661 Sentences With "wainscoting" | Random Sentence Generator

The main room is lined with wainscoting, its dark-green color custom-tweaked to update the original green wainscoting.

An original swinging door leads into an office with paneled wainscoting.

There is extreme attention to detail throughout the duplex, including delicate wainscoting.

Both bedrooms have the same tall wainscoting found in the living area.

There are also beautifully restored details like lattice windows, wainscoting and crown molding.

In the bathrooms, they installed matte-black penny-tile floors and painted wainscoting.

Most of the interior has been preserved, including wood floors, molding and paneled wainscoting.

An informal breakfast room adjoins the dining room, with wainscoting and built-in shelving.

They'll live in their $12 million Brentwood mansion with its granite countertops and elegant wainscoting.

It has large windows, wood floors, paneled wainscoting and nine-and-a-half-foot ceilings.

The reclaimed-pine wainscoting in the kitchen was installed during updates about 20 years ago.

The living and dining area has a fireplace, a vaulted ceiling and tall white wainscoting.

The dining room has a beamed ceiling and wainscoting that rises high on the walls.

The dining room is straight ahead, near a bathroom with wainscoting and a clawfoot tub.

Snug, spotless and utilitarian, lined with white and black tile floors, white wainscoting, white beadboard walls.

A hallway with wainscoting beneath mirrored walls and dark guayacan wood floors leads to the bedroom area.

It was renovated in 2215, but retains many early details including distinctive trim, wainscoting and crown molding.

The wood paneling and carved wainscoting in the house is all original, as are the wooden window shutters.

The architectural firm CetraRuddy was chosen in June to renovate the Art Deco tower, which has marble wainscoting.

The interior retains its original molding and paneled wainscoting, as well as wide-plank wood floors, painted gray.

The space, with its old-timey wainscoting and its central bar, is easy to mistake for a tavern.

The apartment has 53543-foot ceilings and extensive millwork, with picture frame moldings, decorative inlays and raised panel wainscoting.

It's as plain as a Shaker church, with clamshell-colored wainscoting below white walls unbroken by pictures or anything else.

The interior is High Victorian, with the original gumwood trim and doors, hardwood floors, ornate mantels, wainscoting, molding and pocket doors.

The new bathroom has beadboard wainscoting topped by toile wallpaper and a claw-foot tub that is original to the property.

The third floor has another bedroom suite under sloped ceilings, including a full bathroom with wainscoting and a claw foot tub.

The formal dining room has paneled wainscoting and a corner hutch; the first floor also has a library paneled in gumwood.

The ornate woodwork inside — columns, crown molding, box beams and wainscoting — is almost entirely original, with newer work made to match.

Parents and guardians sit against the rear wall, under a piece of paper that says "PADRES/ PARENTS" taped to the wood wainscoting.

The interior is almost entirely original, including knotty pine plank floors, paneled wainscoting, plaster crown molding, hand-carved scrollwork and crystal chandeliers.

The kitchen, updated during renovations about 25 years ago, has stainless-steel appliances and wood cabinets that match the room's beadboard wainscoting.

All four bedrooms are upstairs, in the front section of the house, and share a bathroom with wainscoting and a corner shower.

" And as you become more confident, she said, "you can graduate to painting doors to a room or hallway, window trim or wainscoting.

And what does the specter of Suki want — if that is indeed what rattles the door frames and carves squiggles in the wainscoting.

Wainscoting and built-in bookshelves went up along the walls, and the kitchen became crisply clean and light-filled, with a butcher-block countertop.

Original features include wide-plank pine floors, horsehair plaster walls, raised panel doors and wide-board wainscoting, as well as built-in cupboards throughout.

This included refurbishing the ornate oak front door, the parlor-level wainscoting and the carved staircase banister, as well as the decorative fireplaces, Mr. Nikci said.

The dining room has a beautiful combination of paneled walls, deep beamed ceiling and ornate wainscoting; behind the panels on one wall is a secret cupboard.

To open up your space, she suggests removing the railing and opting for "plain walls or a more substantial wainscoting" for a much larger design impact.

The grand foyer leads to a living room with a fireplace and a connected formal dining room with wainscoting, well lit by a large bay window.

There are long, contemplative shots of everyday tableaux suddenly rendered so tender and precious you'll find yourself sobbing over a 10-second camera pan of wainscoting.

Wearing wallpaper and wainscoting and pressed tin, Red Hook Tavern does a straight-faced impression of a whiskey-simmered New York corner bar of a certain age.

The kitchen, an ell added in the 1890s, has a wide brick fireplace and floor-to-ceiling wainscoting made of pine, a wood also used for the cupboards.

Beyond the entry is a hallway that leads to a larger family room, with its own fireplace and decorative wainscoting, and a door that connects to the kitchen.

The dining room has rich wood wainscoting, a fireplace set into a wood-paneled wall and an unusual wood-paneled ceiling with beams laid out in a diagonal pattern.

Much of the interior is original, including heart pine floors, ornate buttresses and large stained-glass pieces, as well as dark-wood wainscoting and columns with carved-wood bases.

Other touches that evoke the original are warm cherry wood, dark-green wainscoting, decorative elements with an Arts and Crafts look, and most of the art on the walls.

The interior is a mix of original woodwork and salvage, including wide-plank pine floors, exposed ceiling beams and wood-paneled walls, as well as wainscoting and custom cabinetry throughout.

It's the Brechtian contrast of gracious old buildings with homeless people in their foyers, the dive bars with carefully curated recycled-wood wainscoting, the luxury shuttle buses to Silicon Valley.

Five bedrooms, most with varnished woodwork and dormer windows, line the L-shaped second-floor hallways; there is also a bathroom with white-painted wainscoting and an interesting three-part medicine cabinet.

In the foyer, there is an oval stained-glass window and paneled wainscoting that runs under a band of William Morris wallpaper; the floors here are marble, in a basket-weave pattern.

The upstairs master bedroom is connected to a dressing room with an interior walk-in closet and a bathroom with paneled wainscoting, a free-standing tub and a separate shower and water closet.

You've heard versions of this story before, but the specifics here involved a balcony from a crumbling church that made incredible wainscoting but begged for matching custom woodwork and installation that eventually cost $23,2000.

Ever since its meticulous restoration in 2013, the Board of Officers Room at the Park Avenue Armory, with its mahogany wainscoting and enormous fireplace, has become an intimate space for chamber music and recitals.

A thick, pale carpet covers the floor; other additions include wainscoting and molding, silk wallpaper and velvet trim, and silk cords from which the paintings hang — all a single shade of tasteful, soothing jade green.

The walls are painted a reddish brown, between black wainscoting below and black ceiling above, so the room itself looks, vaguely, suitably charred; a big overhead fan lazily pushing smoky air around adds to the effect.

Not long ago, City Center decided to refurbish the room, whitewashing it and refinishing the old wainscoting, so beforehand Mr. Otero-Pailos arranged to make latex casts of the woodwork, vents, electrical outlets and so on.

The work of Italian artists, including the architect Sebastiano Serlio and the master woodcarver Francesco Scibec da Carpi, the Galerie François I combines masterly frescoes, life-size stucco figures, elaborate wainscoting, delicate painting and gold leaf detailing.

The previous owner had preserved and protected its abundant Old World charm — paneled walls and ceilings, wainscoting, crown molding, herringbone floors, beveled leaded-glass doors — while showing an appreciation for modern conveniences of the Sub-Zero kind.

" She continued: "If you have wainscoting or a chair rail, then it is preferable to use a stronger tone on the lower part of the wall, leaving the artwork to sing on a lighter background on the upper walls.

New Jersey | 3 bedrooms, 2 baths A 118-year-old, 1,500-square-foot vinyl-sided house that has a combined living and dining room with a fireplace and painted wainscoting, a kitchen with a breakfast bar and a deck.

Westchester | 3 bedrooms, 3½ baths This 92-year-old, 93,016-square-foot, Tudor-style house has a wainscoting-paneled living room, a formal dining room with a bay window and a kitchen with a breakfast bar, on 0.24 acres.

Connecticut | 3 bedrooms, 0.633 baths This 98-year-old, 2,112-square-foot house has a family room with a fireplace, a kitchen with a range-topped island, a dining room with wainscoting, a deck and beach rights, on 0.13 acres.

The foam-green and aquamarine painted walls are also covered in works by Wallacavage's artist friends — in the parlor, inches from the Victorian wainscoting, is an original spray-painted tag by the Philadelphia graffiti artist Cornbread — and his own curbside finds.

To hang his canvases and collages, the artist designed broad folding screens, implying a modernized wainscoting that conjures nebulous period styles as well as a private, mazelike world of codes and relationships; the screens' contrasting mauve and blue recur throughout the paintings.

The glass is a recent addition, and incongruous; the remainder of the room—the lustrous carved oak of the wainscoting, the six brass chandeliers strung from the high plafond—has been preserved as it was at least a century and a half ago.

But Daily Provisions is extremely well tailored, done in marine blue wainscoting with marble counters and tables, a few seats and shelves full of freshly baked breads, glazed and sugared crullers, cookies and croissants flecked with "everything" spices and filled with cream cheese.

The cozy space, which could be mistaken for an antiques shop, has a curvaceous 118-foot bar, walls teeming with literary paraphernalia, chandeliers with peacock feathers and wainscoting said to be from Hope Castle in Castleblayney, Ireland, the hometown of Frank McCole, one of the owners.

Now, fighting against weather and rush hour, my thoughts were still with the motorcycle repair shop out on 102nd Avenue: the ruined emptiness, the water lines on the wainscoting, the file cabinet drawer full of damp paperwork that had been left to dry on a dirty folding table.

When Mr. Kaufman developed a color scheme for the second floor of the American Wing at the Met, he said, he had to take into account several periods of American art, as well as varying lighting across galleries and architectural details like limestone wainscoting and light oak floors.

COST $1,228 a month in common charges; $1,744 a month in taxes LISTING BROKER Engel & Völkers ____ ____ 20 Rockland Place, Old Greenwich 16 WEEKS on the market $1,23,000 list price 8% BELOW list price SIZE 4 bedrooms, 2½ baths DETAILS An 87-year-old colonial with a fireplace, a formal dining room, hardwood floors, wainscoting and a one-car garage.

COSTS $5,826 a year in taxes LISTING BROKER Sari Kingsley Real Estate ____ 13 Mott Avenue, Lawrence 15 WEEKS on the market $689,000 list price 5% BELOW list price SIZE 7 bedrooms, 3 baths DETAILS A three-level, renovated, 137-year-old house with hardwood floors, a living room with a fireplace and wainscoting, a wraparound porch and central air-conditioning.

COSTS $2,990 a month in maintenance LISTING BROKER Stribling & Associates ____ 33 Jamison Court, West Harrison 19 WEEKS on the market $1,499,224 list price 21% BELOW list price SIZE 2358 bedrooms, 2000½ baths DETAILS A 24-year-old house with a double-height foyer, an eat-in kitchen with granite counters, a formal dining room with wainscoting, and a family room with a fireplace.

COSTS $6,088 a year in taxes LISTING BROKER Coldwell Banker Residential Brokerage ____ 107 Seminary Street, New Canaan 55 WEEKS on the market $1,53,000 list price 7% BELOW list price SIZE 3 bedrooms, 3 baths DETAILS A 48-year-old semidetached condo with hardwood floors; wainscoting; a living room with a fireplace and built-in bookshelves; a home office; and a brick patio.

Size: 6,491 square feet Price per square foot: $208 Indoors: Orient Lodge, as the three-story house is called, is a trove of period details, including etched-glass windows, chinoiserie wallpaper, vertically striped wainscoting, beamed and latticed ceilings, and monumental cobblestone fireplaces built with rocks from a stream on the property and ornamented with welcoming messages inscribed in gold leaf.

On the Market 17 Photos View Slide Show ' Click on the slide show to see this week's featured properties in New York City: • In Midtown, a two-bedroom, one-bath, prewar co-op with a windowed bathroom with subway-tiles, and a living room with wainscoting and space for a dining table, in a doorman building with a colorful Arts and Crafts-style facade.

COST $4,597 a month in maintenance, 36 percent tax-deductible LISTING BROKER Corcoran Group ____ 35 Tall Pine Lane, Short Hills 14 WEEKS on the market $43,575,000 list price 8% BELOW list price SIZE 8 bedrooms, 6.5 baths DETAILS A brick house with a sun room, a library, a game room and a home theater, beamed ceilings, crown moldings and wainscoting, on more than an acre.

COSTS $350 a month in common charges; $10,262 a year in taxes LISTING BROKER William Pitt Sotheby's International Realty ____ 215 Orchard Street, Cranford 33 WEEKS on the market $1,110,000 list price LESS THAN 245% ABOVE list price SIZE 21 bedrooms, 2149 baths DETAILS A 2000-year-old stucco-sided house with an entry with leaded-glass sidelights; a living room with a fireplace; and a formal dining room with wainscoting.

It is frame, with a gabled roof and uses beaded posts and wainscoting.

The main hall features marble wainscoting. The main reading room has a carved panel ceiling and a fireplace; this room features the north bay window. The ladies reading room also has a fireplace. The lecture room is decorated with oak wainscoting.

The downstairs walls were finished with wainscoting, while the upper loft area was unfinished.

The main floor area originally had a tiled floor, marble wainscoting, and a marble teller's counter. In the 1960s, the counter was removed, the wainscoting covered with wood paneling, and a drop ceiling installed. The paneling and ceiling was removed during renovations in 1981.

Each is lit by six tall windows and floored in pine similar to the wainscoting. The blackboards above the wainscoting have their original turned trim. The supporting beams in the ceilings are exposed. They are reinforced at the joints by cast iron columns with decorative floral bases.

Also, marble of various colors was found throughout the house in mantels, wainscoting, and in the rear courtyard floor.

The walls are divided by wood wainscoting surmounted by raised plaster panels with molding surrounds. Windows extend upwards from the wainscoting and are partially trimmed on three sides with cast-plaster acanthus leaves matching those on the ceiling. From its earliest period, the courtroom has been carefully preserved. When the judge's bench and jury boxes were relocated from the east to the west wall in 1936, the alterations to the wainscoting, plaster ceiling details, and the wall panels were painstakingly matched to existing 1906 finishes.

Double doors on the west side open to steps down to the street. Inside, the nave follows a traditional linear plan with a central aisle between wooden pews. Wainscoting rises to the ceiling and its exposed trusses, all darkened by finishings. The chancel has a tiled floor and vaulted ceiling finished with wainscoting.

To the left of the foyer is a social room. Originally, it had inlaid hardwood floors and oak wainscoting. While the wainscoting has endured, the hardwood floor has since been covered by a carpet due to years of wear caused by chairs and tables being dragged across it. Other notable rooms include the auditorium and library.

The design mixes Beaux-Arts architecture and Moderne elements. The interior features marble wainscoting, oak woodwork, terrazzo floors, and stained glass skylights.

Behind an arch at the south end is a fireplace. Oak wainscoting extends halfway to the ceiling, from which an iron chandelier hangs.

The first floor has steel columns and a metal ceiling high. The entrance to the upper floors is tiled mosaic with the letters "FB" and a geometric border. At the entryway, black and white marble wainscoting is on the plaster walls, which rise to a coffered ceiling. The staircase itself has marble facing, with pink marble wainscoting on the sides.

At the time of Theosa's construction, there was a millwork factory operating in town as an offshoot of the thriving lumber business in the area. Part of the millwork in the house was mass-produced in that mill. It mainly consists of the wainscoting in halls and stairwell. The same wainscoting pattern is also used in the 2nd Floor Bathroom.

The interior is fitted with 19th-century wainscoting, horizontally boarded pews, a gallery, and a pannelled pulpit on the north side accessed by stairs.

Interior finishes have also been preserved, including wood flooring, paneling, and wainscoting. The house was listed on the National Register of Historic Places in 1984.

The interior is arranged on a center hall plan, with a reverse flight stairway. The house has Federal style mantles and wainscoting, with heart pine floors throughout.

The lower halves of the ballroom's walls contain marble wainscoting. Various ornaments, cartouches, and motifs are located throughout the ballroom, including several instances of Guardian Life's initials.

The interior has elaborate Classical Revival woodwork, with Corinthian columns, wainscoting, and builtin cabinets. The house was listed on the National Register of Historic Places in 2008.

The interior of the church features fourteen pews, seven on each side of its central aisle. The walls in the church section, and the original sacristy room, are finished with chair molding installed horizontally at three feet six inches from the floor. Solid hardwood bead board wainscoting runs vertically from the floor to the chair molding. From above the chair molding, solid hardwood bead board wainscoting runs horizontally to the ceiling.

The wainscoting within some parts of the first floor and more certainly within the garret are the result of later schemes, re-using the original material in less important rooms or less- visible locations in the closing decades of the 17th century when wainscoting of small panel type was being replaced with new schemes. The wainscoting then indicates that the important rooms had been fitted out in the fashion of the day until the end of the 17th century when the house was updated and the schemes demoted to less important areas. Within some of the rooms, such as the original hall (northeast room – ground floor) the wainscoting appears to have been retained for longer and this may be indicative of function or indeed the profession of the owner at that time. As noted above, those involved in practising law may have been more traditional of taste, or more inclined to reinforce ties with traditional values and customs.

At either end are small pyramidal towers with crocket finials. The interior has been extensively renovated but some original wainscoting and window trim is left on the third floor.

The American Craftsman style is found in the north section. It is found in most of the dining rooms, which feature vertical panel wainscoting strips and high plate rails.

It has raised paneling and wainscoting. The house was listed in the Virginia Landmarks Register (Virginia Historic Landmark) in 1974 and the US National Register of Historic Places in 1975.

Panelling, such as wainscoting and boiserie in particular, may be extremely ornate and is particularly associated with seventeenth and eighteenth century interior design, Victorian architecture in Britain, and its international contemporaries.

Interior alterations that resulted in the occasional eccentric scheme of wainscoting no doubt date from the Georgian modernisation. Where small square panel wainscoting was no longer deemed fashionable enough it was stripped out and relegated as finishes to less publicly visible rooms, such as the garrets. New schemes were also introduced, including the ‘modern’ wainscoting of the first floor study and that in situ within the kitchen chamber on the first floor of the east wing. The Georgian alterations included the replacement of some of the doors with six or eight moulded panel types, often saved for the rooms further up the social hierarchy or indeed more publicly visible, such as those to the ground floor of the main range.

The second-floor bedrooms have retained much of their original woodwork, including pine wainscoting and paneling. Some of the first-floor rooms have had floors replaced using floorboards taken from the attic.

In the interior, is a small atrium with circulation corridor for the cars; with tile wainscoting, plastered walls and azulejo tile the main platform is delimited by wrought iron gate and lateral staircases.

Its rear has a small shed-roofed wing with windows and a door with small projecting gable. The interior of the chapel has been altered, but retains its original wainscoting and window surrounds.

1970 exterior boiler fire and the wainscoting (interior) on that same side was partly replaced, leaving the wainscoting on the other side intact. This is a special feature of this building since it runs horizontal in wide boards instead of vertical. Original wavy glass remains in several original wood framed windows which have exterior storm (1950's) windows. The gallery at the back of the sanctuary is original as are the pillars holding it in place and the railings plus the stairs.

The shorter, gabled ends are divided into two bays of arched windows, with a recessed ocular window above. The interior of the structure is divided into two main parts: The southern section is the waiting room, and has wooden floors, wooden ceiling, and plaster walls with wainscoting. Entrances to a restroom and storage room are to one side. The northern section of the building is the staff work area, and has concrete floors, painted wooden ceiling, and plaster walls with wainscoting.

They were created by an artist from Chicago and depict the Ascension of Jesus, the Flight into Egypt, and the Nativity of Jesus. The wainscoting and the pews are both composed of red oak.

The $6,000 ($ in dollars) rectangular structure was in size. The floors and wainscoting were hardwood. Ground for the new office building was broken on October 21, 1897, and it was completed in April 1898.

The interior still boasts typical details such as decorated cocklestoves, wainscoting and coffered ceilings. In addition to the main building, several well-preserved and large outbuildings make up an unusually grand manor house ensemble.

All the windows in the building have been reopened to their original forms. The steel fire escape on the north wall was also a later addition. The interior featured open stairwells and wood wainscoting.

Most of the interior trim reflects the Colonial Revival movement, also current at the time of construction. Its most notable features in the house are the woodwork: the oak staircase, landing, wainscoting and corner fireplaces.

See also: The lobby features marble floors, wainscoting, pilasters, and door trim. The post office was converted to a courthouse annex in 1979. It was listed on the National Register of Historic Places in 1982.

Schenectady City Hall viewed from the rear Marble is also used extensively inside the building for stairs, flooring and wainscoting. Other decorative touches include the city's seal on brass doorknobs and intricately molded plaster cornices.

On the fourth floor was a board room with blue-and-gold decorations and indigo leather; a private office with mahogany wainscoting, mahogany furniture, and gold chandeliers; and a private dining room with wood wainscoting and a tapestry. There was a kitchen on the fifth floor. The original decoration was subsequently heavily modified. , the upper three floors each contain a full-story residential apartment with two bedrooms, three bathrooms, two living rooms, a dining room, a breakfast room, a kitchen, and a washer-dryer room.

It features wainscoting beneath the chair rail as well as paneling on the gallery parapet, and painted and grained pews. The gallery and ceiling are supported by Doric columns, and the original 19th- century light fixtures.

The wainscoting has painted figures. Between 1681 and 1834 the village was served by just three vicars: John Prince, John Fox and John Edwards.Mee, Arthur (1965) The King's England: Devon; rev. ed. by E. T. Long.

Inside, the vestibule is finished in the original wood. It gives onto the lobby, with a terrazzo floor. The walls have vertical-planked wooden wainscoting topped by modillions. They rise to a coved ceiling with stepped panels.

1990, but the interior of the building retains its c. 1916 appearance, complete with decorative painted graining on doors, pews, wainscoting, and other defining features of the building. The Rosenwald School, built c. 1922 and remodeled c.

The interior of Sabine Hill also reflected the patriotism of its owners; traces of the original paint indicate that the interior was painted in the colors of the U.S. flag, with white walls, red molding, and blue wainscoting.

There are no columns supporting these arches. The walls are clad with marble wainscoting. The stained glass windows (imported from Germany) are interspersed with the Stations of the Cross. Lantern lights are suspended along each side of the nave.

The roof cornice exhibits shallow brick corbelling. The "best" rooms of the interior feature delicate Federal period wainscoting, and have mantelpieces supported by six engaged columns. The house was built c. 1815 by Captain Reuben Shapley, a ship's captain and merchant.

Each classroom was provided with a coatroom. Windows were concentrated on the front and rear of the building with sparsely fenestrated ends. A central stairway serves all levels. The classrooms retain their original wood wainscoting and much of their original character.

The building cost about $35,000 to complete. The interiors were lavish, with hard oak doors, window facings and wainscoting. There were two elevators, one electric. The building was constructed to allow for up to 3 additional stories,Atlanta Constitution, Dec.

Inside, light from a skylight in the cupola illuminates the center of the building, with marble wainscoting, hexagonal tiles, arches, and murals depicting Justice, Equality, Courage and Liberty. Scenes from the 2009 film Public Enemies were filmed at the courthouse.

Much of the early fabric remains intact; in addition to the above-noted items may be seen original horizontal beaded wainscoting in the northwest room and the first floor's rear hall, and all of the original woodwork on the second story.

The hipped roof features a wood framed bell tower. The interior was one room with wainscoting and a wood floor. The ceiling height is . The school house has been renovated as a single-family home, with commercial space in the schoolroom.

Entrances into the church are located in three of the four corners. They, like the windows, employ the pointed arch, and are recessed below bargeboards. The interior features an oak hammerbeam ceiling, plaster walls, and wainscoting. The pointed arch predominates throughout.

Inside, the main rooms displayed timber wainscoting on the walls and heavy timber beams below the ceilings. He continued to design in this manner until the early 1920s. In his later years Waterhouse designed residences in the Spanish Mission Style.

The roof is flat tar pitch covered with concrete tiles. Two of the exterior walls have wainscoting that is a cement mortar mixed with small aggregate. The building suffered some war damage to the west wall and the interior dividing wall.

The entire ceiling is finished with the same solid hardwood bead board wainscoting. The chair molding and all of the solid hardwood bead board wainscoting is painted white. The front entrance includes a confessional room with a single hung entrance door to the priest's area and a single hung entrance door to the parishioner's area, double entrance doors with semi- circular tops, a stairway that leads to the choir chamber and a single hung entrance door leading into a storage room under the stairway. The upper front section is the choir chambers that includes seating and a four-foot high railing wall.

The Warren Township District No. 4 School is a single-story wood frame structure with a gable roof sitting on a concrete foundation. The exterior is covered with board and batten siding, and the interior has wooden floors, tin ceiling, and wooden wainscoting.

It has square newels and a simple molded handrail with simple square balusters. The original pine stair treads were protected by carpeting for many years. The second story has an identical floor plan. The northeast bedroom has original wainscoting and chair rail.

It retains its intricately carved pilasters and capitals. This elevation originally faced the street. Inside the courthouse, the floors of the main lobby and corridors are a combination of marble, tile, and terrazzo. Marble wainscoting appears throughout the 1905 portion of the courthouse.

When Marie Hasler rebuilt the house, she used the finest materials, including leaded windows from Switzerland, longleaf pine wainscoting, and a tiger (or quarter-sawn) oak fireplace. The house featured two parlors, a wide central hallway, and broad wrap-around front porch.

The interior is lit with a chandelier over the pulpit and teardrop lights over the congregation. The ceiling is plaster with canted corners. On the side walls there is wainscoting and a molded entablature, with all the large windows having broad molded surrounds.

The ceiling is finished in tin, a replacement (at unknown date) for the original plaster ceiling. The floor is narrow hardwood, and the walls are lined with beadboard wainscoting. There is a raised platform in the northeast corner, which once held a wood stove.

Ricer, Ralph A. Buckhingham's Francisco. 1971; p. 32 Inside, the house was divided into two principal rooms per floor, with a central hallway for the stairs. Few original fittings survive; the mantels and wainscoting were removed, as were some floorboards from the second floor.

Two skylit staircases, with turned balusters and newels and a curved molded handrail rise to the upper story in the front and rear. Off them, the hallways have simple wainscoting. Fireplaces in the front rooms have a mix of classical, Italianate and Eastlake decorative touches.

It is floored in random-width pegged oak. Pine wainscoting rises to a ceiling with hand-hewn exposed beams. Two display cases contain other remnants of the Beekman House. Above the wainscot are murals depicting scenes from local history, including the post office's groundbreaking ceremony.

Inside, the lobby has a flagstone floor and wainscoting. Around the upper wall on three sides are murals of Hyde Park's history. Much of the woodworking and finishes are original. A small display case holds the trowel used by Roosevelt at the groundbreaking ceremony.

Exits from the cloakrooms lead to the single large schoolroom, at the back of which are small paneled doors for the girls' and boys' toilets, and another door leading to the woodshed. The walls have three-foot high wainscoting, and slate blackboards line one wall.

Inside, the lobby has green marble baseboards, white marble wainscoting and a white marble stair with iron railing. The high plaster ceiling's molded cornice has dentils and modillions, with an eagle on each pilaster. Bronze mailboxes and oak woodwork round out the interior decoration.

The interior has two small entry vestibules, with a large open space occupying most of the building. The walls are finished in bead-board wainscoting and plaster, and the floors are fir. The north and south walls retain original blackboards.Thayer, David; Mitchell, Christi (2015).

Some of the interior alterations, perhaps the wainscoting of the upper corridor, changes to the south wall of the study, many of the match-board cupboards, hooks, pegs and shelves may date in the first instance to the school years in the mid 19th century.

It has marble floors, wainscoting, door and window surrounds and pilasters but the walls themselves are plaster. The pilasters are topped with Roman Doric capitals that support a decorated frieze and dentilled cornice. In the metopes are painted vases and medallions. The ceilings are plain.

The original mayor's office is directly opposite the top of the stairs. It has freestanding fluted Roman Doric columns in the entrance. Fluted wall pilasters and marble wainscoting supporting a full entablature and arched ceiling. On either end of the hallway are city council chambers.

Retrieved: 28 July 2009. The walls have pane windows facing three directions. Wainscoting along the lower walls and the presence of a front-facing door indicate that this level was once used as a granary. A wooden staircase allows access to the third story.

Within the building as a whole, on the exterior and interior there are several features and fixtures that have their origins between the dates of the original construction and the 1743 alterations. Much of the work however is movable and has been relocated to other parts of the building during phases of historic ‘modernisation’. Much of the wainscoting within the building dates to the 17th century, some of it is stylistically earlier than others, and much of it has been altered and relocated. All of the wainscoting used indicates that the owners and occupants of the house responded to changes in fashion and succumbed to phases of re-decorating.

Inside, a platform spans the west end of the building. The original pews stand in four rows facing the platform. The walls are finished with plaster and horizontal wainscoting. The meeting house was dedicated in the fall of 1853, \- the first United Brethren building in Wisconsin.

Walls were plastered, with wooden wainscoting at the base. Space inside the nave rose to the collar beams, which supported a flat ceiling. Services were conducted entirely in German until around WWI, when they shifted to both German and English. Gradually, use of the German language dwindled.

That has its original wooden Federal mantel, supported by tapered pilasters. All door and window openings in the thick stone walls taper up as well. Modern pine wainscoting and a herringbone patterned brick floor have been added. The original storage room hosts a modern kitchen facility.

Its main living area features dark wood wainscoting and a massive fireplace. It has galleries on at least two sides, and long. The house was owned by the Pittman family during 1920-29 and 1938–68. It was purchased by the Lake Providence American Legion in 1929.

It, too, has a walk-in vault. The owner's office overlooking Prospect Street has paneled and varnished cherry wainscoting, tiled fireplace, and pedimented cherry window moldings. The factory has no significant decorative touches. There is no historical machinery left in it or either of the other buildings.

The remaining exterior windows are slender and pointed, with leaded glass inserts. On the interior is a vestibule with pointed windows, after which is the sanctuary. The sanctuary contains pews, doors, wainscoting, and window frames of dark wood. Wooden hammerbeam trusses support the gable roof above.

The walls consist of gypsum board and plaster. Fluted pilasters divide the upper portion of the walls. New elevated benches and witness stands were also added in 1998. The smaller, one-story courtroom contains plaster walls with wood wainscoting and bronze grilles, and a decorative plaster ceiling.

The interior is unusually well-preserved. The interior walls feature vertical board wainscoting, with the area above covered in cream painted canvas. The church organ is located on a rear balcony. The altar from Gethsemane is now used by Christ our Savior Lutheran Church in Livonia, Michigan.

The floors in the house are original. The drawing and dining rooms have wainscoting, which is stained in the dining room and painted in the drawing room. Additional pictures and a sketch of the first floor plan are available. The old separate kitchen, barn, and smokehouse remain.

The bottom of the windows feature tile panels with figurative references to the factory. Inside the building are elements of the production plant, the interior frames of accessways, floors coverings, wainscoting, balcony guards and stairs with ceramic elements. The metallic columns have corners with the metallic "DEVESAS".

The stone section is gable-roofed and has rounded, arched door and windows. On the interior of the original section, a c. 1870 rural school is set up. It contains slate blackboards, a raised platform for the teacher, wainscoting on the walls, and an oiled wood floor.

Now ruined, they would originally have been decorated with carved wainscoting and elaborate, carved chimney-pieces.Pugin, p.25; Kenyon (2003), p.47. Alongside these rooms, overlooking the Great Tower, were the private rooms for the lord's family, of higher quality than the other accommodation in the castle.

Built of brick with a stone foundation, it is topped with an asphalt roof and includes other elements of stone., Ohio Historical Society, 2007. Accessed 2011-05-06. Among its distinctive features are wrought iron stairways, ornamental wooden frames around the doors and windows, and wainscoting.

Inside, the first and second floors each contain four classrooms with coat rooms. The basement level contains the boiler room and bathrooms. The interior contains the original trim, including beaded wainscoting in the hallways, wooden classroom doors with transoms, molded window and door trim, high baseboards and hardwood floors.

The lobby's plaster ceiling is beamed and detailed. The original wood and glass vestibule enclosures have survived. Lobby materials are echoed on the upper floors with marble base and oak wainscoting. The top floor was the Modern Brotherhood of America headquarters, where traces of Classical Revival details have survived.

The interior follows a central hall plan, with a spiral staircase the centerpiece of the hall. Windows are fitted with interior shutters, and many rooms have horizontal wainscoting made of wide boards. The house was built c. 1820, and is the only Federal-style brick building in the town.

The hallway has the main staircase and original wainscoting. Scrolled archways lead into the flanking spaces, and the floor is decorated in a raised-pattern wallpaper with a pattern resembling tooled leather. The molded woodwork, white marble mantels, stained glass, brass doorknobs and interior shutters are all original.

In the center is an open rectangular room with a coffered skylight. Many of the original finishes remain. The corridors are floored in hardwood, although they have been replaced by plywood and carpeting in the classrooms. The plaster walls and ceilings, ceramic-tile wainscoting and woodworking are all original.

Inside, the house offers living space of , including seven bedrooms and three-and-a-half baths, with a grand staircase, high ceilings, chandeliers, hardwood floors, redwood wainscoting, Palladian windows, claw-foot bathtubs, and even a fern grotto with tropical flora and a trickling stream off the dining room.

The main doors open into a vaulted vestibule with paneled wainscoting and a chair rail. Tall pilasters support a simple, molded entablature and connect with the vault ribbing. Fluted pilasters also frame the door from the interior. A staircase with turned newel posts leads downstairs on the west side.

The Renaissance Revival pool pavilion was built in 1924 and is modeled after the Villa Pisani in the Tuscan region of Italy. Decorative panels of sgraffito ornamentation adorn the Roman arches at the entry to the pavilion's solarium. The pavilion overlooks a long pool with mosaic tile wainscoting.

The church interior was modeled on the Riding House at Bolsover Castle in Bolsover, England. The floor is wood and tongue- in-groove wainscoting lines the walls. The vaulted ceiling has heavy wood beams. All liturgical appointments, including the pulpit, lectern, altar, and altar rail, are made of maple.

The entrance is recessed under a segmented arch. The interior has tongue-and-groove flooring, beadboard, wainscoting with blackboards and plastering above. The school was built in 1868, when the area was part of Groton. It served as Groton's district 11 school until 1871, when Ayer was incorporated.

The corners have narrow, windowless turrets. The entrance bay, dormer, and flanking towers project from the building. The stone masonry support walls have arches between rooms. Each of the first three floors above the basement have terrazzo floors, marble wainscoting and oak woodwork, and the stairs have marble treads.

It is sheltered by a gabled vestibule. The interior of the building has a 19th- century finish, with wooden flooring and beadboard wainscoting. It was at that time furnished with desks bolted to the floor, but these have been removed. The property also includes a shed and a privy.

The interior of the east doors, which provide the main entry to the courtroom, are covered with leather and trimmed with metal studs. A base of rouge marble rings the room. The laurel paneling is laid in a herringbone pattern. The wood grain of the wainscoting is vertically oriented.

He married in 1442, and probably joined the Florentine painters' guild in 1447. In the following years he made for reputation with small, highly-finished works for domestic interiors, including religious panels for private devotional use and secular subjects for pieces of furniture (i.e. wedding chests and wainscoting).

Over the main doorway is a transom window and a cornice topped by a stone eagle. Other details include carved rosettes and garlands. Interior features include terrazzo floors, steel and bronze doors, ornamental plaster, pink Tennessee marble wainscoting, and brass trim. Murals represent life in 19th- century Wilkin County.

It leads into a wooden vestibule with carved rosettes and triglyphs, which opens onto the main lobby. There, terrazzo flooring is complemented by panelled wainscoting and plaster walls, ceiling and Gothic cornice. The door to the postmaster's office is framed with carved rosettes, sheaves of wheat and dentils.

The floor plan has not been significantly altered, and the pews, furnishings, wainscoting and wall finishings are original. A contributing resource to the listing is the original churchyard to the rear of the property. Fifty gravestones of past congregants have been identified, the earliest dating to the 1830s.

A smaller arched window is set in the gable above. The entrance is framed by simple Greek Revival styling. The interior has an entry vestibule leading into the sanctuary, which is finished in plaster with simple vertical wainscoting. A kerosene-powered chandelier hangs at the center of the sanctuary.

The kitchen features completely wainscoted walls and ceiling, something that is only known from two other chambers from New England (one is now in a museum in Concord, Massachusetts, and the other is at the Metropolitan Museum of Art in New York City). The wainscoting panels are hand-planed.

The elevator was run by electricity making it at the time the only hotel in the state that had this feature. The house was heated by steam throughout. The rooms were large. The floor was of mosaic tile, the wainscoting, counter and desk were of white and grey marble.

A wooden balustrade runs along the top of the porch. Inside, the house retains much original finishing. There is oak woodwork, including architraves and wainscoting on the walls and ceilings. The main staircase has an intricate newel at its base trimmed in garlands and a Doric balustrade at the landing.

The Appling County Courthouse, located in Baxley, Georgia, USA, was built in 1907–1908 at a cost of $50,000. It is in the Neoclassical style and is constructed of limestone and concrete. The interior is a cross pattern with four entrances. The first floor has wainscoting high, made of Georgia marble.

The exterior is brick with decorative white glazed terra cotta lintels. An archway bearing the building's name marks the entrance into a landscaped courtyard. The leaded glass entry opens into a grand foyer paneled with mahogany wainscoting and underscored with marble flooring. Individual apartments have hardwood floors and original mill work.

The wainscoting design of lower inner-framed tiers and upper-arcaded panels divided by pilasters and capitals is extremely similar to that of Billesley Manor, Warwichshire and Carbrook Hall, near Sheffield. According to Charles Bodenham, the two doors cut out of the paneling were added in 1611 and 1732 respectively.

It is topped with an unusual attic gable-field window. Inside, the recessed-paneled wooden doors open into separate cloakrooms 10 feet (3.3 m) square. Both have horizontal tongue-and-groove wainscoting and plaster upper walls. The ceilings, like all in the school, are tongue-and- groove random-width plank.

The existing Christdala Church building is original and has never been altered or moved. 1878 to 1918 – High point of Swedish immigration into the U.S., Minnesota & Rice County. 1880 – Pulpit was built by John Olson for $15.00, interior walls plastered, native ash wainscoting installed. Oil lamps and first organ acquired.

Mirrored French Doors formed the Grand Ballroom's east wall. These could be opened to provide access to the Chinese Room beyond. A small curved balcony, reached by narrow stairs in the northeast and southeast corners of the ballroom, projected over the French doors. The wainscoting was of tan St. Genevieve marble.

Perimeter spaces contain classrooms and overflow seating. The sanctuary is sightly raised and paneled in dark oak with a pitched beamed ceiling. It contains a carved wood altar, lecturn, and organ. The interior contains tiled floors, Arts and Crafts style oak woodwork, and tapestry brick wainscoting inset with Pewabic tiles throughout.

The modern glass door is framed by projecting Doric pilasters. These support a plain frieze and denticulated cornice, above which is the same archivolt found on the flanking windows. Inside, the lobby has marble wainscoting and high plaster ceilings with a deep cornice. The windows have Adamesque carved wood surrounds.

The north meeting room features paneled mahogany wainscoting, built-in trophy cases and a glazed brick fireplace with wooden overmantel. The drill shed is a large barrel vaulted space with balcony on all sides allowing seating for 2,300. It has massive arched trusses and is lit and ventilated via a clerestory.

Inside, a fine dark oak staircase leads to the second story. On that level the halls have wooden wainscoting and wood paneling over plaster walls. Older rooms have plaster walls and pressed metal ceilings. With Before this building was constructed, the triangular block hosted a combination of smaller wood and brick buildings.

The mosaic tile floor is white with a green border. Above black marble baseboards, the walls have wooden wainscoting rising to a plaster cornice at the high ceiling. Two single-paned windows with top and bottom pivots are located just below the ceiling. There are two original wooden tables with glass tops.

A single sash window is placed centrally in the gable. The side elevations each have two sash windows. The main block has two small vestibule areas, which open into the large classroom area; the rear ell is taken up by a kitchen and bathrooms. The main room has retained its original wainscoting.

Today, the sanctuary space is open and can be arranged as required for specific events. There are two rooms in the northwest corner of the building. Both are approximately 12 feet by 12 feet. The rooms have 13-foot ceilings and the same lath and plaster walls and wainscoting as the sanctuary.

The front elevation, facing south, is five bays wide, while the north elevation is three bays. The interior comprises four rooms about a center hall running through the house. The main rooms are on the south side, with smaller rooms on the north. All of the first floor rooms have wainscoting and fireplaces.

The interior consists of a large chamber with a stage at the far end. The walls have horizontally laid wainscoting to a height of four feet, and are plastered above. The ceiling is finished in wooden beadboard. Until the early 19th century, Simsbury's town meetings were held in the local Congregational church.

All the interior woodwork, except for a chair rail on the back wall and the wainscoting between the kitchen and stairs, is original. The brick fireplaces have bolection molded surrounds and cyma moldings supporting the mantelpiece. Two sets of stairs lead up to the second floor. The bedroom fireplaces are smaller and plainer.

The upper two floors have recessed half timbers inset in projecting bays, with gables above. The original entrance doors and windows are still in place. Other than paint, the facades have received no alterations since they were constructed. The interior of the building has a lobby with wainscoting and a high ceiling.

A much shorter stairway leads into the auditorium through an entrance with an elliptical arch, molded keystone and molded impost blocks. Pilasters also frame the windows within the auditorium, with picture panels between them. A molded cornice is at the ceiling line. The stage also has wainscoting and a molded chair rail.

The sanctuary is sparely furnished. Gently curved wooden pews with scroll armrests and recessed end panels flank the center aisle, leading to the altar. Its wooden flooring is now carpeted; the plaster walls have beaded wainscoting. Above, the wooden trusses with chamfered lower chords and collar ties that frame the roof are exposed.

They lead to a ceiling, 29 feet (8.8 m) high, paneled in native spruce wainscoting. At the ceiling are four trusses with windbeams. The rear wing was originally a "lesson room", but has since been converted into a kitchen and meeting room. It is connected to the auditorium by a swinging double door.

Bronze crucifix in the rear of the cathedral. St. Patrick's Cathedral was designed in the Baroque Revival style with Renaissance Revival influences and capped with a classically influenced dome. The exterior of the building is covered in granite from North Carolina. The interior featured wainscoting covered in oriental marble topped with Connemara marble.

The kitchen, in the rear, retains much of its original cabinetry. At the rear of the hall the main staircase continues the wainscoting. Made of wood with round oak newel on a square base with neck molding and circular cap, it has a somewhat Victorian feel. It ends in a square room upstairs.

The interior's appearance dates to the turn of the 20th century, with a tin ceiling and plaster walls with vertical board wainscoting, counter displays of glass and wood, and maple floors. An ell at the rear of the store has linoleum flooring and acoustic paneling on the walls, with a dropped ceiling above.

The walls are finished in plaster above irregularly-sized wainscoting. The western wall of the classroom is covered in fiberboard painted black, which was used as a blackboard. The school in 2014 The building has had only modest alterations. An opening in the western gable is filled with brick; its original decoration is unknown.

Two smaller windows are set in the gable above. The side elevations each have two windows, and the rear wall has none. The interior consists of small vestibules at each entrance, separated by a choir niche, and a single large chamber. Floors are original wooden planking, and the walls are plaster with horizontal board wainscoting.

The eastern parlor has a large fireplace wall finished in wooden paneling, the fireplace flanked by pilasters. The western parlor has a period builtin cabinet, wainscoting, and plasterwork. The house was part of a farm named Anguilla Farm by the namesake son of the original proprietor, John Randall, a husbandman and Sabbatarian from England.

On the interior, the central corridors extend the length of the building. Vaults were built into the corners of the structure with the county offices opening onto the corridor. The interior features multi-colored terrazzo floors, marble wainscoting and acoustic tile. Originally, the courtroom was decorated in dark wood tones and Art Deco ornamentation.

On the interior, the central corridors extended the length of the building. Vaults were built into the corners of the structure with the county offices opening onto the corridor. The interior featured multi-colored terrazzo floors, marble wainscoting, and acoustic tile. Originally, the courtroom was decorated in dark wood tones and Art Deco ornamentation.

The trim on top of the wainscoting in the corridor is called "egg and dart", and is replicated in renovated areas throughout the library. The bay leaf garland design found above the doors in the corridor is actually made of painted plaster, not carved wood.Kamps, Mary. (1993). The Wonders Within: The Milwaukee Public Library.

The interior uses wainscoting throughout with top projecting molding serving as a dado. Door and window moldings are fluted with lintel sections. Simple crown molding completes a relatively simple but elegant woodwork style. Circa 1891, A. Heywood Mason added porches that extend the full length of the house on both the north and south sides.

A foyer with stairs is just inside the main door. This tall space leads down to the basement on the left, and up to the main level on the right. Oak woodwork in the foyer remains intact, including wainscoting, paneling, and a purely decorative stair rail. The stair rail has paneled newels and turned balusters.

The building is topped by a parapet alternating broad brick piers and sections of balustrade. In the lobby the floor is tiled quarry marble with marble strip details. The walls have a marble panel wainscoting that is topped by plaster. The principal modern intrusions are a glass and aluminum vestibule, and a handicap access ramp.

This assembly is framed by pilasters and a broken pediment. The entrance is flanked by sash windows set in rectangular openings that have limestone keystones. The interior has a standard plan for period post offices. The lobby floor is finished in square quarry tiles colored blue and orange, and the walls have marble wainscoting.

The windows of the house are somewhat narrow. The first floor windows are nine-over-nine sash while the second floor windows are nine-over-six. There is a central hallway in the home with a large parlor on either side. The walls in the hallway are plastered but feature wainscoting on the lower portion.

The exterior is composed of buff-colored brick and Bedford limestone trim. It is three stories tall and built on a raised basement. On the interior, the central corridors extend the length of the building, with the county offices opening onto the corridors. The building features multi-colored terrazzo floors, marble wainscoting and acoustic tiles.

When it was completed the cathedral was the tallest structure in the Quad Cities. The church features an open interior without columns. There is an extensive amount of woodwork in the interior, including the altars, pews, ceiling, wainscoting, and the gallery frontal. There are four sets of oak pews across the width of the church.

The gable pediment is filled with a Queen Anne style floral decorative pattern. The entrance is sheltered by a hip-roofed hood that is supported by large decorative brackets. The interior is divided into three classrooms, accessed via central hall. The walls are finished in vertical beadboard wainscoting, with either plaster of horizontal beadboard above.

The four-story courthouse has an entirely smooth limestone exterior with 40 freestanding ionic columns. Scales of justice and lanterns adorn the exterior. Inside the courthouse is a two- story marble art deco atrium of marble and a courtroom with walnut wainscoting, a plaster ceiling featuring gilded rosettes and walls textured to resemble stone.

The building has three stories and is designed in a Beaux-Arts architecture style. The towering dome rises above ground level, with the building measuring . The Portwing brownstone came from a quarry near Duluth. It has a slate roof, terrazzo floors, pink Tennessee marble wainscoting in the main corridor, and marble borders in other corridors.

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.

Downstairs interior spaces are finished in plaster with dark wood wainscoting. The building's original furnishings remain in the living and dining rooms. Upstairs a central hall runs to the ends of the wings, flanked by individual and dormitory rooms. The building's kitchen and bathrooms have been updated, and the partial basement contains mechanical equipment.

The reception pavilion received a complete overhaul. Its exterior metal façade of bronzed aluminum was removed and replaced with beige limestone. The glass curtain wall received new mechanical louvers. The interior wall coverings of dark wood paneling and bronzed aluminum were replaced with a cream-colored travertine wainscoting topped by a band of polished stone.

Office spaces open onto the corridor and vaults occupy the corners of the structure to house records. The interior featured multi-colored terrazzo floors, marble wainscoting and acoustic tile. Originally, the courtroom was decorated in dark wood tones and Art Deco ornamentation. A single-story addition was added to the north side of the building in the 1970s.

On the inside much original trim remains. The apparatus room has narrow wainscoting, part of which is now concealed by a dropped ceiling. Semicircular openings in the walls house the sliding poles. In the rear a row of large doors once served as the stables, with another set on the south opening into the former harness room.

A pent roof with wooden knee braces, below another rectangular ceramic panel, shelters the main entrance. Below it are double wooden doors beneath a stained glass tripartite transom with an eagle in the center. It opens into a vestibule with steps leading into the nave. The nave has a mosaic tile floor with Greek key border and marble wainscoting.

The heavily moulded ceiling displaying James II’s cypher is by John Grove, the wainscoting is by William Cleere and the fine lime-wood carving over the fireplace is by William Emmett. The room was completed between 1685 and 1688. It was fully roofed in 1685 days before Charles II died. Within the State Apartments is also an Ante-Chamber.

The building's modest decorative features include corner pilasters on the main block. The interior is mainly finished in fir flooring with beaded board wainscoting. The addition on the left retains evidence of its original use as a two-seat outhouse. The school was built in 1863, and is the only significantly unaltered one-room schoolhouse left in the town.

The main entrance vestibule is a two-story octagonal space with concrete wainscoting painted to look like red sandstone. Doors leading to offices off the entrance have half-sidelights and scored concrete surrounds. Corridors on the first story are cross-vaulted, with those on the second story using barrel vaults. Both have concrete ceilings and brick walls.

The rear of the building drops down to one story. Two chimneys project from the west side roof. The most intact sections of the building's interior are found in the two first floor storefronts and east side entrance hall. These areas retain original finishes, door and window trim, some wood wainscoting, and decorated pressed-metal ceilings.

The fourth side, one of the long walls has the pulpit at its center, opposite the entrance. This arrangement was typical in New England meetinghouses until the early 19th century. Also typical of the period are the soffits and sounding board which frame the pulpit area. The walls are finished with wooden wainscoting and plaster over lath.

The Roadhouse pre-dates the American Craftsman style, yet contains many of the elements that are found in it. From the flared "Oriental" eves, to the "clinker" brick fireplace. The use of natural redwood shingles and the windows to take in the light and warmth. The interior wainscoting and the hardwood floors which were covered with oriental rugs.

Both the main section and the addition have entrances at their respective centers. That of the main house is elaborate, with sidelight windows, pilasters, transom window, and entablature. A large brick chimney rises at the center behind that entrance. The interior retains many original 18th-century features, including wainscoting on the walls and paneled fireplace surrounds.

The bolts or screws left small voids about an inch in diameter in the hardened concrete. Pieces of hardwood approximately one inch square were used as spacers to hold the board forms apart. They were left cast in, to be used as nailers for wainscoting and trim. Then the forms were raised and the process repeated.

The ground story is tall. Near the building's south end is space formerly used by the United States Postal Service, located around a west-east corridor accessed by both State and Whitehall Streets. There are also two ramps for delivery vehicles. The floor surface, wainscoting, and pilasters are made of marble, and the ceilings are high.

The Roadhouse pre-dated the American Craftsman style, yet contained many of the elements that are found in it. From the flared "Oriental" eves, to the "clinker" brick fireplace. The use of natural redwood shingles and the windows to take in the light and warmth. The interior wainscoting and the hardwood floors which were covered with oriental rugs.

There are two sash windows on each of the other three sides of the building. The doorway leads into a small vestibule area, which then opens into a single large chamber. Three walls have vertical wainscoting with plaster on lath above, while the fourth wall is completely finished in tapered wooden boards. The ceiling is plastered.

Vasalemma () estate was founded in 1825 and in 1890-93 the present manor house was erected by Baltic German landowner Eduard von Baggehufwudt. The architect was Konstantin Wilcken, who designed the house in a bare limestone neo-Gothic style. Several interior details have survived from this period, such as wainscoting, coffered ceilings and pig-iron ovens.

The walls have marble reredos, made by Leake and Greene of Pittsburgh, with bands of mosaic in the chancel. In the nave, the walls are random width beaded board wainscoting with chair rail. Above the chair rail, pink plaster rises up to the heavily molded wood cornice. The wood-truss system is exposed to the ceiling.

The inside of the front bay, in the living room, has louvered shutters and decorative surrounds. That room, the central hall and stair hall all have vertical beadboard wainscoting. Walnut sliding doors separate the living and dining room. In the rear of the house is one of the few remaining water wells, with hand pump, left in Albion.

At and two stories high, it was the largest room in the house. It was Gothic in style, with seven foot high wainscoting, topped with Caen stone walls. One end of the room contained a massive double fireplace with marble caryatids supporting an oak over-mantel by Karl Bitter. A second floor gallery topped the fireplace ensemble.

On upper stories, the stair lobbies open to corridors leading to offices and courtrooms. The corridors retain wood wainscoting, moldings, and trim with classical details around the doors and windows. Crown molding extends along the ceiling. The remaining interior spaces of the original building and addition have been renovated over the years to accommodate new office uses.

The rear loading dock area has been renovated with vinyl siding. The interior one- and-one-half-story main floor contains a lobby, Postmater's office, and mail workroom. The public lobby measures approximately 45 feet by 13 feet, and has a terrazzo floor with marble wainscoting. The lobby originally housed a mural, Hauling in the Nets, by Zoltan Sepeshy.

The postmaster's office is in the southeast corner. It retains many original finishes, from black and white checkerboard terrazzo flooring, black marble borders and baseboard and veined gray marble wainscoting to seven feet () along the walls. Above is a plaster wall and ceiling with molded cornice. The insides of the windows are also recessed and decorated with beaded molding.

Windows are set in all sides except the west side, which has no openings. The interior has a small entry hall, which opens into a single room occupying most of the interior. A storage space along the west wall was probably intended for storage of firewood. The interior has original flooring and walls, including vertical wainscoting and plaster.

Forty art glass windows inside the temple depict local events in LDS Church history. A gold statue of the angel Moroni tops the single spire. Ornate carved cherry wood railings, wainscoting, and moldings line the halls, along with hand-sculpted carpeting. In 2020, the Palmyra New York Temple was closed in response to the coronavirus pandemic.

On the interior, the front foyer and first floor corridor have molded edge marble panels lining the walls and a decoratively colored, tile-edged terrazzo floor. Above, a wide plaster painted fascia runs along the top. The probate and circuit courtrooms have plaster walls with paneled oak wainscoting and a speaker's dais constructed of the same deep-stained oak.

All Saints Episcopal Church is a board-and- batten Gothic Revival structure with a gable roof and tower located on one corner containing the main entrance. The facades have lancet windows. The interior has pine flooring and a vertical-board, beaded wainscoting. The ceiling is constructed against the underside of the roof, and supported by exposed wooden trusses.

The vertical sign above the entrance was constructed of aluminum with stainless-steel trim. The sign was capped with the iconic "running greyhound" logo of the bus company. The letters in the words "Greyhound Bus Depot" and the running greyhound were outlined with neon tubing. The original interior had a terrazzo floors, plaster walls, and wainscoting.

It was built with Roman mottled buff-brown brick trimmed with white tile. The lobby is of ceramic mosaic, the wainscoting of Italian marble and the solid brass hardware. Charles Henry Owsley, a British architect who had immigrated to Youngstown, Ohio, designed the building. As the library neared completion donations of good, worthwhile books were requested.

The ironwork on the balustrade is a combination of linear and curvilinear forms. Colorful glazed tile floors are found above the first floor of the building. Various colors and designs are used in different parts of the building. The wainscoting on the first floor is made of yellow and blue glazed tiles that were popular in the 1890s.

On its southeast corner is a smaller, round tower with a conical roof. The church's two entrances are located on a side aisle on the north; there is a small chapel at the west end. Inside the sanctuary, the floor is mosaic. Plaster walls and ceilings are complemented by dark wood tongue and groove wainscoting and exposed trusses.

There was a favored tripartite wall that included a dado or wainscoting at the bottom, a field in the middle and a frieze or cornice at the top. This was popular into the 20th century. Frederick Walton who created linoleum in 1863 created the process for embossing semi-liquid linseed oil, backed with waterproofed paper or canvas.

It has another tribute to Lincoln, a shield-shaped marble plaque with the entire Gettysburg Address on it above a facsimile of Lincoln's signature. At the top is a bas-relief of Lincoln below an eagle in flight. Behind the vestibule door is a central hallway. Wainscoting along the hall continues to the main staircase in the rear.

The walls and ceiling graduate from twelve feet to seventeen feet in height. There are eight stained glass windows (6'6" x 32") and square nails are used in the fluting frames of these windows. The walls are of birch and maple combined with wainscoting. It was listed on the National Register of Historic Places in 1991.

Interiors are sheathed in polished planks and narrow wainscoting, rooms are lightened by large, half- round clerestory windows, and twig work decorates verandas and eves. Some buildings have applied cedar bark sheathing, still remarkably intact. The camp was included in a multiple property submission for listing on the National Register of Historic Places and was listed in 1986.

Its exterior is quite plain, with sash windows in rectangular openings, and a central entrance flanked by sidelight windows. The main block is flanked by small single-story ells to the east and west. The interior retains period woodwork and finishes, including fireplace mantels, doors and wainscoting. The central stairway underwent some alterations in the 19th century.

The Oxford English Dictionary states that it derives from the Middle Low German wagenschot as well as wageschot or 'wall-board'. Johnson's Dictionary defined it thus: A 'wainscot' was therefore a board of riven (and later quarter-sawn) oak, and wainscoting was the panelling made from it. During the 18th century, oak wainscot was almost entirely superseded for panelling in Europe by softwoods (mainly Scots pine and Norway spruce), but the name stuck: "The term wainscoting, as applied to the lining of walls, originated in a species of foreign oak of the same name, used for that purpose; and although that has long been superseded by the introduction of fir timber, the term has been continued notwithstanding the change of material".Peter Nicholson, An Architectural Dictionary, 2 Vols.

The interior is divided into three sections. The entrance opens into a vestibule area which extends across much of the western facade, with a small storage room on the northwest corner. Most of the building is taken up by the classroom. The classroom has a form of wainscoting using floorboards to a height of about ; the rest of the walls are plastered.

This section of road was the original route of M-26 before it was rerouted in the 1970s. The First Congregational Church (1887), located at 53248 N Avenue, is an asymmetrically massed stick-style front gable church with a square tower and belfry. It has an open front porch with turned railings. The exterior features dramatic woodwork styling, including wainscoting and fishscale shingles.

Inside, a red carpet covers the wooden floor under the sanctuary's 98 oak pews. The walls are plaster, covered to a certain level with narrow vertical wainscoting. They rise to a vaulted wooden ceiling with large trusses. In the rear, behind the altar, are the pipes of the church's manual-tracker pipe organ, the only one in the Hudson Valley.

St. Stanislaus Kostka Church was constructed in 1891, designed by Pittsburgh architect Frederick C. Sauer (1860–1942). In March 1936 there was a disastrous flood on Saint Patrick's Day. Water flooded the church as high as the top of the wainscoting on the walls. The pews were afloat and the Pastor was trapped in the rectory on the second floor.

The other beams are made of American pine. The posts and beams are connected without nails, using traditional joinery techniques. The ceiling is of bamboo with joined beams which would have allowed for the circulation of warm air from fireplaces below. The walls mimics the typical mud plaster walls through the use of textured wallpaper and wooden wainscoting for greater durability.

On the interior, a central corridor extends the length of each floor with the offices opening onto the corridors. A central staircase is located opposite the main entrance. The interior featured multi-colored terrazzo floors, marble wainscoting, and glass block in office entrances and stairwell lights. The building is located on the courthouse square to the south of the Cedar River.

The upper floor of the historic section of the parish house is a single open space, and is in substantially original condition. The walls and ceiling are covered with elaborate embossed and painted pressed metal panels. The metal panels form wainscoting and an upper rail, and transition to different patterns above the rail. An oak staircase connects the upper floor to the lower.

The glass curtain wall received new mechanical louvers. The interior wall coverings of dark wood paneling and bronzed aluminum were replaced with a cream-colored travertine wainscoting topped by a band of polished stone. Fabric covered the walls above the bandk, and white wooden grills were used to help break up the space. A new terrazzo floor in pastel colors was also installed.

The house was expanded in 1838 by Sadler, a planter and teacher. The two-story wood-frame house has a shed-roofed addition to the rear and a matching front porch structure. The interior is arranged around an open center hall running as a breezeway through the house with two rooms on either side. The hall and one parlor have faux-painted wainscoting.

The east hall was the safe deposit banking parlor, with small and medium-sized safe deposit boxes located at the rear (south). The west hall contained the bank's clerical department. The public spaces in the basement and on the upper floors all had marble floors and marble wainscoting. The bank's cash and large-item vaults were located in the basement.

The interior comprises four main rooms, from west to east a ticket office-waiting room, an agent's office, a parcel storage room and a baggage room. Men's and women's restrooms are between these rooms and the platform. Interior walls are plastered, with log-slab wainscoting. . A small apartment for the station agent is upstairs, with a living room, kitchen, bathroom and two bedrooms.

The basement has also been heavily modified with the exception of the original safe containing 5,000 safe deposit boxes. The first floor retains much of the original plaster and marble work. The tables, marble counters, wainscoting, and light fixtures are also originals. The original bronze teller cages have been replaced with newer protective cages that retain the look of the originals.

The windows have simple molded surrounds, and the main entrance is flanked by pilasters and topped by an eight-light transom and a cornice. The interior has a center- hall plan, with original wide pine floors on the second floor, and walls finished in wainscoting and plaster. The plaster has been finished with finely-detailed stenciled artwork. This house was built about 1778.

The pews were replaced with benches, the paneling was reused as wainscoting, and all windows were replaced. During the late 1890s, Newtown was renamed Elmhurst and became part of the City of Greater New York. Elmhurst started being developed as a commercial and residential neighborhood. Following a fire in 1924, electricity was installed and a restroom and kitchen were added.

The home of the Canterville Ghost was the ancient Canterville Chase, which has all the accoutrements of a traditional haunted house. Descriptions of the wainscoting, the library panelled in black oak, and the armour in the hallway characterise the setting. Wilde mixes the macabre with comedy, juxtaposing devices from traditional English ghost stories such as creaking floorboards, clanking chains, and ancient prophecies.

The lobby has oak wainscoting and an oak reception counter in one corner. The hallway also leads to two commercial spaces, modified and enlarged from the original five commercial spaces. On the upper floors, the original floor plan had 15 single rooms on each floor. Some units have been connected to create larger spaces, decreasing the number of apartments to 13 per floor.

The Winter House is a single-story rectangular wooden structure, about , finished in clapboards. Its main facade faces east, and is sheltered by a hip-roofed porch supported by log posts. The interior is divided into two sections, the southern having two bedrooms, and the northern a large living space. The northern space has pine flooring, wainscoting, and a brick fireplace.

The gallery dimensions were 35 feet by 70 feet, with a ceiling of 20 feet. The room was illuminated by a large skylight. The floor was set with inlaid tile, marble wainscoting surrounded the room, and mahogany and bronze completed the trimmings. The total cost of the gallery was estimated at $15,000. In 1889, Lininger opened the gallery to the public.

The walls had stained wood wainscoting, postal windows, grills, and door casings with painted plaster above. The interior entry vestibule (center door pair only) was constructed of stained wood and glass and had two wood and glass doors. The ceiling of the lobby had ornamental plaster crown mouldings. The main stairway was constructed with grey marble treads and iron railings, stringers and risers.

A projecting bay window on the west side, facing Roberts Avenue, is the only difference between the two. Inside both entrances lead into vestibules with hooks for hanging coats. Four classrooms are on each floor, two on each side of the central hall, with three-foot (1 m) wainscoting of tongue and groove North Carolina pine. Partitions within the rooms are all brick.

The third story of the tower is pierced with arched openings, and an octagonal cupola sits atop the tower. A small, flat-roofed, one-story addition projects toward the rear. The interior of the building is finished with plaster and wainscoting, and contains Art Deco light fixtures. The first floor contains a village office, police and fire station, and a lounge area.

Atop is a molded cornice in a Greek fret pattern topped by a broken pediment with carved swan's neck, patera and large acorn finial. The double glass doors open into an enameled vestibule with large windows and original interior doors. The lobby has mottled light brown marble wainscoting. Its plaster walls rise to a deep molded frieze and cornice at the ceiling.

An elaborate Federal style doorway with sidelights opens on the first story, with a less elaborate doorway directly above. The interior has much of the original simple trim, including horizontal board wainscoting, plain millwork window and door casings, and several Federal style mantels as well as some wide-board floors. During the 1924 renovation, some excellent reproduction woodwork was installed.

The main entrance is off-center, and is a wide two-leaf entry flanked by fluted pilasters and topped by a corniced entablature. The interior retains a number of original period features, includes raised paneling and wainscoting. The original five-bay section of the house was built c. 1764 by John Whitman, Jr., possibly on the site of an older 17th-century house.

On the interior is an entry vestibule with oak wainscoting and a tin ceiling. Double doors open onto the sanctuary, which has a high ceiling with timber trusses and a rear gallery supported by iron columns with Corinthian capitals. The sanctuary contains three tiers of pews on a floor that slopes downward toward a chancel. All the sanctuary woodwork is of oak.

Much of the interior's finishes are original. Some changes have been made to the layout with the addition of the other wings, or to create a library through the removal of partitions on the first floor of the main block. The hallways have linoleum floors and dark red brick wainscoting to a height of five feet (). Above them are plaster walls.

The stables are from the Gilded Age and feature pink marble baseboards, redwood wainscoting, and skylights. The horse stable consisted of stalls, tack and harness rooms, a carriage room, feed rooms, living quarters for staff, workshop and boiler room, with hay storage on the lofted second floor. In c.1940-1941, after the death of Folgers, the estate sold the property.

In Ireland and Great Britain, magpies are traditionally thought to bring bad luck. Many people repeated various rhymes or salutations to placate them.The children's TV series Magpie preserved these rhymes as its theme song into the 1970s. A worn-out man's buckle shoe from the 18th century was found in the wainscoting of the Combination Room, St John's College, Cambridge.

The four-story Norman style corner tower rises to a height of . The two-story Weare Chapel projects slightly from the main building on its northeast corner. The interior features a steeply pitched hammer beam birch ceiling, wainscoting, and a large Gothic arch at the chancel opening. The interior is a restored version of its original after the 1922 fire.

The building, constructed in 1905, occupies most of its small village lot less than in size. It is situated on a slight knoll facing west. The library is a one-story brick civic building designed in the Colonial Revival style. Throughout its interior, restrained oak wordwork is preserved in a variety of features including wainscoting, trim around windows and doors, and mantelpieces.

Green marble panels cover elevator lobby walls, and granite tiles in pale and dark tones cover the floor. Gleaming steel elevator doors and surrounds reinforce the Modern interior design features and finishes. Courtrooms, some of which have been altered to make them appear more Classical, have dark wood wainscoting and jury boxes. Coffered ceilings contain both recessed lighting and hemispherical pendant lights.

The church's interior makes extensive use of Honduran mahogany carved with Gothic details. In the sanctuary it is used for the wainscoting, exposed hammerbeam rafters, organ screen and molded hood above the organ. The lectern and pulpit are original, as are the pews. There is a stencilled cornice line border and large yellow sunflower between all but one of the rafters.

The exterior features twin bell towers, added around 1861, which show a vernacular adaptation of the Gothic Revival style using local materials. Interior details from the same period include the altar and pulpit, which are constructed from wood painted to look like marble, tongue-and-groove wainscoting, and wooden cabinetry in the sacristy. The pressed tin ceiling was added in 1916.

Next to it, on the southeast, is the main exhibit room. The natural light from the windows is supplemented by modern track lighting on the beaded fir ceiling. The beaded fir wainscoting, ceiling and floor are original but have been refinished; the door to the west hall has been removed. A sliding track door opens into the northeast room, currently used for storage.

The outer two bays have rectangular openings filled with sash windows, topped by a keystone. The central section is flanked by stone pilasters. The interior lobby space of the building features terrazzo marble flooring, marble wainscoting and door trim, and plaster walls with dentil moulding at the cornice. Some of the interior is later 20th-century work, done to match existing original trim.

In 1955-1956, a brick kitchen was added to the structure. The second floor is lined by two hallways, one running north and south and the other east and west. A myriad of bedrooms is located on the second floor that are simpler in style than the lower level. The hallways and bedchambers are lined with wainscoting topped by molded chair rails.

The Promenade originally featured pilasters that defined six bays along both its north and south sides. The capital of each pilaster was decorated with the profile of a different mythological hero, and festooned with swag. Each pilaster had a faux pedestal made of verd antique decorated with plaster rosettes and gilt plaster wreaths. The wainscoting was high, and of white Alabama marble.

The walls themselves are lined with segmented recessed arches, topped by an egg-and-dart cornice. The entrance arch has a similar surround. On either side of the vestibule are murals by Guy Pène du Bois entitled Saratoga in the Racing Season. The floor has modern carpeting; a white marble baseboard and green marble wainscoting surround part of the lobby.

The interior contains well-preserved but simple Federal period woodwork, including wood paneling, fireplace mantels, and wainscoting. The main stair's newel post is a 20th-century reproduction. The tavern was built in 1807, along what was historically the main road leading south from Augusta. It was built by Benjamin Shaw, but sold soon afterward to Edward Peacock, from whom it acquired its name.

The two entry vestibules have quarry tile floors and brick walls with decorative tiles, manufactured by the Flint Faience Tile Company inset. The corridors floors feature rust-colored sheet linoleum inset into a cream-colored terrazzo bases and with coved border. Corridor walls have a cement wainscoting topped with oak trim. The classroom floors are carpeted, with original wood floors beneath.

The building corners are pilastered, and there are bands of elaborate corbelling below the main roof. Windows are typically set in rectangular openings, with stone sills and keystoned lintels. The rear wing is less architecturally sophisticated, but with sympathetic styling. The building interior retains many original features, including panelled wainscoting, and Palladian carved motifs on arches separating sections of the interior.

The house features wood-frame construction throughout. The front facade is seven bays wide, with a central open breezeway and doors on either side, framed by two windows each. The interior displays simple vernacular Greek Revival details, such as mantles, molded window surrounds, four-panel doors and molded door surrounds. Decorative faux painted finishes are present on trim, wainscoting and doors.

The tower entrance leads into a vestibule that leads directly into the worship area. Oak slip pews, with scroll armrests and hymnal racks on the rear, are arranged in semicircular fashion around a dais and organ opposite. Doors on the south lead to two classrooms. The plaster on sawn lath walls have beaded wainscoting, stained lighter than the chair rail at its top.

All the windows and doors are trimmed in carved wood; the rooms also have similarly carved wainscoting and ceiling cornices. The upper story, mainly given over to bedrooms, also has several fireplaces, all with similarly detailed and painted wooden casings and mantels. The attic is unfinished. There are three outbuildings: a small brick smokehouse, frame woodshed and two-story frame barn.

A shield above the main entrance displays the Latin words "PAX" and "LEX." The interior rotunda and main entry hall feature purple (or dark red) marble wainscoting and pink marble pilasters. The building included a meeting room for the county commissioners and offices for the county auditor, treasurer, and register of deeds. The courtroom on the second floor has an ornamental beamed ceiling.

The ceiling features a large square with a central circle of a different color. A rosette design surrounds a central lighting fixture, and tendrils emanate from the rosette about halfway to the edge of the circle. Tendrils also appear at each of the four corners of the square. A similar design is found in the northern room, with a central rosette and wainscoting.

The pilasters are decorated with early Greek Revival fretwork. The interior of the hall retains original pew-like benches, and rustic horizontal board wainscoting. with The hall was built in 1839, as a centralized place to hold town meetings, which had previously been held in individual homes or barns. The land was donated by Charles George, who also gave some of the lumber for its framing.

Above it is white marble wainscoting trimmed in oak. The tables are shaped to fit the angled corners. Most furnishings are original, with some alterations made to the teller grilles and lock boxes along with the installation of modern lighting. Above the door to the postmaster's office in the southeast of the building is Rural Highway, a mural by Marianne Appel depicting a contemporary farm scene.

Its main entry is flanked by pilasters and topped by a four-light transom window and a full pedimented gable. Interior features include original wide pine flooring and horizontal wainscoting. One of the early settlers of the area that is now Attleboro was Banfield Capron, whose family would continue to be prominent in town affairs for many years. He gave each of his seven children of farmland.

Rosemont, also known as Taylor's Seat and Hardscrabble, is a historic home located near Powhatan, Powhatan County, Virginia. It was built in 1898, and is a 2 1/2-story, frame dwelling in the Queen Anne / Stick Style. It features Gothic Revival detailing, varying window types, stained glass, wainscoting and a plethora of fireplaces. Also on the property are the contributing original frame stable and cemetery.

Both entrances lead through bronze vestibules to an L-shaped lobby with its original terrazzo floors and buff marble wainscoting. Flat marble Corinthian pilasters, also buff, rise on both the inside and outside walls to the coffered plaster ceiling divided by beams at each bay. Low-relief decoration is on almost every surface. On the outside wall are oak bulletin boards framed by marble.

Paneled wainscoting is on the lower walls, with lath and plaster finishing above and on the ceiling. The deeply recessed windows reveal the width of the walls. Both parlors have fireplaces with Federal style wooden mantels with a five-part entablature, beveled panels and bulbous colonettes on the front one. The rear substitutes a molded frieze for the colonettes but has a similar five-part structure.

The interior of the building has original wainscoting on the walls. The school was built in 1816, when this area was still called Pownalborough. It is the second-oldest known brick school in the state, after only the Brick School (1810) in nearby Winslow. The school is now maintained by the local historical society, which displays items of local historical interest in the building.

It rises to a broached top with round-arched openings on all four sides and a rounded copper-roofed stair turret. Below the east gable is a steep, conical roof over the cellar entrance near the sanctuary. Inside, the church has plaster walls, wainscoting and deeply recessed windows and doors. Sail vaults support the ceiling, supported by corbels and smaller vaults rising from the columns.

The staircase features a square newel post and balusters and paneled wainscoting along the wall. The upstairs bedrooms are organized around a central hall, and feature door surrounds with hoods, picture rails, and other trim. The upstairs includes the small nurses' operating room and adjacent assistant's room with built-in medicine and supply cabinet. Throughout the house the original fir floors have been replaced with oak.

Lobby passageway The entrance contains an entrance hall high. The interior features 19 elevators; the elevators in the original building were removed when the expansion was built. The 23rd floor contained squash courts with adjoining locker and shower rooms. The 21st floor, which housed Standard Oil successor Socony's board room, covered and contained a double-height ceiling with relief panels; a limestone fireplace; and oak wainscoting.

Walls are finished at the lower level with wainscoting, which terminates in a simple chair rail. A simple pulpit is set against the rear wall. The bulk of the main chamber is taken up by bench pews, from which the doors were removed c. 1847. The church was in consistent use until 1860, after which many congregants moved to the Baptist church in the present town center.

On the interior, the central corridors extend the length of the building, with the county offices opening onto the corridors. The building features multi-colored terrazzo floors, marble wainscoting, and acoustic tiles. The courtroom was originally decorated in dark wood tones and Art Deco ornamentation. The courthouse is located on a large rectangular plot of land overlooking the Anamosa State Penitentiary on the west side of town.

The rear wall is asymmetrical, with a small privy built onto the northwestern corner, and three bays of windows, the center one placed higher than the others. Decorative styling is limited to a simple box cornice. The interior has seen relatively little alteration despite its many years of civic use. The walls are finished with plaster above wainscoting, some of which appears to hold very old paint.

In 1963, Rawlings reported a plaster line indicating that the original wainscoting was taller than that installed in the nineteenth century restoration.Rawlings 242 This is apparently corrected in the recent repairs. The elaborate reredos contains a central tablet bearing the Lord's Prayer, the Decalogue, and the Apostles' Creed in modern gold lettering on a black background. The cornice and cross are modern additions rather than colonial features.

Walnut is used for the wainscoting, judge's bench, jury box, public benches, and door surrounds. The 1938 addition, built to accommodate a district courtroom, altered the symmetry of the building. The addition uses materials and architectural details that are compatible with the original building. The first-story granite walls are also rusticated, but the second-story window hoods are less detailed than those of the original building.

Lobby Inside, the first floor is divided into the postal lobbies and the large Postal Workroom, which encompasses approximately 90 percent of the floor area. The public spaces feature rose marble flooring and Tennessee Tarvernelle marble wainscoting. Elevator doors are sheathed in bronze and brass, and bronze trim frames the letter slots and service windows. An open screen of Greek key fretwork is above the service windows.

The two-story main courtroom is on the second floor. The courtroom lobby retains historic terrazzo floors, marble baseboards, wooden chair rails, and paneled doors. The courtroom itself features wood wainscoting and fluted Ionic pilasters supporting a massive wood entablature with a dentil cornice, all of painted white pine. Arched windows on the south wall have wood trim with a keystone and rosette corner blocks.

While the center sections measure 103 feet in width, the ends are only 80 feet wide. The street level is clad in white marble panels, as are the narrow unfenestrated elevations of the building. Upper stories of the primary elevations exhibit an alternating rhythm of beige pre-cast concrete panels and projecting windows. Public spaces on the interior have marble wainscoting and terrazzo floors with bronze dividers.

The side walls have five windows, spaced symmetrically yet slightly unevenly.Mitchell, Christi (2012). NRHP nomination for Waterboro Grange; available by request from the Maine SHPO The entrance opens into a wide foyer area, with stairs leading downstairs in one corner to a fully finished basement, and doors providing access to the main hall. Walls are finished in tongue-and-groove wainscoting, with plaster above.

There are two entrances, one set on the street-facing western facade, the other on the south side. The western entrance is sheltered by a shed-roofed vestibule, while the southern one is sheltered by a hip-roofed portico. To its right is a bank of five sash windows. The interior is finished with wainscoting to a height of four feet, with painted plaster walls and ceiling.

The basement had a grill room with a bar and a six-lane bowling alley. Also in the basement were lockers, restrooms, and a barber shop. The bowling alley was subsequently converted to a multipurpose room, while the rest of the basement was reconfigured with classrooms. It has a terrazzo floor, wooden wainscoting, wooden ceiling beams, and wood-sash casement windows with red stained glass.

The three-story bell tower and south transept are also later additions. The building's board and batten walls were a signature of Episcopal churches from the 1850s to the 1870s. On the Trinity Episcopal Church, though, the exterior walls are highly embellished with wainscoting below a horizontal band at the height of the window sills. Directly below each window is a decorative panel of crossed boards.

Its northeast corner has also been partitioned to create a bathroom with wooden wainscoting along its walls. The largest of the second floor bathrooms, the northeast one, has a fireplace with a Federal style mantel featuring classical entablature, inset molded panel and flanking pilasters. The molding on the door surround is the most detailed of any on the floor. It is currently used for storage.

Above the wainscoting runs a frieze, painted on boards, displaying the arms of the gentlemen of Yorkshire. They are arranged in twenty-one Wapentakes. To each Wapentake is given a tree and the coats of all gentlemen then living in that district are hung on its branches. Sir William carried on his heraldic decoration in the painted glass, which is the finest part of the Great Chamber.

Windows are arched and a statue representing Mercy, Law, and Justice sits above the north face of the building. Polished granite columns support double arches at the entrances. The interior is decorated with wainscoting, woodwork, and an ornate oak staircase. The courthouse was listed on the National Register of Historic Places in 1976 for having local significance in the themes of architecture and politics/government.

The first floor contains the sun porch, the lobby flanked by the stairs and the bathing facilities. The men's bath hall, dressing rooms and pack room are on the longer north end of the building. The women's facilities are smaller and located on the south side of the building. The two stairways leading upstairs have marble treads and balusters with tile wainscoting on the walls.

The Calland family home had 22 rooms and was situated at the foot of the Turkeycock Mountain. "All that remains of the large Calland home is a story and a half, six-room structure with earthen basement. Still prominent is the high ceiling in the main room, pine wainscoting, a corner staircase leading to an upstairs bedroom and the tall brick chimney."Worley, Susan. 2003.

A modern addition was added to the original block in 1969. The main entry of the library leads into a vestibule, and then a centrally-positioned circulation desk, with reading rooms to either side, and stacks in the modern addition to the rear. The reading areas are decorated with dark-stained window trim, vertical wainscoting, and a fireplace with a bracketed mantel in the north room.

The lobby is walled with lightly veined marble. The gateways to the Tax Department are inlaid with bronze, nickel and silver. The elevator lobbies are treated with marble base, walls and wainscoting. Above the lobby entrance is a stone sculpture depicting two men taming a wild horse, which is meant to symbolize a community coming together to form a government to tame the world around them.

Marble from Tennessee, Vermont, Maine and Italy was used in corridor floors, wainscoting and stairways. Floors in the rotunda were marble accented with mosaic tile while railings and elevator grilles throughout the building were wrought iron. Ceilings were framed by egg-and- dart mouldings. The four courtrooms on the sixth floor contained a series of murals depicting historical moments in the development of law.

At the far end is a double stair that merges into one before it reaches the second floor. The main courtroom, with coved ceiling covered in acoustical tiles, is on that level along with two judges' chambers. Wainscoting and door and window trim are apparently original. The third floor has been converted from the county clerk's offices to an open meeting room for the county legislature.

Architectural firm Morgan, Walls & Clements designed this 12-story terra cotta business structure attractively facing the street with a frontage of on Broadway by on Seventh. The building was 50 by on the ground floor as well as the basement. The Haas Building was completed early 1915. The interior woodwork was made in solid mahogany; the corridors were floored with marble with seven-foot marble wainscoting.

Its symmetrical stylings and dormer windows suggest a strong Georgian influence, and masons' marks on the bluestone window lintels bear dates in the 1790s. The upper floor was remodeled in the 1920s with contemporary interior decorations such as wainscoting. Up until that time, descendants of the Wynkoops had continued to live in the house and preserve it. Later owners also kept it in its original form.

It houses the furnace and other modern mechanicals, leaving the cellar in its unique and original form. The rebuilding of the east wall found an old archway, possibly added later, in the 19th century. Its doorway was covered over with stone sometime in the 19th century. The interior is divided into four chambers, with a center hall that features much of the original red paint and wainscoting.

Trim consists of simple pilasters at the corners, and an entry surround with pilasters, transom window, and paneled entablature. The interior of the school has a vestibule area, which then opens into the classroom. The wall separating the spaces is vertical tongue-and-groove, with an original Federal-period door. The classroom walls are finished in vertical tongue-and-groove wainscoting, with plaster above.

1930s vernacular three-tier porch. The interior of the building has also retained most of its original finishes. The ground floor shops have tin ceilings and walls, and original maple flooring, and the upper residential units retain much of the original woodwork, including fireplace mantels, wainscoting, and molded door and window surrounds. The building was listed on the National Register of Historic Places in 1984.

The rear entrance has a brick, stone and concrete porch. The asphalt-shingled hipped roof has gabled, louvered dormers on the front and back and an off-center cupola. Inside, much of the building remained as it originally was when used as a school, at least at the time of its addition to the Register. It is heavy on wood, particularly oak, paneling and wainscoting.

The building likely resembled contemporary schools in the English countryside with a raised platform, wooden wainscoting, and high windows. The teacher's desk would look like a pulpit and students would sit on plank seats. The schoolhouse also included a watchtower at one end to prevent Indian attack. Placing the school next to the church was deliberate and symbolized the need for both academic and moral instruction.

Prominently featured is a large, arched brick fireplace with a mantle of green tiles. Also inside are oak paneling in the dining room, a built-in ironing station, lead glass windows, boxed beams, a cooling closet, built-in bookcases, a lift from the basement for firewood, and wainscoting. The built in cabinets and flooring were made from quartersawn oak. These cabinets include doors with leaded glass.

On the interior, the walls are finished with vertical tongue-and-groove wainscoting, with plaster above and on the ceiling. Original blackboards are located on two walls. The privies are finished entirely in horizontal tongue-and-groove paneling. At the turn of the 20th century, the rural community of Belmont had five school districts, and it was reported in 1907 that the school at Greer's Corner was its oldest.

The interior featured multi-colored terrazzo floors, marble wainscoting, and acoustic tile. The building is located on the courthouse square on the east side of the central business district where the previous courthouse was also located. Two elements on the courthouse square, which itself is a contributing site, are contributing objects on the building's nomination to the National Register of Historic Places. The first element is the building's original flagpole.

The tower of the 1887 Boathouse is the center's entry and focal point. On its second floor, it features a double-height sky-lit space with mahogany flooring, benches and wainscoting. A gallery extending to the west features historical photographs, overlooks the lake and provides access to shower and locker facilities. The gallery arrives at a grand open-timbered club room with lounge seating, trophy cases, and video facilities.

The entrance is flanked by pilasters, and has an entablature with slightly gabled pediment above. The flanking windows have simpler surrounds, similarly gabled pediments. The interior consists of a single large chamber with a raised platform at the rear, with beaded wainscoting and plaster walls. Heavy chamfered posts near the front were originally used to support the building's cupola, which was blown off in a 20th-century hurricane.

The Ann Arbor Railway Station is a rectangular brick side- gable building measuring 50 feet by 22 feet. It has a bay window located on the track side, with the remaining windows being two over two sliding sash units with arched hoods. The interior has tree room with eighteen foot ceilings. Wainscoting in the rooms is approximately four feet high; and the floor boards are two feet wide.

A lion couchant is located above the main entrance, and is a play on the county's name Lyon. The central rotunda on the interior features an art glass skylight dome and the county seal in a mosaic of ceramic tile on the floor. Wainscoting in the main staircases and corridors is Italian marble. Four murals on the third floor are named Pioneer, Immigrant, Rock Rapids 1873, and Modern Farm 1917.

1880 adaptation of a preexisting mantle. One of the house's most significant features is a well-preserved early kitchen in the cellar below the main parlor. A simple open stair with chambered and tapered square newel and square spindles descends from the first floor to the kitchen. The room retains its original plain six-panel doors, wainscoting, beaded Federal-era casings, plaster walls and ceiling and fir plank floor.

"United States Post Office" is spelled out by bronze letters between the roundels, and "Mineola, New York" is carved into the frieze above the main entrance. The entire structure is topped by limestone coping and a flat roof. The interior retains the original pink Tennessee marble wainscoting with a dark marble baseboard. The walls above the marble are plaster with a molded cornice between them and the ceiling.

The building consists of a stone house on two floors in Baroque style. The interior of the castle provides stucco ceiling and wainscoting. It has been commonly assumed that Jean de la Vallée was responsible for the design. There are many obvious similarities between Mariedal and other structures designed by De la Valle, in particular the Riddarhuset in Stockholm, however, there is yet no proof of any connection between the buildings.

Each entry is topped by a transom and a panel with a carved eagle. The main lobby is finished in marble terrazzo flooring, with marble wainscoting and plaster walls, rising to a carved cornice. Part of the wall is painted with a mural depicting the early settlement of Holyoke. The Art Deco building, a stylistic rarity in Holyoke, was built for a total cost (including land and construction) of $284,000.

The door to the left of the altar leads to a small confessional, while the door to the right leads to the sacristy constructed in the 1960s. Much of the interior woodwork is from the 1877 expansion. Several pews in the gallery are from the 1820s church. The paneled wainscoting was added during a 1927 centennial celebration, and is made to look similar to the 1877 gallery railing.

The most notable architectural parts of the building interior are Memorial Hall and the patients' day room, both richly detailed with paneled wainscoting, leaded-glass French doors, and ornate crown molding. The hospital closed its doors in 1980, and the building was converted to apartments in the late 1980s. It was listed on the National Register of Historic Places in 1990, although the 1961 additions do not contribute to this listing.

The entrances are recessed in wide segmented-arch openings, flanked on either side by similar openings with windows. The interior is framed in steel and finished in plaster with pine wainscoting; the basic layout and finishes have been preserved. The Westfield Normal School (now Westfield State University) was the second normal school to be established in Massachusetts, in 1839. By the 1870s, its buildings were deteriorating and in need of replacement.

Trim is simple and vernacular in style. The interior is divided into a vestibule area, a meetingroom for the town selectman, and a large hall now fitted with theater- style seating. Walls are finished with painted wainscoting and plaster above, and the ceiling is finished in pressed tin. The town house was built in 1827 to house the Free Will Baptist congregation, and was known as the North Ridge Meeting House.

The interior of the main house is well preserved, with wide pine wainscoting, large fireplaces in both front rooms, with simple vertical-board partitions in the rear. Original doors and frames are still generally in use. The house was built about 1795 by Jerome Stephenson, a veteran of the American Revolutionary War who moved to Belfast in 1784. Stephenson was prominent in local civic affairs, serving as selectman in 1785.

The stairwell also has paneled wainscoting, which has been nicely restored. The building was made with locally quarried Apostle Island brownstone of excellent quality. However, there are signs of deterioration due to recent sand-blasting that occurred while the building, once a vocational school, was renovated for use as the City Hall. In the 2010s, the building was made handicap accessible, with a new ramp on the west side.

Its most notable decorative feature is the entryway to the projecting west bay, an elliptical arch with projecting brackets. Within the bay itself the walls have panels below the windows. The kitchen, to the south, has low vertical wainscoting and a recess for the old dumbwaiter in the rear wall. A door in its south wall leads to a section of the garage that has been renovated into living space.

Inside the house, the entry is through a small vestibule which opens into a large entry hall containing the main staircase. The entry hall has a heavy oak beamed ceiling and oak floor, and the staircase is constructed from heavy carved dark oak. The living room and dining room are off the entry hall. The living room has oak wainscoting and bookcases, a dark oak floor, and a carved stone fireplace.

See also: The five-bay west (front) facade has an ornate Victorian porch along its entire first story. On the south elevation is a projecting bay window and the remains of a porte-cochere. A central hall with pressed-metal ceilings, lincrusta wall coverings and flat- paneled wainscoting opens up from the entrance vestibule. A finely crafted staircase goes up from the side, its landing lit by a stained glass window.

The Milton Main Post Office is a historic post office building at 499 Adams Street in Milton, Massachusetts. The single-story granite building was built in 1936 out of locally quarried stone. The building is roofed in copper and has a wooden tower with louvered side panels and copper roofing. The interior public lobby has terrazzo marble flooring, and white marble wainscoting, with the walls above finished in plaster.

Windows in the upper levels are generally set in rounded- arch openings, and the roof is punctuated by several brick chimneys and a square clock tower. The clock is original to the building, made by George Milton Stevens of Boston, Massachusetts. The interior of the building is divided into civic offices and a theater. Its finishes are largely original, including fine woodwork on the main staircases, floors, and wainscoting.

The interior of the building features many original noteworthy elements, yet displays the same lack of embellishment evident on the exterior. Ceramic tiled wainscoting and quarry tiled floors line the stairwells, entry vestibules, corridors and the original postal lobbies. The stairwells also retain original steel newel posts, wrought iron balusters, and stained wood handrails. The ceramic drinking fountains evident in the corridors throughout the building add to its historic integrity.

A simulated clerestory level is illuminated by the skylights supplemented by electric lighting in the original wall sconces. The walls themselves are plaster on lath with beaded wainscoting ending in a chair rail. A raised wooden platform supports the pulpit, carved with some classical motifs such as rectangular, rounded lozenges and foliation, some of it gilded, echoing the wall behind it. It has two front piers that resemble antae.

The paneled main entrance door, with single-light sidelights and transom, opens into a hall running along the west side. It is currently used as a gift shop and admission area for the museum. In the wider central portion of the hall is the freestanding chimney, its breast faced in plaster, with turned wooden cornerbeads and beaded fir wainscoting. A small administrative office is in the southwest corner.

The interior layout of both stories remains unchanged, as do many of the finishes. Both the adult rooms downstairs and the children's rooms upstairs have fireplaces with galzed brick, marbleized tile floors, carved mantels and beveled mirrors. The central stair has oak wainscoting, ash banisters, and newel posts topped with carved urns. The flooring, moldings and plaster walls are all original, as are the bookshelves and most other furniture.

The town's voting equipment is normally placed on the stage, and there is a wood stove at the southeast corner, where the door to the town vault is also located. The roof is supported by a series of open modified King post trusses. The walls are finished in pine wainscoting up to the windows, with an early form of gypsum board above. The town of Lovell was settled in 1788.

All these details are original. At the second floor landing, a wooden doorway with semi-elliptical arched transom leads to the floor itself. It is finished in classically inspired carved trim, embossed wood wainscoting and pressed glass dividers. An oak staircase lit by a brass-framed skylight provides access to the upper floors, many of which have been converted to apartment space by combining several former hotel rooms.

Past the doors, in the building's main lobby, is the large, marble staircase to the second floor. The staircase, as well as the lobby's wainscoting, is done in gray Tennessee marble. Most of the first floor is original to the building, including the hexagonal marble flooring, stained glass windows and two original, first floor courtrooms. The plasterwork along the walls and ceilings of the lobby is ornately decorated.

The music room, next to the reception room, was colored a delicate green enamel. The walls were paneled satinwood, the ceiling was papier-mâché, and the fireplace was of Pyrian marble, with a small square window above. The room was lit by 250 electric lamps scattered throughout the room in "artistic carelessness". The library, in the southeast corner of the house, used Circassian walnut wainscoting all the way to the ceiling.

The breakfast room, in the northeast corner, had wainscoted gum-wood walls, with space between the wainscoting and ceiling featuring inscribed phrases. The ceiling was azure blue, with emblems of the zodiac in gold. The den nearby had red birch walls and ceiling and a painted frieze, along with a yellow tiled fireplace. The house's second and third floors were dedicated to sleeping space, together containing 14 bedrooms.

The main entrance is in the central bay, surrounded by a stonework arch and topped by a triangular pediment. The building has a strong cornice line, topped by a parapet. Behind the parapet is a low-pitch hip roof pierced by three vaulted-arch dormers. The building's public lobby space is richly decorated with terrazzo marble flooring, marble wainscoting, and heavy woodwork surrounds for the interior doors and service windows.

Le Soleil ("The Sun") was founded in 1973 by Rolande Bisserth, originally on 10th Avenue between 57 - 58th Streets in an area called Bois Verna, named after a neighborhood in Port-au-Prince known for its ancient latticed houses, where New York's version once boasted bookstores, churches, cafés, and bodegas called petit magasins. Its decor entails colorful primitive-style tropical landscapes decorated on peach- colored walls above brown wainscoting.

The exterior is clad in Bedford stone, which was chosen to match the Public Library of Des Moines and the post office on the west bank of the river. The floors in the vestibules, entrances, public halls and council chambers are covered in marble. Polished Tennessee marble was used for the wainscoting in the public halls, entrances and the Main Hall. Interior woodwork is composed of white oak.

The facade is topped by a broad entablature and wooden cornice, with a low brick parapet above. The main space in the interior, originally the bank lobby and teller area, is finished with tongue-and-groove wainscoting. Toward the rear of the building there is a vault, the office of the bank president, and stairs leading to the basement. The basement has a small metal jail cell located beneath the vault.

The front elevation exhibits a semi-circular portico supported by two Doric columns capped with oversized capitals and two pilasters. The interior is simple, with a single room adorned with beaded board wainscoting along the perimeter. Inside is a wrought iron fence from the balcony of the Hiram Thompson home. When the Chappell Hill Female College closed down in 1912, they donated many of their books to the new public library.

The interior has a central hall plan, with two rooms on each side of the hall on both floors. These rooms have original Federal period woodwork, including fireplace mantels, wainscoting, trim, and doors. The town of Sangerville was first settled c. 1801-02, and Thomas Prince, one of the early arrivals, established a fulling mill on what is now called Carleton Stream, which empties into the nearby Piscataquis River.

The walls are finished with tongue-and-groove wainscoting below and plaster on the upper portion. Windows have wood surrounds with molded sides and Classical top-pieces. A stained glass window in the stairwell contains a half-circle top piece and elaborate woodwork surrounds. The second floor contains an open hall flanked by the stairwell, a small room that is now a kitchen, and another small room in the front.

The entry leads into a vestibule area, from which there is then entry into the schoolroom. There is a closet in the northeast corner, from which a hatch provides access to the attic area. The walls of the interior have a bead-board wainscoting, with horizontal tongue-and-groove boards rising to the ceiling. The classroom floor is wide pine, while that of the entry is narrow fir strips.

The ends of the facade curve around to the side elevations, which have inset fluted panels whose pilasters are crowned with more cast sculpture derived from characters from A Midsummer Night's Dream. The rear elevation is comparatively plain and utilitarian. The lobby is detailed with bright blue wainscoting and ceilings. Curved stairs give access to the balcony on either side of the lobby, with six doors into the main house.

At the main entrance on the first floor was a vestibule from which passengers could pass into the lobby. Men's and women's waiting rooms were located on either side of the lobby. First story flooring consisted of mosaic tile manufactured and installed by the Newcastle Block Pavement Co. of Pittsburgh. The walls were painted a reddish- orange and featured wood wainscoting painted dark green, with oak trim and moldings on the walls and ceiling.

The north has square windows in pairs and singled and a freight entrance near the west end. That end has two square windows, one currently boarded up, matched by a passenger entrance and window at the east. Inside the space is divided into a passenger waiting area, ticket office and freight office. Many of the original finishings remain, including the lath and plaster walls, the varnished wainscoting and door and window surrounds.

The side-facing leanto section was added sometime in the 18th century. The interior was also distinctive for its use of a variety of different woods for the flooring and finishes, as well as three large granite fireplaces. The second-floor bedchamber was a rare example of an early 18th-century room finished before the use of horsehair plaster became more common: it had been finished entirely in wooden wainscoting and paneling.

The completed courthouse was opened in May 1894. This was to be the main courthouse for Carbon County and the 3rd such courthouse for the town itself. It was based on the design of the Big Ben Clock tower in London, England. Many of the features inside the courthouse featured many ornate pieces including: fireplaces, vaulted ceilings, stained glass, ornate English Wainscoting, adamant wall plaster and Mintons Tile that ordained the hallways.

Trees were protected and houses were "carved" into forested lots. Generously scaled houses are sited formally along grid- networked streets with free-standing garages positioned in rear lots. This master-planning feature allows cars to be typically parked beyond the public view corridor, allowing the neighborhood to maintain a manicured appearance. The majority of homes in Ponderosa Forest were custom designed and well appointed with custom interior cabinetry, wainscoting, and woodwork details.

The architectural features of the front facade are echoed on the remaining sides of the structure. A handicap ramp has been added on the structure's west side, and an enclosed stairwell on the east side provides access to the basement. Crawford Post Office lobby, looking east Inside, the lobby features original marble floors and wainscoting, radiators, and woodwork. The space immediately inside the front entrance is surrounded by a vestibule that projects into the lobby.

The interior has a narrow vestibule, which opens into the main chamber. It has a stage at one end, and retains original wood flooring, wainscoting, and a woodstove with an unusual safety enclosure. The stage is effectively recessed between a small kitchen (formerly a cloakroam) on one side, and bathrooms on the other. The school was built in 1937, a fairly late period for the construction of these types of district school buildings.

The interior has a narrow but wide public lobby space, with terrazzo marble flooring and a high marble wainscoting. The building was designed by the Office of the Supervising Architect under James A. Wetmore, and was built in 1931-32 with funding from the Works Progress Administration. It replaced a Richardsonian Romanesque building dating to the late 19th century, and was built on land once belonging to Samuel Crocker, one of Taunton's leading businessmen.

The interior retains many original period features, including original doors and hardware, wainscoting, fireplace mantels, and flooring. The property includes foundational remains of a barn and an old tannery, which was located on Sandy Brook south of the house. The ell of the house was built in 1799 by Philemon Sage, the son of Stephen Sage, one of Sandisfield's first settlers. Philemon Sage was a successful rural farmer, operating the tannery and a cheesemaking operation.

Inside, the first floor is divided into the two large bays used originally for fire engines, with plaster walls, wainscoting, pressed tin ceilings and wooden-plank floors. The second floor, used originally as meeting rooms, has similar finishing as well as thin cast iron columns in its largest room. All rooms have their original carved mantel and fireplace cover. The third floor is a single large room with two large wood braces supporting the ceiling.

The east end had trinity windows, a large wooden altar screen and a carved hexagonal pulpit, reached by stairs. There was elaborate carved wainscoting. A pavement of reddish brown and grey marble to the west of the altar rails was said to date from the original gothic church. Galleries stood over the north and south aisles, built at special request of the officers of Christ's Hospital as seating for the school's students.

The building is set on a sloping lot, exposing the basement in the rear, and there is a two-story ell there, which provides pit toilet facilities for the building. The two entries lead into separate vestibules, which lead into a single large chamber, which takes up the rest of the main block. These rooms are finished with horizontal pine wainscoting, and 20th-century wooden floors. Original blackboards are found on two walls.

Concrete steps with wrought iron guardrails lead to the main entrance. A round-arched door in a pointed-arch entryway opens into the carpeted sanctuary. The plush pews, cushioned in velvet, contrast with the otherwise restrained interior of wainscoting up to the chair rail that runs around the room, simple moldings elsewhere in the room, and plasterwork around the chandelier mounts. At the rear the pulpit is on a slightly raised platform.

Trimmed in vermillion, the beams are fastened together by gold star-shaped bolts. The main nave is divided from the side naves by cast iron columns that are connected by wooden arches in the same style as the ceiling beams. The chancel and apse ceiling is painted in terra-cotta and features stenciling in gold leaf. The rest of the cathedral's décor is rather plain with white plastered walls above dark wood wainscoting.

Otterbein Church, also known as Otterbein United Brethren Church, is a historic Methodist church near Evans, Jackson County, West Virginia. It was built in 1896, and is a single-story frame building sheathed in clapboard with a vertical wainscoting in the Late Gothic Revival-style. It features a square tower with rectangular vents on each side, small brackets, and a hipped- pyramidal roof. Also on the property is the church cemetery dating to roughly 1864.

The main lobby floor is of red and brown ceramic tile with a red border and buff wainscoting. Above that the walls and ceiling, including the cornice between them, is plaster. Many original features, including the screenline, metal grilles, lockboxes, interior doors and surrounds, two wooden customer tables, one set of lockboxes and a bulletin case. A mural depicting ships on the canal is high on the wall above the postmaster's office.

The memorial building is a circular granite structure surrounded by sixteen granite fluted Greek Doric columns in a peripteral colonnade, capped with a saucer dome of glass panels and resting on a stylobate. The north and east corners have restrooms and various maintenance rooms. Except for the maintenance rooms, these feature plastered walls and ceilings, marble wainscoting, and terrazzo flooring. Visitors enter the memorial by climbing thirty granite steps in the northwest corner.

The entrance is framed by pilasters and topped by an entablature and cornice. The interior of the building has a vestibule area, from which narrow stairs wind to the gallery on one side, and a center double door leads into the sanctuary. The sanctuary has a coved ceiling finished in pressed tin, which extends down the walls to wainscoting. The floors are wide pine, and there are three banks of bench pews.

Astride the main block and entry pavilion, a single-stage square tower rises to a flat top with corner pinnacles and a low balustrade. The interior is simply appointed, with carpeted floors, plaster walls with wide board wainscoting, and a pressed metal ceiling. The building was constructed in 1867 by the local congregational society, which had been established the previous year. It was built by a local contractor, funds raised by the sale of pews.

The Chicago, Milwaukee, St. Paul and Pacific Depot in Clinton, Minnesota, United States, is a historic railway station. It is now known as the Clinton Depot, and serves as a local history museum for the Clinton area. It was added to the National Register of Historic Places in 1985. The interior has hardwood floors and decorative wainscoting in the waiting room, an office in the middle and a freight room at the south end.

The two main stairwells feature marble staircases with wrought-iron balusters and floral designs inset into wood handrails. Adjacent elevators retain their original bronze doors, displaying decorative medallions and Greek fretwork. Above the elevator doors are bronze acanthus-leaf moldings and lunettes with murals depicting postal delivery themes, also painted by Long. The second floor includes two original federal courtrooms designed with coffered wood ceilings, marble wainscoting, decorative pilasters, and arched windows.

The side elevations have two pairs each of sash windows, and the rear elevation has a window in the gable, and a doorway leading into an attached shed-roof garage. The main entrance opens into a small vestibule area, which has doors to either side leading into the classroom space. That space has vertical beadboard wainscoting, with horizontal beadboard paneling above and on the ceiling. The floors are maple, a replacement for original pine floors.

Plaster walls are decorated with marble baseboards and wainscoting and iron grilles featuring a square-and-x motif are located above postal boxes on some walls. The plaster ceiling is crowned by a molded cornice with dentils. The elevator lobby also features terrazzo flooring and decorative cast-iron elevator enclosures. A marble staircase that connects the second and third levels has a scrolled, cast-iron balustrade that terminates in a floral-motif pilaster.

White marble is visible in bands at the top and bottom of the courthouse. Windows are oriented vertically and in pairs, running in tall bands divided by thin strips of marble. The Stout Street elevation features a metal art screen, a common element of Formalism, over large windows; the screen also serves to control direct sunlight on the interior. Like the office tower, interior public spaces of the courthouse have marble wainscoting and terrazzo floors.

The classroom walls are finished in vertical tongue-and-groove wainscoting, with plaster above. Floors appear to be original random-width planking, fastened with cut nails. The town of Shrewsbury, incorporated in 1727, established a district school system in about 1742, and had seven districts by 1792. The present district 5 schoolhouse was built in 1828 on land purchased from Orville Lothrop, whose farmhouse still stands to the northwest across Main Street.

The interior of the main block has retained much original detail, including its fireplaces, wide wainscoting, and wide pine flooring in the kitchen. The floor plan is a central hall plan modified because the house is not a typical five bays wide, with a larger parlor and a smaller hall space on either side of the chimney, and the kitchen behind. Modern facilities have been built into the ells. The house was built c.

56 Wealthier individuals would extend their house by adding a leanto on the back, which allowed a larger kitchen (possibly with a brick or stone chimney including an oven), additional rooms, and a sleeping loft. These houses were the precursors to what is now called the saltbox style of architecture.Labaree, pp. 56–58 Interiors became more elaborate in later years, with plaster walls, wainscoting, and potentially expensive turned woodwork in the most expensive homes.

The small finial ornament atop the tabernacle took some 58 hours to complete. The main altar is built of Verde Issoire, a green marble quarried in the French Alps. Green marble serves as decorative wainscoting along the walls and comprises the interior columns along the nave. The nave and transepts are capped by a ceiling of gothic vaulting and ribs of carved wood with the areas between the ribs painted in various scenes.

The Monroe County Courthouse is located at Courthouse Square in Clarendon, the county seat of Monroe County, Arkansas. It is a large brick building with Classical Revival features, designed by the architect Charles L. Thompson and built in 1911. It has low octagonal towers topped by tile roofs at each corner, and a tall clocktower on its main facade. The interior lobby spaces are finished with ceramic tile floors and marble wainscoting.

To the west a modern shed-roofed wing on block piers projects. Inside, the single room has been divided into two large spaces. Much of the original woodwork, including the wainscoting, remains. Other signs of the building's use as a school are evident, particularly the coat pegs near the south door, a black spot on the floor where the potbelly stove was and a hole in the wall for its exhaust pipe.

It has a two-story extension of its own on its west of modern construction. The front door has a denticulated lintel and eared surrounds. Its three sets of doors lead into a vestibule, where staircases lead up to the balcony level and more doors lead into the sanctuary. That room has a high flat ceiling and original wainscoting to the bottom of the windows, which have their original eared surrounds and louvered interior shutters.

The interior of the original building retains many period features, including quarter-sawn oak wainscoting and stained glass windows. The library was founded in 1895 by the Conway Women's Club, and the present building was constructed in 1900. It was designed by Thomas Silloway, better known for his many churches and the Vermont State House, and may be his only library design. The clock in the tower was provided by George M. Stevens.

The building Donnell purchased in 1979 had declined badly. The Dearborn entrances had been closed in, the ground floor had been "defaced by garish signs", and the brick had been painted and was peeling. Inside, the marble wainscoting had been painted over and many of the original oak doors had been replaced with cheaper mahogany. The decorative stair rails had been enclosed, and some stairways and corridors had been closed off completely.

The front and sides of the porch have arched openings, and there is a bullseye window in the gable end. The main roof is pierced by gabled dormers rising from the side walls. The interior of the church is finished in tongue-and-groove wainscoting, plaster walls, and plaster ceiling with exposed beams. To the north of the transept is a modern wood frame parish hall, giving the whole building an L shape.

Period detailing is of a high standard throughout with diagonal chimneys, tessellated tiled path and hallway, leadlight front door, bay windows, timber wainscoting, fireplaces and elaborately moulded cornices, ceilings and roses. The resultant design is very distinctive and there is no similar house design within the Municipality of Randwick. The quality of the detailing and design suggest the use of an architect, although no conclusive evidence is available to substantiate this view.

The main hallways on each floor contained tile floors and blue-gray marble wainscoting on the walls. Ceiling heights generally decreased at higher stories: the cellar's ceiling was high and the first floor had a ceiling of , but the eighth-floor ceiling was high. The original ninth story under the mansard roof, with a ceiling of , had the editorial, composing, proof, and stereotype rooms of the Tribune. Three elevators were provided in the original design.

The main entrance uses an arched Gibbs-style surround. The building's trim materials show up in the form of solid stone balustrades that curl to form newel posts at the sidewalk, and terra cotta quoins. The rear facade is less detailed, with terra cotta used only for the coping of the stepped cornice; stone and brick are used everywhere else. Much of the interior is in paneled dark wood, with wainscoting in some rooms.

The building was constructed by the David Hummel company of Cincinnati using stone quarried in Wisconsin, Ohio, Missouri, and Indiana. Marble stairways and wainscoting originated in Italy and Tennessee, while granite columns were obtained from Vermont. Stained glass windows were installed which depict Cincinnatus and illustrate Cincinnati's early history. The first city hall was built on this site in 1852 and was demolished in 1888 to make way for the current structure.

The Mays General Store is a historic commercial building on Frost Street in Gilbert, Arkansas. It is a single-story vernacular brick building, built as two separate buildings in 1901 and 1906, at which time the intervening wall was knocked out. It has two separate storefronts, each with entrances recessed in angled opening, with transom windows above the doors. The interior retains original shelving and wainscoting, as well as display cases and other fixtures.

There are three sash windows set around the entrances on the ground floor, and two more in the attic level. The interior, originally a single large space, has retained original wide pine wainscoting and plaster walls. Portions of the interior have been partitioned off to house town offices, and part of the attic level has also been finished for that purpose. When Parsonsfield was first incorporated in 1771, town meetings were held in local residences.

The Thida Grove School is a historic school building in the rural community of Thida in southern Independence County, Arkansas. Located on the north side of County Road 20, it is a single-story vernacular wood frame structure, with a side gable roof, weatherboard siding, and a concrete foundation. It has a recessed porch with a pair of entrances. The interior has a single large chamber, with tongue-and-groove wainscoting and wide oak flooring.

Corinthian pilasters with gold-painted capitals alternated with windows, and beaded board wainscoting went around the room. The ceiling is of pressed metal divided into nine recessed squares. According to its historic register nomination, "This is the finest building, architecturally, in the entire Mount Vernon area." including three photos The original clockworks are on display inside the courthouse. The original features discussed in the 1980 NRHP nomination form are still there as of 2017.

On the southeast corner is a private office, which includes a marble fireplace mantel and wooden decorations. The 3rd floor has the bank's original executive office. There was also a board room designed in the Colonial Revival style, which contained Doric columns, round-arched doors, wainscoting, and a fireplace, and formerly an Ernest Peixotto painting of the bank's founders. The board room is likely an imitation of that at the bank's first headquarters, the Walton family mansion.

The Solomon Piper Farm is located in southeastern Dublin, in a rural setting on the east side of Valley Road near its junction with Perry Pasture Road. It is a 1-1/2 story wood frame structure, with a gabled roof, clapboarded exterior, and central chimney. It is five bays wide, with narrow windows, and a small extension added to the east end. Interior details which have been retained include wainscoting, chair rails, and fireplace mantels.

The interior follows a typical Georgian center chimney plan, with parlors on either side of a narrow vestibule with winding staircase. The interior retains significant original finish, including horsehair plaster, carved wooden wainscoting, and paneled fireplace surrounds. Second-floor windows are butted against the eave in Georgian fashion, and there are simple corner boards. The house was built in 1756 by Nathan Wood, a native of Concord, who arrived here not long after the Worcester Road was laid out.

Windows are tall sash, set in slightly recessed arched blinds. The interior lobby spaces has terrazzo marble floors, granite wainscoting, and stained woodwork. A bronze sculpture stands in the lobby; it was placed in 1941, and is the work of Hélène Sardeau. The central two-story portion of the building was built in 1915 to a design by Oscar Wenderoth, then the head of the Office of the Supervising Architect at the United States Treasury Department.

He resigned to run for treasurer of Pennsylvania and was the only Democrat to win a statewide election between 1893 and 1931. Berry served as treasurer from 1906 to 1908. During his tenure as Treasurer, Berry discovered misappropriations of state funds related to the furnishing of the new Pennsylvania State Capitol building in Harrisburg, Pennsylvania. While an additional $700,000 had been appropriated for furnishings, flooring and ceilings, oak wainscoting and artwork - the actual additional unappropriated costs were $7.7 million.

A two-story ell extends to the left, with a single-story hip-roof addition in front of it. The tavern was built about 1780, in what was known at the time as Stevens Corner. Its interior retains a number of important period features, including paneled fireplace surrounds, chair rails and wainscoting, and splayed window lintels; the latter is a particularly rare feature in early Rehoboth architecture. The ell was added to the left side in the 19th century.

They are plastered above the wainscoting, with a moulded plaster cornice at the ceiling. The walls are decorated by a mural depicting winter snow delivery by horse-drawn sleigh. The post office was built in 1936 as a federal government works project during the Great Depression, and is stylistically related to surrounding buildings that were also built in the Georgian Revival style. The mural was executed by Marguerite Zorach, a local artist about whom little is known.

Windows on the side elevations are similarly decorated, where there are paired brackets in the eave. The entrances lead into small vestibules, which provide access to the classroom that occupies most of the rest of the building. The walls are finished in wainscoting below, and plaster above, except for one area that has been reconstructed with wallboard. Local tradition assigns a construction date of 1852 to this building, about the time the town was divided into thirteen school districts.

The doors are topped by transom windows, and both doors and windows have drip molding caps. The west facade has two groups of three sash windows flanking a single sash window, and the east facade has two sash windows. The south side of the building has a shed-roof ell, which contains the building's bathrooms and a woodshed. The interior of the building is well preserved, with tongue-and-groove wainscoting in both the entrance vestibules and the classroom.

The interior has a small vestibule, which spans the building width, and a single classroom, finished in wainscoting below, and plaster on lath above. The school was built in 1849, and was originally locate on Quaker Ridge Road, near the town's Quaker meeting house. It served the town's fourth district until the schools were consolidated in 1942. After passing through a number of private hands, it was given to the town, and moved to its present location in 1971.

The interior has two small vestibules at the rear, one of which includes a narrow stair up to a choir gallery. The main chamber is relatively unadorned, with pine floors and wainscoting, and is illuminated by electric fixtures, although original kerosene sconces and chandeliers are still present. The church was built about 1840, and was named for Gilmanton's first minister, Isaac Smith. He preached at the town's first meeting house, which was also located on this site.

The center of the main facade projects from the main block, and features six pilasters of fluted granite construction topped by a raised parapet. The building's symmetry is marred by the addition of a handicapped access ramp to the left half of the front. The interior lobby space is finished with plaster, wood, and masonry. The marble floors are finished in an Art Nouveau multicolored pattern, which is echoed in the wainscoting, which is made of quarry tile.

The front entrance is flanked by pilasters and topped by a half-round transom window. The interior retains many original finishes, most notable finely carved wainscoting in the main parlor. The house was built in 1809 by Pliny Newhall, a local bricklayer who purchased the land from his employer, whose yard was across the street. He sold the house in 1818 to Captain Anthony Lane, a local farmer who served for several separate terms as town selectman.

Inside, the L-shaped lobby can be entered from both directions. From the south, a wooden vestibule opens onto a space with terrazzo floors bordered by white marble and inset panels, marble wainscoting and high ceiling. The plaster walls are divided by engaged fluted wooden pilasters topped by egg-and-dart–molded capitals. Above them is a cornice with similar molding, with a five-paneled cast stone relief, "The History of Transportation", above the door to the postmaster's office.

The second- and third-floor finishes are generally unchanged from their original condition, consisting of white marble wainscoting and green marble base and trim. Second- and third-floor public corridors have coved ceilings with cast- plaster picture moldings at the spring line. The courtroom - with monumental proportions - represents a dignity apropos of its function as a Federal courthouse. Its coffered, ceiling features dentil molding, modillions, and plaster acanthus leaves and buds that grace each coffer's perimeter.

The former postal lobby and main staircase are located at the south (main) entry. Original finishes include marble flooring and wainscoting, marble pilasters along the south wall, decorative crown molding, bronze ornaments and grills, and marble surrounds with keystones accenting the south wall's doors and windows. Marble writing tables and a bulletin board with marble surround are at the lobby's south wall. Below the north wall's crown molding are Ulreich's murals, depicting important events in Florida's history.

Inside, the walls are made of plaster with wooden wainscoting and trusses, while the floors are made of wood. A narthex at the northeast side of the building separates the main entrance from the nave. A gallery balcony runs along the front (northeast side) of the nave. The narthex and nave are separated by three doorways: a double door to the nave's center aisle and a single door to each of the two side aisles in the nave.

On its rear is the carriage house, with a belfry on top, and on its south the privy, with its original planked door. The main house's floor plan has remained relatively unchanged, save for some changes to the bedrooms on the first floor. Many of its finishes are original as well, such as the door and window surrounds, moldings, wainscoting, high ceilings and pine flooring. The front hall and parlor (now a bedroom) have their original plaster ceiling medallions.

The altar is of plain wood, with some elliptical framing in the wall above paralleling a larger frame opposite that leads to the stairway to the choir loft, supported by thin octagonal columns. Simple round columns support the 10-foot–deep (3 m) second-story galleries with balustrade on either side. All walls except the front have wainscoting to the sill level; the front has shelving. All the woodwork inside save the altar and gallery handrails is painted white.

The interior of the house retains original woodwork and finishes, include wide pine floors, wainscoting, and a large kitchen fireplace with crane and builtin ovens. The house was built in 1780 by William Colburn, who first arrived in the area in 1774 with his father Jeremiah. They fled the area at the outbreak of the American Revolutionary War in 1775, and returned in 1780, at which time they built two houses. One of them was destroyed by fire.

Wainscoting and floors in the public rooms of the hotel were of Botticino marble and featured walnut moldings. A glass dome covered the Palm Court, which as decorated on the interior with ornamental ironwork in the Italianate style. Excavation of the foundation was completed in late November 1922, several weeks ahead of schedule. Steel for the frame began arriving the week of January 21, 1923, and erection of the building's frame was expected to take 10 weeks.

The courthouse from the east The Waseca County Courthouse is a two-story building of Kasota limestone and buff- colored brick, with a large bell- and clock-tower. It was designed by Minneapolis architects Orff and Joralemon and constructed by J. D. Carroll of St. Paul Park for $55,833. It features polished granite columns supporting triple arches at the entrance. The interior is decorated with wainscoting, oak woodwork, tiled fireplaces, etched glass, paneled doors, and marble flooring.

A single- story ell extends to the rear of the house, joining it to a barn. The interior of the house retains high-quality original woodwork and hardware, including trim, molding, paneling, and wainscoting. This area is believed to be the first to be settled in what is now Auburn. Originally part of Minot, this property (originally much larger) was granted to Samuel Berry in recognition for his service on Benedict Arnold's expedition to Quebec in 1775.

The Society opened the restored house as a museum interpreting the daily lives of wealthy Philadelphians at the time of the American Revolution. Today, the rich history of the Powel House may be seen in its decorative arts collection, its portraits of Powels and Willings, and its formal, walled garden so typical of Colonial Philadelphia. Its beautiful entryway, ballroom with bas-relief plasterwork, and mahogany wainscoting give the house its reputation as perhaps America's finest existing Georgian Colonial townhouse.

The building carries further ornamentation in the form of carved panther heads above the second story and brick lozenges. Interior design included open floor space to facilitate flexible division into offices. Additionally, "The elevator lobby of the Flatiron, with its handsome Classical details, ceramic tile floor, and marble wainscoting, as well as the ornate iron work of the elevator..."Report upon the Architectural Significance of the Flatiron Building, Fort Worth, Texas. Prepared for Ambrose Properties, Inc.

After the old public house in Fulham was pulled down, its wainscoting was add to the baronial house. Many of the original furnishings remain including the 16th century oak beams, staircases and fireplaces but it has undergone much modernisation with up-to-date devices. It has 62 rooms and suites, each of different design with artistically designed fireplaces including modern facilities for iPod connections. It consists of four buildings, with the outbuildings providing further accommodation for guest lodging.

The Upper Chamber is the meeting room of the Society. The speaker's lectern has been dated to the 1820s and may have been built specifically for the Hall. The simplicity of the carved mantels, window moldings, doors and deep paneled wainscoting emphasizes the drama of the ornate plasterwork ceiling medallion which is based on a template designed by Asher Benjamin. It is a medallion of holly leaves surrounded by swags of smaller leaves which are framed by delicate filigree.

Several companies now offer hand-painted finishes for metalwork, as well as a more permanent look that can be achieved with powder-coated finishes. For the low end of the market, imitation panels are pressed from plastic or aluminum. Tin is now fashionably used for art work, back splashes, cabinet faces, wainscoting and much more. For over 100 years the tin panel was made with nail rails around the outside of the panel, designed to overlap each other.

The ell is a 1980s replacement for an earlier structure which was likely narrower; the barn is of unknown construction date, but may be contemporaneous with the main block. The interior of the main block consists of four rooms, two on either side of a central hallway, on each floor. The front rooms on both floors have raised paneling on the fireplace wall, and wainscoting capped by a chair rail. The rear rooms are only modestly finished.

The east wall of the nave has five lancet-arch windows, of varying sizes, and the west wall has three symmetrically placed windows. The parish house extends from the southwest corner. The building interior has stained wainscoting on the walls, topped by pressed metal walls and ceiling. A raised platform extends from the chancel into the nave, housing space for the choir and organ, and curved rows of pews line the main space of the nave.

The main facade is three bays wide, with corner pilasters rising to an entablature and fully pedimented gable. There are two entrances flanking a central window; each is framed by paneled pilasters and a corniced entablature, and topped by a smaller window. The interior has a vestibule under a balcony, which has a pressed tin roof and chamfered square columns for support. The main sanctuary has plaster walls with wainscoting, and its ceiling is also pressed tin.

Windows are arranged on the gable ends as bands of sash windows. The interior, originally housing two classrooms, retains a number of original features despite the residential conversion, including bead-board wainscoting. The entrance is located near the center of the south side, sheltered by a gable-roofed porch supported by bracketed posts. with The school was built about 1859, most likely not long after Craftbury's fourth school district purchased the land on which it stands.

The gable ends are decorated with windows, fanlights, and other designs. The center front gable end contains swag motifs and a Colonial style window, the south gable contains a Palladian window, and the north gable a large Colonial window with a fanlight. The interior of the house contains oak wainscoting and moldings, and many fireplaces throughout the building. A leaded glass window in the northers wall contains the coat of arms and the initials of William C. Williams.

The interior finishes are almost entirely original on the ground floor, with hand-hewn exposed beams, vertical lapped-board wainscoting, and plaster above. Doors and their hardware appear to be original as well. Traditionally described as the oldest house in the Patchogue area of Westbrook, the present main block was probably built in stages at several points in the 18th century. It was originally attached to an even older structure, traditionally dated to 1648 and demolished c.

The windows in the outer bays are set in recessed panels, with marble sills and lintels. The interior lobby space features terrazzo marble flooring, marble wainscoting, and dark woodwork. The service area, located to the right is topped by a mural depicting the city's historic shipbuilding and rum industries. The building's principal designing architect was Arthur Blakeslee, and it was built in 1937 with funding from the Public Works Administration (PWA), following that body's guidelines for design and construction.

The corridors, which cross under the dome are ten feet in width, with marbled tiled floors, wainscoting and frescoed ceilings. Standing on the lower floor in the center of the corridor under the dome and looking upward, one may observe a beautiful concave of colored lights which spans the vault of the rotunda at a point near the top of the main building. The dome roof is of red slate. Total cost of building and fixtures was $68,520.

Many of the building's interior features survive with a high degree of integrity of design, materials and craftsmanship. Notable features include original room configurations, a variety of restrained Victorian era woodwork (window trim; baseboards; wainscoting) and original staircases. Of particular note are four marble fireplaces with elaborate Eastlake inspired details. Significance The William Austin House, built in 1870, is architecturally significantly as an outstanding example of Second Empire style domestic architecture in the village of Trumansburg, Tompkins County.

They concern the ghostly secrets of fictional Geap Manor, a recently demolished Tudor mansion.Radio Times December 2008 The first story, "The Wainscoting", is set in the late 18th century. Gatiss plays a museum curator who is given a strange door-knocker, which inspires him to share his dark researches into the Manor. The first tale related the story of Joseph Bloxham, who buys and improves the Manor after capitalising on an investment which ruined his fellow speculators.

Another upstairs room has a flat ribbed plaster ceiling and the staircase has linenfold wainscoting panelling. In "The Grange", there are more elaborately decorated plaster ceilings, linenfold panelling in the rear passageway and a plastered archway with the heads of satyrs. There are other important features including a wide fireplace with an arched lintel on the ground floor. The large complex of buildings is separated from the road by a high stone boundary wall, running for with gate piers and gates.

The larger bar reliefs have scenes of farming, mining, and cattle ranching, which were the main industries in Colfax County. Some of the smaller motifs show the cattle brands from Colfax County. Some of the other architectural features include terrazzo floors, tile wainscoting, chipped-tile roof on the top story roof and flat roofs on lower areas. A new legislative building, completed in 2010 in the south end of Raton, will carry out additional courthouse proceedings when the 1936 courthouse cannot contain them.

The entry connecting this rear porch to the main house has a projecting vestibule area with Greek Revival styling, suggesting it may once have been the main entrance. The interior reflects late 19th-century tastes, but includes some Federal period trim and wainscoting in the downstairs parlor. There is architectural evidence suggesting that house once had a large central chimney, although there is no evidence for the foundation of one in the partial basement. The property has had a somewhat complex construction history.

By the 1990s, Citizens’ Hall was in severe disrepair. In 1988 the second-floor hall was closed to public functions because of possible structural and fire hazards. The police department made the space its own for a few years, during which time the ballroom deteriorated further. Rust spots became noticeable on the ceiling, the floor became worn under the desks and chairs of department personnel, and artifacts were screwed, taped, or otherwise affixed to the plaster walls and wood wainscoting.

At this time, the wainscoting was almost complete, one-third of the floor was laid, a three-manual organ had been purchased, and final preparations were beginning for the dedication ceremony scheduled or June 1903. The architect and contractors had not fully completed their contract by the dedication ceremony, however. On July 25, 1903 a piece of copper work in the alley side cornice had come loose. On July 28 the copper cornice was repaired and the building finally completed.

The south-facing secondary entrance is more modest, with a four-light transom topped by an entablature and simple cornice. The interior retains many original period finishes, including floors, paneling, wainscoting, and fireplace surrounds. with The house was built about 1806 by Daniel Weston, whose father and uncle were among the first settlers of the Bremen area, arriving in 1772. Weston was, like his father, a shipbuilder, and the construction of this house exhibits some features peculiar to that specialized craft.

The ceiling in the church sanctuary is 19 feet high. The sanctuary walls are lath and plaster with a wooden wainscoting to a height of three-and-a-half feet. The sanctuary pews were originally arranged in a semicircle facing a large bay window on the east side of the building. In 1944, the sanctuary was reoriented along the length of the building with the pews facing an expanded altar and choir area at the north end of the room.

The main entrance contains marble wainscoting and originally had a mural- covered vaulted ceiling. The walls on either side contained murals: one side had depictions of "Spring, Youth and Ambition", while the other had "Autumn, Age and Achievement". There was also a central figure depicting William Cullen Bryant, editor of the New York Evening Post, the newspaper whose headquarters occupied the Liberty Tower's site in the 19th century. The murals had been removed by the end of the 20th century.

To the east of the entry hall is the music room, which has molded door and window surrounds and a peach colored marble Neo-Classical fireplace with cable molding, a central carved scallop, and a denticulated mantelpiece carried on consoles. The music room opens onto the dining room to the south. The dining room features cased beams, molded door and window surrounds, paneled doors, and vertical wainscoting, all in pine. The room is lighted by a large triple window in the south elevation.

The Woodmen of Union Building is a historic commercial building at 501 Malvern Avenue in Hot Springs, Arkansas. It is a four-story structure, built mainly out of brick and ceramic blocks, although its southeastern section has upper levels with wood framing and finishing. Its main facade has an elaborate projecting entrance portico, with the entrance set in an elliptical-arch opening supported by fluted pilasters. The interior retains significant original features, including a bank vault, marble wainscoting, and a 2,500 seat auditorium.

The second floor is a narrow room that served as the main reading room. As arranged, the second floor contained a children's room in the front (facing Second Avenue), a reading area in the center, and a women's reading room in the back. The window openings on each wall contain elaborate surrounds. A Lincrusta Walton wall covering was used in place of wood wainscoting, and a wide molding is at the top of the walls, with a coved ceiling above.

The central hall has elegant woodwork, with an arch supported by large consoles, paneled wainscoting, and a dentillated cornice, details which are echoed in the second floor hall. The public downstairs rooms feature similar woodwork, with elaborate mantelpieces. The plasterwork in the northwest room feature a period mural, depicting the Chinese court punishments and the Buddhist cycle of hell. The second-story room was documented in 1879 to have artwork depicting the West Indies on its walls, but this work has been lost.

The office building is a three-story red-brick rectangular structure, measuring 40 feet by 60 feet, on a brick foundation with a full basement. The windows are sixteen-over-one wood-sash windows in a flat-arched surround. When built it was considered one of the finest office buildings in the country primarily because of the ornate interior. A number of the original interior original features remain, including first-floor wainscoting, much of the woodwork and some marble flooring.

The interior is finished with vertical board wainscoting, original blackboards, and a 1927 pressed metal roof. The town of Bucksport had eighteen school districts at its height in 1859. Over the course of the second half of the 19th century it experienced a significant decline in population, resulting in the closure and consolidation of many schools. This school was built in 1895 to replace a dilapidated older structure, after long public debate over whether to consolidate further rather than build a new building.

The present house incorporates a few components from Tudor times, including some fine wainscoting. The addition of two wings in 1705 are attributed to John Meadows, who also worked on Eggesford House and Arlington, on which commission he died. A fine interior exists and has examples from the 'Gothik' work of Batty Langley. The main ranges of the house were taken down to the level of the cloisters and rebuilt in the Strawberry Hill Gothic style, made popular by Lord Walpole.

Most of the interior of the building has been updated, renovated, or otherwise changed except for first floor lobby area. The lobby features various types of marble in its flooring, pilasters, and wainscoting with plaster moldings, capitals, walls, and ceiling beams. Some original mahogany storefronts remain along with large French doors with "T" monograms. At the foot of the stairs leading to the second floor is a bronze plaque memorializing the building crew, architects, and Lincoln Traction Company officers and directors.

Fixer Upper became popular soon after its debut, and the series is largely credited with the rise in popularity of "Farmhouse-chic" interior design in the late 2010s. In 2018, Zillow reported that homes with architectural features mentioned on the show, such as wainscoting, shiplap, clawfoot bathtubs, and barn doors, sold at an average of 30 percent above expected value. In addition, the show has generated an increase in tourism and economic development in Waco, Texas, where the show was filmed.

The interior is basically two chambers on the ground floor, with a parlor in front and kitchen in the rear. There are two bedrooms on the upper floor, with original wide pine floors and period wainscoting. The house is believed to date to the late 17th century. Its early ownership and construction history are not known, but foundational evidence on an adjacent property suggests it was here that Dr. Philip Turner lived around the time of the American Revolutionary War.

All the upper floors featured Italian marble wainscoting. A below-ground level was intended to serve as a bank, and several meeting rooms, banking parlors, and massive steel vaults were erected there during the building's construction at a cost of $100,000 ($ in dollars). A customer for this space was not found until 1895, when the Cleveland Trust Company moved in. The building's major tenant was the local luxury jewelry firm of Cowell and Hubbard, which rented the entire first floor.

On the south elevation is a two-and-a-half-story tower with metallic mansard roof dormers and bracketed cornice. The mill and office building retain much of their original finishing. The former, redecorated in a Queen Anne mode by Saratoga Springs architect R.N. Brezee, features oak and cherry wainscoting, a highly decorated cashier's desk and walk-in vault. Similarly, the bag factory has a wainscoted cashier's office with pay windows, staircase with two open flight and varnished newel posts with turned balusters.

There are narrow corner boards at the building corners, rising to a broad entablature that extends to the sides. The interior of the main floor has an entrance vestibule, cloakroom, and a small kitchen at the front, with the main hall taking up most of the rear. It has a stage at the far end, and has hardwood flooring and wainscoting, with the upper walls and ceiling finished in pressed tin. The downstairs has the dining room, a larger kitchen, and restrooms.

The roof eave extends eight feet (2.2 m) over the elevated platform to shelter handlers while loading and unloading freight. It is supported by brackets and has decorative vergeboards at the north and south gable ends. The brick itself has segmented pilasters between the bays and some corbeling. Before its conversion into a museum, the interior of the building retained much of its original trim, including the cement floor, wainscoting, exposed trusswork ceiling and reed molding and bullseye corner blocks around the doors.

The sides of the building have three sash windows, and the rear has a single window between the two chimneys. The doorways lead into separate vestibules, each with a closet, which then lead into the main sanctuary. The walls are plaster over lath, with wainscoting in the sanctuary. The sanctuary has rows of pews, a pedestal pulpit ornamented with wood paneling, and a two pump organs in the rear, behind which area a raised platform area traditionally used as a choir loft.

The interior alterations comprised the raising of the ceiling within the rear ground floor parlour of the west wing. The ceiling and of course the floor of the room above were raised to create a grand ground floor parlour to the rear of the west wing. The interior of the room was fitted out in wainscoting consistent with the date of alteration, including an ornate over-mantle and marble fireplace. The over-mantle may make use of some earlier fabric in its design.

A transom above has been filled in with wood and the words "Town Hall" written on it. The door opens onto a central hallway with large meeting rooms used by both town and village on either side. The second story is given over almost completely to another large meeting room and the third floor used as a museum. Some original finishings, such as plaster ceilings, high wooden wainscoting and deep window frames, remain from its early 20th century use as a public school.

The schoolhouse is a single-story wood frame structure, resting on a granite foundation, with a steeply pitched gable roof. A gabled vestibule area extends to the east, and there is a shed-roof outhouse addition to the rear. The building is located on the north side of Maine State Route 16, about southwest of its junction with Route 27 in Stratton. The interior is finished with wainscoting and pressed metal walls and ceilings, with a cornice featuring egg-and-dart patterning.

The caliche was then mixed with sand, lime made from nearby limestone deposits, and organic materials like straw or horsehair. The exterior walls were usually whitewashed, and the interiors often had woodwork or wainscoting of local walnut, oak or pecan. Joseph Zorn, Jr. bought the house in 1874 and it remained in the Zorn family until 1961. Zorn was mayor of Seguin from 1890 to 1910, and played a major role in establishing the first system of free public schools in the town.

The north (rear) elevation has two large barn-style doors. Inside the schoolhouse there are remnants of the original heating system, the flue and lower section of the brick chimney. Original low wooden wainscoting, with some initials carved into it, remains along the walls, which also have some of the original plaster and blackboards. Channels on the floor, where desks and seats were affixed to it, also remain, as do some remnants of the original vestibules in the otherwise open interior.

The interior follows a center hall plan, with parlors on either side of the center hall, where a staircase rises to the second floor. The western parlor, as well as both levels of the hall, feature painted and stenciled artwork on their walls, above wooden wainscoting and chair rails. The parlor is painted in multiple colors, with scenes that include the Portland Observatory and a cluster of houses on an island. The panels in the hall and stairwall are monochrome and less elaborate.

A Palladian window is located just above the entrance. The entry leads into a large vestibule finished in horizontal tongue-and-groove paneling, with a small ticket window to the east, and a broad staircase leading to the second floor on the same side. The auditorium space is finished with plaster above tongue-and-groove wainscoting, and the edge of the balcony is finished in similar paneling. The auditorium space has wooden flooring, and does not have permanently installed seating.

A central spine in the building contained the electrical system, fresh water plumbing, and central vacuum system. All the public floors were covered with hardwood, while the walls above featured Circassian walnut wainscoting and marble paneling. Most counters, chairs, and other interior fixtures were of mahogany. The lobbies on Euclid Avenue and Huron Road drew special attention from the press, which noted their solid bronze doors and fixtures and the extensive use of verde antique, Italian white, and Italian green marble.

It is rendered even more unusual by architectural evidence that it was once about six feet longer than it presently is. The long hall makes possible a longer-run main staircase with wide treads. Original period features include interior doors and hardware, horizontal board wainscoting in the dining room, and early 19th-century Federal period decorative elements. and The house was probably built in 1770, after James Stevenson gave his daughter Mary and her husband Daniel Lee two acres of land.

The interior retains many period features, including paneled fireplace surrounds, beaded wainscoting, and a front stair with turned newel posts and balusters. The house was built about 1790 by Benjamin Riggs, a native of Gloucester, Massachusetts who supposedly settled here in 1776 at age seventeen. Successful in the shipping business, Riggs had this house built, along with storehouses at a nearby wharf. He served in the Massachusetts legislature, and also in the Maine legislature after it achieved statehood in 1820.

The main entrance features Gothic-carved wood doors beneath a carved tympanum. The bell tower features a lancet window of its own, with four smaller tabernacle windows on its octagonal spire separated from the lower level by a wooden frieze. Inside, the church's sanctuary features a ribbed plaster ceiling and its original pews and wainscoting. Pew number 49 is marked with a brass plaque noting its use by Theodore Roosevelt while he was vacationing in Dobbs Ferry in summer 1871.

The US Post Office-Lexington Main is a historic post office at 1661 Massachusetts Avenue in Lexington, Massachusetts. The single story brick Georgian Revival building was built in 1937 as part of a Depression era works program. The building has fairly modest styling: it has a belfry and cupola, and its entry is flanked by fluted engaged columns, and topped by a simple entablature, and an eagle set in a carved recess. The interior has marble terrazzo flooring, and marble wainscoting below otherwise plaster walls.

These include two fine tiled stoves as well as stucco decorations, some of them possibly executed by master stucco craftsman Johann Michael Graff, who is famous for his extraordinary work at Rundāle Palace in Latvia. In the 19th century, further additions to the interior were made, such as the study with its richly carved and decorated wainscoting, neo- baroque stoves and stair balusters. Jüri Lossmann, a long distance runner and silver medalist in the marathon at the 1920 Summer Olympics (1891–1984) was born in Kabala manor.

The Courtyard of the Eunuchs Another door leads to the Courtyard of the (Black) Eunuchs (Harem Ağaları Taşlığı), with their apartments on the left side. At the end of the court is the apartment of the black chief eunuch (Kızlar Ağası), the fourth high-ranking official in the official protocol. In between is the school for the imperial princes, with precious tiles from the 17th and 18th centuries and gilded wainscoting. At the end of the court is the main gate to the harem (Cümle Kapısi).

The Pine Orchard Union Chapel is located in the Pine Orchard summer resort area of eastern Branford, at the junction of Chapel Drive and Pine Orchard Street. It is a modest wood frame building, with a flared gable roof whose eaves have exposed rafter tails. A small belfry stands atop the roof, and there is bargeboard and latticework decoration in the gable ends. The interior consists of a small vestibule, and a large open sanctuary, with timbered roof trusses exposed, pine floors and wainscoting, and brass chandeliers.

Earlier homes in Green Park are of the Queen Anne, American Foursquare, American Craftsman and American Colonial styles of architecture. Homes built in the 1950s were built in the Saltbox style. Today, many homes in Green Park are still adorned with their original oak woodwork; much of it spectacular, with floor-to-ceiling newel posts, hand constructed paneled wainscoting, molding, oak floors and built-in Chippendale corner cabinets. A few homes retain their original iceboxes and unusual plastered interior walls, scored to resemble brickwork.

The central block is five bays wide, with a centered entrance framed by a Classical surround with a broken gabled pediment above. The building's corners are quoined, and there are bands of stone trim at the water table and the eave. The interior is divided into a front lobby, which extends across most of the front, a postmaster's office (occupying the rest of the front), with a large work area and loading dock behind. The lobby area has terrazzo marble flooring and marble wainscoting.

A replica of the original home office's board room was built on the 11th floor of the east wing, and features mahogany wainscoting, a coffered ceiling, and leather covering the walls. The east wing is connected to the Metropolitan Life North Building by a preexisting tunnel, as well as by a sky bridge on the eighth floor. At the southeastern corner, on the basement level, there is a direct entrance to the downtown platform of the New York City Subway's 23rd Street station, served by the .

The HABS analysis observed that the interior details of the house were of particularly high quality. Noteworthy features mentioned included "delicate and almost elaborately carved" fireplace mantels and chamfered joints in the wood paneling on the walls. HABS also saw indications that Sabine Hill's design might have been influenced by architecture in Williamsburg, Virginia, particularly the design features of the Capitol Building there. One design detail noted as similar to features seen in Williamsburg was the use of "marbleized" wood for wainscoting along the stairway.

Interior trim is fir, and includes classical door and window casings with entablature hoods, picture railings and baseboard moldings. The front parlor, which is lighted by the circular bay of the corner tower, is separated from the rear dining room by square Doric pillars resting on a solid rail. The drawing room features paneled wainscoting with a plate rail, box beam ceiling, built-in window seat, and built-in hutch with glazed cabinets. A fir staircase leads from the central hall to the upstairs.

The floor was covered with terrazzo and green marble, with white marble wainscoting on the walls. Three bays were added to the west wing for additional functional space, removing direct track access from the ramp. Cast iron streetlights with the PRR Keystone motif in their base were located around the driveway and grounds. Aerial view of North Philadelphia station and surrounding areas in 1929 The original side platforms were replaced with high- level island platforms, long enough to permit level boarding for twelve-car trains.

The floors in the office areas were generally oak and corridor floors were marble with marble wainscoting up to a high of 4 feet. Construction of the building was at times halted due to an insufficient quantity of mules. When Ellen Hammond hired architect and chief contractor, George H. Edbrooke, she retained 15% of the building fee to ensure quality of workmanship. Upon completion, it was determined that defective work was provided by the plasterers, steam fitters and carpenters and Edbrooke was not paid in full.

The interior has a vestibule across the southern side, which opens into the single classroom, which has vertical wainscoting below slate chalkboards. The schoolhouse was built about 1857, and served as the district 3 school (out of 12 districts). It was used as a primary school until 1959, and was adapted for use as a preschool facility in the 1970s. In 1990 the building, including its foundation stones, was relocated to the present location from its original site on Maine State Route 26, about away.

Curved mullioned mirrors on one side of the room balance the windows to provide symmetry and reflect light in the room. The large rectangular withdrawing room found at the front of the house has soft gray walls and white wainscoting that offsets the multilayered gilded cornice molding. The windows are surrounded with tall slender pilasters and overhanging entablatures, that add dimension to the walls. With windows on three sides, the room was utilized primarily during the day to take advantage of the daylight and breezes.

The layout of each floor of the building is identical, with offices lining each corridor. The wainscoting and baseboards are all marble, as are the bathroom partitions in the 1931 portion of the building. The 1937 addition resulted in extensions to each side of the building that nearly doubled the area and made the central courtyard less visible from the street. Additional penthouses were added at the California and Stout Street ends of the building to house the upper portions of the elevator shafts.

The majority of renovative efforts to restore St. Patrick Cathedral to its original condition was completed by Easter of 1996, yet periodic work has continued. The altar, baptismal font, statues and ambo were given new prominence, and a hardwood floor was installed. The dark oak wainscoting from the 1979 renovation was removed to brighten up the cathedral and make it appear as it did in 1939. Most recently, Stations of the Cross brought in from Maggie Valley, NC and a Celtic cross were added outside.

The north wall of the Palm Court originally consisted of structural piers, leaving the room open to the Promenade. Pilasters along the south wall mimicked this look and gave the room an aesthetic symmetry. A bay in the east wall was framed by columns and an arch, and an oriel balcony on the mezzanine level projected into the room. The Palm Court had a floor of American travertine, a maple dance floor, wainscoting of gold-veined St. Genevieve marble, and intricate plaster moldings on entablature and ceiling.

It has a hipped roof and wide eaves, and weatherboard siding above tongue-and-groove exterior wainscoting. Ownership of the building was acquired in 1989 by the Chattooga County Historical Society, along with a long-term lease on the land with Norfolk Southern Corporation. It planned to restore the depot for use by the historical society and other civic organizations and to include museum exhibits. When listed in 1992, there were plans for an original block and tackle and telegraph key to be restored to the property.

The main entrance, also a batten door, is on the eastern facade, framed by simple trim elements, as are the windows. The building interior consists of a single chamber, with wide wainscoting below original plaster walls, and original wide pine floors. The town house is generally given a construction date of 1836, when the property was deeded to the town. Its styling and workmanship are suggestive of an earlier construction date, but the town is known to have met in other buildings prior to 1820.

Built on a narrow city lot, the house is wide and long, with a minimal front yard and no side yards. A wraparound front porch spans the width of the ground floor, with stone balustrades marking the corners over the two entrances. The Traphagen House was originally designed as a duplex with two separate entrances and very similar floor plans on either side, with the exception of the front windows. The west side has curved windows while the east side has straight windows with wood wainscoting underneath.

The interior retains many period finishes, including paneled fireplace surrounds, plaster wainscoting, and a winding front staircase. The house was built in 1791, although it is connected to an ell of older construction, appearing to date to c. 1770. Originally located on Main Street, it was built for Noah Cooke, a prominent local lawyer who served as town clerk and underwrote the town's first fire company. It was purchased in 1906 by Horatio Colony, a prominent local businessman, and remained in his family until 1966.

The main facade faces west toward the road, and is five bays wide, with a center entrance flanked by simple pilasters and topped by a transom window, entablature, and gabled pediment. A similar doorway is found on the north facade. The interior retains the original Georgian central chimney plan, with an entry vestibule with winding staircase, and flanking parlor spaces. These rooms, as well as the matching chambers on the second floor, retain many original features, including fireplaces and fireplace surrounds and wainscoting on the walls.

In the Great Hall, which rises three stories to a grand barrel vaulted and gilded ceiling, the Grand Staircase leads to a large landing, which contains the Music Room. The ceiling was originally painted in a Renaissance style, but all that remains is the painting in the spaces of the archway, through which the room is accessed. Above the wainscoting of the Music Room, large tapestries depict Euterpe, the Muse of Music. All the tapestries in Grey Towers were provided by William Baumgarten & Co, Inc.

It has a stage at one end, and retains original wood flooring, wainscoting, and a woodstove with an unusual safety enclosure. The school was built in 1922, a fairly late period for the construction of these types of district school buildings. It was used until 1946 for educational purposes, and has been used since then as a community clubhouse. It is unusual among one-room schoolhouses for retaining most of its original interior, which is often lost when such buildings are converted to other uses.

The interior, including plaster-on-lath walls with wooden wainscoting, also date to the restoration as a recreation of the original features. When used as a school, it was probably originally fitted with benches facing a high teacher's desk. With North Branford's fourth district was established in 1769, and classes were typically held in the meeting house during the winter months. The present building was built about 1800, and was originally located on Forest Road, in a rural setting about north of its present location.

The furnace system was replaced with radiators in the 1950s. During the 1980s, the third floor was closed due to fire safety concerns; it was reopened after a rehabilitation project that took place from 1998 to 2000. Bathrooms and kitchens have been installed on each floor, and fire doors and glass panelling have been added to the stairwells, but the wooden stairs and banisters have been preserved. The original hardware, and ornamental detailing such as wooden wainscoting, survives, and some of the original light fixtures are still in place.

The main facade is symmetrical, with a tall projecting gabled section at the center, sheltering the main entrance under a large Romanesque rounded arch. This section is flanked on either side by banks of three sash windows, each topped by stained-glass transoms. The interior retains many original features, including woodwork, brickwork, marble wainscoting, terrazzo marble flooring, and moulded finish elements. with The construction of this building was funded by Colonel Robert Kimball, who was born and raised in Randolph, and found financial success as a banker in New York City.

In 1906, the church interior was remodeled to include stained glass windows and decorations by the Italian artist Baraldi. Until 1932 the church steeple was the tallest structure in the area, but lowered then by 100 feet. The church basement was converted into a social hall and additional interior remodeling — including installation of Carrara marble for wainscoting, a communion railing, and altar — was completed in 1938. An extensive remodeling project of 1968 and 1969 resulted in repairs to exterior stone walls and mortar joints and remodeling of the interior.

Inside, doors lead to the main lobby, which is composed of two circular stairs flanking a marble compass on the floor. The banking room takes up almost the entire 2nd story, and is divided into three sections. These are the north side of the room, taking up much of the space; a raised area on the south, near the balustrade; and a narrow western section behind an arcade. The space has a black-and-white marble floor; plaster walls with marble wainscoting; and an ornamented ceiling with acoustical tiles and large chandeliers.

The one story depot features a random rubble stone veneer base, walls clad in traditional clapboard siding and a hipped roof. The waiting room is trimmed in bead board wainscoting, and there are also accessible restrooms. Displays trace the area's transportation history, with a focus on the Missouri River, railroads and roadways. Funding for the project came through the Federal Highway Administration's Transportation Enhancements program, the city of Hermann and the Dierberg Educational Foundation, a local non-profit organization that supports projects to preserve the region's cultural heritage.

Its four galleries were reached by winding stairs at either end of the room. It was furnished in ash and chestnut, with marble wainscoting and pilasters, and had an encaustic tile floor. This original state library is still occupied by the state law library and its architectural beauty is admired by thousands of tourists each year. While the legal materials remained in the capitol, in 1857 the rest of the state library’s collections were moved to the west wing of the new State Historical, Memorial and Art Building.

The interior has a single large chamber, finished with pine wainscoting and plaster on the walls. It now houses displays of materials concerning the long history of the island. with The school was built about 1842, and served the town as a district school until its schools were consolidated in 1930. Its construction has hallmarks of having been built by James Ritchie, a locally prominent master mason who came here from Scotland, and is credited with the construction of at least six other surviving buildings on the island.

J. A. McAllister, a justice in the Arizona Supreme Court, and Jesse A. Udall, a chief justice of the Arizona Supreme Court, began their careers here. with In 1982, the interior public areas retained the original wooden moldings, interior doors, door trim, and wainscoting, and wooden balustrade and newel post of the main staircase. An ell at the back, by , that held a jail, was demolished in 1978, leaving markings from where it joined on the current small ell at the back. It was added to the National Register of Historic Places in 1982.

Wentworth was in Italy in 1709, buying paintings for the future house: "I have great credit by my pictures," he reported with satisfaction: "They are all designed for Yorkshire, and I hope to have a better collection there than Mr. Watson."Letter quoted by Charlesworth 1986:123. To display them a grand gallery would be required, for which James Gibbs must have provided the designs, since a contract for wainscoting "as desined by Mr Gibbs" survives among Wentworth papers in the British Library (Add MS 22329, folio 128). The Gallery was completed in 1724.

39-inch (1 m) wainscoting using 3-inch (76 mm) tongue and groove pine boards Panelling (or paneling in the U.S.) is a millwork wall covering constructed from rigid or semi-rigid components. These are traditionally interlocking wood, but could be plastic or other materials. Panelling was developed in antiquity to make rooms in stone buildings more comfortable both by insulating the room from the stone, and reflecting radiant heat from wood fires, making heat more even in the room. In more modern buildings, such panelling is often installed for decorative purposes.

The finely crafted house is sheathed in cypress and cedar weatherboards and features late Federal style mantels, doors, chair rails and cupboards. The main room of the house has raised panel wainscoting and over-mantel paneling that survives with an early layer of tiger-maple graining. Also on the property is a small frame outbuilding with a gable roof and a family cemetery. Several other "telescope" style houses remain on the lower Eastern Shore of Maryland, but this house stands out as one of the least altered examples with highly unusual woodwork.

Some aspects of the building—such as the highly detailed brass doorknobs and door hinges, the carved door frames, and ornate iron grating over the air vents—were retained. However, the high oak wainscoting and historic slate blackboards were covered over with drywall, which both protected them from damage as well as provided much-needed display space. As the Great Falls High School structure was renovated, the museum quickly began acquiring art for display, primarily through donations. In late 1976, it acquired 243 sculptures by Lee Steen, a nationally known folk artist from Roundup, Montana.

The finished building featured a tin mansard roof (molded and painted to look like tile), gables, and an attic suspended from the roof joists. The interior woodwork was solid oak, all rooms had high wainscoting, the solid doors were thick, and highly detailed molded pediments were emplaced over each door. Ornate brass doorknobs and hinges were used throughout the building, and heat was supplied by cast iron radiators with delicate, filigreed covers. The building (whose original cost was estimated at $59,940) was completed by McKay Brothers in 1896 at a total cost of $110,000.

Hillary House, completed in 1862, has many elements of the Gothic Revival style which was widely used in Canada at the time. These elements include a highly vertical emphasis on the structure; ornate decorations on the gables and bargeboards; the incorporation of classic Gothic trefoil forms; and lancet windows and door frames. These features are found on the exterior of the home and throughout the interior; appearing on staircases, wainscoting and more. The building’s architecture was the cause for its designation as a National Historic Site in 1971.

Office space occupied the third through tenth floor and featured marble floors and wainscoting in the corridors. Office doors featured full-length glass with glass transoms above to allow light and ventilation into the corridors. Many of these features remained when the 1987 restoration began with the exception of the seventh floor which was altered in the 1970s to accommodate a Social Security Administration office. The theatre entrance on Woodward has 16 doors that open onto the storm lobby with a black and white marble floor and small ornate plaster alcoves in the ceiling.

At the end of the north wing's first story, the company meeting room, later converted into a bar and dining room, features paneled wainscoting, stuccoed concrete walls and a concrete ceiling encasing the support beams. The offices elsewhere in the wing have generally been subdivided and modernized, although the second-story corridor's barrel vault, accentuated by spandrels supported by brick piers, is intact. In the drill shed, the ceiling is wainscoted, with steel trusses, exposed brick walls and an intact balcony at the west end. The original hardwood flooring has been covered with wooden tiles.

The steps leading to the entrance are flanked by original Art Deco lampposts. The interior lobby area has terrazzo marble flooring and marble wainscoting, as well as original woodwork. The post office was built in 1931, to a design by the Office of the Supervising Architect for the U.S. Treasury, then under the direction of Louis A. Simon. The building cost more than $75,000 to build, a high price for the period, and apparently bankrupted the first contractor to work on it, since it was completed by another.

The main section has a barrel vaulted ceiling, which was built around 1816. Many of the wooden moldings from the 18th century remain; these include wainscoting on the northern, southern, and western walls, as well as an eastern gallery with wooden dentils, pilasters, and paneling. The original pine flooring was covered by fir in the early 20th century and then by vinyl flooring in the late 1980s. When the building was used as a church, it had an entrance on the southern facade, and a pulpit opposite the entrance that was accessed by a staircase.

On the interior, central corridors on each floor extend the length of the building, with the offices opening onto the corridors. The building features multi-colored terrazzo floors, marble wainscoting, and acoustic tiles. The three tall windows with decorative metal grills that extend from the second to the third floors of the main elevation mark the location of the courtroom, which was decorated in dark wood tones and Art Deco ornamentation. The exterior of the adjoining correctional facility is composed of similar colored brick as the courthouse, and it has no windows.

Two double doors enter the tower on the west and south sides, a double door was on the south side of the building near the southeast corner of the building, and on the east side a double door on the northern half opened into the yard. Mr. Beaton Smith was the architect. On the interior of the building, on the ground floor was an apparatus room with 15 foot high ceilings, The walls were covered with plaster with a sand finish, laid off in courses of ashlar. The walls had four foot high wainscoting.

Hillcrest was added to the National Register of Historic Places in 1983. It was deemed significant architecturally as a "fine example of a turn-of-the-century Neoclassical style house in Cochran." Neoclassical features include its monumental portico, large rooms, and details in its interior, such as paneled wainscoting, built-ins, and Ionic columns and urns in stairways and room dividers. It was also deemed of local historical importance for its association with two prominent families, those of John Joseph Taylor (1855–1917) and of John Augustus Walker.

The rear is mostly given over to counter and cooking space; it has no windows as a result, a deviation from the model. A later rear addition expands the kitchen facilities to the east. Much of the interior trim is original, such as tiled floor and wainscoting in turquoise and black, cream enameled walls, a laminated counter with 16 stools and a back wall with ribbed metal covering for all the kitchen functions. These treatments are more utilitarian, more typical of a lunch counter than a lushly-furnished rail diner of the era.

A central corridor on each floor extends the length of the building, with the offices opening onto the corridors. The building features multi-colored terrazzo floors, marble wainscoting, and acoustic tiles. The five tall windows that extend from the second to the third floors of the main elevation mark the location of the courtroom, which was decorated in dark wood tones and Art Deco ornamentation. The building is located on the courthouse square on the north side of the central business district where the previous courthouse was also located.

The living room features typical Federal style woodwork, and the parlor has flush wainscoting, with its plaster walls covered with painted murals. Jonathan Poor (1807–45) was the nephew of Rufus Porter (1792-1884), whose varied career included a period (1815–24) in which he worked has an itinerant painter. Poor learned the trade and techniques from his uncle, whose guidelines for creating murals were published in the 1825 book Curious Arts. Poor's adherence to Porter's guidelines in creating murals means that attribution of work to him specifically is difficult.

The association with the theme of marriage is reinforced by the painting's unusual dimensions which suggest it was intended for the front of a cassone, or bridal chest. Gould suggests that although it has often been described as a cassone front, as most Florentine paintings of similar dimensions are, it is possible that it served a different purpose, and may have been designed to be set in wainscoting. Fermor also finds it plausible that the painting hung in the marital chamber. The upper part of the painting bears the artist's fingerprints.

The interior of the building is ornate baroque and rococo style of the Louis XIV and XV periods. It was designed after the Paris Opera House by the Boller Brothers Architects of Kansas City, Missouri. Much original detail still exist, including Belgian marble wainscoting, plaster reliefs, stained glass and, one of the most notable features, an 1800-pound Italian auditorium chandelier featuring crystal prisms and etched panels. At one time, the deep red carpet in the grand lobby had the Great Seal of Missouri and the letter M woven into it.

At the foot of the large windows (with a view over the Tapada da Ajuda) are wide tables, used by astronomers to assist in their research/investigation. In addition, there are spacious halls linking the central block, used for lessons, taking measurements and research, today used as workshops and support school educational activities. The three observation rooms are spacious and high, lined in wood, with open space between the wainscoting and the walls of masonry and roofing. This space communicates with the outside world through gaps that are constantly open.

Early-to-mid-20th-century desks, wood benches along the sidewalls, and the original blackboards from 1891 still decorate the classroom. The wood floor and wainscoting are original to the building, while the upper walls and ceiling were modified in the 20th century. At the head of the classroom the teacher's desk is an antique from a different school, acquired in recent years, but behind it is the school's original map cabinet with maps dated 1892. Nearby is a fuel oil stove, which replaced an earlier coal-burning stove.

The former Frenchville Railroad Station is located between United States Route 1 and the railroad tracks of the Bangor and Aroostook Railroad, west of the junction of US 1 and Maine State Route 162. The station is a small rectangular wood frame building with a broadly-overhanging gable roof and weatherboard siding. The building is divided into three sections: a central agent's room, a freight area to the east, and a passenger area to the west. The inside walls are finished with pine wainscoting and decorative metal, which is continued onto the ceiling.

The floors are made of multicolored marble pattern on the ground-floor main entrance, tile on the ground-floor retail area, terrazzo with mosaic borders on the second through fourth floors, and cement on the fifth through 20th stories and in the basements. The ground-floor entrance area also contains white English veined marble on the walls, capped by stucco decoration. The restrooms are designed with hexagonal-tiled floors, tile wainscoting, and stalls made with marble barriers. Inside the building are eight elevators, five for passenger use and three for freight transport.

The rotunda was modeled after the Pantheon; its terrazzo floor was modeled after the Piazza del Campidoglio in Rome. The rotunda also has friezes of scenes of Hudson River history. Surrounding the rotunda walls is an inscribed quotation from Cropsey: The main gallery is an octagonal Victorian room with maroon-flocked wallpaper above dark oak wainscoting and a timber ceiling, with a large oak staircase to the second floor. The room features Cropsey paintings from its floor to ceiling; the light is kept low, allowing the paintings to glow.

The elegant public spaces are symmetrically composed using classical proportions and details for the bases, wainscoting, and crown molding. Stained wood finishes, such as oak and pine, are used in the courtrooms, corridors, and judicial chambers. Marble finishes and terrazzo floors are reserved for the courtrooms and the corridors in the first floor. Interior finishes in the 1931-32 addition reveal the reduced or — stripped — classical style of the era, as seen in the abstracted designs in the terrazzo flooring and the flattened moldings used for the door framing.

The space retains many of its original elements, including the wood- beamed ceiling with stenciled patterns, original wainscoting, plaster walls, and wooden window and door frames and surrounds. The historic courtroom was a primary focus of the second phase of the recent renovation project. Inappropriate non-historic light fixtures were replaced with more compatible fixtures, the stenciled ceiling received conservation treatment, and the judge's bench and jury box were reconfigured to meet the needs of the Bankruptcy Court. This building is the best-preserved example of Tucson's Depression-era architecture.

Italian Renaissance Revival finishes and details are reflected on the interior spaces of the Custom House. Arched doorways, marble-clad piers, and beams with classical plaster moldings define the three bays of the first-floor entry vestibule, extending into the first- floor lobby where they are articulated with groined vaults and paneled arch soffits. Marble wainscoting continues around the room and extends to the spring line. Each story's lobby is similarly treated, but using ascending classical orders – Doric on the first floor, Ionic order on the second, and Corinthian order on the third.

Two original courtrooms are on the fourth floor. Each has oak-paneled wainscoting capped by a carved frieze at door height, interrupted by windows and the wall behind the judge's bench. In Courtroom No. 1, behind the judge's bench is a curtained area with oak columns and an entablature with a mural, titled Justice with Peace and Prosperity (artist unknown), installed soon after the building was completed. In Courtroom No. 2, there is a marble panel with bronze grill trim and a drapery surround behind the judge's bench.

The terrazzo floor, including the Verde Antique marble and Lyonaisse Red marble bands and baseboards, and the Kasota Yellow-colored marble used for the wainscoting were artfully restored. Key features include the twin-globe sconces lining the walls, pendant lighting hanging from the coffered ceiling, and mahogany counters with bronze grilles above. Replicas of the original iron-cage elevators located in both towers are enclosed by the original gray marble stairs. Several pieces of 1930s Works Progress Administration art, with San Diego themes, were installed after the 1994 renovation.

The first floor consists of a large center hall, the foyer, which is encased on either side by two large reception rooms that are all decorated with paneled wainscoting. The reception rooms on the East and West side both have their own fireplace with mantels that said to be gifts to Lafayette in 1825. The stairway is an ornamental structure in the center hall section that has a "molded handrail and thin, square balusters, three to a step." On the second floor, there are bedrooms with ornamental federal style woodwork, along with a fancy bath.

One end of the building has a two-level porch under the roof, supported by Colonial Revival groups of posts. The interior of the house is predominantly Colonial Revival, with paneled wainscoting and a pilastered central hall. The house was built in 1911-12 for George S. Tiffany, a businessman in the cotton industry from St. Louis, Missouri. Tiffany's father had been an early purchaser (1891) of land developed in the area by the Islesboro Land and Improvement Company, which promoted the community as a summer resort area.

The interior, despite alterations, retains significant elements of the original school function, including blackboards (now painted), and relatively unmodified closets and bathrooms. In some places original door and window trim is still in place, as is tongue-and-groove vertical wainscoting. The school was built in 1920, to a plan that strongly resembles that of other rural Maine schools built around that time, and is the only school building known to survive from that period or earlier. It was designed with two classrooms, later modified to have a movable divider.

The interior follows a typical center chimney plan, with a narrow entrance vestibule with a window staircase, parlor and hall on either side of the chimney, and the kitchen at the rear, with small chambers in each of the rear corners. The interior retains original wide pine floors, paneled walls, wainscoting, and original door latches and mounting hardware. The house was built about 1790 by Phineas Bushnell, descended from one of the area's early settlers. The house stands on what was, until about 1800, the main east-west road through Old Saybrook.

The original manor house was built of wood; it was replaced in the early 18th century by a stone house in baroque style, later used as a manager's estate. A new main classicist building was erected in the 1780s, partly altered in neo-Gothic fashion during the 19th century. The interior boasts some fine grisaille mural paintings, executed by Gottlieb Welté and considered to be among the finest examples of such interior details in Estonia. Other noteworthy interior details, such as the wainscoting and other carved wooden details, date from the late 19th century.

It is finished in wainscoting and plaster. At the time of the building's National Register listing, its interior was in a half-restored state, the result of an incomplete 1964 restoration attempt. When this school was built about 1850, the town's population was about 300, and most lived in a narrow strip of arable land on the east side of Mount Snow, that in 1869 became part of neighboring Dover. The school building survived Vermont's call for improved standards in schools in 1904 without any alteration, and was never fitted with electricity or plumbing.

Sash windows are surrounded by simple trim, with those on the second floor butting against the plain box cornice. The interior of the house follows a typical central chimney plan, including a winding staircase in the front vestibule, parlor spaces to either side of the chimney, and the kitchen behind it. The downstairs rooms are notable for being entire sheathed in vertical board paneling that is unusually wide, typically in width, a quantity not seen in other period houses in the state. Other chambers in the house also exhibit some amount of similar wainscoting.

The original drawing room, located to the visitor's direct right, now serves as the house's dining room due to its proximity to the current kitchen. It is characterized by tall recessed panel wainscoting of three rows, each of a different height, nearly reaching the top of the three windows. The deep bay window at the furthest end also carries some paneling near the baseboard, and aligns with the marble fireplace across the room. Above, the crown molding is emphasized through painted ceiling ornamentation, which includes the likeness of a scallop shell.

The window placement on either side does not extend the typical width of a house of this age, with wide blank spaces between the outer windows and the building corners. The interior of the house is reflective of its construction history, with the oldest portion east of the entrance. The main parlor on that side has exposed beams, wide paneled wainscoting, and a fireplace cupboard that suggests a chimney stood here that was once much larger. The western parlor shows original woodwork, doors, and hardware suggestive of a later 18th century construction date, c. 1770.

Of the six major rooms on the main floor, the Billiards Room is the least decorated, with oak wainscoting and eared windows and doors. The plaster ceiling likewise has a simple molding and a central medallion. Upstairs, the house has been remodeled somewhat by the school, but the bird's-eye maple and golden oak woodwork have been retained, as well as the frosted glass closet-door panels and sliding doors off the gallery. The attic also features its original arched doorways, water tanks, and unusual floor-to-ceiling diagonal braces in the center.

Roosevelt was married to Augusta Eccleston (née Shoemaker) Boylston. In 1905, her daughter, aspiring actress Augusta Boylston was married to attorney Donald Campbell, son of Major General John Campbell, at St. James Episcopal Church in Skaneateles and the reception was held at Roosevelt Hall. In 1906, Roosevelt hired architect Gaggin & Gaggin to renovate the property, which included taking out the painted woodwork on the first floor and finishing all the rooms and halls with white quartered oak. Elaborate wainscoting, panel work, and a new staircase were added at this time.

Built in New Jersey, the bar was freighted around the tip of South America to San Francisco, from where it was transported by pack mule to Prescott, then the territorial capital of Arizona. The bar is 24 feet long, hand-carved from solid oak, and also contains large columns. The bar-top is polished cherry, while its fixtures consist of "the finest French plate glass oval top mirrors." In addition to the swinging doors, hardwood floors, oak wainscoting and leaded-glass windows, the walls are lined with historic photographs and taxidermy.

Strange noises are heard behind the newly installed wainscoting, the wood of which came from the gallows known as 'Tyburn Tree'. The second story, "Something Old", takes place in the 1920s, where, at the Manor, a lavish costume ball is being held. During the ball young Felix de Momery announces his engagement to Ruth, much to the surprise and annoyance of his grandmother and his friends, Billy and Katherine. The young couple's future seems to be inextricably linked with another tragic wedding day and a ghostly bride who haunts the corridors.

The home was moved partway one day, and then was left standing on the road during a large storm. Since utility works was needed to disconnect and reconnect electrical lines crossing roads, the rest of the journey had to wait while utility crews repaired storm damage elsewhere in the city. The house was described as "barren and austere" by The Oregonian, which also noted its gas and electric chandeliers, decorative plaster wainscoting on the stairway flights, and inlaid hardwoods, though some rooms had been recovered in asphalt floor tiling. The move was coordinated by Allstate Construction.

The St. Gregory the Great building is a four-story structure, designed by Elliott Lynch as a parish school with the church occupying the ground floor. Externally, above the doors are statues of St. Gregory the Great and St. Sylvia. Plans for building a separate church nearby were abandoned during the interwar years and the spartan ornamentation of the school building’s ground floor-turned church was gradually augmented with reused works from churches that had either closed or been remodeled. The charming temporary-turned-permanent appeal includes painted timber wainscoting, a number of mosaic portraits and some substantial stained glass windows.

This area is given a decorative treatment different from that for the upper part of the wall; for example panelling, wainscoting or lincrusta. The purpose of the dado treatment to a wall is both aesthetic and functional. Historically, the panelling below the dado rail was installed to cover the lower part of the wall which was subject to stains associated with rising damp; additionally it provided protection from furniture and passing traffic. The dado rail itself is sometimes referred to misleadingly as a chair rail, though its function is principally aesthetic and not to protect the wall from chair backs.

There was marble wainscoting on the lowest of the board room's exterior walls; the eastern wall was removed in the later expansion. There were balconies on either end of the board room with 350 telephone stations. After the 1931 expansion, the board room was expanded to with 28 traders' posts, and measured west-east by north- south. The annex featured an artificial cooling system; enunciator call boards on the north and south walls; expanded telephone exchanges on the west and east walls; and a system of pneumatic tubes from each traders' post to the ticket transmitter station.

The partially completed facility opened to the public on July 20, 2002. The first phase of the renovation included finishing space for the Society's library on the second floor of the original building; offices, a book store and a meeting room on the first floor of the 1891 building; and library and museum collection storage vaults in the basement of the entire building. Today, the first and second floor reception foyers feature the school's original wainscoting made of American chestnut, now an endangered species. Original pressed tin ceilings have been cleaned and restored and are visible throughout the 1891 building.

The first-floor windows on the front and sides are flanked by three-board shutters, and have small flower boxes below the sill. The interior is divided into a foyer space and main hall, with stairs leading up to a balcony and down to the full basement in one corner of the foyer. The interior of the foyer and main hall are finished in vertical bead-board wainscoting, with plaster above in the foyer and painted tin on the main hall. The basement is partially finished, providing a kitchen and dining space as well as storage.

The layout features scratch-built locomotives and structures, complete landscaping, a full wrap-around mural, complete sound effects and more. Visitors can hear the old steam locomotive puff and chug throughout the countryside, which is accented by the steam whistle, bell and hiss of steam. District Number One, the Sunrise School, was moved to End-O- Line Park and restored by the Murray County Historical Society. The embossed tin ceilings and walls, vertical wainscoting, recitation bench and many blackboards are typical, but the triangular sunrise worked into the front and back of the schoolhouse are unique.

The City Hall station was distinctive in that it instead contained vaulted ceilings with Guastavino tile. The station walls were made to slightly different designs in each station. The lowermost portion of the walls were either Roman brick or marble, above which was wainscoting; the rest of the walls were then made of white glass or glazed tile. At the top of each station's walls were friezes, interspersed with plaques signifying the street name or number, as well as plaques with a symbol that is associated with a local landmark or another object of local significance.

In a joint effort with the Florida Department of State, Division of Historic Resources, a restoration project was completed in the area of the original stairway leading to the auditorium balcony. The construction brought the facility into compliance with fire code regulations to allow the lawful use of seating in the balcony. The project was completed with a sensitivity to the original architectural features and makes use of original molding and wainscoting wherever possible. Although the original seating in the balcony remained intact, the seats on the main level of the theater had to be replaced.

The house was remodeled in 1930 for its new owner Gerard Lambert "under the direction of the fashionable New York architect, H.T. Lindeberg," and a four-level terraced garden designed by landscape architect Wade Muldoon was added in 1948. The stucco was removed from the exterior to expose the stone. In the house the central hall and east room were combined into a single space and the original wainscoting was replaced with richly-detailed neo-Georgian details based on woodwork at Shirley Plantation, Virginia. The dining room is the only room to retain significant portions of its original fittings.

Despite modernization in the 1960s the interior has maintained some of its original features, including marble wainscoting and some woodwork. The post office was built in 1940 to a design by Leon Pernice, an architect based in West Springfield. It was built at a time when the federal government was emphasizing simplified styles whose designs could be approved and executed rapidly, providing jobs to the community. The building underwent a substantial remodelling and enlargement in 1968, when a large ell was added to its rear, and glass-and-aluminum partitions and fluorescent lighting were added to its lobby area.

A handsome example of Greek Revival architecture, which still retains its original 36 over 36 sashes with glazed gothic arches, the church closed its doors in 1910. The building remained vacant for a number of years. In 1918 the building was purchased by the West Stockbridge/Alford Grange and underwent extensive renovations to the interior making it one of the "best Grange Halls of its day in Western Massachusetts." These improvements included electricity, wainscoting the walls and vaulted ceiling, the installation of some of the original church pews on sidewall platforms and the addition of rock maple flooring.

The choir was also enclosed and glazed pocket doors with early stained glass decals were installed. A dramatic theatrical stage was constructed at the back of the large open meeting room with a spectacular hand painted theater curtain which remains there today. The building was dedicated by members of that Grange on August 1, 1919 and the lofty 17’ ceiling, gothic windows, moldings and wainscoting remain intact from this time period. This building has been privately owned since 2007 and continues to be a meeting place for the West Stockbridge Grange which still houses their ceremonial artifacts there.

A single chimney rises in the nearly the center of the block, and in the right-side ell. The interior retains many features original to its construction, including four fireplaces, wide flooring, glasswork in the dining room, and original wainscoting. The house was probably built about 1793 by Benjamin Swetland; its first recorded owner (in 1831) was Eli Swetland, and it was later for some time in the Pease family, for whom Pease Road is named. Marvin Pease, one of its owners, was prominent in local civic affairs, serving on the school committee and as town assessor.

During the 1960s renovation, the tower was fitted with more modern furnishings such as air conditioning, acoustic ceiling tiles, and automatic elevators, to match the new eastern wing. Marble floors were one of the few holdovers of the previous decor. The staircase leading to the top floors of the tower also retains its original decoration, including cast-iron railings, ceramic-tile wainscoting, marble stair treads, and landings with mosaic-tile floors. Since 2015, the clock tower has been a 273-room luxury hotel called the New York Edition Hotel, with per-night hotel room rates starting at $600.

The brick and steel structure is L-shaped, with a corner entrance and a courtyard in back. Its Italianate design includes a triumphal arch over the main door, copper window casings, glass wainscoting, marble trim, and paintings inside by a local artist. Bank personnel received Japanese-speaking, Chinese-speaking, and English-speaking customers in separate areas. On the day that Pearl Harbor was bombed, the building was taken over by the Alien Property Custodian, the first floor became a warehouse for confiscated possessions, and extra showers, toilets, and holding cells were installed in the basement to accommodate up to 250 drunken military personnel.

This phenomenon explains the Italian influence on the English style of woodwork that dominates the mantelpiece. The most frequently occurring decorative elements are found in the wainscoting of the Rotherwas Room. Although the identities of the craftsmen are unknown, the figural carvings on the mantel bear similarity to contemporary works by the Huguenot sculptor Maximilian Colt at Robert Cecil, First Earl of Salisbury's Hatfield House, which dates from the same period. The polychrome engraved mantle of the Rotherwas Room bears a complex arrangement of figural representation and plant motifs, including: guilloche, cartouche motifs, decorative scrolls and foliage, gadroon nulling, and lozenges.

The lower portion of outer walls was covered with board and batten wainscoting, and asbestos shingles covered the upper portion. The south elevation was dominated by a carriage porch, with an entrance door and three, double-hung sash windows on the south wall. The west elevation, facing the railroad, contained an agent's bay, entrance door, double hung sash windows, two freight doors, and loading dock. The loading dock extended across the north elevation and along the east elevation for access to two additional freight doors, then ended at a projecting bay, about mid-length on the east side.

The front of the building has a dark red, wire-cut brick facade topped with a brick cornice displaying a course of repeating corbels. There is a front porch, as well as a front veranda, and there is an original sign over the front porch which is painted on wood, and has a neon overlay for nighttime display. The interior has all the original Douglas fir wainscoting, as well as the original 5 panel fir wood doors, all with working transoms. There is a Douglas fir staircase in the main lobby leading to the second floor.

The first floor contained a general office with a large oval mahogany counter, while the walls had wooden wainscoting under an ornate tapestry. There was a bank vault on the west end of the first floor, in the building's rear, while a mezzanine above the first floor had a mahogany handrail and a gilded clock. On the second floor was the president's office, which contained a plaster ceiling with east-west floor beams, as well as green leather furniture. The third floor had a general workroom, with walls painted in a "pale terra cotta color", as well as red- painted woodwork.

The courtrooms are nearly identical, rising two stories and featuring leather-covered doors, light and dark cork- tile flooring, pink-granite baseboards, and wood-paneled wainscoting. Pilasters divide the space into regular bays, rising to support wood trim and plaster crown moldings. The recessed ceiling panels contain two original brass pendant lights and a large circular aluminum air grille, and are divided by wide beams adorned with gold-leaf paint finishes. The courtrooms are windowless, relying on advanced lighting and an air-conditioning system, considered to be state-of-the-art when the building was completed.

The stair hall runs perpendicular to the south side of the main axis. The main hall is located on the second floor, with offices and storage occupying the remaining portions of the building. Extant interior features original to the building include the groin vaults of the ceiling in the first-floor office spaces, plastered wall surfaces, molded wood service counters, and a built-in measuring device from 1859. Late 19th century wainscoting composed of beaded vertical boards and wide baseboards survive in the first-floor corridor but the original pine flooring is covered with black-and-white marble tiles.

The wainscoting, cladding in bathrooms and vestibules, door surrounds in the vestibules and the first floor elevator lobby, stairway treads, and hallway baseboards are original marble. Some lighting fixtures in the stairwells and hallways are also original. Metal grill in the second-floor courtroom After the first renovation in the 1960s, which converted the former postal facilities into offices, there were additional renovations during the 1970s and 1990s. Between 2003 and 2005, the building was renovated under GSA's Design Excellence program, which provides design assistance to high-quality public buildings by stressing creativity and providing design feedback from peers.

Interior spaces on the first through fifth floors are arranged about a vast central atrium capped by an iron-and-glass skylight. The illuminated space was originally an open light well and is now used for many public events. Within the atrium's large volume, columns, marble wainscoting, oak crown molding, stenciled designs, and plaster ceiling moldings have been restored to their original finishes and colors. Although the first story's original ceiling was removed to open the room to the light well above, its steel structural members were retained to recall the room's original configuration as the postal workspace.

Two towers capped with handsome, four-ton, bronze lanterns, flank the building and extend above the six-story main edifice. Significant interior spaces of the Jose V. Toledo Federal Building and U.S. Courthouse include, in the 1914 building, a marble- trimmed entrance lobby with a Spanish-inspired white marble imperial staircase, and public corridors of salt-glazed brick with cast-iron ventilator grilles designed to keep the building comfortable in the tropical Puerto Rican climate. The 1940 addition includes a fifth-floor ceremonial courtroom with decorative tile wainscoting and a diamond-pattern cornice. Original 1940s furnishings have been recreated.

Its clock tower reached into the air. It was also the city's first building to have a steel frame structure, and the first to be built with electrical wiring incorporated into its design. The structure featured elevators with cages of highly intricate wrought iron, a glass covered atrium and mezzanine level, and floors, moldings, railings, and wainscoting made of marble. The atrium was high, and 10 floors of balconies looked out onto the space (which provided interior light in an era when indoor lighting was not common). It boasted more than 39,000 interior electric lights, and its own electrical generator.

The wall finish is vertically laid wainscoting below the windows, and horizontal above the chair rail. A simple, low rail- and-style fence separates a holding area for voting booths, and there is a raised platform for the selectmen's table near the doorway to the vault. The building was electrified in 1937, retaining its original fixtures, and the vault was provided in 1935 by the Herring-Hall-Marvin Safe Company of Cincinnati, Ohio. Otisfield's first town hall was in the style of a colonial meeting house, used for both religious and civic purposes, and was built c. 1795.

A single-story gable-roofed wing extends to one side. The interior of the house has a typical Georgian center-chimney layout, with a vestibule area housing a winding staircase to the second floor, parlor chambers to its left and right, and a long kitchen in the rear with small rooms at either end. The interior retains a significant number of original fixtures and finishes, including doors and door hardware, wainscoting, and plaster. The first Thayer to settle in Mendon's South Parish, which later became Blackstone, was Ferdinando Thayer, who probably arrived in the area in the 1670s.

The interior has been restored to recreate the appearance that it is believed to have had in 1899, but many of the house's original interior features remain intact. For instance, the "wainscoting downstairs, called Lincrusta, is original to the house and made of a pressed paper mixture processed to look like embossed leather." The oriental door bracket in the front parlor as well as the Eastlake-style dining table and chairs had been purchased by the Hale family. The Hale House and other old Los Angeles landmark structures are open for public tours, for a fee, at the Heritage Square Museum.

Covering the whole wall above the wainscoting on the left side of the entrance lobby it showed figures out of the Mother Goose nursery rhymes. The mural generated controversy when the District of Columbia's public health officer, calling it grotesque and overly "modern," ordered it to be painted over. After protests by Cross and the Washington arts community, the District's health commissioner employed a panel of children to determine that the mural should remain. During the latter part of the 1930s and throughout the next decade Cross's work was shown in numerous group and solo exhibitions.

By the end of the 17th century further schemes of redecorating and alterations were made. The rain- water hopper on the east elevation of the east wing is dated to 1691 while Thomas Beard was resident at the house. Although the hopper could be re-used in its present location it indicates that some water-management work at least was carried out at that time. Within the house, several two-panel doors and some of the wainscoting schemes can also be attributed to the late 17th century, whether part of the same phase of work or separate schemes.

At the top, the bays culminated in a parapet wall, with the two buildings having slightly different detailing on the parapet. On the interior, each of the two buildings were similar, with oak stair halls lined with wood paneled wainscoting. Each floor was divided into two apartments of similar layout, one on each side of the hall. The apartments had similar layouts: a front parlor with a bay window and a fireplace at the front of each unit, a long hall with two bedrooms off to the side, and the dining and kitchen in the rear.

The massive balusters and huge posts surmounted by lofty pinnacles, and the dim light from the small latticed window, gave a dark appearance to this part of the building. In a room north of the hall at the north-east corner, the remains of a small winding staircase of brick and stone, which led originally to the upper part of the mansion was found on taking down the wainscot. The wainscoting was taken to Southam House, Lord Ellenborough's seat, near Cheltenham. The general character of the original structure was distinguished by long windows divided into numerous lights by massive mullions and transomes.

It also had a seedier side, its upstairs rooms being used as a brothel, its basement used as an opium den, underground jail, and gambling rooms. Holliday's common-law wife, Mary Katherine Horony-Cummings, better known as Big Nose Kate, worked upstairs as a prostitute. In 1996, the saloon underwent a retrograde renovation, restoring the interior to better reflect the time frame in which it was created, including swinging doors, hardwood floors, oak wainscoting and leaded-glass windows. In 2011, Prescott implemented a "Boot Drop" on New Year's Eve, in imitation of the "Ball Drop" in New York City's Times Square.

The floors of the lobby and vestibule are finished in multiple colors of marble, as is the wainscoting on the walls. The upper portion of the east lobby wall contains a mural entitled A Skirmish between British and Colonists near Somerville in Revolutionary Times, painted by Ross Moffett in 1937 and commissioned by the Treasury Department's Section of Fine Arts. The mural depicts skirmishing that took place in the Union Square area in the later phases of the 1775 Battles of Lexington and Concord that began the American Revolutionary War. The building was listed on the National Register of Historic Places in 1986.

There is a slit-like window in the south elevation, and in the west elevation a narrow window with bull's eye art glass. The rear of the building is a two- story, flat-roofed kitchen wing, 18' x 23', which contains a rear entry. The front entry is trabeated with a granite lintel and features a double-leaf, semi-glazed door with carved Gothic tracery and sidelights which opens onto an entry hall. The hall features paneled wainscoting, cased and studded beams carried on consoles with carved scrolls, and a fireplace with a denticulated and modillioned mantelpiece carried on consoles carved in the shape of lions, all in oak.

When built, the clock tower featured granite floors and metal interior furnishings, though there was very little wood trim, unlike other contemporary structures. The lower floors contained bronze grillwork and doorways, especially around the elevators, while on the upper floors, ornamental iron is used for the metalwork around the elevators. The second-floor spaces contained offices of the Metropolitan Life Insurance Company and contained white marble wainscoting, plaster cornices, marble mantels, etched-glass doors facing the executive offices, and red mahogany door, wall, and window panels. Each of the tower's floors are up to in area, smaller than the floor areas of most other nearby office buildings.

The courthouse's double- helix staircase The courthouse, which was designed by San Antonio-based architect James Riely Gordon, was constructed in 1894 and 1895. It was one of approximately 18 Texas county courthouses designed by Gordon, whose architectural designs could also be found in Texas cities such as Decatur, La Grange, New Braunfels, San Antonio, Stephenville, Waco, Waxahachie, and Victoria. The Hopkins County Courthouse was built in the Romanesque Revival architectural style with red sandstone and pink granite. It also features an unusual double-helix staircase with cast-iron stairs as well as marble wainscoting, masonry interiors, oak woodwork, and stone and tile flooring.

Ah, no! Let us rather resolve that our ambition shall soar with our > corporal ascent. Then, yielding to our intellectual onset, the gates of the > Six Dimension shall fly open; after that a Seventh, and then an Eighth.." Oscar Wilde's The Canterville Ghost (A Hylo-Idealistic Romance) published in 1887 was Wilde's parody of a "haunted-house" story. The tale uses the higher spatial dimension as a handy plot device allowing a magical exit for the ghost: > "There was evidently no time to be lost, so, hastily adopting the Fourth > Dimension of Space as a means of escape, he vanished through the > wainscoting, and the house became quite quiet.

Soon after purchasing the house, the McDougalls actively restored and renovated the home as it was in need of a great deal of attention. They replaced the wood flooring throughout the first floor with the exception of the oak flooring in the dining room. They completely remodeled the kitchen with all modern amenities but kept the original wainscoting and trim, keeping the charm and feel of the Victorian era alive. They completed restoration of the exterior of the house in 1998, including a five color paint scheme - 3 shades of green on the clapboards and shingles, blue porch ceilings and a cranberry accent to highlight the architectural details.

There are roofs of rooms in stacks of circulation, and this permanent ventilation is there in order to establish the balance of air temperature in the rooms and beyond, as it is convenient to the accuracy of observations. The wooden wainscoting providing thermal insulation, apart from being a 100% ecological product, which provides the user with a friendlier environment compared to other substitute materials. The rooms provide openings in the lateral walls and in the ceiling, through doors, thanks to an ingenious mechanism. Once the doors open once they give you an insight to the sky, according to the meridian of Lisbon, from north to south.

Its buttressed limestone walls set it apart from all other churches in the city, as no other limestone churches were built in Hillsboro in the nineteenth century. Lit by six ogive-arch windows, the interior features oaken pews installed at the time of construction, a lofty vaulted ceiling, and wainscoting made of marble. In 1988, St. Mary's Church and its rectory were together listed on the National Register of Historic Places, qualifying because of their distinctive historic architecture. The combined property is one of more than thirty current and former Episcopal churches on the Register in Ohio, and one of twenty-six Register-listed properties in Highland County.

The former postal lobby has similarly refined materials of marble pilasters and terrazzo flooring, with marble wainscoting at the service windows. At the east side of the central lobby, molded marble surrounds with black granite plinth blocks enclose a bank of six elevators. The north and south lobby walls contain marble-framed double doors with panelized details; these doors lead to the main stairwells, where flights of pink marble stairs and brass railings ascend to the north and south lobbies. Four historic courtrooms, located on the fourth and sixth floors, exude modernity with elegant finishes, making them the most historically significant spaces within the building.

Two by Lucien Labaudt (Life on the Old Spanish and Mexican Ranchos, and Aeroydynamism) and one by Edward Biberman (Los Angeles Prehistoric Spanish Colonial) have been returned. Eight original courtrooms for the U.S. District Court are located on the second floor. Designed according to four different plans, they are all three stories in height and similarly finished with walnut wainscoting and plaster ceilings bordered by various geometric designs such as stars, waves, and squares. The courtroom of the United States Court of Appeals on the sixteenth floor is also finished in walnut, with a plaster ceiling, but has less elaborate detailing than the second-floor courtrooms.

The style of the whole is Gothic, in contrast to the Renaissance approach adopted in the preceding assembly room. The refectory is said to have been Morgan's favorite interior within the castle. The design of both the refectory and the assembly room was greatly influenced by the monumental architectural elements, especially the fireplaces and the choir stalls used as wainscoting, and works of art, particularly the tapestries, which Hearst determined would be incorporated into the rooms. The central table provided seating for 22 in its usual arrangement of two tables, which could be extended to three or four, on the occasion of larger gatherings.

Pitt interested himself in the porcelain manufactory of Plymouth porcelain, where they used the white saponaceous china stone found on his land in Cornwall. Angelica Kauffman wrote to him on the free importation into England by artists of their own studies and designs. Pitt was a friend of Mary Delany, to whom he gave for her lifetime portraits of Sir Bevil Grenville, his wife, and his father, and he proposed to John Maurice, Count of Brühl that they should jointly assist Thomas Mudge in his plans for the improvement of nautical chronometers. The wainscoting of the stalls in Carlisle Cathedral, where his uncle Charles Lyttelton was bishop, was designed by him.

First Baptist Church is a historic African-American Baptist church located at Farmville, Prince Edward County, Virginia. It was built between about 1855 an 1895, and is a one-story, rectangular brick Late Gothic Revival style church building on a full basement. The building features a square tower centered on the primary façade, pointed arch windows with stained- and milk-glass panes, a primary entry with double leaf doors topped by a pointed arch transom and, on the interior, original wood pews and beaded board wainscoting. The church was the site of a number of meetings related to the desegregation of Prince Edward County schools during the 1950s and 1960s.

The Alexander–Hill House, also known as the Alexander–Cannon–Hill House, is a property listed on the National Register of Historic Places, located in High Falls County Park near Seneca, South Carolina off of South Carolina Highway 183. Built in 1831 by Pleasant Alexander, the house was originally located on a plantation near Old Pickens, the government center of the Pickens District, which was created after the Pendleton District split into two smaller districts. It was moved to its current location in 1972. The two-story clapboard house has original heart-pine floors in the entrance hall, wainscoting in the parlor and the original stairway.

The dining room, accessed from a breezeway at the rear of the entrance hall, has rendered walls with timber wainscoting and an ornate coved and panelled ceiling that is lined with diagonal tongue and groove boards. The room, which overlooks both courtyards, is embellished with stained glass windows in arched openings, elaborate timber lintels over the entry doors, built-in timber furniture, two fireplaces and bay windows in arched recesses. Circulation throughout the building is via the extensive verandahs and colonnades, all of which are now enclosed. The southern ends of the courtyards, once open, are now blocked off by two brick bathroom wings with storage areas underneath.

The interior follows a fairly typical central chimney plan, with a narrow vestibule that has a winding staircase in front of the chimney, parlor spaces on either side, and the kitchen extending across most of the rear. The interior retains original floorboards, wainscoting, and interior window shutters, and includes paneled fireplace surrounds in the parlors. Its builder is unknown; the house and associated farm property were probably purchased by Washington Mooney around the time of his 1831 marriage. Despite adaptive reuse of the property in the 20th century for office space, and a succession of owners, the basic fabric of the building has remained little altered.

The total cost of the work was $6,180. Under Father Fitzmaurice many improvements and additions were made to the church. The bell tower was constructed by a local contractor, James T. Murphy. The tower was completed in 1912. It was this bell that became a major part of everyone’s lives in Frankford. It is told that at 7am when the bell rang, everyone knew it was time to get up and go to work; at noon when the bell rang, lunch, and at 6pm when the bell rang again the family would gather and share dinner together. In 1914, a marble altar, wainscoting, flooring and rail were added.

Among the most significant elements of its architecture are details such as a bracketed cornice, some courses with corbelling, and a belt of sandstone, plus larger elements such as significant rectangular panels on the facade and massive bay windows. Inside, many original details have survived to the present day, such as elaborate balusters in the halls, the wainscoting on the corners of the rooms, and the plain fireplace mantels. From their construction in 1885 until 1947, the apartments were owned by the family of Ulrick Bauer, a local greengrocer. Both historically and in the present, they have been used both for residential purposes and as the location of a specialty store.

That facade is five bays wide, with an open single-story piazza extending across the center three bays, supported by round columns, and steps descending to the ground across its width and sides. The main entrance is flanked by sidelight windows and topped by a Federal style fanlight window, into which the date "1785" has been etched. The interior of the house retains elegant Federal period finishes, including two staircases, fireplace mantels, and wooden wainscoting, which on the ground floor consists of single planks of pine, in width. The house was built in 1785 by John Brewer, a prominent local shipbuilder, who also served as the local postmaster.

The interior has an entry vestibule across its width, which leads into the main hall, now typically arranged with pews in a circular configuration. The interior has original bead-board wainscoting, but most of its modest stylistic elements date to the late 19th century, including kerosene lamps for lighting and a small organ. Most of the property is taken up by the cemetery, which has modest headstones and burials dating from the early 19th century to the 1970s. with The Starksboro area was one of earliest places in Vermont to be settled by Quakers, drawn by Joseph Hoag, who had established a meeting at Danby.

One of Ralph Haver's most successful home designs was the Town and Country model, characterized by its low sloped roofline, weeping mortar brick and "patio port"It was estimated by the firm that there are 20,000 Haver designed tract homes in Arizona, New Mexico and Colorado. Haver Home characteristics include low-sloped rooflines, clerestory windows, massive mantle-less chimney volumes, floor-to-ceiling walls of glass, brick or block construction, clinker bricks in the wainscoting, angled porch posts and brick patios. Homes are typically less than 1400 square feet and significantly less in the postwar era due to federal mandate in conservation of materials.

Drawing designs by de Sibour of the Thomas T. Gaff House The exterior architecture of the Thomas T. Gaff House is an example of a 17th-century Châteauesque manor, but only two rooms in the house follow French style. Gaff instructed the designers to include novel conveniences such as a hot-air system to dry clothes, a trapdoor to his icehouse so that deliveries could be made directly from the street, and cork insulation for his wine cellar. The interior features a mixture of 17th- and 18th-century designs. The main hall and dining room are lined with wooden paneling, Elizabethan wainscoting, and a sideboard that was originally used in an Italian monastery.

The asymmetrical hall is illuminated by a Palladian window, and further ornamented with trompe-l'œil painting resembling a plaster cornice and an elliptical medallion that were painted by Charleston artisan Samuel O'Hara. Off the central stair hall is the oval dining room, with turquoise walls that appear painted, but are small squares of unpatterned wallpaper bordered with interlocking rings, in red and gold, above cypress wainscoting painted white. The heart-pine floors and the wood interior shutters are original. At the rear of the house is a square parlor, that was enlarged at a later date to connect the house with the kitchen, and was used by the family for everyday dining.

The concealed entrance to a priest hole in Partingdale House, Middlesex (in the right pilaster) A priest hole is a hiding place for a priest built into many of the principal Catholic houses of England during the period when Catholics were persecuted by law in England. When Queen Elizabeth I came to the throne in 1558, there were several Catholic plots designed to remove her and severe measures were taken against Catholic priests. Many great houses had a priest hole built so that the presence of a priest could be concealed when searches were made of the building. They were concealed in walls, under floors, behind wainscoting and other locations and were often successful in concealing their occupant.

In his articles, "The Art and Craft of the Machine" and "In the Cause of Architecture," the series published by Architectural Record, Wright elaborates on his modern theory of science and art and the role of the machine in the future of art. Tin ceiling in a private music room, Queensland, Australia, 1906 Tin ceilings were traditionally painted white to give the appearance of hand-carved or molded plaster. They were incorporated into residential living rooms and parlors as well as schools, hospitals and commercial businesses where painted tin was often used as wainscoting. In the 1930s, tin ceilings began to lose their popularity and steel materials became scarce because of the effort to collect scrap metal during WWII.

More drastic alterations were undertaken by Christopher Wren in the 1690s. During that work the building was significantly reduced in height with the removal of the clerestory and vaulted ceiling while the great medieval windows were walled up, with smaller windows cut into the new stonework. Inside, the walls were reduced in thickness to accommodate extra seating and the addition of upper-level male-only public galleries along both sides of the chamber, and the remains of the medieval interior were concealed behind wainscoting and oak panelling. A false ceiling was installed in the chamber to help to improve its acoustics, the quality of which was important in an age without artificial amplification.

Waterhouse in his early architecture followed the precepts of the English Arts and Crafts movement and his work has a close affinity to that of Voysey, Bailey Scott and Macintosh. Waterhouse could be described as the Sydney equivalent of English architect C. F. A. Voysey, whose Arts and Crafts houses in England were widely admired in the early twentieth century. A typical Waterhouse residence featured asymmetrical, picturesque massing, strongly expressed roofs, usually with dominant gables; porches, balconies and verandahs; and at least one facetted oriel or bay external wall finish, together with areas of timber shingling or tile-hanging. Inside, the main rooms displayed timber wainscoting on the walls and heavy timber beams below the ceilings.

The W.H. Bickel Estate is a 2½ story stone mansion built between 1928 and 1930 on the outskirts of Parkersburg, West Virginia. The building has a rectangular main section and a wing to the East. It is known for its architecture and ghost that reportedly haunts the area. The main house is rich with woodwork, including intricately inlaid walnut and maple floors with geometric patterns, wood mantels, partial wainscoting on all three floors, 15 light French doors on the first floor, solid maple arched doors on the second floor, built-in china cabinets, crown molding in all main rooms, and original finish wood casement windows with roll down screens and brass hardware.

The west and south sides of the Old McDonald County Courthouse after the 1905 addition to the east side of the building.The county commission approved a $1,500 appropriation on June 10, 1905 for an addition on the east side of the building to provide vaults for records storage. The full-height addition, like the original building, was constructed of brick and enlarged the courthouse's western exposure by approximately a third. It was during this expansion that interior staircases to the second floor and to the partially finished attic, both making 90 degree turns at the top and with tongue-and-groove wainscoting used in the sidewalls, were installed and the exterior staircase was removed.

A gable roof section has been added to the roof above the entrance to divert rainwater. The building as a whole is a slightly larger version of buildings the Postal Service was building for smaller communities at the time. Mural "Purchase of Land and Modern Tilling of the Soil" (1938) by William C. Palmer in the building lobby The interior is organized with the postmaster's office to the right of the lobby area, and the public box area to the left, with service counters at the center and a work area behind. The walls above the marble wainscoting include a mural depicting the purchase of land from Native Americans, and agricultural scenes reminiscent of the town's agrarian past.

The interior of the main block follows a typical center- chimney plan, with a small vestibule and winding staircase in front of the chimney, hall and parlor on either side, and the kitchen behind the chimney. The parlor is finished with wide wainscoting and plaster above, with a Federal style fireplace mantel with pilasters. The walls have been decorated with stencilwork characterized as being of the "Eaton School", similar to the work of itinerant artist Moses Eaton, Jr. This stencilwork was touched up during major work in the 1920s (which included the ell), and is signed by Martin Frost, a local artist of that period. The house's initial construction date is traditionally given as 1804-05.

After the death of the last Oetenbach nun in 1566, the grain master of the city of Zürich moved his offices in the east wing of the dormitory, which was henceforth referred to as Kornamtshaus. It may be assumed that the grain master occupied the principal rooms, including the two wood- carved rooms at the northern end of the wing that probably served as the apartment of the prioress. As well as the so-called Äbtissinnenstuben of the Fraumünster abbey, the last resident Katharina von Zimmern, thanks to their uninterrupted use and appreciation of the institutions established there, remained in use until a few years before the demolition of the monastic buildings occurred. In 1894 the wood-carved wainscoting were transferred to the Swiss National Museum.

While covering the 2011 NFL Draft, Kolber came under fire for her interview with Mark Ingram Jr., who started to sob when Kolber read an e-mail from Ingram's imprisoned father. The interview was perceived by some as being manipulative. On Tuesday, September 13, 2011, the ESPN2 debut of the show NFL32 with Suzy Kolber and Chris Mortensen hit the air. With a backdrop similar to a sports bar (complete with wainscoting, sports memorabilia, and dark woodwork), the show focuses on "dissect the biggest topics of the day from all 32 NFL teams" and attributes much of its design to that of the Dan Patrick Show, a well listened to and watched national radio and television show on DirecTV's Audience network.

In 1998, Mr. Scharf sold the majority interest to the current owners, the "Graham Court Owners' Corporation", under the management company "Residential Management", who still owned the building as of 2003. The Graham is currently home to notable residents such as radio talk show host Alex Bennett, who fell in love with the apartment complex from the first time he and his girlfriend saw it. Major interior designer Sheila Bridges lives in the same unit in Graham Court where the director Spike Lee shot his 1991 film Jungle Fever. Bridges, whose unit still contains the original built-in cabinetry and wainscoting, had to clean up "the fake-blood stain left over from the scene where Samuel L. Jackson is shot at the end".

They lead to a single metal and glass door, with transom of similar material, recessed between two fluted Doric pilasters with a full Doric entablature. After passing through a wooden vestibule and small foyer, they open onto a lobby floored with terrazzo in a checkerboard pattern and grey-veined white marble wainscoting to a height of seven feet (2.3 m) on the plaster walls, which have a decorative cornice. On all sides but the west, there are murals by Jacob Getlar Smith of scenes from local history: Native Americans watching Henry Hudson sailing upriver in the Halve Maen, Dutch settlers building a log cabin and John André meeting Benedict Arnold. The north and east murals have decorative grilles as well.

Indoor trees were planted in the pavilion to add visual warmth, and the facility received a new terrazzo floor, new stone wainscoting, and new fabric wall coverings. To make registration more efficient, a new, central curved registration desk was built. A closed-circuit television system was added throughout the convention center, with monitors placed at the central registration desk. Displays about Cleveland area attractions and dining facilities were erected in the reception pavilion, and various airlines serving the local airport were allowed to have kiosks so that convention-goers could make flight reservations more easily. The total cost of Phase Two was $6 million ($ in dollars). The Public Auditorium renovations were complete by the end of July 1986, while the Great Hall work was just beginning.

In fine houses in the 18th century, however, the fashion is for wainscoting, with only the upper part of the wall papered. Paint, more expensive than wallpaper, is also preferred in sumptuous residences such as Rosings Park or Mansfield Park, since it permits contrasting colours, sometimes highlighted with gilding. As for the floor, it is left bare if it consists of beautiful tile or paving; in the 18th century this is the case too for handsome parquet floors, which may be set off by a small Turkish rug placed in the centre of the room. At the same time, progress in the textile industry now makes it possible for companies in towns such as Kidderminster to produce carpets to cover the entire floor in the reception rooms.

In 1981-1982 the church received a facelift through the hard work of many parishioners under the direction of Fr. McLaughlin. The existing moldings and rosettes on the sanctuary walls were stripped as well as the birch paneling. Some talented parishioners made the wainscoting and built the reredos from procured mahogany and gold molding. They installed new doors under the wall that separated the church from the hall and hung the folding walls. The large window behind the altar was closed in with insulation, paneling and bricks to match the outside walls, the altar walls were papered, the cement block walls were covered with fieldstone façade and the windows were “stained.’ Fr. McLaughlin remained at St. Basils until June 1982, when he was transferred to be Chaplain at Temple University Newman Center, Philadelphia.

She takes him seriously, she listens to him and learns an important lesson, as well as the true meaning behind a riddle. Sir Simon de Canterville says that she must weep for him, for he has no tears; she must pray for him, for he has no faith; and then she must accompany him to the angel of death and beg for death upon Sir Simon. She does weep for him and pray for him, and she disappears with Sir Simon through the wainscoting and goes with him to the Garden of Death and bids the ghost farewell. Then she reappears at midnight, through a panel in the wall, carrying jewels and news that Sir Simon has passed on to the next world and no longer resides in the house.

The next morning, Carstairs and Settle find that there is a book missing from that very spot in the room, and Carstairs glimpses the truth later on in the day when Sir Arthur jumps off his chair when he spots a mouse, and crouches near the wainscoting, waiting for it to appear. That night, Lady Carmichael is badly attacked in her bed by the ghostly creature, and this prompts Carstairs to insist that the body of the dead cat be dug up. It is, and he sees that it is the very creature that he has spotted several times, and a smell shows that it was killed by prussic acid. Several days pass, as Lady Carmichael starts to recover, until one day Sir Arthur falls into the water of the lake.

However, cheaper and more abrasion- and chemical-resistant finishes, such as polyurethane, have almost completely replaced it in decorative residential wood finishing such as hardwood floors, wooden wainscoting plank panelling, and kitchen cabinets. These alternative products, however, must be applied over a stain if the user wants the wood to be coloured; clear or blonde shellac may be applied over a stain without affecting the colour of the finished piece, as a protective topcoat. "Wax over shellac" (an application of buffed-on paste wax over several coats of shellac) is often regarded as a beautiful, if fragile, finish for hardwood floors. Luthiers still use shellac to French polish fine acoustic stringed instruments, but it has been replaced by synthetic plastic lacquers and varnishes in many workshops, especially high-volume production environments.

Perfect replicas of the original aluminum light fixtures were fabricated from early photographs and carbon filament light bulbs were obtained to recreate the original lighting effect. A single surviving aluminum staircase was discovered behind a wall, restored, and used as a model to rebuild the lobby stairways and metalwork. The wainscoting on the upper floors was restored with marble salvaged from the recently modernized, nearby 19 LaSalle and Manhattan Buildings. Marble was purchased from the same Italian quarry that supplied Root's original construction to restore the lobby walls and ceilings. Dearborn Street facade in 2008, showing restored granite entryways, entrances to ground floor shops, and fiberglass replicas of original linen window shades The Dearborn Street entrances were reopened and their massive granite lintels and surrounds cleared of layers of black paint or replaced.

Parts of a five-piece frame and panel door Frame and panel construction, also called rail and stile, is a woodworking technique often used in the making of doors, wainscoting, and other decorative features for cabinets, furniture, and homes. The basic idea is to capture a 'floating' panel within a sturdy frame, as opposed to techniques used in making a slab solid wood cabinet door or drawer front, the door is constructed of several solid wood pieces running in a vertical or horizontal direction with exposed endgrains. Usually, the panel is not glued to the frame but is left to 'float' within it so that seasonal movement of the wood comprising the panel does not distort the frame. Frame and panel construction at its most basic consists of five members: the panel and the four members which make up the frame.

The Company's official minutes record the detailed designs, vetted by Inigo Jones, that he drew up, not merely the "plotts" or floor plans and street and courtyard elevations but the "Patterne of the greate gate" in Foster Lane and patterns for the ceiling, wainscoting and the screen in the Great Hall and wainscot panelling in the parlour and the great chamber above it. His surveillance over workmen who found themselves working in a new manner, to which their apprenticeships had not accustomed them, can be sensed in his notation concerning Cornbury Park, where he contracted to "dereckt all the workmen and mak all thar moldes", providing correctly classical profiles for mouldings for carpenters and plasterers. His fee there of £1000 suggested to John Newman that he combined with the surveyorship considerable mason's work.Newman 1971 p. 32.

Distinctive features of Hall houses include small kitchens and bedrooms, large public areas, more closets and storage spaces than usual, bay and oriel windows, stepped stair railings with squared balusters, pocket doors, rough clinker brick fireplaces (often with seating nooks), wooden wainscoting, built-in china cabinets, and a tendency to place the front door on the side of the house. Especially notable is her attention to design features that made life easier for women, such as pass-throughs between kitchens and dining rooms. Hall got into speculative building in the East Bay on a large scale following the 1906 San Francisco earthquake, which created an exodus of people looking for new homes outside the city itself. Between 1906 and 1912 she concentrated on the Elmwood district of Berkeley, an area that was then just beginning to be developed.

The former clothes room became the Selectmen's Office, and the former Lafayette Artillery office—later a police department office—was enlarged as the office of the Town Clerk and Tax Collector. The former kitchen was expanded and made into the Police Department office, while the former dining hall was made smaller and turned into a meeting room and two offices for the Selectmen. The beaded board formerly on the walls of the dining hall was cut and turned into wainscoting (with a new chair rail to match the original chair rail in the front hallway), and the dining room's original pine floor was refinished and made a key feature of the new meeting room. The use of volunteers saved so much money that the committee was able to renovate the second floor, so that it could be used for public functions again.

Bender's facade is divided into three bays; much of the exterior features stained glass in place of ordinary display windows, and comparatively little ornamentation is otherwise present. Inside, large amounts of wooden panelling are present, and other original elements are also present, including the separate women's entrance, the marble wainscoting, the coffered ceilings with visible structural elements, tiled floors, and a group of murals produced by a travelling German painter. In 1987, Bender's was listed on the National Register of Historic Places, qualifying because of its historically significant architecture. It was part of a multiple property submission of five Guy Tilden-designed properties in Canton, all of which were added to the Register together; the Harry E. Fife House and the Weber Dental Manufacturing Company are likewise still on the Register, although the Hotel Courtland and the Case Mansion have since been removed.

Driveway viewed from the main houseThe house includes a so- called "drunken" staircase (on account of its unorthodox angles), which is reputedly "the 13th stairway to be constructed in the house, leading to the 79th room". In common with a number of old manor houses in England, the house also contains a "secret" passageway via a cleverly marked panel in the wainscoting of the 'Tapestry Dressing-room': "which communicates by a very narrow and steep flight of steps in the thickness of the wall with 'the Red Bedroom'." Allan Fea, Secret Chambers and Hiding-places: Historic, Romantic, & Legendary Stories & Traditions About Hiding-Holes, Secret Chambers, etc. (1901) It has been speculated by the current owners that this was installed and used by one of the previous male owners to travel secretly between bed chambers for romantic liaisons.

As such, the building either in situ or added at this stage with changes in the south roof slope, extended to the present south end of the west wing, at the junction with the cloakroom under the stairs. The wall in this location is the retained timber framed one with small panels, the members jointed and pegged together in the same way as the Phase 1 fabric surviving within much of the east wing. The Phase 2b work comprises much of the interior ‘fitting out’ represented by the wainscoting schemes that occur throughout the building, by surviving two-panel doors and several other fittings and fixtures. Again, the interior decoration may have been single phase, or several stages, part of the programme that added or altered a west wing, or work carried out in its own right.

By March 1984, the CCVB was asking for an additional $13 million ($ in dollars) over five years to make additional repairs and upgrades. These included transforming the exhibit hall beneath Public Auditorium into office and meeting room space, a new sound system in the Music Hall, replacing broken marble flooring and wainscoting in Public Auditorium, and adding new meeting room space to the convention center. Another $6 million ($ in dollars) was sought for a new communications center (to include a small film studio and television satellite uplink room), banquet kitchen, and covered walkways at the convention center, and for facility-wide painting and replacement of carpeting and upholstery at Public Auditorium. Work on the convention center halted as the CCVB lobbied the city to pay for the projects, whose cost had risen to a total of $27 million ($ in dollars) (including the already-funded repairs) by October 1984.

Stephanie and Scott Roper researched the building's historic features, determining which features of the building should be preserved or restored, and spent considerable time restoring the foyer wainscoting to its original, stained (not painted) appearance. Scott Roper, who with Phil Brooks served as the group's unofficial media liaison, worked with the New Hampshire Division of Historic Resources to determine the building's historical significance, and eventually wrote the nomination form that led to the building being placed on the National Register of Historic Places in December, 1999. Over eighteen months, with the help of local architect Ron Ravenscroft and more than eighty volunteers, not including several local contractors who worked voluntarily at below-market wages, the town completed the renovation of Citizens' Hall. The front hallway, stairs, and second-floor hall, as well as the building's façade, were identified as the building's most important historic features, and were restored as best as possible to their 1920s appearance.

The necropolis of Sant'Andrea Priu is an archaeological site located on the south side of the fertile plain of Saint Lucia, in the municipality of Bonorva, Sardinia. The complex, one of the most important of the island, is composed of twenty domus de janas; one of them with its eighteen rooms appears to be one of the largest hypogean tombs of the Mediterranean basin. The necropolis is located on the front of a trachytic outcrop high 10 m and long 180; entrances to the domus are all within a few meters in height from the ground level and some of them are difficult to access because of the detachment of a substantial part of the rock face. The interior of the domus de janas is a faithful reproduction of the houses of that time, with many architectural details (beams, joists, lintels, jambs, pillars and wainscoting perimeter), tending to recreate an environment similar to that where the deceased had spent his existence.

George Moberly, who preached during the morning service. A luncheon was then held in the town's Corn Exchange and later followed by an evening service. The workmen involved in the church's construction were provided with their own evening dinner at the Antelope Hotel. Holy Trinity's organ was still being built by Messrs William Hill & Sons at the time of the church's opening, resulting in the temporary use of an American harmonium. The organ of the 1824 church was rejected for refitting in the new building due to its "defective" condition. The formal opening of the new organ was celebrated with two special services held on 19 October 1876.The Southern Times - The new organ of Holy Trinity Church, Dorchester - 21 October 1876 - page 5 In 1899–1900, the south transept was converted into a side chapel, with the work carried out by Messrs Norman and Burt of Burgess Hill to the designs of Charles Eamer Kempe and paid for by Miss Ashley of Stratton Manor. Many of the new fittings were carved from oak, including an open-work screen, panelled wainscoting and sedilia.

Clarkson was best known for his use of the "Modern" style of architecture in Fort Worth and its successor Art Deco. Modern Style combined classical forms (Mayan step pyramids, Greco/Roman columns and linear forms and Egyptian pyramids and motifs) along with modern construction materials (aluminum, brass, steel, terrazzo flooring and glass) coupled with the Art Deco colors of greens, reds, blacks and beige to produce a highly distinctive design. As you view this building look for the Art Deco appointments: 1) the auditorium - Greek columns, Roman urns, Mayan step pyramids (ceiling lights), Egyptian carvings on the ceiling, use of marble in the foyer, classic colors of the designs and decoration 2) the hallways - Greek columns in the center hall, terrazzo floors, Art Deco color schemes, leather covered doors to the auditorium, center hall lighting fixture in Mayan step pyramids and hand laid tile wainscoting in the hallways and restrooms. 3) the exterior - linear classical features of Greek and Roman architecture, the Egyptian and Mayan motif carvings above the doorways, the copper Egyptian pyramid on the top of the building and the suggested Roman columns of the building capstones along the roof line.