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"baluster" Definitions
  1. any of the short posts that form a balustrade

140 Sentences With "baluster"

How to use baluster in a sentence? Find typical usage patterns (collocations)/phrases/context for "baluster" and check conjugation/comparative form for "baluster". Mastering all the usages of "baluster" from sentence examples published by news publications.

Visser provides a dramatic entrance to the home, with its flowery, swan-like baluster emphasizing Horta's flourish.
Because of its low center of gravity, this "vase-baluster" may be given the modern term "dropped baluster".Davies and Hemsol 1983:1.
The second baluster is closer to the riser and is taller than the first. The extra height in the second baluster is typically in the middle between decorative elements on the baluster. That way the bottom decorative elements are aligned with the tread and the top elements are aligned with the railing angle. ; Newel : A large baluster or post used to anchor the handrail.
The 2x6 should be fastened with screws to the posts and 2x4 boards for the most rigidity. Mountain Laurel Railings are curved to match a circular deck on a log home.Mountain laurel handrail, glass baluster systems, metal baluster systems, and composite railing systems all install in a similar manner. The differences is in the type of baluster installed.
Drawing of a baluster column in the article "Anglo-Saxon Architecture" in the Archaeological Journal, Volume 1 (1845) The baluster, being a turned structure, tends to follow design precedents that were set in woodworking and ceramic practices, where the turner's lathe and the potter's wheel are ancient tools. The profile a baluster takes is often diagnostic of a particular style of architecture or furniture, and may offer a rough guide to date of a design, though not of a particular example. Some complicated Mannerist baluster forms can be read as a vase set upon another vase. The high shoulders and bold, rhythmic shapes of the Baroque vase and baluster forms are distinctly different from the sober baluster forms of Neoclassicism, which look to other precedents, like Greek amphoras.
The baluster font dates from the 18th or early 19th century.
The president of Deoxidized contacted House, "the man who had done so many queer things" to see if he could devise a way to perform the polishing. House submitted samples which were sent to Washington and accepted. He used a small cabinet, twice the length of the baluster, in which the baluster was slipped on a shaft and fine, high-velocity sand was shot at the baluster, thus polishing all surfaces, both concave and convex.
The wrought iron balcony railings utilize a design with an open diamond pattern, also known as a crowfoot baluster.
Modern baluster design is also in use for example in designs influenced by the Arts and Crafts movement in a 1905 row of houses in Etchingham Park Road Finchley London England. Outside Europe, the baluster column appeared as a new motif in Mughal architecture, introduced in Shah Jahan's interventions in two of the three great fortress-palaces, the Red Fort of Agra and Delhi,"There are no free- standing baluster columns of Shah Jahan's reign in the Fort at Lahore", according to Ebba Koch ("The Baluster Column: A European Motif in Mughal Architecture and Its Meaning", Journal of the Warburg and Courtauld Institutes, 45 (1982:251–262) p. 252) but balustrades are a feature of all three. in the early seventeenth century.
The bridge measures long, wide, and approximately high. A pair of Chinese guardian lions stands on both sides of its baluster shafts.
In the churchyard is a stone sundial probably dating from the late 18th century. It consists of a baluster-like pedestal on circular plinth. It is listed at Grade II.
In the churchyard is a stone sundial dated 1776. It consists of a square baluster-shaped pedestal with a brass plate. The gnomon is missing. The sundial is listed at Grade II.
The archaic term for the metal core is "core rail". ; Baluster : A term for the vertical posts that hold up the handrail. Sometimes simply called guards or spindles. Treads often require two balusters.
Moreover, there is a baluster and balustrade made of metal in natural elemental forms. The interior walls and ceilings are decorated with frescoes, painted by the Italian artists Galileo Chini and Annibale Rigotti.
The arcades are carried on octagonal piers. The ceilings are plastered, the nave ceiling being decorated with foliate bosses. The floors are flagged. The baluster-shaped font was made in 1775 by Richard Hayward.
Foliate baluster columns with naturalistic foliate capitals, unexampled in previous Indo-Islamic architecture according to Ebba Koch, rapidly became one of the most widely used forms of supporting shaft in Northern and Central India in the eighteenth and nineteenth centuries.Ebba Koch 1982:251–262. The modern term baluster shaft is applied to the shaft dividing a window in Saxon architecture. In the south transept of the Abbey in St Albans, England, are some of these shafts, supposed to have been taken from the old Saxon church.
The three-storey, three-bay limestone front of the building is topped with a cornice and a baluster parapet. The rococo plaster of the staircase was added by William Stocking. There is extensive plasterwork throughout the house.
The main entrance at the southern facade serves as an access to the church. It has two concave walls with two late-Baroque rounded windows lined with pilasters ending in a baluster entablature with a densely profiled molding.
The supports were baluster-turned and terminated in bun feet. The name caquetoire is derived from “caqueter”, a French term meaning “to chat”. The chair was thus named the caquetoire as a reference to women sitting and talking.
In the churchyard is a sundial dating probably from the 18th century. It consists of a baluster-pedestal on a stone base. It is listed at Grade II. Also listed at Grade II are the churchyard walls, railings, gates and gate piers.
The parapet (or railing) was high and thick. Between each baluster of the parapet is a recessed panel. Atop the parapet were street lights. These were made of cast iron, were tall, and featured a griffin leg and winged shield at the base.
The facade features five large gates and 12 columns. In its style, the Court House is eclectic, uniting several Classical themes, with a fourth floor instead of a baluster, as well as Roman and Byzantine style decorations on the doors, windows and corbels.
Inside the church is a west gallery carried on Doric columns. The gallery is panelled, as are the nave and chancel to dado height. In the chancel the panelling is divided by fluted pilasters. The font is an 18th-century baluster with an octagonal bowl.
The only written record of the interior is from 1746 in which the wives of justices and vestrymen were assigned a box pew in the northern corner of the chancel and young women of the parish were assigned their former pews. There is one original baluster (the second from the left end on the altar rail).Upton 242: He asserts that the baluster and the reproductions are placed upside down throughout the building. The rood screen is based on footings discovered in the 1950s while the sounding board, that is 17th- century in origin, was found in 1894 in a barn at Macclesfield, a nearby plantation.
Bydgoszcz 2008. Its footprint is rectangular, with an inner courtyard as a well and two wings running along Gdańska Street and Freedom Square. The building has three storeys, a cellar and an attic. Facades are richly decorated with pilasters, cartouche motifs and balconies ornamented with baluster railing.
The left wing has a central entrance that leads to a corridor to an original oak baluster staircase at the rear, with two rooms on each side. In these rooms are three Jacobean fireplaces, 17th-century oak panelling, a left-handed spiral staircase, and a priest's hole.
It was filled with cracker dust approximately ten years ago as it had become unusable due to water penetration. A timber internal staircase rises from the Flinders Street foyer. It has a well-crafted turned timber baluster on one side and handrail height panelling against the wall.
The front of the house has two double-hung, six-over-six, windows on each side of the door. The front wood-paneled door has a transom and sidelights. The porch extends over the door and two windows. The porch has chamfered posts and turned baluster railings.
Between the nave and the north aisle is an arcade of round arches supported on square piers. The font consists of a marble baluster. Between the nave and chancel is a gilded wrought iron screen added by Banks. In the church are memorials to members of the Astley family.
The porch is supported by chamfered posts decorated with drop pendant brackets, and has a cut baluster rail. The roof lines of the porch, main roof, and cupola, are all studded with paired brackets. On April 13, 1984, it was added to the National Register of Historic Places.
The central entrance houses decorative, wrought-iron railings and its flanking windows begin at a height of approximately four feet. At the upper level bays, baluster rails create balconettes. Planar surrounds frame the window openings, extending above to incorporate separate architrave moldings. A continuous cornice and parapet extend across the facade.
They connect to each end of the breezeway. All roofs are clad in corrugated galvanised iron. On the upper level the verandah edges are made with cast iron balusters and baluster panels, and tapering stop- chamfered timber posts. Below, fitted between each post, are deep, arched valances made of lattice.
The screen at the east end of the church contains two Ionic columns and pilasters. The pulpit was constructed in 1880, using material from a 17th-century three-decker pulpit. It has a sounding board dated 1768. The small font is in the shape of a baluster, and dates from 1666.
A plan was drafted by 1780, owned of which nearly half was meadow. It consisted of 5 bays with pedimnented centre and doorways of tripartite Doric columns. Typical of the Decorated Style, the blank sections on the wall offset the elaborations. Colley also installed Venetian windows and a baluster staircase.
Obvious bays contrasted with fronted ornate pedimented doric columns at the entrance. Venetian windows hint at the Georgian Grand Tour and the ornate style architecture typical of the county. It also contains a remarkable baluster staircase. In horse country it was usual to have outbuildings and stables made of stone.
The bell openings are deeply set with baluster mullions. On the west side of the tower is a blue clock face. In the transepts are 13th-century lancet windows. The windows on the south side of the chancel, and the east window, have four lights and are Perpendicular in style.
The columns and pilasters are placed next to the portals and windows. Tympanums and lintels are the dominant decoration on the facade. The porch on the ground floor and the balcony on the first floor have the baluster fences. The mansard roof with dormers has the wrought-iron railing as the final element.
The distinctive twist-turned designs of balusters in oak and walnut English and DutchTwist-turned legs on a backstool feature prominently in a conversation piece of a couple in an elaborately fashionable Dutch interior, painted by Eglon van der Neer (1678): illustration. seventeenth-century furniture, which took as their prototype the Solomonic column that was given prominence by Bernini, fell out of style after the 1710s. Once it had been taken from the lathe, a turned wood baluster could be split and applied to an architectural surface, or to one in which architectonic themes were more freely treated, as on cabinets made in Italy, Spain and Northern Europe from the sixteenth through the seventeenth centuries.The architectural invention of the applied half-baluster, with a caveat concerning "the fallacy of first recorded appearances", by Filippino Lippi in the painted architecture all'antica of his St. Philip revealing the Demon in the Strozzi Chapel, Santa Maria Novella, Florence, and in Michelangelo's planned use in the Medici Chapel, is explored by Paul Joannides, "Michelangelo, Filippino Lippi and the Half-Baluster", The Burlington Magazine 123 No. 936 (March 1981:152–154).
According to OED, "baluster" is derived through the , from , from balaustra, "pomegranate flower" [from a resemblance to the swelling form of the half-open flower (illustration, below right)],The early sixteenth-century theoretical writer Diego da Sangredo (Medidas del Romano, 1526) detected this derivation, N. Llewellyn noted, in "Two notes on Diego da Sangredo: 2. The baluster and the pomegranate flower", in Journal of the Warburg and Courtauld Institutes 40 (1977:240-300); Paul Davies and David Hemsoll's detailed history, "Renaissance Balusters and the Antique", in Architectural History 26 (1983:1–23, 117–122) p.8 notes uses of the word in fifteenth-century documents and explores its connotations for sixteenth-century designers, pp 12ff. from Latin balaustium, from Greek βαλαύστιον (balaustion).
The baptistery is behind it, separated by a large door on a pulley system. Its floor is wide- planked tongue-in-groove pine, with a simple baluster. The baptistery's full- immersion brick cistern reaches to the basement floor. The walls are of King Windsor cement, with pine window casings and trim and cypress doors.
Hajek and later other makers, notably Hermann Zuleger (1885–1949) created a new instrument with changes and improvements especially to the key mechanism. The new Wiener Oboe retained the essence of the classical oboe’s internal bore, as well as elegantly simplified classical external features such as the baluster and finial, but with greatly expanded keywork.
The main Dorchester - Salisbury road passes about west of the village (A354). The church of All Saints at Martin dates from Norman times although much of its fabric is fourteenth century. Of note are its Elizabethan chalice, a paten dated 1743 and an 18th-century baluster font.The Buildings of England, Hampshire, Pevsner and Lloyd,Penguin.
The font consists of a baluster and a fluted bowl dated 1744. The reredos, altar table, and communion rail dating from 1946 were designed by Sir Charles Nicholson. Behind this reredos is an older one from 1820, in Gothic style, containing arcades with ogee heads. The pulpit dates from 1876 and contains carvings of apostles.
The porch roof is supported by square pillars with knee braces at the top and a molded cornice. At the deck, a baluster similar to those on the steps up to the porch connects the pillars. All windows are six-over-six double-hung sash. Those on the front are flanked by louvered shutters.
Of the original fountain, however, only the large octagonal marble basin is original; the upper baluster and display bowl was a later construction. The original design included four Tritons, however, once sculpted, they were judged to be too large for the size of the basin, and so became part of the Fontana del Moro.
The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.
Ceilings are partially collapsed and lath is showing. There are no remaining windows, and most of the doors and staircase baluster are gone. Several of the eight fireplace mantels appear to be late eighteenth century, but much of the interior woodwork is nineteenth century, and there appears to be none of the original hardware.
The principal staircase which ascends to the second floor is another of Robert Adam's original features consisting of wrought iron baluster and a moulded mahogany handrail. The upper floors boast large opens rooms with original Robert Adams ceilings as well many smaller rooms which have acted as bedrooms and classrooms throughout the building's history.
The railings are ornate, with baluster elements modeled on the iconography of Baroque architecture. The total length of the bridge is , and its total width is . The roadway surface on the bridge is made of granite blocks. Before World War II, a tram line ran across the bridge; it was removed during renovation of the track.
Decorative finishes and details in the public lobby are similar to those in the postal lobby and provide continuity to the interior. However, ceiling panels in the public lobby are less ornate. The main staircase ascends from the first floor. Its newel posts and baluster are cast iron with a wood railing, and treads are white marble.
Both chapels have carved screens containing original material from the 15th and 16th centuries in their lower parts. The baluster font is dated 1837 and is by George Smith. On display in the church is an 11th-century stone cross, discovered during the construction of the nearby Barnes Hospital in 1874. In the south chapel are three recumbent effigies.
The facade features a central tower, which contains the steeple. The spire is copper-clad and flares out to cover an open belfry with decorated engaged Corinthian columns and arched openings. Directly below the belfry is a baluster area above the clock portion of the tower. It was listed on the National Register of Historic Places in 2000.
The structure, located in the northwestern corner of Dewan-e-Aam quadrangle, is typical of Mughal architecture of Shah Jahan's times.Koch (1982) It is completely built of white marble that was brought from Makrana The façade is composed of cusped arches and engaged baluster columns with smooth and fine contours.Lahore Fort Complex: Moti Masjid at ArchNet. Retrieved 16 April 2008.
Inside the church is a baluster font dated 1734 and a pulpit which has been attributed to Douglas. The brass chandelier dates from the 15th or early 16th century and it contains a figure of the Virgin Mary in a canopy. Two of the monuments date from the early 14th century and another is dated 1639. The Royal Arms date from 1740.
The jambs are of large flat stones, at right angles to the wall. The form of the jambs is Roman in origin. An example of this can be seen in the Bath House of Chesters Fort on Hadrian's Wall. Windows at low level on the south are mullioned with baluster shafts and arched lintels, and the window apertures themselves are cross-shaped.
In the churchyard is an ashlar sundial consisting of three round steps and a baluster shaft. It dates probably from the 18th century, and is listed at Grade II. Also in the churchyard, and listed at Grade II is a monument dated 1780 consisting of a carved headstone. The churchyard cross, dating from 1897 was designed by Paley, Austin and Paley.
The verandah to the south is enclosed with a rendered wall pierced with a row of louvred windows. Timber lattice covers these windows on the exterior. The southern and eastern verandahs abut the footpath. The verandah balustrade on the upper level is of a simple square baluster design and the timber verandah posts terminate with a decorative capital immediately beneath the head beam.
It is enclosed by a baluster railing, which continues down the steps, and supported by freestanding columns at the front and engaged ones at the rear. Similar, smaller verandas can be found on the other sides. Inside, the rear stairway has a large carved newel post. Both parlors have Neoclassical black marble mantels that were preserved from an earlier building.
Boston merchants advertised wine glasses, jelly glasses, syllabubs, decanters, sugar pots, barrel cans, punch bowls, bird fountains, and candlesticks. Merchants also offered japanned glassware. "For those who did buy taste in the newest styles, drinking glasses were the inverted baluster type (popular in England from 1720 to about 1735) or the later drawn stem glass (1730–1745)." Both types have been found in Virginia.
In the chapel is a mutilated effigy which is said to be of Sir Thomas Tunstal. Under the tower arch is an 18th-century oval marble font on sandstone baluster base. The east window contains glass from the Netherlands dating from the late 15th and the 16th centuries. It was donated to the church in 1810 by Richard Toulmin North of nearby Thurland Castle.
The church has a reredos made from carved alabaster thought to be from the Blue John mines in Derbyshire, timber pews and a baluster font from the old chapel. Some of the stained glass is by Shrigley and Hunt. There are several 18th and 19th-century wall plaques. A window made of painted and fired porcelain over the font is from the old Peel Chapel.
Dutch Also known as Flemish, a style of brass chandelier with a bulbous baluster and arms curving down around a low hung ball. Festoon An arrangement of glass drops or beads draped and hung across or down a glass chandelier, or sometimes a piece of solid glass shaped into a swag. Also known as a garland. Finial The final flourish at the very bottom of the stem.
A circular wall with a six-panel wooden door rounded to mimic the wall's curvature was located between the entrance hall and the stair hall of the Wirgman Building. The stairway's balustrade in the stair hall featured turned baluster shafts and a newel post crafted from maple. The stairs themselves featured scrolled step ends. The building's interior doors were six-panel wooden doors with paneled door jambs.
The open edge is also decorated with cast iron baluster panels and balusters beneath a timber handrail. The panels display a cornucopia design motif featuring two horns, one filled with fruit and the other with vegetables. Below the symmetrically curved horns are bunches of wheat and another plant. Located centrally at the bottom of the panel, where the ends of each bunch cross, is a horseshoe.
The main features of the balconies are the lattice, still and baluster. The wooden balconies projecting at upper levels also allow for privacy and air circulation, an essential feature for buildings in warmer countries. Non-rounded balconies were introduced in Spain in the 18th century. Balconies of the 15th to the 17th century are noted for their openness, while balconies built after that period are more closed.
The inscription above the gateway in the courtyard The main wing consists of three storeys over a high cellar and is five bays wide. The widows on the first floor have baluster decorations. The two outer widows on the first floor are topped by triangular pediments and the three central ones are topped by a frieze. A gateway topped by a fanlight opens to a narrow courtyard.
"A row of balusters surmounted by a rail or coping" 1644. OED; The term baluster shaft is used to describe forms such as a candlestick, upright furniture support, and the stem of a brass chandelier. The term banister (also bannister) refers to the system of balusters and handrail of a stairway. It may be used to include its supporting structures, such as a supporting newel post.
In the churchyard is a stone sundial from the late 18th century consisting of a vase baluster on a round step sitting on a square flagstone base with a copper dial and gnomon. Just outside the churchyard wall are stocks probably dating from the early 18th century. The churchyard also contains the war graves of six British servicemen, four of World War I and two of World War II.
Bishop House is a historic home located near Graysontown, Montgomery County, Virginia. The house was built about 1890, and is a one- to two-story, three- bay, brick dwelling with a double pile central passage plan. It has a standing seam metal gable roof. Its front porch features turned posts and a baluster bracketed spindle frieze with drop pendants, and a pointed window in the steep pedimented gable.
Crockett Springs Cottage, also known as Camp Alta Mons Cottage, is a historic home located at Piedmont, Montgomery County, Virginia. It was built about 1889, and is a one-story, four-bay, two-room, frame cottage on brick piers. It features a porch with flat decorative wood posts and a square baluster railing. It is one of the few surviving structures from the large number of resorts within the county.
In the churchyard is a buff sandstone sundial. It consists of column baluster on a square base with a cap in a different stone. The copper plate and gnomon are inscribed with the date 1596 and two sets of lines and numbers. It is listed Grade II. The churchyard also contains the war graves of three soldiers, two of World War I and one of World War II.
The main form produced from Brandsby-type ware is the jug (or baluster jug), but cooking pots, bowls and condiment dishes also feature.McCarthy, M.R. and Brooks, C.M. 1988. Medieval pottery in Britain AD900-1600, Leicester, 233–236. Initially the forms are very similar to York Glazed Ware, but the ware later develops its own unique decorative style including rouletting or roller-stamping, combed wavy lines, or plain incised lines.
In Cajun or Creole Louisiana, a pie safe is referred to as a garde-manger or a garde de manger. Pie safes from this region had doors with punched, tin panels, known in the region as tôles de panneaux, or were inlaid with baluster, closely spaced. These items of furniture were considered utilitarian, as opposed to decorative, and were often coloured dull red, referred to as gros rouge.
Floors were originally marble, but are now covered with green terrazzo panels trimmed with gray terrazzo. A mural by an unknown artist depicts a classical seated figure of Justice flanked by allegorical representations of Agriculture and Industry. A staircase with marble treads and wainscot and a cast-iron baluster with a swag pattern leads to upper floors. The main courtrooms are the most significant spaces on the third floor.
In the churchyard is a stone sundial dated 1726 consisting of a baluster-shaped shaft on two circular steps. On the top of this is an octagonal plate and a gnomon. The churchyard also contains the war graves of fourteen Commonwealth service personnel of World War I (the oldest being 74-year-old Lieutenant-Colonel W. Alexander of the Royal Army Medical Corps) and ten of World War II.
Jarvis, St. George's, p. 27 Towards the end of the 18th century, verandahs replaced the built-up porches at the top of the front staircase. First appearing in buildings designed by the British military, the verandahs originated in India and were popular in the West Indies. Initially most used either a plain square baluster or a "Chinese Chippendale" style, increasingly elaborate forms took precedence during the Victorian era.
The three-storeyed verandah ensemble has bays supported on single and paired posts, the lower two storeys with open balusters and the top level with flared shingled aprons topped by baluster-work. The fenestration comprises bracketed oriels, facetted bays and ranges of multi-paned casements. The wall-hung shingling imparts to the design an American Shingle-style flavour. The terraced garden includes a couple of very tall, shaft-like Washingtonia palms.
In the churchyard is a buff sandstone sundial dating from the early 19th century. It consists of a bulbous baluster on a circular stone base with a capital of acanthus leaves which carries the original circular plate with italic Roman numerals. It is listed at Grade II. The churchyard also contains the war graves of a soldier of World War I, and a soldier and Royal Air Force officer of World War II.
The music room with its square piano from around 1830 is notable for its painted friezes and a medallion painted above the fireplace. In one corner stands a stinkwood Cape gabled corner cupboard with silver escutcheon plates. Japanese Imari porcelain garniture is set on top of the cornice. Important ceramics in this room include a covered baluster jar which dates from the 17th century, which is one of the earliest pieces in the house.
Moreover, the balustrade terrace, rooftop and octagonal towers have dainty knobs and a rectangular box-like shape chiseled into each baluster. Furthermore, there are decorative brackets underneath each window, projecting ‘chhajja’, entrance ways, domes, all around the building which makes it look more delicate to one's eye. Also, each of the columns around the building has motifs and flowers engraved horizontally between spaces. These go all around the building in a horizontal line.
Internally there are galleries on three sides. The reredos is a First World War memorial by E. Carter Preston dated 1920, the communion table is in Rococo style and is a survival from the first chapel. The font is a baluster dating from the 18th century with an Arts and Crafts cover. The pulpit (altered) dates from the 18th century and most of the box pews survive, albeit most with doors removed.
In France this flat and simple treatment was to a certain extent used. Doors were most suitably adorned in this way, and the split baluster so characteristic of Jacobean work is often to be met with. There are some very good cabinets in the museum at Lyngby, Denmark, illustrating these two methods of treatment in combination. But the Swiss and Austrians elaborated this style, greatly improving the effect by the addition of color.
In the churchyard, to the south of the church, is a sundial dating from the late 17th or the early 18th century. It consists of a baluster on a square step; the gnomon is missing. In the east wall of the churchyard is a former sandstone hearse house, of which only the façade remains. It dates from the early 19th century, it has a pointed entrance and a cornice, and is crenellated.
At high level, the belfry has arched five-light windows with baluster shaft mullions. The blind arcading is purely decorative, since the arches and triangles spring from string courses rather than supporting them. In fact Warwick Rodwell has suggested that the "hopeless jumble" of the arcading at Earls Barton demonstrates it was mere ornament. Rodwell suggests that the design was based on timber framing but that the parts were then assembled wrongly.
Rebuilding completed on the brink of the 18th century. When the first subdivision of Poland occurs in 1772, Złoty Potok governing transitioned to Habsburg Austria. Around the year of 1840 therein castle owner, Olszewski, reconstructed the castle into the palace by design of Italian architect in the course of which part of the bulwark been destroyed and all the fine architectural details of masonry as baluster, baroque windows and doors trimming unscrupulously eradicated.
Little Beaver Creek Bridge The bridge over Little Beaver Creek is a reinforced concrete deck structure with concrete baluster guardrails built in 1915. It carries the traffic of a gravel rural road over the creek. The road served as part of the Lincoln Highway between 1914 and 1922. Originally, the highway was designated to be a mile south along the Chicago Northwestern tracks, but the Greene and Boone County segments would not align.
The window surrounds have similarly lavish decorations as the exterior, with two bands of terra cotta separated by dentils done in leaves and pearl molding. The buff brick walls likewise has a dentilled cornice with an engaged baluster-and-ring turning and a wide cyma molding done in a stylized floral pattern. The south wing's interior, originally a restaurant, remained in use as a waiting room. Inside it has some original decor suggesting that purpose.
Illustration of various examples of balusters, in A Handbook of Ornament, by Franz S. Meyer A baluster is a vertical moulded shaft, square, or lathe-turned form found in stairways, parapets, and other architectural features. In furniture construction it is known as a spindle. Common materials used in its construction are wood, stone, and less frequently metal and ceramic. A group of balusters supporting handrail, coping, or ornamental detail are known as a balustrade.
It is possible to gain access to the Hurleston family tomb under the altar steps. The baluster altar rails date from the 18th century and the lower panelling of the chancel from the 15th century. To the right of the altar is a carved list of the rectors from 1291. The font dates possibly from the 16th century and its cover has a carving of the Madonna and Child made by Rev Toogood.
It consisted of a baluster and an elevated bowl, and in it had eight pipes through which water fell into the bowl on the next level. A ball at the top of the fountain dispersed water back onto the lower levels. The seal of the city was inscribed on this ball. The waterLima, Peru fountain was replaced in by the viceroy García Sarmiento de Soto-mayor, count of Salvatierra, who inaugurated it on September 8, 1651.
The term is also used for tracery on glazed windows and doors. Fretwork is also used to adorn/decorate architecture, where specific elements of decor are named according to their use such as eave bracket, gable fretwork or baluster fretwork, which may be of metal, especially cast iron or aluminum. Fretwork patterns originally were ornamental designs used to decorate objects with a grid or a lattice. Designs have developed from the rectangular wave Greek fret to intricate intertwined patterns.
The arcade became run down as time went by. Restoration work was carried out in the 1970s, but a fire broke out on the morning of 25 May 1976. The arcade was partly destroyed. The ensuing sympathetic restoration by Prudential Assurance in 1976-1978 included the restoration of the two hydraulic lifts, laying of a new tiled floor, the copying of the golden cast-iron balustrades, and reproductions matching of the original hand-carved cedar baluster posts.
In the churchyard are three structures which have been designated as Grade II listed buildings. To the south of the church is a sandstone sundial dating from the middle of the 18th century. It stands on two circular stone steps, and consists of a baluster on a square base and has a moulded cap on which there is a copper dial and gnomon. Nearby is a pedestal tomb dated 1831 to the memory of Richard Butler.
The arches are supported by baluster shafts, which are typical of Anglo-Saxon architecture, and can also be seen at the tower of All Saints' Church, Earls Barton, about southeast of Brixworth. In the 14th century the upper stages of the tower and the spire were added. The churchyard contains the war graves of three British Army soldiers of World War I and a Royal Pioneer Corps officer of World War II. CWGC Cemetery report, details from casualty record.
The Bragg House is a historic house in rural Ouachita County, Arkansas. It is a two-story Greek Revival house located about west of Camden, the county seat, on United States Route 278 (formerly designated Arkansas Highway 4). The house is basically rectangular in plan, with a hip roof. Its main entrance is sheltered by a two-story temple-style portico, with four columns topped with Doric capitals, and a turned-baluster railing on the second floor.
The tower, whose core is the central staircase, has a stairway in short straight flights and quarter landings, with the centre filled in with timber and plaster forming a series of cupboards. The black oak of the balusters is mostly original timber. At the top, the handrail newel and baluster are cut from sound oak beams found among the woodwork during the restoration of 1907–08: four centuries old but when sawn still fresh and sweet smelling.
Also in the churchyard are four structures listed at Grade II. To the south of the porch of the church is a sundial dated 1768. It consists of a baluster on a circular plinth carrying a circular table with an octagonal brass sundial. To the west of the tower is an 18th-century monument in Baroque style marking the site of the Nerquis Hall vault. It is in white marble and consists of an altar-tomb on a plinth, with memorial plaques.
Following the 1976 and 1980 fires, large portions of the interior were reconstructed to match the original in appearance, with an upgrade of materials for fireproofing concealed under traditional materials. Some of the original fabric remains as fragments. The two suspended type hydraulic lifts were repaired, the golden cast iron balustrades were copied and the cedar baluster posts were made to match the handcrafted originals. Tessellated tiles, stained glass and cedar stairs and shopfronts were adapted from the original designs.
Above the niche there is a stylised chaitya. The baranda portion decorated with muktalobhi hansa flanked by two stylised chaitya. The jagamohana is a rectangular hall in shape decorated with three baluster windows, one measures 1.20 metres in height and 1.00 metres in width except this the jagamohana is devoid of ornamentation. The jambs of niche is decorated with three vertical bands of scroll works like lotus leaf, beaded design and floral motif from exterior to interior flanked by two vertical pilasters.
The sculptural fountain is made into the shape of a half-sunken ship with water overflowing its sides into a small basin. The source of the water comes from the Acqua Vergine, an aqueduct from 19 BCE. Bernini built this fountain to be slightly below street level due to the low water pressure from the aqueduct. Water flows from seven points of fountain: the center baluster; two inside the boat from sun-shaped human faces; and four outside the boat.
Picton's monument, 1830 The Picton Monument in 2008 In 1828, a monument was erected at the west end of the town to honour Lieutenant General Sir Thomas Picton, from Haverfordwest, who had died at the Battle of Waterloo in 1815. The pillar, which was about , was designed to echo Trajan's column in Rome. A statue of Picton, wrapped in a cloak and supported by a baluster above emblems of spears surmounted the column. The structure stood on a square pedestal.
Another well-preserved example is the Roman Baths at Bath, Somerset. Early Medieval architecture's secular buildings were simple constructions mainly using timber with thatch for roofing. Ecclesiastical architecture ranged from a synthesis of Hiberno–Saxon monasticism,.. to Early Christian basilica and architecture characterised by pilaster-strips, blank arcading, baluster shafts and triangular headed openings. After the Norman conquest in 1066 various Castles in England were created so law lords could uphold their authority and in the north to protect from invasion.
Quick House in 1905 The Quick house is a two-story cross-gable hipped roof wood frame Queen Anne home, with clapboard siding and decorative shingling, constructed in 1900. It sits on an uncoursed fieldstone foundation, and is roofed with faux diamond slate asphalt shingles applied over cedar shingles. The front of the house features a wraparound hipped roof open porch, with a turned-baluster railing that spans the entire facade. The opening to the porch is framed by Tuscan columns.
Another well- preserved example is the Roman Baths at Bath, Somerset. Early Medieval architecture's secular buildings were simple constructions mainly using timber with thatch for roofing. Ecclesiastical architecture ranged from a synthesis of Hiberno–Saxon monasticism,.. to Early Christian basilica and architecture characterised by pilaster-strips, blank arcading, baluster shafts and triangular headed openings. After the Norman conquest in 1066 various Castles in England were created so law lords could uphold their authority and in the north to protect from invasion.
Baluster candle sticks and a French Empire mantel clock with a figure of Minerva, (1817). Located in the Blue Room of the White House, shown as decorated by Stéphane Boudin in 1963. The clock is now on a table of the Entrance Hall. Napoleon and the Archduchess Marie-Louise, as Mars and Venus Pierre-Philippe Thomire (1751–1843) a French sculptor, was the most prominent bronzier, or producer of ornamental patinated and gilt-bronze objects and furniture mounts of the First French Empire.
The single chamfered bay is particularly ornate, as it recesses slightly and then curves outward in a baroque fashion. At the ground floor, a wide, segmental arch opening with a hood-mould accesses secondary office space. At the upper level, a rectangular doorway is crowned by an intricate cameo with angel figures on either side of it. The upper level bay is framed by Tuscan columns which spring from a string-course at the baluster level and support a projection of the building cornice.
The main facade is located on the west side, it is Romanesque, although with later Neoclassical and Baroque additions. It forms three bodies, with their respective doors that correspond to the three naves of the building, divided by two strong buttresses s. On both sides of the main façade, there are two towers of sandstone, of four bodies, joined together by a stone baluster built in 1725. The atrium was built in 1536, after destroying the wall, which was located in front of the Cathedral.
Pittsfield's Old Town Hall is located on the north side of the city's Park Square, between the First Congregational Church and St. Stephen's Episcopal Church. It is a two-story masonry structure, built out of load-bearing brick that has been stuccoed and painted. It has a side-gable roof with a balustrade with alternating panels and baluster groups, and there is a slightly projecting center section on its front (south-facing) facade. This projecting section, three bays wide, is topped by a fully pedimented gable.
It was known as Swindon House until 1850, and later as the Lawn. The family home was a double-cube fronted building of brick with stone dressings and a baluster parapet. To the east of this was a five-bedroom dining block that looked out onto the gardens. When last occupied by the family, the Lawn had an outer and inner hall on the ground floor (giving access to a lobby and drawing room), a dining room with adjoining study, billiard room, library and gun room.
Original features include plaster mouldings, bolection moulded fireplaces, and rococo wood carvings. The cantilevered Imperial staircase, added by Soane, has stone treads and a cast iron baluster, leads to the piano nobile on the first floor, decorated with carved wooden fittings and moulded plaster cornices. It has 13 bedrooms, with six main bedrooms, seven bathrooms and two dressing rooms on the first floor, and seven more bedrooms and five bathrooms on the second floor. The 18th-century Italian wall-paintings were removed from the salon c. 1949.
After the 19th century restoration, some of the memorials were moved to the base of the tower. These include a black marble tablet to John Glegg, who died in 1619, depicting his kneeling figure, a white and grey marble tablet in memory of Katherine Glegg who died in 1666, and an alabaster plaque with the seal of William de Hesele Wele who lived in the early 14th century. The baluster font dates from the 18th century. The chandelier under the tower is from the late 17th century.
The Albert is a four-story building constructed of yellow brick with red brick dressings and stucco trim. It is three windows wide facing Victoria Street, and five window deep with a two-storey, three-window extension. The original canted ground floor frontage is central paneled with glazed doors and flanking windows framed by granite pilasters carrying fascia, cornice, and baluster with ball finials. The return features coupled pilasters with small pediments over the cornice than runs across the full extent of the ground floor.
The transept has retained an early 16th-century coffered ceiling with decorated bosses, two of which are carved with the arms of Henry VIII and Cardinal Wolsey. The north west tower is also of Norman construction. It serves as the baptistry and houses a black marble font, consisting of a bowl on a large baluster dating from 1697. The lower part of the north wall of the nave is also from the Norman building, but can only be viewed from the cloister because the interior has been decorated with mosaic.
In the churchyard the gates, gatepiers and churchyard wall along north side of Shotwick Lane are Grade II listed structures. Also listed Grade II are the red sandstone sundial consisting of a tall bulbous baluster on square base dated 1720, and the tombchests of James Phillips, John Nevett Bennett, Rev M. Reay and four children, Robert and Martha Ellison, William Briscoe (died 1704) and others, and William Briscoe (died 1723) and others. In the northwest part of the churchyard are the war graves of nine Royal Air Force officers of World War I.
My mother used to sit in the church and read the Lord's Prayer and > Ten Commandments over the Chancel, and admire the gilded dove that Mr. Sears > had placed high over the Pulpit. The 'Eye' which he also had made seemed to > be looking at her no matter where she sat. Little remains of the original interior fabric of the church, save for the cornice and one baluster on the chancel rail. Much of the rest is a conjectural reconstruction dating to the early years of the twentieth century.
In the churchyard is a baluster sundial, and a South African War Memorial from the early 1900s, which is probably by Douglas and Minshull. The south gates to the churchyard, dating from 1877, were by Douglas. To the northwest of the church is a lychgate designed by Sir Herbert Baker in 1929, consisting of a pyramidal roof on ogee timber framing. The churchyard contains 57 Commonwealth war graves of service personnel, 9 from World War I and 48 (predominately Royal Air Force) from World War II. CWGC Cemetery report, details from casualty record.
Surrounding buildings are 5-6 stories which roughly corresponds to the height of the church tower but while the area is dominated by red brick buildings, the church is made of light gray limestone from Faxe. The structure architecturally presents a monumental appearance with a tall superstructure, dominating tower, large windows, baluster and wide granite stairs. It has a clean, puritanical appearance with few decorations and an open tower with free hanging bells. The church interior is minimalist with few decorations, a wide hall in the nave and a small elevation to the baptismal font.
The single baluster and sounding board are the only original interior appointments.Rawlings 34–35 The original interior appointments were long ago destroyed and the present is a restoration from the 1950s. It consists of a square pew of each side of the altar, two box pews west of the chancel screen, and seventeen slip pews in the nave.Rawlings 35 The pulpit is a reconstruction three-decker of 1950s origin; Rawlings postulates that a two- decker pulpit originally was built due to the lack of space for a clerk's desk.
Yali baluster at Nanesvara temple Close up of open mantapa with various pillar designs at Nanesvara temple, Lakkundi According to art historians Adam Hardy and Henry Cousens, the Nanesvara Temple follows the same basic plan as the Kasivisvesvara Temple, minus the auxiliary shrine. The temple, according to Adam Hardy, belongs to the mainstream Lakkundi school and was built in the middle of the 11th century. It consists of a sanctum (garbhagriha) that connects to a closed hall (mantapa) via a vestibule or antarala. The closed hall opens on a pillared open hall.
A peripteros with a peristasis between the columns (dots) and the walls The peristasis () was a four-sided porch or hallway of columns surrounding the cella in an ancient Greek peripteral temple. This allowed priests to pass round the cella (along a pteron) in cultic processions. If such a hall of columns surrounds a patio or garden, it is called a peristyle rather than a peristasis. In ecclesial architecture, it is also used of the area between the baluster of a Catholic church and the high altar (what is usually called the sanctuary or chancel).
The church was rebuilt in the 5th century with a bema, which now sits in the center of the nave. Church, Batuta (باطوطة), Syria - Bema, looking west - PHBZ024 2016 6154 - Dumbarton Oaks 40m south of the central church is a two-story building that likely served as a dwelling. The ground floor retains a decorated votive baluster Batuta (باطوطة), Syria - Dwelling (?), View from the east - PHBZ024 2016 8805 - Dumbarton Oaks 100m southeast from the central church is another, smaller church, closer to the edge of town. This structure consists of a nave and square apse.
The altar table and chancel gates date from the 18th century while the sanctuary chairs are Jacobean. On the south wall are the arms of Charles II. The font consists of a stone baluster with a hollowed trough, dating probably from the 17th century. The stained glass in the north window dated 1897 is in the Arts and Crafts style. The chapel contains wall memorials to Sir Robert Cunliffe, who died in 1778, and to Sir Ellis Cunliffe, who died in 1767, both with putti, by Joseph Nollekens.
Vermeer is represented as a dark spindly figure in a kneeling position. The figure's outstretched leg serves as a table top surface, on which sits a bottle and a small glass. This leg tapers to a baluster-like stub; there is a shoe nearby. The walls and the distant views of the mountains are based on real views near Dalí's home in Port Lligat.The Salvador Dalí Society, Dalí’s ‘Ghost of Vermeer’ a Miniature ‘Huge’ in Importance accessed 13 May2013 In Vermeer's painting the artist leans on a maulstick, and his hand is painted with an unusual blurriness, perhaps to indicate movement.
St Mary's Interior, showing font The porch incorporates a vestry and stairs leading to the panelled gallery which is supported by square fluted columns and occupies the west and south sides. At the east end are box pews created for George Anthony Legh Keck of Bank Hall while the west end has open benches. In the centre of the north side is a reading desk. The church has an octagonal panelled pulpit, an 18th-century font in the form of a simple baluster, a 19th-century cast iron stove decorated with wreaths standing on claw feet and a flagged floor.
Opposite the doorway to the Iglesia de Nuestra Senora de la Asuncion, and a little down the hill, stands a 16th-century Plateresco style cross erected to mark the way of Pilgrimage known as the 'Silver Way'The Camino Mozarabe or Via de la Plata: Braganza - Zamora - Santiago (Pilgrim Guides to Spain) Paperback, Published: Confraternity of St James (May 2005), Author: Alison Raju, or Vía de la Plata to Santiago de Compostela from the Andulucian city of Seville. The marker consists of a baluster column topped by a Genovese capital. Above the capital sits a Plateresque flint cross.
The 1926 version contains a number of curious elements, some of which are common to many of Magritte's works. The bilboquet or baluster (the object which looks like the bishop from a chess set) first appears in the painting The Lost Jockey (1926). In this and some other works—for example The Secret Player (1927) and The Art of Conversation (1961)—the bilboquet seems to play an inanimate role analogous to a tree or plant. In other instances, such as here with The Difficult Crossing, the bilboquet is given the anthropomorphic feature of a single eye.
The work consists of a circular pool slightly raised above the street level. The protruding edge, the center of which is placed on a large circular base, a convex edge, on which the water slides rather than falls. The base supports a stocky and short baluster, adorned at the top with the leaves or petals relief from which flows the water and in the lower half, with a series of small tanks placed around the circumference of the banister. The latter supports a wide, central, flared basin, whose center is located in a circular base just higher than the tub edge.
In the churchyard is a sundial dated 1726. It consists of a stone vase-shaped baluster standing on a two-tier base, which carries a stone basin with a bronze dial. The sundial is listed at Grade II. Also in the churchyard is the parish war memorial (unveiled 1920), an 18-feet high cross of Runcorn stone surmounted by a lantern-head depicting the Crucifixion, St John, St Mary, and St George and the dragon, said to be an adaptation of the l5th-century cross at Dorchester- on-Thames. Metal plates around its base list 68 men from World War I and 10 from World War II.
The chapel wing comprises two sections: the earlier 1890 chapel toward the front elevation of the building and extending from the rear of this the 1921 extension. Externally, the extension employs stripped classical detailing with rusticated pilasters dividing the external walls and separating the round headed arched openings. Other detailing includes a projecting base, moulded string courses, enlarged keystone detailing above the arched openings and moulded entablature forming a parapet some of which is surmounted by an Italianate baluster detail above. The chapel has a traditional plan, with central nave, side aisles, polygonal sanctuary and a shallow transept extending from the south-western end of the building.
To the west of the hall is a ha-ha in rubble sandstone dating from the 18th century. It was built to act as a barrier between the west side of the garden and the deer park beyond it, and is listed Grade II. Immediately to the south of the hall is a circular lawn, in the centre of which is a sundial that probably dates from about 1825. Constructed in ashlar buff sandstone and standing on a pair of circular steps, it consists of an octagonal base with a partly fluted baluster supporting an octagonal moulded capstone. The capstone carries a copper plate inscribed with Roman numerals and the initials "TL", and has a simple triangular gnomon.
In 1968 permission was granted for the garage to be converted to a living room and for a roof enclosure to terrace to form a garage. In 1972, a horse stable and tack room were permitted. Between 2009 and 2015, permission was granted for a detached garage block, for the wings of the main house to be demolished, rebuilt and extended incorporating basement accommodation and for landscaping works to be carried out. The original form and central plan arrangement of the principal rooms of the house remains largely intact together with the original curved staircase, slender steel framed curved stair window and curved timber handrail detail to the top of the central curved baluster wall.
Siebenhüner, in tracing the baluster's career, found its origin in the profile of the round base of Donatello's Judith and Holofernes, c 1460 (Siebenhüner, "Docke", in Reallexikon zur Deutsche Kunstgeschichte vol. 4 1988:102-107) and credited Giuliano da Sangallo with using it consistently as early as the balustrade on the terrace and stairs at the Medici villa at Poggio a Caiano (c 1480),Davies and Hemsol 1983 note the earliest uses of both types of baluster in fictive classicising thrones and architecture in paintings. They instance an earlier use in real architecture on the main façade of the Palazzo Ducale, Urbino, where Luciano Laurana was employed (p. 6 and pl. 3j).
On September 12, 1885, two young men walked along a county road south of Dixon, one a farm hand named Joseph M. Mosse and the other, Frank C. Thiel, a traveling salesman from Elgin, IL. The unemployed farmhand told the salesman of a place he could sell his Bibles and proceeded to take him to a farm where he had worked. As the two men passed a gulch the farmhand struck and killed the salesman with a knife and a walnut baluster he was seen carrying under his arm. He then buried the body in the culvert. The body was later discovered when cattle refused to use the underpass en route to a milking barn.
Laterally the church has two towers, the one on the right remains unfinished, and the one on the left, about 50 meters high, stands on four floors, with openings of shape of varying size: that of the base is a door with arch, and a successively open arch door, with a baluster, a simple oculus, and a bell-window also in full arc. Crowning the tower, dome with several ornate overlapping cornices, oculus, pinnacles and cross. In the interior its decoration in gilt is priceless. Among the highlights are the twelve secondary altars and the main chapel, with its fabulous altarpiece with a life-size image of Our Lady of Mount Carmel, lined with angels and saints, in a frame of luxuriant work of gold carving.
The architectural character of Anglo-Saxon ecclesiastical buildings range from Celtic influenced architecture in the early period; Early Christian basilica influenced architecture; and in the later Anglo-Saxon period, an architecture characterised by pilaster-strips, blank arcading, baluster shafts and triangular headed openings. In the last decades of the Anglo-Saxon kingdom a more general Romanesque style was introduced from the Continent, as in the now built-over additions to Westminster Abbey made from 1050 onwards, already influenced by Norman style. In recent decades architectural historians have become less confident that all undocumented minor "Romanesque" features post- date the Norman Conquest. Although once common, it has been incorrect for several decades to use the plain term "Saxon" for anything Anglo-Saxon that is later than the initial period of settlement in Britain.
At the top of the pillar was a platform, which is believed to have been about one square meter and surrounded by a baluster. Edward Gibbon in his History of the Decline and Fall of the Roman Empire describes Simeon's life as follows: > In this last and lofty station, the Syrian Anachoret resisted the heat of > thirty summers, and the cold of as many winters. Habit and exercise > instructed him to maintain his dangerous situation without fear or > giddiness, and successively to assume the different postures of devotion. He > sometimes prayed in an erect attitude, with his outstretched arms in the > figure of a cross, but his most familiar practice was that of bending his > meagre skeleton from the forehead to the feet; and a curious spectator, > after numbering twelve hundred and forty-four repetitions, at length > desisted from the endless account.
The earliest examples of balusters are those shown in the bas-reliefs representing the Assyrian palaces, where they were employed as functional window balustrades and apparently had Ionic capitals. As an architectural element alone the balustrade did not seem to have been known to either the Greeks or the Romans,Wittkower 1974 but baluster forms are familiar in the legs of chairs and tables represented in Roman bas-reliefs,Davies and Hemsoll 1983:2. where the original legs or the models for cast bronze ones were shaped on the lathe, or in Antique marble candelabra, formed as a series of stacked bulbous and disc-shaped elements, both kinds of sources familiar to Quattrocento designers. The application to architecture was a feature of the early Renaissance architecture: late fifteenth-century examples are found in the balconies of palaces at Venice and Verona.
The Church of England church of St Ruthen (name sometimes believed to be a corruption of Swithun) was originally built before 1569 as a chapel to the parish church at Pontesbury. (Longden was part of that parish until it became an ecclesiastical parish in its own right in 1935; in 1955 Longden benefice amalgamated with neighbouring Annscroft.) The nave, of mixed red and yellow sandstone rubble, has a moulded plinth believed to be of mediaeval origin, and a blocked south doorway probably early 17th century. A polygonal apse chancel was added in the 18th century, which was restored 1877 and given north and south windows in 1938, while the west porch and vestry were added in 1852-53. It contains a late 17th-century plain wooden pulpit and a marble baluster shaped font, originally made for Pontesbury parish church in 1829, brought here in 1864.
Of course, in the use of the strap and shield, heraldry and its escutcheons and crests entered largely into the ornament of the Elizabethan. The ensigns armorial, set in all shapes and surrounded by all the curious mantling to be devised, appeared everywhere in conjunction with the family motto and with the intertwined initials of husband and wife, over gateways, over doorways, on dead-wall, over the fireplace; and stairways were decorated with carved monsters sitting on the baluster-tops and holding before them the family arms, frequently looking as if they had just escaped from one of the quarterings. Even such a room sometimes had stylistic mixtures such as wainscots which were set in the little square panels or in the parchment panels of the preceding reigns, or in the round-arched panels peculiar to the Elizabethan itself — miniature and open representations of which are to be seen on the back of the chair made from the wood of Sir Francis Drake's ship.
Domenico Ghirlandaio, Confirmation of the Rule (detail) - the original Marzocco can be seen on the corner of the palazzo in the background at left, 1480s. The original that had stood since (perhaps) 1377, and is now lost, appears to have been similar to Donatello's in design, though it was fully gilded and may have crouched over a submissive wolf representing Florence's great rival Siena.Victoria and Albert Museum, page on their replica of the Donatello It can be seen in the background of several paintings and prints, though by the time it was replaced it was so worn that (being only medieval, not classical) it was not considered worth keeping, and disappeared. About 1460 it was given a richly sculptural socle with double baluster-like motifs"Resembling pairs of handleless all'antica urns arranged like the bulbs of a Roman candelabrum", according to Paul Davies and David Hemsoll, "Renaissance Balusters and the Antique" Architectural History 26 (1983:1-122) p. 4.

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