependent chapelry of Castlethorpe. Later St. James the Great became the parish's principal church, with Castlethorpe as its dependent chapel.

This is one of two brick Gothic Revival houses in the city. with The 1¼-story, L-shaped structure with a single-story addition on the north side features pointed-arch doorways and tracery windows on the south and west elevations. There is a glass enclosed porch in the middle of the "L". The house was listed on the National Register of Historic Places on September 16, 1977.

North aisle and porch Attached to the nave are the north and south aisles. The north aisle contains at its east two 19th-century windows of three lights set within a straight edge openings under gabled hood moulds. Tracery is of 15th-century panel style, with a central quatrefoil rosette inset, and reflects a true 15th-century window at the west wall. North aisle windows are clear glazed within diagonal muntins.

Five-part Renaissance - early Baroque organ from the 17th century, decorated with golden eared ornaments, has winged heads and statues of angels on its wings. In its peak rests the statue of St. Giorgio. Baroque tracery of chorus from the second half of the 18th century contains a small organ decorated with acanthus ornamentation. On the windowsill there are reliefs of the apostles individually separated by pilasters with festoons and acanth.

The Church of St John the Evangelist Colchester was built in 1863 by Arthur Blomfield in the Decorated style. It is principally of red brick with yellow and blue brick and stone window tracery. It consists of a chancel and nave surmounted by a small bellcot at the west end. The chancel and its fittings and part of the nave were built with money collected in memory of J.T. Round.

The chancel screen dates from 1895 and is by Bodley and Garner, in a very elaborate late Perpendicular style with delicate tracery and a coved loft. There is a similar screen in the North aisle. There is also some good heraldic glass of 1627 in the West window and glass of 1884 in the South clerestory by Holiday, as well as other good 19th century and early 20th century windows.

Although this window has a late, shallow arch, the surrounding masonry contains traces of arched windows of earlier type with stone tracery. This range was probably the nuns' refectory. The distance from this wall to the south wall of the farmhouse (comprising the width of the south range, the cloister, and possibly part of the church nave) is 37 yards. The features of the east range are less distinct.

The friary church had a long nave with a narrow chancel. South of it lay all the other friary buildings, including the cloister, around which ranged dormitory, chapter house, refectory, kitchens, lavatories and guest accommodations. Window tracery remains found during excavations have been dated to 1360 to 1380, tallying with reports of the first church being in ruins by the 1370s and having been rebuilt at that time.

25 During the restoration, the ornate tracery of the original windows was replaced with a plainer lancet type to increase the amount of light allowed through them. A new cloister fronting the street was consecrated by Archbishop Barry Morgan in 2011. In 2013 a mosaic of Christ Pantocrator by Aidan Hart was installed above the main entrance of the church. It was blessed by Rowan Williams, the former Archbishop of Canterbury.

The southern end of the church, including the transept gables, diagonal buttressing, chancel, vestry and sanctuary is constructed of bricks with an inscribed render, imitating ashlar stonework. Generally the church has pointed arch windows with geometric stone tracery. The steeply pitched gabled roof has Marseilles pattern interlocking terracotta tiles, with matching ridge capping. Gables are found on the southern end of the east and west walls, where transepts were to begin.

196 The gate piers are composed of open ironwork tracery. Johnson noted both the church and its gates and railings on his 1774 visit; he described the latter as being "of great elegance." The interior of the church has "beautiful" stained glass windows dating from the early 20th century, including an "exquisite" children's window donated by Lady Crossley. There is also a bust commemorating Stapleton Cotton, 1st Viscount Combermere.

The doors are flanked by polished granite tablets with gilded inscriptions to the memory of members of the Stuart family. Other detailing includes buttresses with lancet tracery and more prismatic patterning around the cornice of the vault. There is a granite urn near the entry doors. On the western wall a round ended cross is formed by the intersection of four granite blocks, which also provides ventilation for the vault.

Heydour Grade I listed Anglican parish church, is dedicated to St Michael of All Angels. The church dates from the 12th century, with additions up to the 19th. There is a 12th-century canonical sundial on the south wall. The church has an Early English chancel with lancet windows and a 17th-century north funerary chapel, and a nave with a Perpendicular clerestory, including six tracery panelled windows.

In the lower stage is a small west window, and in the upper stage are two-light bell openings. Only the south wall of the nave remains. This has a central protruding doorway flanked by Ionic pilasters, and round-arched windows without tracery or glass. The chancel has a central south door with a cartouche above it, on each side of which are two-light round-headed windows.

The west end of the aisle has three circular seven-foiled windows. Above them is a three-light window with delicate tracery. The three openings were blocked when discovered at the 1865 restoration, when they were unblocked and glazed. It is possible that their original purpose was as a squint to observe Mass celebrated at the North door from the market place, then adjacent to the west end of the church.

Each side has, along the ground floor, a single double-hung sash window and jigsaw-cut tracery vergeboards. A door on the south side with simple bracketed hood is the main entrance. It opens into a single large room with varnished beaded walls and simple wood trim. The oldest of the 197 graves, dating to the 1820s, are found in the original burying ground at the northwest corner.

All Saints is constructed in limestone with gritstone dressings, and it has a stone slate roof. Its plan consists of two cells, the nave and the chancel, with a south porch and a north vestry. At the west end is a gabled bellcote. On the south side of the church are square-headed windows, and at the east end is a two- light window; all of these contain Decorated-style tracery.

On the south side of the church is a porch with a statue of Mary Magdalene above the doorway. To the right of this are five windows, one with two lights, the others with three lights, all containing Decorated-style tracery. Along the clerestory are five two-light windows. The windows on the north side of the church are similar, but those along the aisle all have three lights.

The architect of the Tudor Gothic building was London-based Robert Lugar, who had designed the nearby Tullichewan Castle in 1792. The building's turrets and crenellations are purely decorative with no defensive value. The lancet windows, tracery, hoodmoulds and blind arrow-slits are all borrowings from earlier building styles. Although an unimaginative designer, at Balloch Lugar helped to introduce the asymmetrical, "picturesque" form of castellated house into Scotland.

The Nonconformist chapel, to the north of the Anglican chapel, was sold in 1992 and was also restored in the 1990s. Its design is unusual for an English cemetery chapel, featuring significant plate tracery and decorative sculpture, but the architect is unknown. After a redrawing of the cemetery's boundary, it now stands outside the gates on Grove Road. Beyond the former Anglican chapel are old burial grounds that are now closed.

The window is of three lights up to the outer arch spring, each ending in a trefoil-headed arch. Above the lights is panel tracery--a Perpendicular style of upright straight openings above lower lights--leading to further arches. Around the window opening arch is a hood mould. The second tower stage west side, slightly set back, contains a narrow arrowslit window rebated within an arch, possibly 15th-century.

Attached between the nave and chancel are north and south transepts. The north transept is east to west, and north to south. It has a 19th-century window of three lights below tracery on both the east and north walls, both within a 14th- century opening. To the west of the north window is a 13th-century arched doorway, above which is a small niche with trefoil head.

To the east of the third bays, the aisles extend beyond the tower to form side chapels. The east elevations of the chancel and vestry have three- and two-light lancet windows respectively, both with Victorian tracery. A medieval lancet survives in the north wall of the vestry. Some of the windows on the south side retain their original surrounds but were replaced in the 14th or 15th century.

St John's is built in stone and has slate roofs with bands of different colours. It consists of a three-bay nave with a south porch, a north aisle, a chancel, and a north vestry. There is a bellcote on the east gable of the nave. Along the walls of the nave are buttresses and two-light windows containing Geometric tracery, and along the wall of the aisle are paired windows.

Each of the sides has in the centre a gable of tracery protruding from the top of the porch. The porch on the south side, designed as the entrance to the park, is particularly complicated. Above the gate, a loggia with an overlying terrace leads from the bedroom of the Baroness. The porch's columns on the north front entrance copy the central projection of the south side in a simpler way.

Larger openings are nearly always arched. A characteristic feature of Romanesque architecture, both ecclesiastic and domestic, is the pairing of two arched windows or arcade openings, separated by a pillar or colonette and often set within a larger arch. Ocular windows are common in Italy, particularly in the facade gable and are also seen in Germany. Later Romanesque churches may have wheel windows or rose windows with plate tracery.

Around the same time, St Thomas chantry, now a vestry, was added. The nave and aisle windows have panel tracery and flamboyant battlemented parapets with gargoyles and pinnacles. Nave viewed from the chancel looking west, the canopied pulpit can be seen on the left and the Chancellor's throne under the west gallery in the distance. Nave viewed in an easterly direction from the gallery, looking towards the chancel.

More than 12,000 fragments were found while renovating the house. In the corner tower, the original two floors were restored, thus the Baroque windows were plated and the original Gothic windows were restored. The tracery was assembled from the found fragments, however the baldachins with gablets between the windows were only preserved in the torso. The roofing of the corner tower does not correspond with its historical situation.

The south chapel and aisle form one rectangular building, which is lighted from the south by three windows of the late 15th century, each of four cinquefoiled lights with tracery in a four-centred head, and from the east by a three-light window of the same character. Between the easternmost windows of the south wall is a small plain doorway. On the east wall are two brackets with carved heads.

The church is constructed in stone rubble with a slate roof and a bellcote in blue lias stone. It is rectangular in plan and consists of a single chamber. The windows are twelve-pane sashes with Gothic tracery in the top panes; there are two such windows on the south side, and one on each of the east and north sides. At the west end is a flat-arched doorway.

On the north side of the church are two two-light windows, and the east wall of the north aisle contains a three- light window. The windows in the south aisle are similar, plus a 14th-century doorway. In the clerestory on both sides are six round 14th-century windows with quatrefoil tracery. On both sides at the east ends of the clerestory is a three-light window.

The walls of the chapel and the aisles are decorated with tall, slender lancet arch windows, which are divided by vertical rods. Windows are decorated with tracery, mostly filled with complicated curved shapes with a flame motive. The main entrance to the church is through a portal, which is from the early gothic period. There are slender columns with crowded plate pedestals in the corners, topped with shaped capitals.

The church is constructed in sandstone rubble with ashlar dressings, and has a red tiled roof. Its architectural style is free Perpendicular. The plan consists of a five-bay nave with a clerestory, a west canted baptistry, north and south aisles, and a chancel, with the base of the projected tower to the north, and a vestry to the south. The clerestory windows have arched heads and contain rounded tracery.

The church is constructed in stone, with a plan consisting of a nave with a clerestory, north and south aisles, a south porch, a southeast porch, a chancel, and a southeast chapel with a canted east end. The tracery in the windows is in free Decorated style. Inside the church, the arcades are carried on alternate round and octagonal piers. The reredos dates from 1954 and contains mosaic and opus sectile.

The altar and nave The cathedral has a basilica floorplan and is constructed of Massachusetts granite with Indiana limestone accents. The main facade has a single entry that is recessed in a barrel-vault arch framed by carved limestone details. Above the doorway is a statue of the Virgin Mary in a carved niche. Above the statue is a rose window with limestone tracery set into a larger arch.

Between it and the south-east corner is a piscina and sedilia of the 13th century. The flat head is probably 19th century. There are traces visible externally on the east and north walls of windows probably dating from the early part of the 13th century. The south aisle has three 15th-century windows in the south wall and one in the west wall, all of three lights with repaired tracery.

On the west side, each lateral bay contains two panels with paintings of figures, the Four Evangelists on one side, and four doctors of the early church, Saint Ambrose, Saint Augustine, Saint Jerome, and Saint Gregory on the other. On the east side of the screen are carvings of lions. Above the panels is arched tracery. The font dates from the 15th century and was restored in 1884.

The upper part of the outside buttresses with old gargoyles were replaced with new copies and stone architectural parts as phials, rosettes and flowers were replaced for the most part as well. The blank Gothic windows on the South and North side were tapped. The parts of window flanning and tracery were also repaired properly. The Gothic Revival parsonage designed by Alois Prastorfer and Germano Wanderley was built in 1900 - 1901.

The original church was built on the site in 1070, and the recorded list of its rectors goes back to 1230. The present church was built on the same site in 1815. In 1869 Hubert Austin designed new tracery for the east window. It cost £270 (equivalent to £ in ), which also paid for the stained glass that was designed by Henry Holiday, and made by Heaton, Butler and Bayne.

The reredos was designed by Ball and carved by Millson. In the chancel is a triple sedilia, and the font is decorated with foliage, tracery and shafts. The furnishings in the choir, and the pulpit, are by James Hatch of Lancaster. There is stained glass in the south aisle by H. G. Hiller and Company dating from about 1926, and by H. G. Moore of Liverpool from the 1930s.

To the south-west, the nave extends past the aisles, forming a projecting chancel with a vestry attached in the south-western corner. The building has buttressed walls, and generous pointed arched windows and doors. The coursed rubble stonework is dressed with sandstone to the hood mouldings, cornice, crosses and window tracery. The window reveals are in rendered brickwork and are surmounted with alternating green and pink stone voussoirs.

At the west end is an arched doorway, with carvings in the spandrels, above which is a large three-light window containing curvilinear tracery. The east window is similar. The bellcote is attached to the south wall and consists of an octagonal stair turret, an octagonal highly decorated bell stage with lancet bell openings, and a pyramidal roof. Inside the church is an elaborately decorated roof, including gilded angels.

St John's is constructed in sandstone, and has slate roofs. Its plan consists of a five-bay nave, a north porch, a chancel with an organ chamber to the south, and a west tower. The tower is in three stages with diagonal buttresses, an embattled parapet and a southwest stair turret. On the west side of the tower is a doorway, above which is a three-light window with Perpendicular tracery.

As far as possible local material was used. The walls throughout were built in Grahamstown stone with a rough face, both inside and out. This stone demands a simple treatment for the dressings-so that most of the windows are plain-but those around the apse include some effective tracery. The roof is covered with tiles made in the province on the Broseley pattern, and laid to a steep pitch.

The present church of St Mary and St Barlock was built piecemeal over a period of about 200 years. The chancel is the earliest part of the church, and is unusually large in relation to the rest of the fabric. It is long, and is both wider and higher than the nave (which at is slightly longer). The design of the chancel windows' tracery indicates a building date of c.

St. Mary's Church of the Assumption is a historic church on FM 1295 in Praha, Texas. It was built in 1895 and added to the National Register of Historic Places in 1983. Gottfried Flury, a Swiss-born artist from Moulton, TX, painted much of the interior. Using a combination of stenciling, infill painting, and freehand techniques, Flury's trompe-l'œil designs mimic stone vaults and Gothic tracery reminiscent of central European models.

The repetitive detail of buttressing, parapeted gable, cross finial and carved skew stones on the small size of the vestry form make this section of the church appear elaborately detailed. The pointed arch entry with hood mould and carved label stops sits below a small equilateral arched window in the gable. An elaborate window on the eastern side of the vestry is of stone tracery within a segmental arch opening.

Above the "mutilated" ground floor, the upper parts of the building are mostly unchanged from the original design: the hood- moulded windows have pointed arches and tracery, and the polygonal corner tower has a crocketted pinnacle at each corner. Buttresses rise from ground- floor level on this section. The shopfront added in 1920 by Henry Ward has two storeys and rounds the corner into Western Terrace, partly hiding the original structure.

Over this are two-light windows with rose windows, and above them are a Lombard frieze, gargoyles, and a pierced parapet. The windows along the sides of the nave have two lights and contain Decorated tracery. At the east end of the church is a blocked entrance, with a five-light window above it. Incorporated in the blocked entrance is the foundation stone of the original Anglican church.

When completed in 1847, the cathedral as a whole was compared to Norwich Cathedral in England. The East window, which had original stained glass, was destroyed by a cyclone in 1964. It was replaced with a new one in 1968. The roof of the cathedral (it was the largest span when built) is in the shape of a shallow curve arching over iron trusses decorated with Gothic tracery.

The ornate reredos behind the altar is very fine as is the whole of the chancel area. The church includes a number of memorials/windows to the Everard family. The original Norman south porch was rebuilt in 1860 at a cost of £60. The font which has moved three times dates from the 13th century, and has tracery panels of various kinds including one with two parallel tree trunks.

The south aisle was shortened in about 1870 by George Gilbert Scott, and given an apsidal east end, becoming the chapel of St Erasmus. The eastern end of the north aisle contains the chapel of St Werburgh. The nave of six bays, and the large, aisled south transept were begun in about 1323, probably to the design of Nicholas de Derneford. There are a number of windows containing fine Flowing Decorated tracery of this period.

The pulpit dates from the early 17th century and has an associated reading desk and sounding board. In the southeast of the church is a parclose screen dating from the early 16th century which has a frieze of Perpendicular tracery. The font cover dated 1625 is elaborate. It consists of four columns supporting an arcade with pendants, and has a conical roof with a ball finial on which is a vulning pelican.

In the lowest stage is a doorway with a Tudor arch, above which is a two-light window with a pointed arch and Y-tracery. There are similar windows on the north and south sides of the tower, each with a recessed round window below it. The middle stage has a roundel on each side, the one on the west containing a clock face. In the top stage are double lancet bell openings.

The communion rails date from the 18th century, while the font and other furnishings are later. The north door dates from 1535 and is described as "a work of national interest". The door was damaged in 1994 by vandals, but it still retains its original uprights and wooden tracery, and a ring pull set in a lion's mouth. At one time there was a sundial added in 1818, but this has disappeared.

The chapel in the south transept contains an altar with a canopy and another reredos. These were added to the church in 1952 to accommodate a 15th-century painted predella. This is divided into three sections containing depictions of Christ before Pilate, Man of Sorrows, and the Lamentation; the sections are separated by gilded tracery. The war memorial, dating from about 1920, is in alabaster, and depicts an angel and a wreath.

Beneath the chapel is a crypt in which two Hospitaller commanders are buried: Michał Stanisław Dąbrowski (died 1740) and Andrzej Marcin Miaskowski (died 1832). A sandstone font stands in the aisle, dating from 1522. It is decorated with tracery and a picture of the Baptism in the Jordan, made in 1615. At the western end of the nave is a 19th-century choir, above which is a neo-Gothic organ front made in 1948.

Along the south wall of the church is one three-light window and three two-light windows, all containing Perpendicular tracery, and a buttress. The outer doorway of the porch has a pointed arch, above which is a slate sundial. The inner doorway is Norman, and has been much restored. On the north wall of the aisle are two windows, one with two lights, the other with three lights, both with trefoils under flat heads.

1350, partly restored and of two cinquefoiled lights with tracery in a segmental pointed head, under a chamfered label; the western window is Victorian, except the internal splays and hollow chamfered rear arch, which are of the 15th century. Between the windows is a Victorian doorway. There is no chancel arch, but between the chancel and the nave is a chamfered and moulded beam, probably of the 15th century.The Monuments of North West Essex.

In this tower stands a window lintel with original Gothic tracery, and wants to represent the eternal bond, one of the symbols of Charles III the Noble. so named because of its square structure looming three balconies, each facing a cardinal point. From these balconies kings could watch the shows that were held at the foot of the castle. Adjoining the tower has a small tower with a square base and higher.

Beneath and attached to the ogee head are three grotesque bosses—a probable fourth is missing—as stops to the foiled moulding. The nave south wall is surmounted by a plain parapet holding projecting gargoyles. It contains two windows, each of four lights—one Decorated, the other with Perpendicular tracery—and both with hood moulds. Two small 15th-century windows sit beneath the easterly window, one of two lights, the other single.

At the northeast corner of the nave is a bell tower, with its narrow side on the south. The lower part of the tower is in brick, and the top stage is stone, with blind tracery on the front and bell openings on the sides. At the centre of the south end of the nave is a tall canted bay containing transomed traceried windows. Above the bay is a chequered stone parapet.

H. T. Klugel Architectural Sheet Metal Work Building is a historic factory building located at Emporia, Virginia. It was built in 1914, and is a one- story, five bay wide, brick structure with stepped parapets on the sides. The front facade is sheathed in decorative silver and black painted worked sheet metal in an Edwardian Classicism style. It features large rounded arches with a fan tracery filling the top of the arch.

The wall of the north aisle contains 19th-century lancet windows, and the head of a blocked round-headed window. Pevsner suggests that this may be Norman. The south aisle has a two-light window with Decorated tracery, and lancets in the south wall. The chancel has a five-light east window and a two- light north window; the chapel has a three-light east window and a two-light south window.

Glenwood is a historic plantation estate located at 7040 Philpott Road (United States Route 58) southwest of South Boston, Halifax County, Virginia. The main house was completed about 1861, and is a distinctive combination of mid-19th century architectural styles. The main house is a two-story wood frame structure, with a hip roof. The cornice has Italianate brackets, and the main entrance is framed by sidelights and a transom window with Gothic tracery.

Summerhouse Approximately 100 metres to the north west of the church is a small summerhouse in the woods constructed from medieval material from the church, during the works of either 1854 or 1871 mentioned above. According to the listing detail it has a stone outside rear wall partly of cob, reused stone tracery to the front and left, and a monopitch plain tile roof made from part of the original Medieval wagon roof structure.

The church was closed and sold for redevelopment in 1982. It was converted into a nursing home, retaining most of its ecclesiastical features including the intricate window tracery. The latter was lost when the building was converted into flats in 2002, being replaced with plain modern windows instead, but there has otherwise been little structural alteration. The flats are named "St John's Court"—a reference to the former name of John Street.

The parish church dedicated to Saint Andrew was constructed in 1482 by the lord of the manor, although the chancel and tower are thought to be older. The church has a 15th- century screen with tracery above panels which are decorated with flowers and foliage. The beams of the north aisle roof have a boss with a grinning lion carving. The altar rail is carved with pillars and balusters and date from the 17th century.

At the top of the steeple is a belfry that houses the church-s original bell, which was cast by the American Bell and Foundry Company of Northville, Michigan. At the peak of the steeple is a tall, ornate finial with decorative globes, fans, and scrollwork. All of the church windows are Gothic arch style. The main sanctuary window is made up of four Gothic arch windows that support a rose window with ornate tracery.

The church is constructed in stone rubble with ashlar dressings and a slate roof. Its plan consists of a four-bay nave with a south porch, a chancel with a north vestry, and a west tower. The tower is as wide as the nave, and has a west doorway with a pointed arch. Above the doorway is a three-light window with Perpendicular tracery and a niche containing a sculpture of the Pietà.

They are separated by a chancel arch. The walls are of rubble laid in courses with sandstone dressings, except for the tower (which is ashlar) and the Victorian north aisle, whose walls are in the style of crazy paving. The east windows in the chancel and north aisle have -tracery, and a small oculus is set below the gable of the chancel wall above the main window. The roof is tiled with Horsham Stone.

Like many Gothic churches, the Church of the Holy Trinity uses limestone for its foundation and window tracery, as well as sandstone, brick, and wood. This church follows the Gothic church characteristic of a cruciform in plan. The pointed arch is repeated throughout the whole building, present in the doors, windows, and Gothic vault. The stained glass windows are translucent and allow daylight into the church, each with its own unique design.

The Blaxland family chapel, named St Augustine's, was built in 1838 and a marble plaque, above the main door, attests to this fact. It is a rendered, single storey building of brick with corner buttresses and is rectangular in plan. In design it is Gothicised Georgian with pilasters, a string course and a pedimented gable. The pointed arch fenestration with simple tracery, coloured glass and quatrefoil vents are Gothic Revival in style.

208 The church was enlarged in the 15th or 16th centuries to include a moulded basket arch added to the north door, the addition of a north aisle with Perpendicular tracery and, near the east end, a rood loft stair turret. In the 16th century the south porch was added; this has an arch to the south door over which is a Norman tympanum.Church of St Gregory, Treneglos. British Listed Buildings. 16 September 2012.

The church was funded by the manufacturer George Richards Elkington (1801–65) and by Joseph Frederick Ledsam (1791–1862). The architect Edward Holmes designed the building in a Gothic Revival interpretation of Decorated Gothic. It is built of coursed sandstone, enlivened both inside and out by being laid in courses of two different shades. The walls are of brick, faced externally with Bromsgrove stone, with Bath stone used for the tracery, dressings and spire.

The limestone memorial takes the form of a small medieval-style Latin cross and plinth. The plinth has tracery decorative detail on each corner and flower motif in a band around the top. The names of the nine men from the parish who lost their lives fighting in the First World War are inscribed on the plinth and painted black. The memorial is surrounded by concrete paving and wooden posts with chain link.

Notable features include the striking façade, a reredos carved from Caen stone and a great north window with intricate stone tracery. The cathedral was subsequently much renovated (in line with reforms promulgated by the Second Vatican Council). It was restored to its near original design in 1994 when authentic colours, materials and techniques were used. The restoration took a year, during which time cathedral services were held at St Mary's church (Church of Ireland) nearby.

Above this is an ornamental row of dentils, and to either side geometrical rosettes. The back wall of the building also has a large circular tracery window of Oamaru stone. The side walls have large swinging windows to provide cross ventilation. The building was designed to accommodate 400 people, 260 of them on the ground floor and the remainder on the upper level women's gallery which extends over the entry and down both sides.

St Stephen's Church is designed in the Inter War Gothic style and occupies a prime location in Macquarie Street, opposite State Parliament. The masonry building includes a rectangular church and gallery, hall, offices and ancillary spaces. The main elevation is sandstone with carved tracery and leadlight windows and is symmetrical about the eastern window. Stairs located at the north and south sides of the entrance vestibule provide access to the gallery and Ferguson Hall below.

The unusual red and green painted rood screen was completed in 1536 and shows twenty-two painted images of saints. The tracery of the upper portions of the screen are carved with great delicacy. The female saints can be identified as Sitha, Cecilia, Dorothy, Juliana, Agnes, Petronella, Helena, and Ursula. The baptismal font is of the early 15th century and shows shields, now stripped of their identifying painted arms, on the bowl.

BAC's changes to the fabric of the building have been minimal, and more recent changes have emphasised the preservation and representation of original features. The Grand Hall was extensively damaged by fire on 13 March 2015, but has been rebuilt. The hall's elaborate ceiling was entirely destroyed, and has been replaced by suspended wooden tracery patterned on the lost decorated plasterwork. The charred remains of the hall's wall panelling have been left in place.

St Paul's is constructed with a concrete core, lined internally and externally with brick. It has stone bands and dressings, and a tiled roof. It consists of a nave and chancel without division, north and south narrow (passage) aisles, three north and south transepts, and a large central tower. The tower has a round-arched recess on each side containing round-headed two-light bell openings, which have louvres and Y-tracery.

The nave and the presbytery are then vaulted by six rectangular, wide-ranging fields of compressed Baroque arches with triangular sections. The side aisles have retained the original Gothic ribbed vault. The church is illuminated by a number of cantilevered Gothic windows with stone tracery. The church is accessible by four Gothic portals. The northern portal has a relief in the tympanum depicting three scenes from Christ’s Passion in multi- figured compositions.

At the west end of the north aisle is a Decorated two-light window, and at the west end of the south aisle the window has three lights. The clerestory has a range of two-light square-headed windows on each side. The Lever chapel has two four-light windows, and in the Wilton chapel are three three-light windows. The east window of the chancel has seven lights and contains Perpendicular tracery.

On the east facade is the main entrance, flanked by pointed-arch tripane windows in wooden surrounds. A small projecting wooden vestibule shelters the main entrance. It has a gabled roof with the same pitch as the main roof. The gently arched exterior entrance is built of an H-shaped bent with beadboard siding on the exterior, chamfered edges on the inside and intricate quatrefoil sawn tracery in the gable field above.

Market Cross The Church of St Peter dates from the 14th century and is a Grade I listed building. The three- stage tower has set-back buttresses ascending to pinnacles, with a very tall transomed two-light bell-chamber with windows on each face The embattled parapet has quatrefoil piercing, with big corner pinnacles and smaller intermediate pinnacles. The four-light west window has extensively restored tracery. This tower is of the East Mendip type.

The tower has diagonal corner buttresses, and is divided into three stages by string courses. There is a three-light window in each of the outer faces in the bottom stage, and also in all the faces of the middle stage. In the top stage are two-light bell openings on each side, flanked by niches. Above all these windows and bell openings are crocketed ogee gablets flanked by pinnacles; they all contain Perpendicular tracery.

John carries the inscription "ECCENTRIC AGNUS DEI". The third lancet shows sainte Anne and John the Evangelist holding a chalice and presenting Anne du Bois, Le Scaff's wife, who also donated funds to the cathedral. Beneath the scene depicting the last judgement is the inscription "ET FUMUS TORMENTORUM EORUM ASCENDET IN FECULA FECULORUM". The arms of Le Scaff appear both in the tracery and on the tunic worn by Jean le Scaff.

St. Paul's Church is of State significance as a fine example of Edmund Blacket's ecclesiastical work and as a focal point of the Municipality. This Gothic Church (1871, completed 1924) situated high on Burwood Road and constructed of sandstone. Its features are include a slate roof, a tower, stone tracery and stained glass arched windows.LEP A pipe organ of three manual, and one pedal, divisions; Mechanical action to the manuals, tubular pneumatic to the pedals.

The upper fenestration of both garages was similar. The Knickerbocker's street entrance was a single, wide, pointed arch stretching across all three bays with separate entrances. Its window spandrels had decorative touches that were intended to mimic Gothic tracery. On the Arnink, every bay had a separate garage; the western one was slightly larger and each garage had a pointed-arch entrance with an original folding door and a metal lantern-style light above.

Drawing of the runic inscription (Dream of the Rood interpretation) Translation of Ruthwell Cross Inscription. At each side of the vine-tracery runic inscriptions are carved. The runes were first described around 1600, and Reginald Bainbrigg of Appleby recorded the inscription for the Britannia of William Camden. Around 1832, the runes were recognized as different from the Scandinavian futhark (categorized as Anglo- Saxon runes) by Thorleif Repp, by reference to the Exeter Book.

All the faces on the two upper stages 2-light mullioned, transomed and traceried window under pointed arched labels, with pierced stone baffles. The clockface is under the east window. During restoration work the parapet of the tower was examined and a stone was discovered with a carved date of 1731 which suggests that the decorative parapet may have been added then. The tracery on the north side has been marked out but never cut.

The king of Hamavaran wasn't happy about his daughter, after one week he sent to Kay Kāvus asking him to visit him in Hamavaran. Sudabeh felt her father intention was to capture Kay Kāvus. She told Kay Kāvus not to go, but he refused and went to Hamavaran. The king of Hamavaran welcomed him and let him in one of the cities of Hamavaran called Shahah which was full of gold tracery.

The tower has arched three-light belfry windows with stone louvres and uncusped intersecting tracery, a characteristic of local 16th century gothic. The gothic windows of the nave aisles are a result of Paley and Austin's restoration, though the sundial, plinth, and parapet are still classical. To the north of the building is the chancel and vestry. The Scarisbrick Chapel is to the south, and the Derby Chapel to the south-east.

Above these at first-floor level, and also above the entrance porch, there are three-light trefoil-headed windows set under a segmental arch-shaped hood mould. Many of the windows on the south side have plate tracery. The eastern face (to Ditchling Road) has eight bays and a carriage arch at the north end. The first four bays have trefoil-headed lancet windows, while the next four have simpler straight-headed windows.

The east window has Decorated reticulated tracery and to the right of the south east window is a crocketted 14th-century shaft. This is all that remains of an elaborate canopy which once stood over a sedilia seat beneath the window. In the 14th-century north doorway is a 15th-century wooden door with a carved leaf border. The doorway leads to a 15th-century chantry chapel which still has a piscina.

The local name for the building is Casa dels ossos (House of Bones), as it has a visceral, skeletal organic quality. The building looks very remarkable -- like everything Gaudí designed, only identifiable as Modernisme or Art Nouveau in the broadest sense. The ground floor, in particular, is rather astonishing with tracery, irregular oval windows and flowing sculpted stone work. It seems that the goal of the designer was to avoid straight lines completely.

The front of the altar table is covered by a panel with a picture of King David and the seals of the bishop Ove Bille and the cantor Georg Samsing, who donated the panel. The altarpiece in renaissance style is from about 1600 with original paintings. The pulpit is considered one of the best preserved in Denmark. It has double pointy arched engravings and circles filled with tracery, dated to about 1500.

Diocese of Worcester: Argent, ten torteaux four three two and one In English heraldry, diapering, or covering areas of flat colour with a tracery design, is not considered a variation of the field; it is not specified in blazon, being a decision of the individual artist. A coat depicted with diapering is considered the same as a coat drawn from the same blazon but depicted without diapering. In French heraldry, diapering is sometimes explicitly blazoned.

More antique furnitures and furnishings can be found. One of the most remarkable furniture found inside is the round dining table - made from the root of a Narra tree, and was built the same time the ancestral house was constructed. Aside from the traditional capiz windows at the left lateral portion of the house, rare patterned glass windows are also displayed. A tracery transom sets the dining area apart from the receiving area.

Two wooden galleries were added, possibly in the 18th century. In the 18th or early in the 19th century most of the windows lost their tracery. The church includes memorials to Elizabeth Norborne, Dowager Viscountess Hereford (d.1742). In 1856 the Gothic Revival architect G.E. Street had the galleries removed and the church refitted with new pews, and in 1874 the chancel was rebuilt to the designs of another Gothic Revival architect, Charles Buckeridge.

At the (liturgical) west end are three lancet windows with a five-light window above containing Perpendicular tracery. Flanking the windows are bays, each containing a gabled porch with niches above and, at the top, an embattled parapet. On the south side of the church are three projecting gabled bays and two bays between them. On the north side are two projecting bays with one bay between, and a two-bay transept.

The lecture hall addition on the north is similar to the main church block. It is a two-story bluestone structure with slate roof, mostly shielded from view by the church and adjacent buildings. A similar projecting gabled pavilion, with battered corners, on the Main Street side frames the main entrance. Two bluestone steps with iron railings lead up to a pair of slightly recessed paneled wooden doors topped by a fanlight with tracery.

It has an ornamental rectilinear frame. The turrets flanking the southern and northern gates are circular in shape; the articulation on these gives them a three storied appearance. The main gate, which leads to the qibla on the western wall, has a projecting mihrab. Above the vaulted first floor cells, ubiquitous arch windows (carved out of stone guard) with perforated screens or jalis or tracery, known as "Khirkis", are seen on the second floor.

The projecting entrance porch is surrounded by a concrete stair of three steps. Three pointed arched openings, separated by buttressed piers surmounted by gabled pinnacles, open onto the small single storeyed porch. The roof of the porch is concealed behind a parapet with a moulded stone coping, interrupted by the pinnacles of the buttressing. Above the porch, on the face of the western wall is a gable rose window, with heavy circular tracery.

The steps on the north have been replaced by a ramp providing access for people with disabilities. Above the porches in the gable of the transepts are circular windows with heavy circular tracery, above which are trefoil window openings. The nave elevations are characterised by bipartite lancet openings, in pointed archways, separated by buttressing. The 1939 extension of the western, entrance end is distinguishable by squared headed window openings and wider buttress spacing.

In architecture openwork takes many forms, including tracery, balustrades and parapets, as well as screens of many kinds. A variety of screen types especially common in the Islamic world include stone jali and equivalents in wood such as mashrabiya. Belfries and bell towers normally include open or semi-open elements to allow the sound to be heard at distance, and these are often turned to decorative use. In Gothic architecture some entire spires are openwork.

The architects William and Edward Habershon, brothers who operated as a partnership, designed the church in the Decorated Gothic style using flint and stone dressings. The cruciform building has a tower at the eastern end; this was added in about 1870, as was the spire. The lancet windows have tracery in the Decorated style. A porch was added on the west side in 1906–07 by London-based architectural firm Rogers, Bone & Cole.

The use of the equilateral triangle was given a theological explanation - the three sides represented the Holy Trinity. In the later years of the flamboyant Gothic the arches and windows often took on more elaborate forms, with tracery circles and multiple forms within forms. Some used a modification of the horseshoe arch, borrowed from Islamic architecture. The Tudor Arch of the Late Gothic style was a variation of the Islamic Four-centred arch.

Organ Memorial monument to Judith Hancock Stevens The fine wagon roof is of a pattern typical for this part of England, while the window tracery to the nave, aisles and chancel are Geometric dating to about 1861 and are by William White. The current tower and spire date were completed in 1828. The tower has a ring of eight bells. Abraham Rudhall of Gloucester cast five of them in 1716. They were rehung in 1884.

It was built largely in the 15th century in the Perpendicular style, with its bell tower standing high. It is notable for a fine Norman font and old woodwork, including the screen, bench-ends and communion rails which date to 1684. The screen is one of the finest 15th century examples in Cornwall; it has three gates and the cornice of vines and tracery and vaulting are finely carved.Mee, Arthur (1937) Cornwall.

The white and gold wooden structure is placed on a column with a foliated Gothic capital. The balustrade and the rear wall is decorated with simple blind tracery. The abat-voix forms a canopy with the usual symbol of the dove and a statue of Saint Paul (?) on the top. A painting of the interior by Martin van Meytens from 1760 shows another simple, rectangular pulpit with the statue of the Madonna on the top.

The church consist of three staggered naves in four sections and a polygonal chevet at the centre, the latter surrounded by a lower retro-choir. On the main wall there is a narrow gallery, in the form of windows with sills decorated with blind tracery. The church has one of the finest triforia in all Basque Gothic Architecture. The archivolted west door is set into a façade blooming with tiny original sculptured decorations.

135-36 (Internet Archive). Barsham church (its east front flushwork and tracery showing the Echyngham fretty heraldry) and its rectory stand on rising land overlooking the Waveney valley from the south.Slater, 'Echyngham Church'. The Hall was on the low ground some 600 metres to the north, at the edge of the river plain opposite Geldeston,'Notes, Letters and Sketches concerning Barsham Hall, compiled 1915/1919', in Farrer-Harris Antiquarian Collections, Suffolk Record Office (Ipswich) ref.

150312) at Westminster Abbey. Perpendicular is sometimes called Third Pointed and was employed over three centuries; the fan-vaulted staircase at Christ Church, Oxford built around 1640. Lacey patterns of tracery continued to characterise continental Gothic building, with very elaborate and articulated vaulting, as at St Barbara's, Kutná Hora (1512). In certain areas, Gothic architecture continued to be employed until the 17th and 18th centuries, especially in provincial and ecclesiastical contexts, notably at Oxford.

It is one of the earliest lierne vaults in England. There are five large windows, of which four are filled with fragments of medieval glass. The tracery of the windows is in the style known as Reticulated Gothic, having a pattern of a single repeated shape, in this case a trefoil, giving a "reticulate" or net-like appearance. The retrochoir extends across the east end of the choir and into the east transepts.

The south doorway is original of the early 13th century. A similar north doorway has been blocked up. The south porch and outer door are original of the 13th century, but with a 15th-century roof and 15th-century windows in the side walls. The fine 15th-century nave roof has embattled tie-beams supported by arched brackets with tracery in the spandrels and also in the triangular spaces above the beams.

The parish church of the latter had been located on Victoria Street. In 1856 Canon Ainslie began a complete restoration of St James, which included lengthening the chancel and the rebuilding of the South transept. Later works included the installation of new windows with stone tracery, and the installation of new oak roofs. The next key event in the history of the church, was the opening of the James College in 1883.

The inner door dates from the 13th century. Incorporated in the fabric of the south aisle are carved stones dating from the Anglo-Saxon and medieval periods. It has a 19th-century single-light west window, two three-light windows in the south wall dating from the 19th century and a three-light, 13th-century east window. In the north wall of the church are three two-light windows containing Decorated and Perpendicular tracery.

The church, located in Hannah, is dedicated to Saint Andrew and is a Grade I listed building, built of greenstone about 1758, with early 19th, and some 20th-century, alterations. Hagnaby Priory, later Hagnaby Abbey, was situated in Hagnaby. Pevsner states that a Premonstratensian priory, founded in 1175, stood to the north of the village. Fragments of the priory, including octagonal shafts and window tracery, exist at Hagnaby Abbey Farm to the west.

The tower lacks a spire but features narrow arched windows which emphasize its verticality, and echo the fenestration of the facades. The interior displays elaborate tracery trusses support on cast iron posts. The present altar and reredos were added around 1892 and were designed by Charles Haight of New York. In the two decades following the American Civil War, a number of institutional buildings were constructed in the Gothic Revival style in Middletown.

This simple white limestone façade is a good example of plain the Franciscan-Gothic architecture, it expresses their religious ideology of poverty and simplicity. The façade has very limited decorative elements mostly around the portal. Originally the rose windows probably had an elaborate tracery pattern that is now lost. The decorated door jambs, like the apse, show a richer quality of gothic details that probably came at the end of the construction.

With the notable exception of the grand south facing window with its pointed arch, the windows consist of pointed tracery contained within rectangular frames, a style characteristic of Deane's domestic work. The entrance hall, which is in the form of a long gallery, takes up half of the area of the ground floor. The west wing of the Castle takes the form of a round tower, with a spiral staircase contained within an attached turret.

There are two side doors: the Doors of the Canonici (south side) and the Door of the Mandorla (north side) with sculptures by Nanni di Banco, Donatello, and Jacopo della Quercia. The six side windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the transept admit light; the other two are merely ornamental. The clerestory windows are round, a common feature in Italian Gothic.

Pilkington adhered closely to Ruskin's principals, and in the High Victorian tradition which they promoted he evolved a highly personal style by mixing northern medieval elements with those from the Gothic architecture of Northern Italy as published by Ruskin and George, Edmund Street. His work featured polychrome stone, chunky rustication and lavish external carving of Venetian medieval buildings combined with French rose windows, decorated tracery, high-pitched roofs and deep, rain-conscious porches.

In the west the nave is supported by a powerful buttress, which adjoins to the wall of the tower, on the sides it is supported by four graduated slender linchpins, which are finished by gables. The aisles are broken by four lancet windows with tracery. The nave along with the chancel are covered by tiles. As the nave, the aisles are also divided into four fields, this time almost square floor plan.

The octagonal font dates from the early 14th century and has panels of blank tracery around its bowl. In the southeast corner of the chancel is a 15th- century piscina. Above the chancel arch is a carved and painted Royal coat of arms of Charles II dated 1660. The 12th-century north door, described as having a "most lavish display" of ironwork, is no longer "in situ", but is preserved inside the church.

On the sides under the table is a bold string-course of vine tracery, and below a series of canopied niches, now all void of their former occupants. The whole has been repeatedly whitewashed. The cover is a large slab of polished Purbeck marble, and inlet are the figures of a knight and lady under a beautiful canopy. Above the canopy are the indents of shields, and a ledger line surrounds the whole.

Along the clerestory are eight three-light Perpendicular windows. At the east end of the chancel is a large five-light window with Decorated tracery, and at the east end of each aisle is a three-light window. The north porch also has two storeys. The arch over its doorway is decorated with a band of shields, and over the arch is a niche for a statue and a three-light square-headed window.

1784 drawing The church is a nave and chancel with north and south aisles, which have four-arch arcades. The chancel and choir are roofed, and inside the choir is a square baptismal font. There are tomb-chests in the church but no effigies: one depicts a skeleton and another vaulting and tracery. The north doorway depicts a carved head of a woman wearing a distinctive horned headdress of the Tudor era.

Church exterior in 2014, showing new access ramps The church is a good example of Arts and Crafts in an Australian context. While restrained, Art Nouveau elements are also evident and include tracery in the windows and vine motifs in corbels and other ornaments. The large auditorium measures 80 ft by 42 ft with a 56 ft transept. The sloping floor allows better views while large windows fill the space with natural light.

The building has a tall square, wood-shingled bell-cot at the western end with double louvred-windows to either side. It has a pyramidal roof over the bellcote topped by a ball and a weathervane finial. Buttressing supports the west end with a quatrefoil roundel window over two lancet windows below, all with linked hood moulds. One 'decorated style' two-light window and one plate tracery window to south side also has mouldings above.

The windows have the remains of good-quality tracery in a style that suggests they were made in the latter part of the 13th century. Between 1496 and 1518 St. Martin's lacked a priest, but it was served again from 1518 until 1547. Thereafter St. Martin's lapsed from use for worship and was turned into a barn. It was re-roofed in the 19th century but in 1998 its condition was semi-ruinous.

Rosary bead (WB 236), British Museum Prayer nuts, or Prayer beads (Dutch: Gebedsnoot) are very small 16th century small Gothic boxwood miniature sculptures, mostly originating from the north of today's Holland. They are typically detachable and open into halves of highly detailed and intrinsic Christian religious scenes. Their size varies between the size of a walnut and a golf ball. They are mostly the same shape, decorated with carved openwork Gothic tracery and flower-heads.

James entered the University of Melbourne in 1949 to study Architecture under Prof Brian Lewis, and was accorded a degree with honors in 1953. His instructors included leading Modernist Roy Grounds, Robin Boyd, Frederick Romberg and Fritz Janeba. He also completed a three-year sub- major in Art History under Prof. Joseph Burke, under whom he surveyed the Melbourne terrace house and its cast-iron tracery, now held in the Dixon Library, Sydney.

The small church is in a ruined state. A remainder of the plaster can also be discerned on north interior wall and the outer walls and the late Gothic tracery of the window is only partially damaged. A high arch is shown in the east wall. It had been made for a choir addition that was never completed and had been only sealed with a temporary wall of inferior construction until the church's destruction.

St James church in Chipping Campden, Gloucestershire featured in "England’s Thousand Best Churches" by Simon Jenkins. Payne completed the five-light East window in 1925 in memory of those who served in the Great War. 15th Century glass was used in the tracery. The window is inscribed- In the first light we have depictions of St James, St George with sword and shield, St James leaving his boat to follow Jesus and the Fereby Arms.

The entry consists of double-leaf medieval doors, sheltered by a gabled portico with half-timbering in the gable end. At the second level the tower has a diamond-paned rectangular window, above which the tower transitions to an octagonal shape, with an open belfry whose openings are topped by Gothic tracery. An octagonal steeple caps the tower. A second section projects from near the eastern end of the northern long side.

All Saints is constructed in snecked red stone, with a tiled roof. Its architectural style includes Decorated details, including Geometric tracery in some of the windows. Its plan consists of a nave, a north aisle, a north transept, a chancel with a north vestry, and a southwest steeple. On the northwest side of the tower is a stair turret, and the entrance to the church is on the south side of the tower.

The North and South walls of the nave have, in each wall, one window of three cinquefoil lights in ogee arches and square head. The clunch tracery and the mullion and architrave are of limestone, which may indicate they are part of an earlier restoration. The gabled, brick and rubblestone north porch is 19th century. The chancel has in the north wall two windows, each of two cinquefoil lights in four centred arch.

The church is rectangular with a gabled nave, smaller narthex and an engaged bell tower. Its central section, faced with granite trimmed with limestone, is three bays wide by five deep. In addition to the non-contributing connecting wing, it has another one, polygonal in shape, that is original to the building although greatly modified since then. South Presbyterian's exterior has lancet windows with wood tracery, limestone hoods and diamond-shaped bosses.

The overall form is deviated only by the vestry to the south, itself a simple smaller version of the nave - a rectangular brick structure with tiled gable roof. The scale of the Church is grand yet gentle in its surrounds overlooking a spreading landscape. St Thomas' may be described as Old Colonial Gothick Picturesque. Key style indicators at St Thomas; include the symmetrical facade, tower, battlemented parapet, pointed arch motif and timber tracery.

Trinity Memorial Church is a historic Episcopal church located at Binghamton in Broome County, New York. It was completed in 1897 and is a High Victorian Gothic style structure constructed of bluestone with limestone watertable and trim. The front facade features a large square projecting tower with a side entrance and a smaller, secondary apse. Also on the front facade is a large Gothic arched window with geometrict tracery and stained glass.

These typical Gothic- style influenced meetinghouses are characterized generally by either an asymmetrical or symmetrical facade which is dominated by a square Norman architecture-style entrance tower; Gothic or Romanesque arches or a combination of the two, are used throughout the building. The Murray Second Ward Meetinghouse fits this description well; it has an asymmetrical facade dominated by an entrance tower with a crenellated parapet, and tall, Gothic (pointed) arch windows framed in wood tracery.

The church is constructed in red sandstone ashlar with a slate roof, and is in Decorated style. The plan consists of a two-bay nave without aisles, north and south transepts, a chancel, north and south vestries, and a west tower and spire. The tower has a west entrance with a window above it, and three tiers of blind arcading above that. The bell openings are paired, and the parapet has fretted tracery.

Kilronan Castle, which was also known as Castle Tenison, is a 19th-century castle dating from two different periods. The earlier part was built by Thomas Tenison, consisting of a 3-storey-over-basement, 3-bay symmetrical castellated block with slender corner turrets, pinnacled buttresses and tracery windows. This was built in about 1820, and may incorporate a Palladian style Georgian house. The later part is two storeys high, is irregular, and of rubble stone with a baronial tower.

The foundation stone was laid on 24 October 1871 and the church was consecrated on 26 July 1872 by the Bishop of Lichfield. It was 95 ft long, 26 feet wide and 50 ft to the apex of the roof. It was built of Spondon best red brick, with stonework only for the pillars of the arcades and tracery of the clerestory windows. The architect was F.W. Hunt of London and the contractor was Robert Bridgart of Derby.

The term is also used for tracery on glazed windows and doors. Fretwork is also used to adorn/decorate architecture, where specific elements of decor are named according to their use such as eave bracket, gable fretwork or baluster fretwork, which may be of metal, especially cast iron or aluminum. Fretwork patterns originally were ornamental designs used to decorate objects with a grid or a lattice. Designs have developed from the rectangular wave Greek fret to intricate intertwined patterns.

The chancel is in decorated style. It has four windows, its east window having three lights and reticulated tracery, plus an ogee-headed priest's doorway on the south side. One of the chancel's stained glass windows is from Knaresborough Priory.Mentioned in William Grainge, Harrogate and the Forest of Knaresborough, 1871 It is a small window in the point of an arch, showing a coat of arms with two oaks above a red and blue Trinitarian cross.

In the early 16th century the chancel was further enlarged, making it wider than the nave. The Hilton chapel was built in 1723, replacing the former north aisle. The church was restored in 1885–86 by C. J. Ferguson at a cost of £732 (). During the restoration the north arcade was rebuilt, tracery was installed in the windows of the Hilton Chapel, and a new south doorway and porch were added to the west of the original doorway.

The most well-preserved building is the monastery church, in which the Gothic Architecture was preserved with many original details, especially the portals and vaults of the long presbytery. It has preserved the original segmentation of the interior by the window cornice, truncated support column with capitals, and windows with tracery. Well-preserved fragments of artistic and hand-done decoration remain on the walls of the monastery. Surveys have discovered previously unknown architectural details of the oldest structure.

The nave walls contain three-light square-headed windows. Only the gable ends of the transepts are standing. In the north transept gable is a window of three stepped lancets, and in the south gable is a three-light Perpendicular window. The west wall of the chancel contains three lancet windows, the east wall a three-light Perpendicular window, and the south wall a two-light window with Y-tracery, a priest's door and a pair of lancets.

A series of holes around the base of the parapet form a type of machicolation for defensive purposes. In the south wall of the nave are a 19th-century round-headed doorway, and a two-light and a three-light window. Incorporated in the fabric of the porch are two fragments of a medieval graveslab. In the north wall of the nave are a thin blocked Norman window, and a two-light window with Decorated tracery.

Victorian Corn Cribs are historic agricultural buildings at St. Michael's, Talbot County, Maryland. The two structures feature elaborate tracery along the eaves and bargeboards, and are connected by a low, rough shed. They were moved from their original site on the north side of U.S. Route 13, about two miles east of Westover, in Somerset County, to their present Talbot County site in June 1975. It was listed on the National Register of Historic Places in 1976.

German Evangelical Zion Lutheran Church, now known as Tabernacle Baptist Church, is a historic Lutheran church at Capital and Herr Streets in Harrisburg, Pennsylvania. The church was built in 1886, and is a two-story brick building in a modified Gothic style. It features a three-story square bell tower with large oval windows and brick tracery. Attached to the church by a one-bay, two-story section is a three-story brick parsonage built in 1897.

The chancel, of four bays, is late 13th- century; the pointed five-light east window and three-light side windows have intersecting tracery. The glass in the chancel is 14th-century. The chancel, showing the east and north windows The font is a cylindrical bowl on a shaft, both 12th-century. The bowl is decorated with low relief carvings: there is a Lamb of God on an altar, with panels around the bowl containing irregular patterns of triangles.

Mary's long robe swirls around the pictorial space, obscuring her throne and eventually falling at the support by her feet. They are framed by a sculpted niche or apse with Gothic tracery similar to that found in van der Weyden's Descent from the Cross.Nosow, 145 The curved arches of the niche echo the lines of her figure as she bends protectively over the child. These curved lines and warm colours give the work its sense of internal harmony.

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.

Higher panels are written in slightly larger script to reduce the skewing effect when viewed from below. The calligraphy found on the marble cenotaphs in the tomb is particularly detailed and delicate. Abstract forms are used throughout, especially in the plinth, minarets, gateway, mosque, jawab and, to a lesser extent, on the surfaces of the tomb. The domes and vaults of the sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms.

The decagonal Chapter House with its huge flying buttresses is the first polygonal chapter house in England. Of the interior, the finest part is considered to be the late-13th- century “Angel Choir” with “gorgeous layers of tracery” and enriched with carved angels. The transepts have two rose windows, the “Dean’s Eye” on the north dating from c. 1200 and retaining its original glass, while the Flowing Decorated “Bishop’s Eye” on the south is filled with salvaged medieval fragments.

St John's College Library Brennan Hall is named after the notable Australian poet and classical scholar Christopher Brennan (1870–1932), who was a regular visitor and close friend of Maurice J. O'Reilly, the then rector. Brennan Hall has a double arcade of slender wooden piers. Each pier has four engaged shafts with appropriate bases and capitals supporting arched braces. All motifs are in the 14th century manner, like the reticulated tracery in the square loaded windows.

Church of Santa María del Campo. Portal. This building presently serves as a parish church. Erected at the beginning of the 16th century, it was constructed in the Plateresque style and features Gothic tracery in the vault. The portal dates from the middle of the same century and was built by (born Etienne Jamet) of Orléans, who is also supposed to have made the altarpiece with scenes from the life of the Virgin Mary, as well as the sacristy.

The hall and frontage was rebuilt between 1846 and 1848 by Joseph Potter Jnr. It is these works which created the gothic-style frontage to Bore Street and the panelled main hall on the first floor. This room is 87 ft long by 25 ft wide and, with its high pitched roof and hammer beams, has a fine medieval appearance. At the north end there is a large stone tracery stained-glass window by Betton & Evans of Shrewsbury.

The Amanda K. Alger Memorial Methodist Episcopal Church is a historic church at 303 Maple Avenue in Eaton, Colorado. It was built in 1925 and was added to the National Register in 2006. It was deemed significant > as an excellent example of the Late Gothic Revival style. The church > exhibits many of the characteristic elements of this early twentieth century > style including the steeply pitched roof, arched windows with tracery, > vaulted ceilings, quatrefoil elements, crenellated parapet, and simpler > detailing.

The > picturesque effect associated with the Late Gothic Revival style is evident > in the materials used and the craftsmanship exhibited. Late Gothic Revival > is much simpler and typically larger in scale and more substantial than > earlier Gothic Revival style buildings. The use of ornament on the church is > present but restrained, indicating a more serene, modern sensibility. Many > Late Gothic Revival buildings use brick or smooth stone on exterior wall > surfaces highlighted by large lancet windows with stone tracery.

The window tracery articulates four larger windows, one in each bay, each composed of these three rows of smaller lancet windows. As much of the original glass was destroyed during the English Commonwealth,Jenkyns, Richard, Westminster Abbey, 2011, p. 53, Harvard University Press, , 9780674061972, google booksLindley (2003); p. 207 the East Window, over the centre apsidal chapel, as well as the Donor Windows (in the west), in the chapels themselves, are new additions, installed in 2000 and 1995, respectively.

The north and east sides are fully crenellated but the crenellations on the south wall are only above the two western bays. The chancel is lower and narrower than the nave and is gabled. The east window is arched with three lights and Perpendicular tracery. In the north wall of the chancel is a three-light straight-headed window and in the south wall there is a similar window with a priest's door to its west.

Alibhai (1938–1960) was a British Thoroughbred racehorse who was purchased by Hollywood movie mogul Louis B. Mayer for 3,200 guineas and brought to the United States.Thoroughbred Heritage He was sired by Epsom Derby winner Hyperion who was a six-time leading sire in Great Britain and Ireland. Grandsire Gainsborough was the 1918 English Triple Crown champion. Alibhai's dam Teresina was the daughter of Tracery whose major wins included the 1912 St. Leger Stakes and 1913 Champion Stakes.

The middle stage contains a gabled niche containing a statue, and in the top stage are three-light louvred bell openings. On the tower is a broach spire with a two-light lucarne on each cardinal side. The windows in each bay of the nave consist of a pair of lancet windows with a circular window at the top. In the chancel is a three-light east window containing Geometrical tracery, and two double lancets on the south side.

The Claregalway Friary, viewed from the modern cemetery to its north Tracery window and 18th century tombstone of "James Baccagh Coll" (Lame James Coyle). The Claregalway Friary is a medieval Franciscan abbey located in the town of Claregalway, County Galway, Ireland. The abbey site features an east-facing, cruciform church (minus a south transept) with a 24-metre (80 ft) bell tower. The ruins of the living quarters and cloister are situated to the south of the church building.

The American jockey Danny Maher had been expected to partner the horse but when he was obliged by his contract to take the mount on the outsider Charmian, the French-based George Bellhouse took over the ride. Bellhouse sent Tracery into the lead from the start and was never seriously challenged. In the straight he drew away from his rivals and won easily by five lengths from Maiden Erlegh. Tagalie and Lomomd finished sixth and seventh.

The east window The church is built of flint with stone dressings and stands at the centre of a rectangular churchyard. The tower at the western end has battlements with an early example of flushwork panelling. The bell openings have reticulated tracery, with two minor reticulation units within the major one. The nave, without pillars or aisles, is nearly wide, the widest among Norfolk’s parish churches, giving a large preaching space as pioneered by the mendicants.

The 14th-century north transept has a four-light east window with reticulated tracery in a two- centred head. The north wall has a late-15th-century three-light window with a depressed four-centred head. The west wall has, near its northern end, a blocked late-14th-century doorway; and at the southern end the weather stones of the early aisle roof remain. In the north transept are some 17th-century red and yellow glazed flooring tiles.

It is set on a moulded plinth, and has paired buttresses at the corners. On the west side of the bottom stage is a two-light window with Decorated tracery, and on the north side in the middle stage is a clock face. On each side of the top stage is a tall two-light transomed bell opening. At the top of the tower is a battlemented parapet, under which is a moulding carved with flowers and animals' heads.

The garden front, facing east, has octagonal corner turrets between which is a large canted bay window which rises up to form a half-tower. The section to the left of this faces south and is in two storeys with three bays. It contains French windows and windows with trefoil heads containing Y-tracery. There is then a two-storey two-bay section and finally Smirke's service wing with its large round tower containing arrow slits.

The church was built in 1932 in the English Gothic Revival style. Among the Church's notable features are stained glass windows with intricate Gothic tracery, arcaded ambulatories, and a 130-foot landmark tower with an elaborate open belfry. The church was listed in the National Register of Historic Places in January 2002. Three months later, McCarty was one of 18 Los Angeles structures to be awarded a "Preserve L.A." grant from the J. Paul Getty Trust.

These are > carried up throughout three stages, and add much to the effect of the > general outline. The second stage consists of a series of pointed arches > under gablets, filled in with tracery, the lower portion containing shields > bearing the town arms. The shafts in this stage are proposed to be of red > Mansfield stone, having carved caps. The third stage, of diminished > diameter, rises from the second stage, being connected therewith by a > vertical stepping.

The stands which support these birds are sometimes of rich Gothic tracery work, with figures, and rest upon lions; later forms show a shaft of cylindrical form, with mouldings at intervals, and splayed out to a wide base. A number are found in Germany in the Cologne district, which may be of local manufacture; some remain in Venice churches. About a score have been noted in English churches, as at Norwich, St Albans, Croydon and elsewhere.

A square bell tower (minus bells) is located at the south-western corner of the building and dominates the view from the south, the main approach to the complex. Stone string courses and darker brick bands run around the building and stone copings cap the gables. The windows are set in stone tracery with stone heads and sills. The entry is unusual with a pair of large sliding panelled doors opening the entry porch to the courtyard.

It is cruciform, standing on a north-south axis, and was originally a "simple, almost barn-like hall" around 30 feet wide and 64 feet long, with four bays of double-Y tracery windows. The four story tower, spire, transepts and chancel were added in 1819Rowan, Alistair, The Buildings of Ireland: North West Ulster, p.301 following a loan of £553 16s 1d from the Board of First Fruits.The Parliamentary Gazetteer of Ireland 1844-45, Vol II, p.

This can be seen in the central panel of his eponymous altarpiece, in which a painting of the Crucifixion is flanked by scenes from the Annunciation and Resurrection. The figures stand against a tooled gold ground, purely decorative and with no perspective depth. Elaborate tracery, a baldacchino, projects over them as if to suggest that they are actually statues. A still-life appears on the exterior, part of the setting for the Vision of Saint Augustine.

Poole Methodist Chapel is a Wesleyan Methodist Chapel on Wettenhall Road (); it is listed at grade II. Built in 1834 and largely unaltered externally, the design is typical of early Methodist churches. The single-storey red-brick building has a slate roof and encloses a single rectangular room used for worship. The entrance features a semi- circular fanlike arch above the door, with a dated tablet above. There are four windows with Y-tracery and pointed arches.

St Mark's exterior is faced with stone from the Hurdcott Quarries, with dressings and window tracery in Doulting stone. The interior uses stone sourced from Corsham Down. The initial phase of work carried out in 1892–94 provided accommodation for 500 persons. The church has a Cruciform plan and is made up of a five-bay nave (with aisles, narthex and flanking spaces), transepts, crossing tower, two-bay chancel with south chapel, south porch, annexe and organ gallery.

The church was built in 1930–32 and designed by the Lancaster architect Henry Paley of Austin and Paley, and cost £10,326 (equivalent to £ in ). It is constructed in brick with stone dressings, and has windows with mixed Decorated and Perpendicular tracery. Only the east end of the church and 3½ bays of the nave and aisles were completed. Brandwood and his co-authors consider that the interior is "of dignity and with several inventive touches".

The front pavilion is echoed on the west (rear) with a smaller one holding the Torah ark and decorated with three Star-of-David windows directly above it. A brick chimney pierces the roof above on the south side of the crest. Both side profiles feature five double-hung sash windows with lancet arched transoms with colored glass Stars of David in the tracery surrounded by opaque glass. The basement is lit by sash windows in a different pattern.

Tower from the west The tower is of three stages. The lower stages might be part of an 11th- century previously unbuttressed tower, and contains at its west side an early 15th-century chamfered reveal window opening with pointed arch surrounded by a hood mould with label stops in human form. The inset Perpendicular window is of three lights of panel tracery below, and six above. The panels are headed with trefoils, the lower within ogee heads.

He added the Cloister of Afonso V. He was succeeded by the architect Mateus Fernandes the Elder in the period 1480–1515. This master of the Manueline style worked on the portal of the Capelas Imperfeitas. Together with the famous Diogo Boitac he realized the tracery of the arcades in the Claustro Real. Work on the convent continued into the reign of John III of Portugal with the addition of the fine Renaissance tribune (1532) by João de Castilho.

The carved tracery decoration in Gothic style (including quatrefoils, fleurs-de-lis and rosettes) by Huguet in the ambulatory forms a successful combination with the Manueline style in the arcade screens, added later by Mateus Fernandes. Two different patterns alternate, one with the cross of the Order of Christ, the other with armillaries. The colonettes, supporting these intricate arcade screens, are decorated with spiral motives, armillaries, lotus blossoms, briar branches, pearls and shells and exotic vegetation.

Between 1222 and 1235, Henry III, who was born at Winchester Castle, added the Great Hall, built to a "double cube" design, measuring by by . The Great Hall was built of flint with stone dressings; originally it had lower walls and a roof with dormer windows. In their place were added the tall two-light windows with early plate tracery. Extensions to the castle were added by Edward II. The Great Hall is a Grade I listed building.

St Mary's Church is important in demonstrating the characteristics of early twentieth-century Gothic revival churches, of which it is a fine example, although incomplete. The place is important because of its aesthetic significance. The building has many fine elements including the stonework, particularly the tracery and carvings; internal joinery; and a very fine marble High Altar, side altars and pulpit. The building is a landmark in Warwick as the highest and most prominent building in the town.