Encasing the dam were upstream and downstream walls created from limestone ashlars. The ashlars were set but not mortared in stepped rows. Each ashlar was roughly high, wide, long and roughly .
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The Baroque-style main building stands in two-stories towards the courtyard and three stories towards the garden and was originally surrounded by moats. It is built in granite ashlars with a few chalk ashlars. The side that faces the courtyard building stands in a blank wall with smooth finishing of the ashlars and has a strongly projecting median risalit with a portal flanked by pilasters. The three other sides of the building have a more rough finishing of the ashlars and are white-washed.
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The Hasmonean dynasty expanded the 500 cubit Temple platform toward the south; distinctively Hasmonean ashlars are visible in the Eastern Wall. The seam between the Hasmonean and Herodian extensions of the wall is visible as a vertical row of ashlars 32 meters north of the southeast corner.
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The attached gateway has ashlars piers and wooden gates. Gives architectural details of main house. Gives architectural details of lodge.
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Unlike all the other contemporary buildings in Ravenna, which were made of brick, the Mausoleum of Theodoric was built completely from fine quality stone ashlars.
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King Herod expanded the Temple Mount still further toward the south; distinctively Herodian ashlars are visible in the Eastern Wall, in the last stretch before the southeastern corner.
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The village has several khirbas (ruined former settlements) including Khirbat al-Tahuna, where the ruins of a building constructed of ashlars (squared stone masonry) and the foundations of other buildings.
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The Hasmonean dynasty expanded the 500 cubit square Temple platform toward the south; distinctive Hasmonean ashlars are visible in the Eastern Wall.Leen Ritmeyer, Kathleen Ritmeyer, Jerusalem; The Temple Mount, Carta, Jerusalem, 2015, .
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The Weinbergtreppe or Weinbergstaffel is the name given to the outside steps used in vineyards. They are very steep and are often placed between high vineyard walls. They are normally made of natural stone ashlars.
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Next to the hermitage there are the remains of a defensive an older turret. Additionally annexes, the so-called house of the recluse is found built with ashlars of the former church and that today is kept and used by Liso’s Saint Michael Confraternity of Fuencalderas.
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The construction materials used for the castle were stones and bricks. The masonry primarily consisted of river pebbles interspersed with brick courses. Ashlars were also used, especially in the southern walls and in the tower, where they were rusticated. The bridge was probably constructed entirely with stones.
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Opus isodomum on the back face of the Temple of Augustus, Pula, 1st century BC Opus isodomum ("work of equal height") is an ancient technique of wall construction with ashlars. It uses perfectly cut, completely regular squared stone blocks of equal height, and sometimes of the same length.
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The discovered part was built in the 17th century and was originally in length, occupying a small valley at the end of Arenal Street. It featured granite ashlars in a padded style. The fountains shared the water from the spring with the royal palace until the mid 18th century.
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The high medieval masonry consists of powerful conglomerate ashlars. Particularly striking is the shield wall-like reinforcement of the crescent-shaped northwest side. The post-medieval components are easy to recognize in places from their brickwork. Off the west side is a Zwinger flanked by two massive round towers.
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A basement floor formerly contained vaults, but with the construction of the annex these were moved to the adjoining building. The building exterior is constructed of granite ashlars with deep horizontal joints at the corners creating a striped effect; the interior is largely faced in a variety of marbles.
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The facades are clad with ashlars, originally remaining on the western and eastern walls. Decorations are found above each window of the eastern facade, and around the entrances. The western portal is framed with columns and arches. Its architrave stones presumably depict St. George and St. Demetrius, with ornamentation above them.
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The two storey main building is from 1561. It is constructed in red brick with bands of partly white-washed limestone. It stands on a foundation of field stones and has a base of finely cut granite ashlars. Most of the farm buildings were destroyed in a fire in 1910.
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Ponferrada Castle, example of construction material. The most precious but also the most expensive material was the stone. The stonemasons busied themselves carving it with a chisel, always selecting the good face of the block. These were made into ashlars, which were generally available in horizontal rows and sometimes used along the edges.
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The hall is constructed in the Tudor Revival style from coursed squared stone with ashlars dressing with a stone slate roof. The windows are mainly wood mullioned casements with label moulds. There is a small square porch with Tudor arch at the front door. The western side has a square two storey stone bay window.
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Noyers (; often referred to as Noyers-sur-Serein) is a commune in the Yonne department in Bourgogne-Franche-Comté in north-central France. There are half- timbered houses, ashlars, pillars and pinnacles. There are many cobbled lanes and small squares made of chalky and granitic pavements. There are towers surrounded by the river Serein loops.
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82 The mausoleum was two stories. On the ground level there were three steps supporting the base mouldings. Each plain socle was surmounted by torus, cavetto and Lesbian cyma. Ten courses of large neatly cut ashlars, 69–88 cm high, which constituted the facing of the podium, made for a total height of 11.37 m.
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So ashlars of Höttinger Breccia, which originated from the demolished outer city gate at the exit of the old town into today's Maria-Theresien- Straße, were reused. The work was carried out by Constantin Walter and Johann Baptist Hagenauer. In 1774, the reliefs made out by Hagenauer in stucco were worked by Balthasar Ferdinand Moll in Sterzing into marble.
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Among the artefacts found were polished ceramics with geometric patterns and enameled ceramics, bronze and iron tools, engraved bronze belts, bones, zoomorphic bronze figures, as well as agates and other jewels. The upper layer of the cemetery dates from the second century - I to C. It contained stone tombs, cistas, stone sarcophagi, ashlars crypts, and slab or brick tombs.
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It was built of rusticated ashlars. Against the shield wall there was a small palas as well as several domestic buildings. In the lower ward (the Unterburg), which is situated on two narrow rock terraces, several chambers, cattle troughs and a well shaft have survived. The castle museum has been house in a restored stable block since 1987.
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Cf. Babylonian Talmud (Avodah Zarah 16b) It was constructed of large, smooth-bossed ashlars that were coated with thick plaster. The basilica contained two rows of seven square pillars. Archaeologists have also identified a late Roman "stepped pool" in Beit Shearim, and three 3rd to 4th-century ritual baths (mikveh) on the ancient site.Miller, Stuart S. (2015), pp.
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The cuboid tower had a very steep hipped slate roof with large dormers and an ogival thoroughfare at ground level. While the edges of the tower exposed ashlars, the sides of the tower were plastered and decoratively shaped. The form of the decoration varied over the centuries according to contemporary taste.Carl Wolff, Rudolf Jung, Baudenkmäler Frankfurt, S. 10 & 11.
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The facade this corresponding to the great body that spatially dominates the set, has a wide verticality. A long access staircase, dates back to the high embankment. In this stone podium made of buttress and builds and strengthens the structure of the work. On the podium six windows, open with pictorial simulation of ashlars in lintels and buttresses.
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The church is whitewashed with many visible granite ashlars and consists of a romanesque choir and nave. The tower with pinnacle adorned gables was built in the 1910 and the whitewashed chapel in gothic style 1904. Originally the church had a porch but it was torn down in 1816. The church is oriented towards the Sun.
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The extension is constructed in grey brick, ashlars stone slabs and precast concrete cladding. A large abstract concrete mural symbolising the turmoil and chaos of the outside by William Mitchell stands at the members entrance."150 Years Of Architectural Drawings", Hadfield, Cawkwell, Davidson, Brampton Print and Design, , page 104, Gives details of extension."Sheffield‘s Remarkable Houses", Roger Redfern, , page 20, Gives historical details.
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Three big Roundels, three galleries, each carried by three round arches, surround the central room of the church and point out the trinity. Beneath the galleries are traced ashlars rocks with several sun symbols. All three Roundels show an eight division and want to point us atop of our reality towards god. Even in mathematics the lying eight is a symbol for infinity.
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It also has several simulated monograms and ashlars, or carved stones. This is the only 16th-century convent with this type of decoration. The site is also unique because it is one of few that still includes the original garden area intact. The paintings in the interior of the church as well as the red geometric figures are well-preserved.
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Flint carving in the prehistoric way with modern metal hammer.Stone carving, as is known, is one of the human forms of artistic manifestation and is used both in sculpture and in architecture. Currently, flint and other conchoidal fracture rocks are used as construction materials, either as ashlars or as an aesthetic coating. However, this phenomenon does not concern this article.
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The bell- tower is flanked on either side by a stone wall, which is a later addition. An episcopal palace stands in ruins outside the wall, to the southeast. Dated to the 9th–11th century, it is a two-storey building set in a rectangular plan, with the dimensions of 11.2 × 21 m., and built of rubble, ashlars, and brick.
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The gate was constructed in the style of Roman triumphal arches, with a classic front façade, making it the main entrance to the walled enclosure of the Alhambra. Built during the Spanish Renaissance, under the command of Emperor Charles V, the gate is made out of bonded stone carved with Florentine designs without roughing, which highlights the ashlars of the construction.
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The bridge is built over a weir between two ponds (part of the Bosherston Lily Ponds). There are eight segmental arches in limestone, one with slightly projecting keystones. The arch rings are in ashlars; the rest of the arches in common stonework. There are a low rebuilt parapet walls, with slight wing walls at each end, on either side of the roadway.
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Around the bergfried there is a mantlet wall, which appears to represent five sides of a slightly irregular octagon, due to the nature of the terrain. The outer wall of the upper ward consists externally entirely of rusticated ashlars. Access was via a wooden staircase at the site of the present stone one. The gate at this point has not survived.
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The Watermill is built from red Norfolk brick over three storeys in six bays to the west elevation. Four of the six bays are recessed within giant enclosing arches. The arches are semicircular headed with raised ashlars and a Keystone. In the center of the west elevation of the mill there is a timber lucam (covered sack hoist) of shiplap construction.
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West gate of the Heidelsburg with original Roman ashlars The Heidelsburg, also called the Bunenstein, is an old fortification in the western Palatine Forest in the German state of Rhineland-Palatinate that goes back at least to the days of the Roman Empire. Today only the remains of two gates, together with their steps, the castle walls and a cistern have survived.
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The fortifications are from the years after the Battle of Leuctra (371 BCE), and were surely demolished by the Theban troops in 346 BCE as Demosthenes affirms. Subsequently, before the end of the century, Corseae was fortified with isodomic ashlars. The walls enclosed residential neighborhoods occupying an area of about .; According to John Bintliff, the inhabited area would range from .
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The building is 49 m by 52 m and it is constructed by large stone ashlars. In the site had several shards that are comparable to the types found in Thaj and Hellenistic Bahrain. There are other remains of other buildings located to the East and Southeast of the fort. To the Southwest of the fort, there is a group of walled graves .
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The nave of the cathedral is built spaciously without any aisles on its flanks. The materials used in the construction of the cathedral consisted of special bricks, light in weight and with good compression strength. The ashlars used were of Chunar stone. The external and internal surfaces of the cathedral were plastered with fine chunam (lime plaster) in the form of stucco.
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At the end of the 17th century it was acquired by the Marini Clarelli family. In the 19th century it was used as barracks before being sold to the city of Rome in 1870. The façade (richly historiated at the time of Cresci) and the portal are lined with rusticated ashlars. On the sides of the portal there are badly rebuilt large windows on consoles.
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The ashlars are well carved and the portal was made by Covarrubias, made it entintelada, the entablature flanked by pseudocolumns paired and with niches and doseletes; and decoration Grotesque in the fustes. The pediment is round classic that houses the discovery of the Lignum crucis by Saint Elena. It supports the entablature with another body. An archivolt was broken to place a niche representing charity.
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The eastern end was not accessible in 2010. The entry is characterised by a large three ring brick parabolic arch with a sandstone outer curve and a horizontally articulated entablature constructed of axe-faced and margined stone ashlars. The top of the entablature course to the former rail level is approximately . The face brickwork of the surround is plumb and laid in English bond.
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Ground plan The Late Hohenstaufen inner ward is built on a narrow rock base that, today, is only accessible to experienced climbers. The shield wall, made of rusticated ashlars on all sides, has survived almost to its full height. Seen from the uphill side its right-hand edge is sloping. The corbels of the chemin de ronde on the inside of the wall display Gothic elements.
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The Kulla, a traditional Albanian dwelling constructed completely from natural materials, is a cultural relic from the medieval period particularly widespread in the southwestern region of Kosovo and northern region of Albania. The rectangular shape of a Kulla is produced with irregular stone ashlars, river pebbles and chestnut woods, however, the size and number of floors depends on the size of the family and their financial resources.
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The church is designed with inspiration from Romanesque churches of Northern Italy. It is constructed in red brick and stands on a foundation of granite ashlars. The narrow facade towards the street consists of a gable motif flanked by a tall, slender tower to the right and a lower pinavle to the left. The facade features a relief with piblical motif created by Thomas Bærentzen (1869-1936).
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The mansion is built in a restrained Rococo style and consists of three storeys and a high cellar under a black mansard roof. The facade is constructed in limestone ashlars from Lindencrone's estate at Stevns. The main facade on Bredgade is 13 bays long. It has slightly projecting central and corner bays but is brought together by a horizontal moulding along its full length above the ground floor.
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The War Cloister was constructed from knapped flint and Portland stone ashlars. The cloister arcade is made of Portland stone, with round- headed arches supported by Tuscan columns. A crown-post oak structure supports a roof of Purbeck stone tiles. Badges from 120 regiments, in which men from the school served, decorate the walls, corbels and roof beams, to designs by George Kruger Gray which were painted by Laurence Arthur Turner.
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The base of a large battery tower, with a diameter of 14 metres and height about the same, has been well preserved. Its walls are 3.20 metres thick; and some of the stone ashlars show evidence of lifting marks, possibly from a three-legged lewis. The ground floor wall is pierced by three embrasures, the first floor has four. These openings could have been used by arquebuses and small firearms.
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A gradual process of abandonment processes over the previous centuries and the hill's inhabitants scattered throughout the nearby territory. Each terrace had a different domestic character. Thus, in the area closest to the forum, a central street -partially excavated by José Galiay and still visible today- served as the axis around which houses were located radially. Protecting the second terrace remains of a wall made with large ashlars.
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The colonnade leads on to the taller orangery which has three tall round arched openings with keystones, all the openings in the orangery and the colonnade have now been filled in as they have been converted to apartments. British Listed Buildings. Gives architectural details of house and orangery. The stables stand 200 metres to the north east and are built of ashlars and coursed rubble with a hipped stone slate roof.
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In an inscription at the base of the tower, which is supposed to have been still visible in the 1840s, the year of construction was give as 1106. The oldest part of the church, the nave, dates to this period, as manufacturing marks on several of the stones in the wall show. In the outer walls, Roman spolia were used. On the west side the ashlars have decorative marks.
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The church was constructed from limestone ashlars in the Romanesque style around 1150. In the 15th century, the chancel was replaced with a newer and larger one. A limestone ashlar from the original chancel, which was reused in the south wall of the new one, features the runal inscription Tirad rist ("Tirad wrote [this]"). The tower was added between 1500 and 1525, and the porch from around 1600.
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The temple has the floor plan of a latin cross, with three naves and 3 chapels, with a semicircular apse and a square tower at the foot, in grey stone and blank walls, with semicircular arches, 3 floors, and stone and wood niches. The lateral porticos are supported by columns. It ends with an octagonal capital of exposed ashlars crowned by one giant stone. In the corners there are zoomorphic gargoyles.
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Most of them weigh between each, but others weigh even more, with one extraordinary stone located slightly north of Wilson's Arch measuring and weighing approximately . Each of these ashlars is framed by fine-chiseled borders. The margins themselves measure between wide, with their depth measuring . In the Herodian period, the upper of wall were thick and served as the outer wall of the double colonnade of the Temple platform.
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Like the rest of the castle, the chapel walls were made out of the Rhaetian sandstone on which it was built. The regular ashlars were set in place with an external lewis (scissor tongs or Mauerzange) which left marks on the stone. The inventory mentions numerous fragments of gravestones in the chapel floor. Around 1980, some pieces could still be seen, which have since disappeared or become concealed.
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This part of the monument contains a small chamber with an entrance and two arcosolia (arched funeral niches) and constitutes the actual tomb. The second part, built of ashlars, is placed on top of the rock-hewn cube. It consists of a square pedestal carrying a round drum, itself topped by a conical roof. The cone is slightly concave and is crowned by an Egyptian-style lotus flower.
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Schoch further notes the same heavy precipitation-induced weathering as seen on the walls of the Sphinx enclosure is also found on the core blocks of the Sphinx and Valley Temples, both known to have been originally constructed from blocks taken from the Sphinx enclosure when the body was carved. Though the presence of extensive 4th Dynasty repair work to the Sphinx and associated temples is acknowledged by such Egyptologists as Mark Lehner and Zahi Hawass, Schoch contends: "Therefore if the granite facing is covering deeply weathered limestone, the original limestone structures must predate by a considerable degree the granite facing. Obviously, if the limestone cores (originating from the Sphinx ditch) of the temples predate the granite ashlars (granite facings), and the granite ashlars are attributable to Khafre of the Fourth Dynasty, then the Great Sphinx was built prior to the reign of Khafre." Colin Reader, a British geologist, agrees that the suggested evidence of weathering indicates prolonged water erosion.
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The visitor first enters the tower, which admittedly was added later, but is made throughout of rusticated ashlars with lifting holes on which numerous stone marks can be seen. Access to the upper ward was achieved through an older tower built against the rock. Today there is a staircase between the two gate towers, originally there was probably an equestrian staircase here. In the courtyard of the lower ward, two outbuildings have partly survived.
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Can Papiol is the manor house of the Papiol family. The building, comprising a ground floor, first floor, two upper floors and an attic, was built between 1790 and 1801 by politician and scholar Francesc de Papiol. It is Neoclassical in style with decorative elements (ashlars, columns, tympanums) painted on the walls; inside, the walls of the main room are decorated with biblical themed grisailles. The space also has a garden from the Romantic period.
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In the façade there are two sinks, with two spouts (cannoli) and lesenes surmounted by capitals. The abreuvoir, realized with carved limestone ashlars, was built in the first half of the 19th century. The restoration works, completed in 2015, have given a greater valorisation of the characteristic road that, leaving from Piazza Ciullo, leads as far as the Sanctuary of Madonna of Miracles, where in May believers go there on pilgrimage to pray their patroness.
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From the previous building are two chapels situated to feet and the tower, probably of the 14th century. It presents a style mix because of the elapsed time in his construction, although overall would be able to situate in the 16th century. The shed this built one in ashlars squared, is of rectangular plant and of only shed, completing with five lateral chapels. Covers, in barrel vault with “lunetos”, would be of the 18th century.
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The village of Grillenberg was mentioned as early as 880/890 in the Hersfeld tithe register (German:Hersfelder Zehntverzeichnis). At that time there is no indication of a castle, however. The latter was first recorded when, in 1217, a certain Tidericus de Grellenberch is named as a vassal of the Archbishopric of Magdeburg. The lower parts of the walls of the ruin, made of large rusticated ashlars, must date back to the original Romanesque fortification.
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The structures were then most possibly roofed and divided into rooms. These are believed to be used for solitary practices such as meditation, as well as congregational functions such as teaching and ceremony. Over a stone bridge lie interlocking ashlars and the ruins of a monastery hospital, where the medicinal herbs-leaves and roots-grinding stones and huge stone cut Ayurvedic oil baths can still be seen. The pavement continues straight ahead to reach one of the roundabouts.
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The Arco del Cristo is the eastern gate of the old wall of Cáceres. It conserves Roman ashlars and in the antiquity was the door of the thistle of the colony Norba Caesarina. Caceres came to have two Jewish neighborhoods: the Old Judería (in the enclosure intramuros) and the Jewish Quarter (in the area outside the walls). The Old Jewish Quarter or Old Jewish Quarter is also known as the neighborhood of San Antonio de la Quebrada.
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The wall is a perimeter structure forming a complete u-shaped enclosure. The wall has been constructed with huge redden quartzite ashlars. The main wall structure is reinforced by an external pre-wall constructed outside the inhabited nucleus. The excavation area number 4, unburied the structure of the Late Roman Wall in a point close to the main entrance to the village, the eastern gatehouse which was reinforced by three cassamata structures attached to the wall from the inside.
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Hardened sand sediments of marine origin from the Upper Cretaceous form a sequence of several strata up to 400 metres thick. They have been quarried for centuries and used as ashlars. The deepest-lying, stratigraphically oldest layer is described as Mittelquader ("Middle Ashlar") or Cotta Sandstone, was formed in the Lower Turonian and is mainly used as natural stone for stone carving. Above that lies Oberquader ("Upper Ashlar") from the Middle Turonian, which is also known as Reinhardtsdorf Sandstone.
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At its southern, western and eastern corners are round towers that were all once four storeys high. The southern one was reduced to two storeys high in the 19th century as it had fallen into disrepair. In the north and at right angles is a square tower measuring 10×10 metres with corner ashlars that is the only survivor of an older castle. Its shape clearly shows that it was given its present appearance in the 17th century.
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The Burgraves' Castle was situated on the area between the Sinwell Tower and the Luginsland, but after its destruction in 1420 and the purchase of its remains by the city, very little is left. The Pentagonal Tower standing above the northern rock face is among the oldest buildings on the castle rock. It was the keep of the Burgraves' Castle. Its lower part made of ashlars may have been built at the same time as the Imperial Chapel.
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The memorial comprises a high rectangular stone slab constructed from shelly limestone ashlars with a moulded top, bearing a stone sarcophagus, with bundles of spears or fasces laid down to either side and a console at each end. The main slab stands on a stone plinth with one step, positioned on a stone base with three steps. The base has four stone pylons, one at each corner, with each bearing a bronze lion's head. Positioned outside the base are four bronze lamp standards.
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The project of a viaduct was included inside the plans of urban development at the ends of the 19th century, it appears in the year 1876. But the work does not materialize up to the summer of 1923 for concession to the Navarrese company Erroz and San Martín. The works began in 1925, using reinforced concrete as material and with the own forms of the art déco style. The props are of ashlars and masonry and it possesses four principal supports.
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An older castle entrance, south of it, can be seen as a shaft that was hewn in the rock. The foundations of the former St. Nicholas' Chapel (around 1190/1200) have been restored. The most important visible remains are the preserved parts of the palas (around 1190/1200) in the southwest of the castle. The outer wall on the valley side is made of rusticated ashlars and has three niches with adjacent windows and a fireplace, which has not quite been faithfully reconstructed.
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Tur Shimon rises abruptly above sea level, conspicuous among the mountains as it rises up from the riverbed of the Nahal Sorek Nature Reserve in the form of a conical shaped mountain. The hilltop ruin is covered with brushwood and wild growth, ashlars, a partially standing wall of field stones, razed structures, and large rock- cut cisterns. The entire grounds are strewn with fragments of ancient pottery. Near the summit are six large water reservoirs, hewn in bedrock and plastered.
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The tower is made of regular limestone ashlars, most of the rest of the castle is made of irregular rubble stone walls. Little research or investigation had been carried out into this large castle site until archaeological excavations took place in 1982. Within the castle area were discovered finds from the period from 70,000 BC to the Celtic era around 2,000 BC. At a depth of around a metre was found an old coral reef, 145 million years old, the so-called Speckberg.
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The exposed section of wall from the outside The medium-sized (ca. 115×150 metres) ringwork, which is assumed to date to the Early Middle Ages, is protected to the northeast and southeast by a steep slope and is surrounded by a sandstone wall, which has survived in places. This wall consists of dry sandstone ashlars and most of it is embedded in a rampart up to five metres high. A short section of the circular rampart in the south has been uncovered.
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The west gate was rebuilt by Sprater in the late 1920s from the heavily moss-covered original ashlars. The function of a depression in the area of the ring wall is unclear; it may have been a cistern. In the local history museum at Waldfischbach-Burgalben there is a model of the entire site. During the first phase of excavation work in the 19th century, a grave slab was uncovered that portrayed a man with an axe and a woman with a basket.
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The first half of the wall, made in Roman concrete and covered with opus signinum, is preserved, and overlooks San Ginés alley. The structure was deeply altered with the construction of an arcade of three arches of ashlars in the southwest side. This divides the primitive one in two and currently separates it from the other half of the deposit, belonging to No. 2 of San Ginés street. It is unknown whether this change occurred in the first or second phase of construction.
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The arena was surrounded by a series of connected barrel vaults, which formed a long, circular corridor and supported the stone seats above it; staircases led from the outside and from the circular corridor to the tribunes. It was built for the Roman troops stationed in the region after the suppression of the Bar Kochba rebellion. The amphitheater is an elliptical structure built of large rectangular limestone ashlars. It was in use until destroyed in the Galilee earthquake of 363.
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The southern half of the building was probably cellared, as is evinced by the vertically hewn rock face. The castle access ran over the bridge and then north past the probably tower-like building into the outer ward. The last remaining large section of surviving wall is in a rock crevice on the north side of the outer ward (Image 1). The three-metre-high retaining wall consists of five layers of hewn stone ashlars that are up to 50 centimetres wide.
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The Merchant House The Merchant House is the only building which has been moved to the site. It was originally located at the site where the newspaper Nordvestnyt is now headquartered. The two-storey, half-timbered building is from 1660 and is the old main wing of a larger complex built by the shipowner Christen. The house stands on a foundation of large granite ashlars which is believed to originate from the first St Nicolas' Church, Holbæk's old parish church. Thomsen.
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Ottoman noble Ahmad Nami dressed in full Masonic attire in 1925 Freemasonry describes itself as a "beautiful system of morality, veiled in allegory and illustrated by symbols"."What is Freemasonry?" Grand Lodge of Alberta retrieved 7 November 2013 The symbolism is mainly, but not exclusively, drawn from the tools of stonemasons – the square and compasses, the level and plumb rule, the trowel, the rough and smooth ashlars, among others. Moral lessons are attributed to each of these tools, although the assignment is by no means consistent.
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The northern wall consisted of six towers and a fortified gate running in a nearly straight line from the northwest corner of the citadel to the sea. The bed of a river runs along the probably line of the south wall, which is not evident. The walls were built in a variety of masonry styles, which may be evidence of different phases of construction. Masonry styles in use include isodomic (ashlars with hammered faces and drafted corners), pseudo-isodomic, and - in sections – a style approaching polygonal.
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The building in the courtyard The building in the courtyard (Pilestræde 40C), a long, three-storey building constructed on a foundation of stone ashlars, forms the northn margin of the courtyard. It consists of a 12-bay main wing flanked by two shorter side wings of which the eastern side wing is attached to the rear side of Sværtegade 5. The three easternmost bays of the main wing are wider than the others. The western side wing is four bays long and has a mono-pitched roof.
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Hard rocks were almost always used. Masonry was also used, with hewn stone in the corners, windows and doors. If the stone was hard to get, because the corresponding geographic location had no quarries, or because it was too expensive at certain times, they used baked brick, slate or any ashlars stone. Paint and plaster were used as finish, both for the stone as well as for the masonry and the other materials, so that, once the walls were painted, it was difficult to distinguish whether it had one or the other underneath.
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This type of traditional country house is the most characteristic of Cantabria. It highlights the south façade, open to the sun, with the other walls made of thick rough masonry. The corners are usually of ashlars with re-enclosure at all the spans. The entrance is through a gate of one or two arcs, sufficient to allow passage of a cart into an entryway, leading to the kitchen (although in some houses the kitchen is on the upper level), stables, wine cellar, pantry and stairs to the upper floor.
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The hall is typical architecturally of many large yeoman farmers houses in South Yorkshire with well proportioned mullioned windows with diamond-shaped leaded lights. The hall faces south-west away from the road and takes in the extensive view across the Mayfield valley towards the Peak District. It is built in the shape of a letter L from course squared locally quarried stone with ashlars dressings. The 1620 datestone is above the front door, the outbuildings run at a right angle to the main house and include a carriage house.
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Kuznecov also found a connection in the plan of the Danube Bulgars sanctuaries at Pliska, Veliki Preslav, and Madara. The architectural similarities include two squares of ashlars inserted one into another, oriented towards the summer sunrise. One of these sites was transformed into a Christian church, which is taken as evidence that they served a religious function. The view of the Parthian and Sasanian influence, which Franz Altheim also argued, is considered debatable, showing the cultural impact of the Iranian world on communities in the Pontic–Caspian steppe.
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The school consists of one storey and is constructed in the Gothic Revival style from coursed squared stone with ashlars dressings and a slate roof, with diagonal nogging over the windows. The three symmetrical blocks which front onto Parkside Road are linked by corridors constructed in the mid 1900s. The closest of these blocks to the junction with Middlewood Road has on its roof a square wooden bell turret with swept pyramidal spire and finial. The stone boundary wall which runs round the perimeter of the school is also a listed structure.
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Stereo card by T.W. Ingersoll Absalom's Pillar is approximately in height. The monument proper stands on a square base and consists of two distinct parts. The lower section is a monolith, hewn out of the rocky slope of the Mount of Olives, while the upper part, rising higher than the original bedrock, is built of neatly cut ashlars. The lower half is thus a solid, almost perfectly cubical monolithic block, about square by high, surrounded on three sides by passageways which separate it from the vertically-cut rock of the Mount of Olives.
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Despite its current difficult access, it used to be the main entry to the castle. It is known as Puerta Falsa, due to the fact that at the present time it does not play that role, since a quarry was placed before it. The door had a semicircular arch and it was built with reddish limestone ashlars. The door is framed by an asymmetrical stone coving in the shape of the architectonic adornment called alfiz, above which was supposedly the coat of arms of the owners of the castle.
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The design aspects of the tower are significant, imitating forms of construction inspired by Lombard architectural traditions, highlighted by the materials used and by the quality of the details, like the ogival windows outlined with close-set ashlars. The façades have a uniform appearance thanks to the building method of standardized measures and materials, clearly seen in the stone courses and the cornerstones with characteristic bosses. The opening on the first floor was originally the entrance, accessed by a drawbridge operated from a niche above it. Today's entrance corresponds to an earlier opening.
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The only entrance door is flanked by two small windows, from which, even when the church is closed, visitors can take a look inside for a prayer or to leave a flower on the windowsill. In the eye of the pediment there is a stained glass window with the image of the Madonna. The rustic bell tower is made of tufa ashlars. Inside, the hall is plastered in white, the arches of the side chapels are in excellent handmade red tuff and the presbytery is decorated with floral motifs and architectural elements in faux marble.
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Hamstone House was built with the last significant supply of hamstone from the quarries before their closure. Both quarries are owned by the Duchy of Cornwall. A study by South Somerset District Council’s Area Conservation Officer noted that the stone of the South quarry is yellower in colour, less hard and less durable than the greyer North quarry hamstone. North quarry stone is primarily used by local stonemasons for the repair of external features in historic buildings, such as mullion windows and ashlars stonework as well as for new developments in conservation areas.
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Of the Hussite era, only the eastern part remains; the western area of the castle, with its plain corbels dates to a remodelling in 1567. Behind the gateway rise the ruins of the late Romanesque bergfried or keep, whose north wall still reaches a height of about 10 metres. The originally square main tower had sides 9.8 metres long. Only parts of the outer shell have survived; the wall being constructed of closely packed rusticated ashlars with narrow channels the remains of the infill being made of herringbone pattern bricks (Opus spicatum).
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The ashlars had to be set in place using the old lifting device, the three-legged lewis, however, so that the front face had no lifting marks. The raised entrance was on the south side facing the castle courtyard. At the foot of the tower a garderobe shaft indicates that the original neck ditch was located immediately in front of the bergfried. The main entrance of the Romanesque castle was probably in the vicinity of the present gate - a reconstruction by Joachim Zeune, a German medieval archaeologist - but was later moved to the south side.
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The statue, of a lion holding a crouching gazelle, was made from limestone ashlars in the early first century A.D. and measured in height, weighing 15 tonnes. The lion was regarded as the consort of Al-lāt. The gazelle symbolized Al-lāt's tender and loving traits, as bloodshed was not permitted under penalty of Al-lāt's retaliation. The lion's left paw had a partially damaged Palmyrene inscription (PAT 1122) which reads: tbrk ʾ[lt] (Al-lāt will bless) mn dy lʾyšd (whoever will not shed) dm ʿl ḥgbʾ (blood in the sanctuary).
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President Marcelo Rebelo de Sousa in the Presidential Office with former President of Brazil Michel Temer. The main space is highlighted by a linear sequence of rooms along the south elevation, dominated by the Sala das Bicas, a grand vestibule paved in marble. The ceiling is paneled with an allegorical composition of carved flora and 18th-century polychromatic azulejo ashlars, completed in the last quarter of that century. In the space one can observe along one wall two round marble fountains with lion heads, which give the space its name.
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The second half of the northeast wall that faces the street was constructed in the second Roman phase. A facade was built in opus quadratum of seven rows of ashlars of varying size, which is attached to the northeast lateral wall of the hydraulic structure of the first phase. The size was increased from the northwest to the southeast by creating a new line of orientation to the wall, which is the one that generates the trapezoidal plant that will have the nave. In this space, different rupture interfaces are observed along the entire surface.
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Other lodges soon adopted the program, working under the established foundation. Participating lodges work through a local school district to provide money to assist needy children with the purchase of winter clothing, eye exams, glasses or other items when a need is identified by a school administrator. To strengthen the bond with Prince Hall Masons, the officers of the two Grand Lodges visited the Old Granary and Copp's Hill burial grounds on May 10, 2005. During the visits, two ashlars were dedicated, one at Paul Revere's grave and the other at the grave of Prince Hall.
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The entrance for the visitors of the basilica is on the south side, almost entirely hidden by the ancient Bishop palace (today nuns monastery); it can be reached from the jetty through a renaissance portal and a vaulted stair. The basilica has three apses (one entirely hidden by the sacristy); the central one is constructed with ashlars and decorated with a Lombard frieze. The octagonal lantern tower dates to Romanesque period, but modified in the late 18th century. The bell tower is near the apsides and it is decorated with mullioned windows in the upper part.
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About east of the house is an orangery which was constructed in 1789–90 to designs by Davenport. In Gothick style, the seven-bay building is constructed from ashlars, with tall pointed windows facing south over the park, a pediment above the central three bays, round wings at either end, and battlements with pinnacles. Many details are based on the pattern books of Batty Langley. Some of the stonework in the grounds may be derived from the Grey Geese of Adlestrop, a collection of stones (possibly a neolithic monument) found on the top of Adelstrop Hill nearby.
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Construction of the Masonic Temple and Scottish Rite Cathedral was begun in 1927 on the site of two former mansions. Construction of the building took three years with the Temple inauguration taking place on January 2, 1930 when the first meeting was held in the building; it was formally dedicated in May 1930. The rectangular plan building is clad in coursed ashlars of Indiana limestone supported by the structural steel framework. At approximately , the building houses two theaters, public and masonic meeting rooms and event spaces, a grand ballroom, as well as numerous other offices, rooms and areas.
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Founded by the Spanish conquerors toward the 17th century, Coracora was developed in what was the road between Lima and Cuzco. There, old colonial constructions built in white ashlars such as the beautiful local church of Baroque and Renaissance style, can be found. Nevertheless, it was in the 19th and 20th century that Coracora became one of the flourishing cities of the Peruvian south mountain, thanks to the cattle raising that could gather an important number of local managers and European immigrants. Toward the 1940s, Coracora reached an uncommon cultural and economic peak for a small city on mountain Peruvian.
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The Saltuarius and his wife (replica of a gravestone) According to historians, Christian Mehlis (1883) and Friedrich Sprater (1927/28), who conducted the excavations in two stages, there was an oval walled enclosure of solid ashlars on the ridge that drops steeply into the Schwarzbachtal valley. This enclosure made good use of natural bunter sandstone rock faces and reinforced an older structure of wooden posts. Within this wall was the Roman camp which had two gates, one at the eastern end and one at the western end. Today only remnants of the defensive wall can be made out.
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In 1897 the Black Forest Club had a new tower built of bunter sandstone from the local area (work started on 10 May and it was completed on 12 August), which was 22.2 metres high at that time. Due to the height to which the trees had grown, it was raised in 1968 by a further 6.4 metres to the present 28.6 metres. This extra section can be seen from inside the tower: in the area of the old top of the tower the material of the newel changes from sandstone ashlars to Béton brut. The staircase has 158 steps.
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The central three bays were rusticated on the first and second floors, and each floor had three large round-arched windows, spanned by an iron-railed balcony on the first floor. To each side, a further bay projected on both floors, like a tower, with rusticated quoins and rectangular window openings. The outermost bays, in plain ashlars, projected further on the ground floor only, with a broken triangular pediment above an opening with a round-headed arch supported by pillars. The first floor of the outer bays was set back, and built of brick without stone facings.
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In some Masonic groupings, which such societies term jurisdictions, ashlars are used as a symbolic metaphor for how one's personal development relates to the tenets of their lodge. As described in the explanation of the First Degree Tracing Board, in Emulation and other Masonic rituals the rough ashlar is a stone as taken directly from the quarry, and allegorically represents the Freemason prior to his initiation; a smooth ashlar (or "perfect ashlar") is a stone that has been smoothed and dressed by the experienced stonemason, and allegorically represents the Freemason who, through education and diligence, has learned the lessons of Freemasonry and who lives an upstanding life.
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Architectural archaeologist Leen Ritmeyer identifies specific courses of visible ashlars located on to the northern and south of the Golden Gate as Judean Iron Age in style, dating them to the construction of this wall by King Hezekiah. More such stones are supposed to survive underground. According to Hershel Shanks, "most scholars," think that Ritmeyer is "correct." Ritmeyer has pointed out that the Dome of the Rock is seated on a square platform atop the Temple Mount, the sides of which, defined by short flights of steps, are square and parallel to the modern walls of the Mount with one exception: the western steps deviate from parallel.
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Renewed excavations began in the summer of 2012 under the new directorship of Dr. Norma Franklin of the University of Haifa Zinman Institute of Archaeology, and Dr. Jennie Ebeling of the University of Evansville.Biblical Archaeology Review, May/June 2013 The excavations uncovered a casemate wall and four projecting towers surrounding the fortress, built with a combination of well-cut ashlars, boulders and smaller stones, and an upper level of mud-brick. The fortress enclosed an area of almost . It was 860' long and 470' wide, and defended by a steep slope to the north and a moat 20' deep and rampart on the other three sides.
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From there rise ashlars of limestone, providing a new finding that the track is of al-Andalusian origin, because the materials follow the style of Cordoban rigging, which is a constant in the centuries in which life unfolds in Madrid. The Córdoban rigging is an ashlar to rope – the longest part of it abroad – and two or three blight, the short side visible. This is difficult to appreciate along the stretch, because the passage of time. In fact, it is possible that the Walls was remodeled in the 10th century after a siege of Ramiro II of León, but never possible that was rebuilt.
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In the process of restoration, two more crosses were found to have been kicked, carved on the outside of the left door. A nail from the Ferrería de El Pobal in Muskiz was also used, as well as two other restored nails from local constructions that show a four-lobed exterior. Outside, we should also point out the relief of a cruz patada, on one of the ashlars of the sacristy. This motif of a kicked cross is repeated on several doorways in the Palencia and Burgundy areas, with the cross almost always in the same position to the right of the main door.
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Inside > Qarmūnâ there are numerous ancient ruins and a stone quarry, there are also > other stone quarries in the vicinity, including one on the north side. Many of the elements mentioned in al-Himyarí's text are currently identifiable. Archaeological analysis shows that various sections of the enclosure walls were constructed with a base of reused ashlars (blocks of hewn stone) topped with tapiales, or mud walls made of earth moistened with water and rammed, dating them to the Almohad period. Regarding access to the interior of the walled city, his description of the Córdoba (Qurṭubah) Gate was confirmed by an archaeological investigation conducted in 1995.
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The church is built in the Gothic Revival style and is constructed from coursed squared stone with red brick dressings around some of the more decorative windows. The main tower of the church has a monumental look about it which has been compared to The Cenotaph in London. The design of the building is different from Hale's earlier churches, with a move away from complex detailing to a more simple style characterised by bold massing and rigid geometry. The adjacent 1907 church which now serves as the schoolroom is built in the Arts and Crafts style from rock-faced stone and brick, with ashlars dressings and gabled and hipped slate roofs.
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The manieristic style of the exterior originated from the centred windows framed by alternatively long and short ashlars, the white plastered walls contrasting with the rusticated portals, and the balcony along Borgo Nuovo, also rusticated. At the end of the 19th century, spurs of a geometric white and black sgraffito decoration were discovered on the facade, and a living room with a coffer ceiling at the northeast edge of the first floor was identified as the room in which Raphael painted his last works, including the Transfiguration. At that time, a marble inscription commemorating the artist's ownership of the palace and his death there was affixed to the facade.
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The external façade of the southwest wall is divided into regular axes by high, narrow, Gothic rectangular windows with lighter cut stone frames that are only interrupted by two garerobes. The best preserved exterior wall is on the southeast side with the main gate made from carefully cut bunter sandstone ashlars to which the drawbridge used to lead. Witnesses thereof are a deep, blind niche, which frames the ogival arch of the gateway and used to house the drawbridge, and the still visible roller holes for the chains. Above the portal are two, angled coats of arms whose details were probably destroyed by French soldiers in 1794.
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It has annexed rooms at the foot of the tower, in a two-storey building of eclectic style. This building is attached to the tower on its north side and is a rectangular construction, symmetrical in the arrangement of its doors and windows, whose perimeters are outlined in stone. Its corners and a cornice that finishes off the entire upper part also make use of ashlars to harmonise the whole. Above the entrance to the building there is a small balcony made of tea wood and inside there is a patio that serves as a distributor to give access to all the rooms and to the tower itself.
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Excavations in the site have revealed the presence of ancient Roman ashlars. Later findings include medieval remains of a baptistery and of a crypt, identified with the Palaeo-Christian or Visigothic basilica of St. Eulalia, assigned by some scholars to the reign of king Reccared I. The foundation of the palace is traditionally connected to Peter Nolasco, whom king Ferdinand III of Castile had donated the Basilica of St. Eulalia after the conquest of the city in the early 13th century. There are few traces of the 13th convent, however. The current edifice dates to the 18th century, the church dating to 1716-1745.
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Reisner estimated that some of the blocks of local stone in the walls of the mortuary temple weighed as much as 220 tons, while the heaviest granite ashlars imported from Aswan weighed more than 30 tons. It was not unusual for a son or successor to complete a temple when a Pharaoh died, so it is not unreasonable to assume that Shepseskaf finished the temples with crude brick. There was an inscription in the mortuary temple that said he "made it (the temple) as his monument for his father, the king of upper and lower Egypt." During excavations of the temples Reisner found a large number of statues mostly of Menkaure alone and as a member of a group.
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The exterior of the house exhibits a plain style of Neoclassicism, based on Palladio, with some fussy French details. The house has an "H" plan, with a central block of three stories, and wings of two stories, constructed from yellowish Stanway limestone ashlars. The south front was originally the main entrance, with canted bays at either end, reached by a drive that swept past the main west front. The main front was originally to the west, at the centre of which is a projecting semicircular bay, with four Ionic pillars and French Neoclassical garland swags around the architrave, topped by a shallow dome with pointed Coade stone finial, and wings projecting to either side.
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During the ninth century, the castle of Monfragüe was built with five towers and two perimeters of walls. What is visible today are remnants of multiple restorations after military orders conquered it for King Alfonso VIII, with a round tower from the twelfth century and a pentagonal one from the fifteenth century. In 1450, Juan de Carvajal ordered the Cardinal's Bridge to be built entirely from granite ashlars; it facilitated communications between Plasencia and Trujillo. Since the bridge was practically the only one crossing the Tagus in the Extremadura, it gave rise to pillage, turning the area into a "paradise" of bandits and robbers hidden in its steep and impenetrable mountain ranges.
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Riga Cathedral in Latvia While in inner northern Germany and in Greater Poland natural stone was hardly available, shipping cities easily could import it. Therefore, St. Mary's Church in Lübeck, generally considered the principal example of Brick Gothic, has two portals made of sandstone, and the edges of its huge towers are built of ashlars, as normally typical for Gothic brick buildings in the Netherlands and the (German) Lower Rhine region. And the very slim pillars of its Briefkapelle (letters chapel) are of granite from Bornholm. In the Gothic brick towers of the churches of Wismar and of St. Nicholas' Church in Stralsund, stone is not used for masonry, but for contrast of colours.
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View through the nave The oldest surviving section of the church is its 13th-century choir, built from granite ashlars in late Romanesque style with a rib vault. In 1352 - as preserved in a document - Heinrich Billerbeck, the "rector ecclesie in alta schonehusen" (parson of the church in Hohenschönhausen), unmasked a man pretending to be the late Waldemar 'the Great' of the Margraviate of Brandenburg, declared dead in 1320. The present prayer hall of two naves is an addition of about 1450 erected from simple boulders and with a vaulted roof supported by a central square pier. Around 1470 a half-timbered tower was attached to the southern side of the church.
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The following local legend is told about the Teufelsstein: :Once upon a time, when Limburg Abbey was built on a hill opposite the Teufelsstein, the monks deceived the Devil into helping with its construction. They led him to believe they wanted to build an inn and in this way induced him into stacking the giant stone ashlars on top of one another. It was not until the after the building had been finished and the bells rang out for the solemn consecration of the basilica, that the Devil realised the deception. Full of wrath he wanted to take the huge boulder froom the hill opposite and hurl it at the new monastery.
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In 1591 glass and lead were bought for the windows. The king ordered lavish decorations for the square room, including a ceiling in gilded copper for which the gilding alone cost the equivalent of 100 ship pounds (170.000 kg) of copper, which failed to satisfy the king who sent 30 Hungarian gold florins in 1589 to have a large sphere gilded. Boy spent the last years of his life producing sketches for various other projects in the palace, including gilded cornices in the dining room, ashlars for the so-called "Summer Room" and for the two towers flanking the eastern gate, and he had the spires of the three crown tower raised by 20–30 feet.
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The Archaeological Museum Camil Visedo of Alcoy (Alicante), in Spain, is located in a building of Valencian Gothic and Renaissance styles that was the town hall between the 16th and 19th centuries and which later hosted different uses, such as schools, until it is enabled to Museum. The building has a plant in the form of "L" as a result of the union of two buildings at right angles. The oldest part of Gothic style has a solid facade with stone ashlars in which a cover opens with semicircular arch. The most elongated part corresponds to the Renaissance building and has a gallery of five classical arches, at the bottom, with columns of the Tuscan order.
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Judging by the marks attested in some of the ashlars of the pillars of the aqueduct alluding to the Legio IIII Macedonica that participated in the construction between 9 and 5 a. C of the road between Caesaraugusta and Pompelo -together with Legio VI Victrix and Legio X Gemina-, one could date the construction of the aqueduct on those same dates, coinciding with what would be the first monumental takeoff of the city.JORDÁN, Á.A.: “Inscripciones, monumentos anepígrafos, dudosos, sellos y grafitos procedentes del municipium ignotum de Los Bañales de Uncastillo”, CAESARAVGVSTA, 82, 2011, pp. 326-332. In April 2015, within the program of the First Roman Weekend in Los Bañales, two new audiovisuals dedicated to the hydraulic system of the city were presented.
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Also is cited that before the patronage that this hermitage had inside the Saint Isidore's saint's relics before being transferred to León in 1062. Also are known through the documents of the Archives of Ávila, the Academy of Fine Arts and the General Archive of the Administration of Alcalá de Henares, the circumstances of its transfer to Madrid after the Spanish Confiscation. ; Confiscation and move to Madrid Ashlars that stayed in situ after the remove of the hermitage in Ávila atrnageIn 19th century the church belonged to the Asociación de Labradores (Association of Farm workers); it must be then when changed its patronage to Saint Isidore. Around 1854 the building was badly damaged and the City Council ordered to the Association its demolition.
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At the same time, the Association offered the temple to the City Council but was not accepted, so they prepared to carry out the required work of demolition. But passed a years without doing anything until in 1876 the State applied the law of Confiscation, demolishing in 1877 to sell the remains of the demolition to individuals. That was how a neighbor of Ávila bought most of the stones;it may see all that stones that were used to rise a wall for commercial use, in the site where was the church, in the Atrium of San Isidro. Emiliano Rotondo Nicolau -engineer and businessman with interests of archaeologist, resident in Madrid- bought the rest of the ashlars and architectural elements.
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The building dates back to the late Middle Ages. It has a battlement tower and was built for the prestige of the family that built it. The tower, with corbels at Machicoulis (as in the architecture of the time),Roberto Calia: I Palazzi dell'aristocrazia e della borghesia alcamese; Alcamo, Carrubba, 1997 is located at the corner between Via Buonarroti and Via Madonna dell'Alto; the corner, made with ashlars on which the coat of arms (represented by a shield with the shape of a horse head with a stripe in the middle of it, surmounted by a star) is placed, is a particular one. On the ground floor of via Buonarroti there are three entrances: one is a round arch; there are two windows on its sides.
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Meleke stone was chiseled out in squarish blocks and partially cut ashlars still attached to the bedrock after being left by the workers were found. East of St. Helena's Chapel in the Holy Sepulchre Church, the quarry was over 40 feet deep and the earth and ash therein contained Iron Age II pottery, from about the seventh century BCE. According to Virgilio C. Corbo, professor of archaeology at the Studium Biblicum Franciscanum in Jerusalem, the quarry continued to be used until the first century BCE, at which time it was filled, and covered with a layer of reddish-brown soil mixed with stone flakes from the ancient quarry. It became a garden or orchard, where cereals, fig, carob, and olive trees were grown.
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The platform with double non- horizontal ramp trestle, the integration of ashlars of lesser quality and formally heterogeneous, the narrowness of the road and the pavement, using small stones on the sidewalk, are the most obvious indicators. Moreover, the bridge has a slight curve, which may be a medieval feature (although shortened), yet the width of the structure is not a common typological feature of Roman public works. In 1386, the bridge was the location selected by King John I, and his future father-in-law, the Duke of Lancaster, in order to celebrate the accord between the "new" Portugal of Avis and England, that resulted in the marriage between the King John and Philippa of Lancaster. It is unclear, though, when the bridge was reformulated during the medieval bridge.
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Umm Al Nar tomb, Al Sufouh Al Sufouh Archaeological Site at Al Sufouh in Dubai is owned and managed by Dubai Culture & Arts Authority, and consists of extensive but scattered areas of ancient occupation by a population known as the Magan. The site is distinguished by heavy concentrations of burnt ash, shell, pottery and bones on its surface. The archaeological excavation conducted at the site between 1994 and 1995 revealed an Umm Al-Nar type circular tomb dating between 2500 and 2000 B.C. The tomb is circular, 6.5 m in diameter and constructed of unworked stone blocks faced with a single outer ring wall of well-masoned ashlars. Entry to the tomb is through two doorways on opposite points of the ring wall on a NE/SW alignment.
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The high cross was commissioned by Sir Tatton Sykes, 5th Baronet (1826–1913). His wealthy merchant family had moved to Sledmere in the early 18th century and resided at Sledmere House. Eleanor cross, Hardingstone The cross was designed by the architect Temple Lushington Moore, as a village cross, closely modelled on the 13th-century Eleanor cross at Hardingstone, Northamptonshire, with two square tiers on two octagonal tiers, standing on a base with eight steps and a plinth that is inscribed with the words of the Lord's Prayer. It was built from limestone ashlars by the stonemasons Thompsons of Peterborough, with ornamental carving by John Barker of Kennington, and erected at the west side of the village, near the Church of St Mary, part of the Sykes Churches Trail.
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The Gothic Revival structure was constructed of random fieldstone ashlars, capped with sandstone; the roof was slate over an open timber arched frame. A separate chancel was placed on the south end of the building, and a shed-roofed ambulatory was run along the west side to house a side chapel and its altar. An odd detail was a set of dormers in the main west side roof, each with a lancet window; other windows also generally were of the lancet form, including a triple set at either end of the building. A belltower was attached to the northwest corner of the building; its third story, which contained the bell chamber, was topped with a Rhenish helm roof and was made octagonal through the truncation of the four corners.
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Moreover, the bottom step on the western side of the Dome of the Rock platform is composed of a single line of distinctively large and "beautifully polished" ashlars. According to Ritmeyer, the measurements given in the Mishna, tractate Middot, "The Temple Mount measured 500 cubits by 500 cubits," can be traced on the modern Temple Mount, with this step the outline of the western side of the square and the Eastern Wall the eastern side. The "precise" measurement of an ancient Judean royal cubit, 20.67 inches, outlines these landmarks area exactly. The northern edge of the ancient square was demarcated by Charles Warren, the last archaeologist permitted by the local waqf to explore the underground areas of the Mount, in his the underground structure he labeled as No. 29 in surveys he carried out in the 1860s.
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It has a flint rubble and lime mortar core, and was faced with neat horizontal courses of flint nodules with a decorative course of Roman tile, and two flint courses laid diagonally in herring-bone fashion. A surviving quoin is dressed with ashlars of Quarr stone, a non-local Oligocene limestone not found elsewhere on the site. It is believed that a corresponding wall stood about 8 metres to the north of this.S. Boulter, 'Archaeological Exavations: Blythburgh: Blythburgh Priory', in E.A. Martin, J. Plouviez and D. Wreathall, 'Archaeology in Suffolk 2012', Proceedings of the Suffolk Institute of Archaeology and History XLIII Part 1 (2013), pp. 87-116 (Society's pdf), at pp. 94-95. This building (or part thereof) was retained to serve as the nave (probably without aisles) of a new church built between circa A.D. 1190 and 1220, or thereabouts.
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The minaret (no public access), a prominent Jerusalem landmark, was added between 1635 and 1655, and took over the title of "Tower of David" in the nineteenth century, so that the name can now refer to either the whole Citadel or the minaret alone. On the site itself, from the top of the Hippicus (or Phasael) Tower, there are good views over the excavations inside the Citadel and out to the Old City, as well as into the distance south and west. Of the original tower itself, some sixteen courses of the original stone ashlars can still be seen rising from ground level, upon which were added smaller stones in a later period, which added significantly to its height. On the way up, a terrace overlooking the diggings has plaques identifying the different periods of all the remains.
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This small building is constructed at the summit of the Eastern Height, on an artificially flattened errace facing the sea. The subsequent use of this site for a number of early medieval buildings has left little legible, but there remains enough to know that the podium, built of large ashlars like those of Temple D70 BCE, measured 6.25 x 11.25m. A date in the Republican period, perhaps in the middle of the second century BCE, has been proposed on the basis of a fragment of a greco-italic amphora of that date found inside the podium. This aligns with the comparison of its architectural terracottas with those of the original decoration of the Capitolium and those of Temple B. The temple may only have survived until 70 BCE, as the Augustan reconstruction does not seem to have reached that part of the original town.
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18th century approx. The interior consists of a single nave, separated by arches of ashlars in three bodies covered with bóveda en arista and a high wooden choir at the feet. On the side of the presbytery is the main altarpiece from the first half of the 17th century with paintings on the bench of the Annunciation and Adoration of the Shepherds, flanked by four small panels representing the Fathers of the Church, from left to right: St Augustine of Hippo, St Gregory the Great, St Ambrose of Milan and St Jerome of Stridon on which four columns Corinthian Order are supported as an allegory for the pillars of the Church. The altarpiece is articulated around a central niche with the image of Asunción presiding and in the side streets four panels with paintings of the life and martyrdom of Julita y Quirico and in the attic Crucifix.
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Analise of archaeological patrimony in the region suggest that human occupation in the region extends to the 4 millennium B.C., from investigations at the megalithic site of Carapito and the Dolmen of Carapito. Within the proto-historic period, three sites (Castro de Carapito, Castro da Gralheira and Castro das Albelhas) were primary settlements in the region that collected small populations. On these sites were evidence of Roman tiles (specifically Castro da Gralheira and Castro das Albelhas), suggesting a longer period of settlement, beyond the Roman occupation. Roman presence in the region also included vestiges, as in the case of granite edicules, in the locality of Penaverde (later conserved in the National Arcaheological Museum in Lisbon), and various ashlars reused in the construction the medieval castle of Aguiar da Beira, as well as the typical of other localities in the municipality in the construction of residences in the region.
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On the two highest terraces of the hill so far three settlement phases were detected archaeologically. (I) The earliest settlement dates from the period 1300 - 970 BC (14C data); previously no associated architectural remains were found, but layers and a wide variety of finds. At least one predecessor of the fortified wall that surrounds Terrace I and II is contemporary to this earliest phase. The carved lime rock ashlars that were embedded in the later architecture (II-III) as building material could originate from a cult or representative building of this earliest phase or a little later from the period 900-700 BC. The three largest and most interpretable fragments that were found so far show (a) the head of a decorated lion, (b) a woman or child with a goat, and (c) with a (a-b) stylistically similar illustration of two (seated?) beardless persons, each are holding an instrument in front of them that surmount their heads considerably, maybe a harp.
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Stonemasons in Jerusalem (Old postcard). Used as a building material since ancient times, this "royal stone" has been of great importance to the history of the city of Jerusalem. When it is first exposed to the air it can be soft enough to be cut with a knife, but exposed to the air it hardens to make a stone of considerable durability, useful for building. Hundreds of caverns, cisterns, tombs and aqueducts in Jerusalem have been excavated from this stone.Entry, “Jerusalem”, The International Standard Bible Encyclopedia (1994), 4 volumes, Hendrickson Publishers According to a long-standing legend, "Zedekiah's Cave", a large ancient meleke cave/quarry near the Damascus Gate in Jerusalem's Old City, was the source of the building material for Solomon's First Temple.Friedman, Thomas L., “Quarrying History in Jerusalem, The New York Times, 1 December 1985 Richard S. Barnett writes that ashlars in the Western Wall and the outer retaining wall of the extended Herodian Temple platform were apparently cut from meleke quarries near Bezetha.
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The aqueduct is one of the most outstanding elements of the archaeological site of Los Bañales. It is a work, which, despite its apparent coarseness, is a key example of Roman aqueducts in Spain due to its constructive system. It extends from Puy Foradado - a name suggesting that it was drilled for the passage of water - saving a small depression of about 350 m, resting on a rocky ridge, partly elevated on pillars and in others points for a channel carved into the rock itself -specus-, to access the city of Los Bañales at some point yet to be determined. In this elevated part of the aqueduct, 32 of the more than 70 pillars that it was supposed to have are conserved, built with sandstone ashlars from the area, in variable number and thickness in each pillar, depending on the necessary height, placed dry one on another and ingeniously supported on the stratum of sandstones that emerges in the area and in which the foundation boxes needed to balance each pillar on the ground were worked.
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