Fatima returned to her patch of sun on the balustrade.
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A woman sits inconspicuously at its base, partly obscured by the ornate balustrade.
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Someone picked up a used stun grenade and placed it on a balustrade.
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A second balustrade runs around the cornice of the roof, echoing the one below.
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A relief sculpture of a sphinx on a balustrade of the Tripylon in Persepolis.
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He ended by holding down several keys, then he walked to the balustrade and waved.
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Jacques' blond head was visible just above the balustrade as the windows opened amid the ceremony.
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A balustrade surrounding the terrace continues down a double staircase to the lawn overlooking the sea.
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We designed the balustrade so that it invites you to lean on it with your elbows.
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The staircase is quintessentially Georgian, Mr. Ashmore said, with a mahogany balustrade, square balusters and sash windows.
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The curving central staircase has a custom-designed iron balustrade and a seating area tucked beneath it.
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The gentle lapping of waves, as you lean your arm against the balustrade and look out to the horizon.
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The front door opens into a foyer with an ebonized oak floor and a staircase with a slender metal balustrade.
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Ryan Stevens sat on the edge of a concrete balustrade in Central Park after finishing three laps around the reservoir.
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The entrance is up exterior steps and set back on a long patio with a balustrade with urn-shape planters.
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With a thirty-pound sack of rice on my head, all day I danced on a stone balustrade without falling off.
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And while the house's original entry and stair balustrade were intact, the ceilings, floors, moldings and window frames all needed replacing.
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Up top, a pergola with terra-cotta columns covers part of the large stone terrace, which is edged by a balustrade.
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A staircase with an iron balustrade leads to the upper level, where there is a second bedroom with a Juliet balcony.
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When a retired couple insisted on building a porch with a balustrade, Mr. López Alonso had to tactfully put his foot down.
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What is now the back of the house, a simple entrance with stone steps and iron balustrade, was, at that time, the front.
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But they scout around the porch, and finally, on the top of an urn at the end of the balustrade, they see something peculiar.
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Among them: six marble fireplaces, inlaid wood flooring, intricate moldings, wrought iron and brass balustrade, and tall ionic columns that frame the drawing room.
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A staircase with an ornate metal balustrade leads to the second floor, where there are two large bedrooms of about 1,343 square feet each.
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The paneled stairwell is just as pared down, with a series of linear reveals between plain panels and a balustrade with simple tapered spindles.
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Overlooking three sides of the room is an open gallery reached by an oak spiral staircase and bounded by an oak-and-steel balustrade.
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Rockwell Group, designer of the building's interiors, took inspiration for the form from House 39's curved glass facade, and specified a curved glass balustrade.
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Right: One of New York's newest skyscrapers can also be viewed through the Flatiron's rooftop balustrade: the hundred-and-four-story 22012 World Trade Center (22005).
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But something about this creature persuaded me to stop and observe as she traversed back and forth between stair and balustrade, constructing an elaborate death trap.
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After dramatically leaping over a balustrade, Grande shoots the woman in the hand with an arrow — horrifying Foster and Charles Anderson, the other half of Social House.
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He designed a kitchen with rustic white-oak cabinets and soapstone counters, and then a sleeping loft above it with a balustrade made of galvanized hog wire.
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Up the main staircase to the second floor, a balcony lined with a wrought-iron balustrade looks down into the sitting room and out toward the Sound.
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Front Burner There's a terrace on the eighth floor of the Saks Fifth Avenue store with a classic balustrade and sweeping views of Fifth Avenue and Rockefeller Center.
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Last year, Monaco's Princess Caroline came to a crowded window holding two newborn grandchildren — with a third being held beside her and another grandson perched on the balustrade.
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A little girl cowers in the corner, the balustrade near her shaking with the force of their pushing and shoving, until one of the women falls down the stairs.
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The master bedroom suite on the second level, reached via a staircase with an original oak balustrade, has a walk-in closet and direct access to the Turkish bath.
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The open-air terrace that most people visit, wrapping the 86th floor, has been little altered from the early years with its limestone balustrade and familiar stainless-steel grillwork.
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For Casaus, this often involves stacking visually distinct levels of, say, prickly cactuses and wispy flowering bushes, or branchy ornamental trees and soft grasses, against a balustrade or facade.
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These steps lead to a balustrade-free rooftop deck, its terra-cotta floor tiles hand-painted a burnished red and installed without grout to add dimension and enhance their symmetry.
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From the moment a step stool was placed out on the balcony so she and he brother could see — and be seen — above the balustrade, she put on a royal performance.
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The corroded exterior balustrade was taken apart and shipped to a Utah workshop for repair, and the scrap pieces were melted down to be reused in the new structure, Nowell said.
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It came as something of a shock, one night in January, when people high on the corkscrew ramp of the Guggenheim Museum's spiral rotunda started beating on the balustrade with sticks.
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As the evening light begins to filter through the black iron balustrade, turning the walls a perfect shade, Dirand makes it clear he has no illusions about what he has done.
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He was allocated the right-most spot in a row behind a wooden balustrade at the Sao Bento Palace legislature, requiring him to walk past members of the right-wing CDS-PP party.
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The bas-relief is an eight-inch-square piece of carved limestone that was part of a long line of soldiers depicted on a balustrade at the central building on the Persepolis site.
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Eventually, parliamentary speaker Ferro Rodrigues agreed that an opening be made in the balustrade next to Ventura's seat, meaning he would have his own private entrance, a spokesman for the legislature said on Friday.
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Every so often (a watery panorama with a balustrade, tall poles and complaining gulls), the compositions seem to nod at Yasujiro Ozu, the Japanese filmmaker to whom Kiarostami dedicated "Five" (2003), another experimental work.
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It's hard to tell where exactly the pieces that make up "Mmry Scrn" (2019) come from, maybe the center portion of a yoke-back chair, a broken-off balustrade, or part of a cabinet door.
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They quickly approved his dramatic suspended bridge, with a cable balustrade, that runs through the middle of the vaulted ceiling space to unite two bedroom wings on the second floor, as well as the many floor-to-ceiling windows.
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In another renovation of a vintage building, the late 1930s Petworth Neighborhood Library, at 4200 Kansas Avenue NW, was updated in 2011 with a new cupola and balustrade, a community room connecting to an outdoor patio and a children's story room.
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Titanic devotees travel to Halifax for the Maritime Museum of the Atlantic, which holds a large collection of artifacts from the wreck, including a deck chair, a balustrade from the ship's main staircase, and the leather shoes of a drowned toddler who remained unidentified until 2007.
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Stairs with a wrought-iron balustrade lead to the upper floor of the villa, which has a master suite with a vaulted beamed ceiling, a fireplace, a canopy bed, a dressing room and an en-suite bathroom with access to a balcony and an open terrace.
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An account of the murder of pugilist-turned-gangster Barney Solomon following a truce between strike breakers and the garment makers' union is paired with a 6.25 x 8.25 of a man—maybe Barney, maybe not—still clutching the balustrade of the storefront where he was gunned down.
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There are steel T sections curved to form brackets supporting the balustrade. The balustrade is enclosed with panels of chain-wire framed in timber.
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The marble putti of the balustrade are attributed to followers of Bernini. The balustrade was derived from the church of Santa Maria Murella.Comune of Montasola, short description of Monuments.
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Being made of either metal, sandwich panel, or glass, the balustrade panel supports the handrails of the escalator. It also provides additional protection for the handrail and passengers. Some escalators have direction arrows on the ends of the balustrade. Escalators' on/off buttons are frequently located at the ends of the balustrade.
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An entablature, cornice, and balustrade span the top of the building.
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The cast iron balustrade has been removed and the timber frame has been enclosed with fibre cement sheet. A small section of the cast iron balustrade survives on the southern verandah. The main roof, which is clad in corrugated iron, is hipped and surmounted by the remains of a "widows walk". The decorative cast iron balustrade has been removed from this section of the building.
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The roofs are steeply hipped, and at the eaves is a corbelled balustrade.
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Full width hip - roofed verandah supported by flat timber posts with timber picket balustrade.
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The verandahs have cast iron balustrade, brackets and valance, alluding to, but differing from, an earlier design. Below the balustrade is a patterned boarded timber frieze. Rear and southwest verandahs are enclosed with flat sheeting. The principal internal walls are of rendered brick.
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These terraces were separated from the rest of the cavea by a green cipolin balustrade.
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The platform is surmounted by a circular lantern. Surrounding the lantern is an elaborate concrete balustrade featuring large flames at the four corners. Floodlighting, concealed by the balustrade, illuminates the lantern at night. The lantern comprises a colonnaded exterior which supports a pointed dome roof.
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The composition of the area above the balustrade falls into four equal quadrants of another square.
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A turned spindle wood balustrade, for a former balcony at the room's rear wall, is retained.
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There is a large porch with arched openings which has a flat roof with a balustrade.
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Behind these again dropped a back-cloth representing a stone balustrade, blue hills and fleecy clouds.
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Prominent examples of the style exist on the wing terraces and uppermost balustrade at Thomas Jefferson's Monticello.
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Both front and rear upper verandahs have a simple two-rail dowel balustrade, and timber posts support both the upper and lower verandahs. The front upper verandah's balustrade is a recent (metal) replica. The lower front verandah has a deep valance of corrugated galvanized iron, with a (non-original) shark-tooth pattern along the bottom edge, and the painted lettering "EINASLEIGH HOTEL". Above the balustrade on the upper rear verandah there are pivoting panels of corrugated iron, which can be opened for ventilation.
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This snail was also accidentally introduced to southern England, more than once, and became established there. In 2004, the species was found in Buckinghamshire, southeastern England, in the crevices of a travertine marble and brick balustrade. This balustrade was originally constructed in Italy in about 1816, and had stood in the grounds of the Villa Borghese, in Rome. In the late 19th century the balustrade was taken from there, and was installed in the formal gardens of the country house Cliveden in 1896.
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The bridge has architectural parallels to the Abbey Bridge in Haddington. The delimiting balustrade was raised around 1895.
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It features wide eaves, tapered square columns that rest on rusticated concrete block piers, and a wooden balustrade.
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The roof has a balustrade and a symmetrical arrangement, characteristic of the neoclassic style popular in Europe then.
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A wooden balustrade runs along the top of the porch. Inside, the house retains much original finishing. There is oak woodwork, including architraves and wainscoting on the walls and ceilings. The main staircase has an intricate newel at its base trimmed in garlands and a Doric balustrade at the landing.
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Theatre on the Balustrade From 1992 up to his death in 1999, Lébl worked as a theatre professional. His first professional theatre experience was a direction in the Theatre Labyrint (1992). A year later, in 1993, he became the artistic director of the Theatre on the Balustrade. He was 28.
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The brotherhood accepted the idea only in 1812. It is covered by balustrade and a dome. The bases of the old towers were also covered by balustrade. In the interior of the church the azulejos (glazed tile panels) in the main chapel are notable and were placed in the 1870s.
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In the wing and on the sides of the building are more sash windows. The interior contains an open-well staircase with six flights and turned balusters; the balustrade has replaced a former Chinese Chippendale balustrade. On the first floor is a large room with an 18th-century decorated ceiling.
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The resulting rhythm is abaABAaba. A conforming balustrade decorated with vases and statues in white marble surmounts the façade.
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See: "Bridle Path Is Urged for Arlington Bridge." Washington Post. June 29, 1926. A balustrade, long, was also planned.
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Another small pool lies behind the arch and two small fountains hang off each end post of the balustrade.
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A paneled balustrade runs fully about the central block and the south bay rendering the low hipped roof imperceptible.
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The house has been altered slightly, however. It was a pleasing feature of the house that the balustrade design, which appears on the roof of the house, had been repeated in different scales also on the roof of the porch and on the cupola.The recent photo shows balustrade at main roof level only. A photograph and specific note on the balustrade design repetition appears in A Field Guide to American Houses, Virginia and Lee McAlester, 1984, Alfred A. Knopf's Borzoi Books: New York (page 237).
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In 2004, a colony of small Mediterranean land snails of the species Papillifera bidens was discovered living on the Borghese Balustrade. Presumably this species, new to the English fauna, was accidentally imported along with the balustrade in the late 19th century, and managed to survive the intervening winters to the present day.
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The synagogue retains its 18th-century bimah and Torah ark in dark wood, set off by a white marble balustrade.
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A single- story porch extends across the facade, supported by bracketed posts, with a balustrade with a jigsawn trefoil pattern.
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The same material is also used on the cornices at the rooflines. All the roofs are clad in slate shingles. Between the towers, on the main block, are mansard roofs pierced by small lunette dormer windows and topped with an iron balustrade. The towers have peaked roofs with one small oculus and the same balustrade.
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It is screened by a paneled balustrade topped with a privacy curtain hung from turned posts that extend above each end of the balustrade. There is painted communion table in the front. Electrical lights have replaced the original kerosene hanging lamps. A sketch of the floor plan and front and side elevations have been published.
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A balustrade (dating from the early seventeenth century) from the gardens, was taken to England in the late 19th century, and installed in the grounds of Cliveden House, a mansion in Buckinghamshire, in 1896. In 2004, a species of Italian snail was discovered, still living on the balustrade after more than 100 years in England.
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The cupola, clock tower and weathervane atop Waterbury City Hall The tower's lowest stage has corner pilasters and louvered flat-topped openings in all four sides. Above it is a blind balustrade with corner posts and swags. Pilasters frame arched openings. Another blind balustrade, its corners topped with urns, has clocks in all four faces.
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The entrance front has a Tuscan portico with an open balustrade above it. The bay between the portico and the tower has a triple round-headed window with another balustrade above it. All corners have rusticated quoins. The upper level of the tower has triple openings which are flanked by pilasters on all faces.
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The arch features an architrave painted in a contrasting green and crowned with a keystone. Above the spandrels, the bridge's solid concrete balustrade features a rendered stringcourse at pavement level and a simple concrete capping. The balustrades are terminated at each end by a pair of Brisbane Tuff piers, except at the eastern end of the southern balustrade which ends in a single stone pier. The balustrade and abutment walls of the bridge are frequent targets for graffiti attacks and bear evidence of many attempts to paint over them.
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The house's three-bay front facade features an entrance pavilion topped by a balustrade and a pediment on the middle bay. .
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Atop its entire length is a stone balustrade. Above it is a hipped roof with two chimneys, both flanked by dormers.
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The doorway has a Tudor arched surround and a studded door. A ground-floor loggia with a balustrade forms a porchway.
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Above them was a plain wooden entablature beneath a second-story balcony with balustrade. Windows throughout the house were two-over-two double-hung sash with plain sandstone sills and lintels. The balcony window was flanked with wooden inset louvered shutters. Above the third floor windows was a decorative brick frieze and cornice, with another balustrade along the roofline.
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The cornice across the front is pressed-tin supported by brackets. It also possesses a central, protruding panel, and a low balustrade.
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Large glass walls connect the entrance projection to the rest of the building. The flat roof is hidden behind a solid balustrade.
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The interior retains much of its original plaster and Greek Revival woodwork. The main staircase has its original stringers, newels and balustrade.
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"Peter Falconer.", The Times, London, 13 March 2003. The remodeling saw the exterior embellished with a new balustrade, pediment, and classical pilasters.
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Between supports is a turned spindle balustrade. Other decorative elements include pinwheel patterns on the gables and sawtooth trim on gables edges.
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It features a front porch with paired columns and corner piers. At one time a balustrade lined the roof of the porch.
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The porch features an Eastlake balustrade. The house is situated on a high hill above the street with large trees in the yard.
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Listed is the whole ensemble, including some buildings as well as the garden with sculptures, sea- balustrade, water tower, boathouse and landing stage.
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Renovations occurred in 1911 with the addition of wings by Bertie Crewe and again in 1935 when a balustrade replaced an existing dome.
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The veranda has support columns and a balustrade constructed of fieldstone. The windows of the structure are surrounded with slightly arced stone frames.
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The surrounding balustrade is made of fine ironwork with gilded flowers and a wooden handrail. Also on the first floor is an organ.
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The wall with balustrade separates the grassed area along the wall limit from a paved area in Portuguese pavement stone lined with sculptures.
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The third-story balcony has wooden Doric posts and a brick balustrade. The building is now a condominium operated by Lucerne Condos, Inc.
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Grace Woodrow died in 1983, but members of the Woodrow family still farm to the north of Monsildale at "Cowah". Changes to the main residence over time include the large 1910s extension to the south of Steven's original 1870s residence, and the 1870s section appears to have been was raised off the ground on round logs and stumps, with a new balustrade, at this time. The extension's western verandah balustrade is original, but the balustrade around the original residence has lost its top rail. An extension has also been made to the east side of the verandah around the original residence.
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The northern (front) elevation comprises a central gabled pediment over the main entrance - a large round arched opening projecting forward on decorative corbels. The arch is surmounted by a celtic cross located in front of a solid masonry balustrade to the upper floor verandah. This central bay is flanked on each side by three verandah columns between which oversized timber handrails are supported on a large timber framed balustrade/valance with fibrous cement sheet infill panels to the upper floor and on a solid rendered masonry balustrade to the ground floor. The verandah detailing continues on the side elevations which comprise five bays.
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With three finished stories built in an Italianate style with red brick and sandstone trimmings. The whole building is crowned with a bracketed cornice and balustrade. The main entrance of the building is arched and enclosed by a Roman Ionic Portico, surmounted with another balustrade. The height was extended with the addition of six paneled brick chimneys which rose above a slate roof.
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The front facade has four pairs of Ionic pilasters separating the entrance and two sets of windows. A frieze reading "UNITED STATES POST OFFICE" and a dentillated cornice run above the pilasters. A balustrade runs along the front edge of the roof; a large scrolled cartouche marks the center of the balustrade. In 1966, the post office was converted to a federal building.
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The kiosk section has sliding multi-paned sash windows which can be concealed within the solid balustrade below, and multi-paned fanlight glazing above. The balustrade has fibrous cement panels with timber mouldings. The service wing and northeast addition have weatherboard cladding, with a brick base to the northeast. A tall timber framed tankstand is located to the north of the building.
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The portion of the viaduct immediately surrounding the terminal's building has a masonry balustrade with an additional metal guardrail. There is a cast-iron eagle atop the balustrade where the western leg curves onto the connecting roadway above 42nd Street. A sidewalk, accessible from the Grand Hyatt hotel, runs along the section of the viaduct that is parallel to 42nd Street.
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The open front verandah has timber posts, boarded valance and cast iron balustrade, frieze and brackets. Centred is a two-storeyed rendered masonry entry portico, with archways pediment and balustrade. The exterior of the core is render scored as ashlar coursing. The end verandahs are timber framed, externally clad in chamferboard, which have been further clad in fibro sheet and metal siding.
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A wooden balustrade with Chinese fret panels and posts topped by urns surrounds the roof directly above the cornice. This balustrade was not part of the original structure, but was installed in the early years of the 19th century. Two brick interior chimneys rise above the roof. Construction of the mansion was supervised by master carpenter John Gaborial of Boston, Massachusetts.
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The balcony has a concrete floor and a balustrade covered in asbestos cement sheeting rendered with pebbledash on the exterior face. A steel ladder with safety grille on the northwest end leads to the flat roof. The roof is surrounded with a balustrade with fibre cement panels. The concrete constructed lantern room is located at the centre of the roof.
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The ruins of a splendid ornamental lake with a multi- arched bridge (at ) and balustrade were still visible in the woodland at the foot of the hill in "Parker's Field" (situated between Grafton Road and Old Malden Lane, and behind the still rather ramshackle stables in Grafton Road). The house was positioned so that it had a view of the arches and balustrade.
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The building is constructed in timber and has an exposed frame at first floor level. The remainder of the building is clad in fibrous cement sheeting either replacing or covering original corrugated iron. A two-storeyed verandah with cast iron balustrade at first floor level runs along Charlotte Street and returns along the northside. The balustrade panels appear to have been re-positioned.
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A small staircase leads from it to the second floor. It has a newel post with a flattened top and handrail with turned balustrade.
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Due to severe erosion and a car collision that destroyed the original stone balustrade and fountain, the steps and landscape were restored in 1999.
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Entrances are located on the sides, with three modern bay windows between them. The east facade has a similar but shorter balustrade along its balcony.
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A modern metal balustrade runs along the length of the bridge. The bridge is no longer open to road traffic, but is accessible to pedestrians.
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Two brick chimney stacks rise from the roof. A stone screen with a balustrade links the building to the house at number 1 Bath Street.
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It is an elongated pyramid on a narrow square pedestal decorated by projecting cornice and base. The pedestal contains the original inscription and is surrounded by a low stone wall with a later simple curved wrought iron balustrade. Building materials are sandstone and a wrought iron balustrade. The sandstone would have been quarried locally near Sydney Cove, however the exact location of the quarry is not known.
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The front verandah has stop-chamfered timber posts, doubled at the central and end bays. The cast iron balustrade features the classical motif of a woman in flowing gowns at the centre of each panel. Below the balustrade is a pressed metal frieze, then a slatted timber valance. To the underside of the verandah has a ripple iron lining trimmed with moulded metal gutters.
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There are two symmetrically placed entrances, each flanked by pilasters, which rise to a segmented-arch cornice. A two-stage tower rises above the front, with round-arch louvered openings in the first stage, which is topped by a cornice and balustrade. The second stage is open, with clapboarded square columns rising to a similar but smaller cornice and balustrade. A spire rises at the peak.
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The piano nobile is larger in height, and the galleries contain taller, Corinthian columns and a cast-iron balustrade. A classically inspired balustrade caps the building. The interior of the building is H-shaped in plan and was originally designed to provide space for the Customs Service and the Post Office. Extant original elements include the elaborate cast-iron, double-return stair leading to the second floor.
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At the center of the south (front) facade, the balustrade is broken by the large projecting entrance portico. Steps lead up to a deck with paired fluted columns with Tuscan capitals supporting a projecting architrave with a paneled underside. Above it a Corinthian entablature is surmounted by a modillioned block cornice. A balustrade similar to the one on the veranda runs around the portico roof.
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St Augustine, Watling Street to the right, now part of St Paul's Cathedral School. The building is of two storeys of ashlar masonry, above a basement, and surrounded by a balustrade above the upper cornice. The balustrade was added, against Wren's wishes, in 1718. The internal bays are marked externally by paired pilasters with Corinthian capitals at the lower level and Composite at the upper level.
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These modifications are not of cultural heritage significance. The front verandah is approximately wide with a two-rail slat balustrade. Two narrow fire escape gates remain in the balustrade structure (one each in the centre of the north and west verandahs). Bedroom doors opening on to the verandah are low-waisted timber French doors with four lights per leaf and retaining early door hardware.
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The windows on the first floor are served by varandas, with balustrade, surmounted by triangular and rounded plinths. The two bodies to the northeast, include doorway with rounded arch, while some window plinths are decorated with a head of a woman, with the mask of a lion, while the royal arms of Spain appear on the extreme northeast body. These are surmounted, respectively, by windows decorated in founded frontispiece, supported by anthropomorphic ledges, and served by a varanda an balustrade with plinths. At the extreme body, the door is flanked by two narrow windows crowned and surmounted by two windows, with varanda and balustrade.
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St. Nicholas Cathedral, Famagusta, west door, probably completed by 1311. The pierced Gothic-style balustrade above the gable is a restoration of George H. Everett Jeffery.
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The tower has three stages with stone bands at each stage, single-light windows, and is surmounted by an openwork stone lattice balustrade with plain pinnacles.
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The central staircase is of impressive proportions with cedar balustrade and panelling surrounds reflecting a taste for "Old English" detailing (National Trust of Australia (NSW), 1978).
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The painting depicts two well-dressed women – "majas", beautiful young Spanish courtesans in elaborate clothing including lace mantillas – sitting behind the balustrade of a balcony, with two men standing inconspicuously in the shadows behind, probably pimps or clients. There is a strong contrast between the light colours of the women and their richly decorated clothing in the foreground, and the plain heavy clothing of the men lurking in the background whose dark hats and cloaks conceal their features. The painting has a strict geometric composition, with the top of the balustrade dividing the scene into two regions. The top of the balustrade also forms the diagonal of a square from which the position of the figures is measured: the pilasters of the balustrade are in the lower half of the square, and the women lean towards each other in a triangle formed from the top half of the square.
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A metal flag pole is attached to the north face of the planter box. The north side of the walkway is open, with a timber rail balustrade.
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It has a balustrade along the bridge and wing walls which "appears as crenelation pierced by semi-circular arches." It was built by Concrete Engineering Company. With .
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J. Maple and Grace Senne Wilson House is a historic home located at Cape Girardeau, Missouri. It built in 1903–1904, and is a 2 1/2-story, Colonial Revival style red brick dwelling. It has a hipped roof, a rooftop balustrade, and a central hipped dormer. It features a one-story full-width porch supported by Tuscan order columns and topped with a balustrade and two-story octagonal corner tower.
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Urbis (2), 2008, 9 The front balcony to the master bedroom has an iron balustrade, two supporting posts and fringe. The floor is timber. The height of the balustrade was raised within the last 10 years to meet BCA standards at that time. External windows of the house are generally painted with a dark green stone sill and cream timber joinery around the window panes with cream louvered timber shutters.
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The church has galleries on three sides. They are carried on square columns, which are continued up to the ceiling in the form of fluted Corinthian columns. The chancel, remodelled in 1890 is raised, and surrounded on three sides by a balustrade. A semi-circular pulpit extends from the front of the balustrade on the north side; its lower part is in stone, and the upper in ironwork.
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On this property Black built a three-story brick mansion, with elegant Federal and Greek Revival styling. Bricks for the house were shipped from Philadelphia, and construction by masons from Boston took three years (1824–27). The building's main facade features a porch across the full width of the main block, supported by Doric columns and topped by a balustrade. The roof is surrounded by a balustrade with panel sections.
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It has a full width verandah supported by square timber posts with timber picket balustrade. It is now used for commercial purposes and tenanted by a hearing clinic.
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With the exception of original steel structure and trussed stair stringers (balustrade), it appears that all components of the bridge have been replaced during the 1992 upgrading works.
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The second floor is concealed by the roof balustrade. The Grand Trianon by Jean-Baptiste Martin (ca.1700)Jules Hardouin-Mansart designed the structure in two distinct sections.
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From 1585 to his death he worked in Prague as organist to the Church of St. John on the Balustrade (). Gallus died on 18 July 1591 in Prague.
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The sleep-outs have casement windows above balustrade height, and different overall detailing to each floor; the ground floor has recessed arches to the front and side; the first floor has a rectangular moulding to the balustrade section; and the second floor has an infilled lattice pattern to the balustrade section. A recessed, covered entry is located centrally, and consists of paired timber panelled doors and sidelights with glass panels to the upper section. The glass panels to the doors have ogee shaped framing to the outer, upper corners. The entrance has a shaped arch, stylistically similar to the shaped gable to the parapet above, and is accessed via a flight of three brick steps.
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Sant'Agostino is a Roman Catholic church located on Via Antonio Gatti #2 flanking a balustrade along Piazza Trieste in Montecosaro, province of Macerata, in the region of Marche, Italy.
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There are elaborate crestings in the window pediments of the front facade. The entrance to the house is distinguished by the porte cochere with paired columns and a balustrade.
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The steeple is 180 feet high, metal-covered and decorated by John Thomas with statues representing the four continents. The entrance has a porch with an arch and balustrade with ball finials. The other entrances on the west side have old iron lamp standards and new lanterns, and one has an iron balustrade. This building should be understood in the context of the whole group of buildings in Crossley Street, which are all listed.
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The tower begins with a plain square clapboarded stage, which has a circular panel with a globe motif, and is topped by a low balustrade with urned posts. The next stage is an octagonal belfry with louvered round-arch openings separated by pilasters. The third stage is also octagonal but smaller in footprint, and is capped by a short spire and weathervane. Each of these stages is also surrounded by a low spindled balustrade.
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The gable above is fully pedimented, and a two-stage tower rises above the main roof ridge. The first stage is square, with plain clapboarded sides, and is capped by a cornice with pyramidal finials at the corners and a low balustrade. The second stage is an open belfry, with square corner posts, and is also capped by a balustrade and finials. The tower is capped by an octagonal spire and weathervane.
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The entrance has double timber doors and arched fanlight with coloured glass panels. The ground floor has a shopfront to either side of the entrance, with a glazed wide arched opening framed by pilasters and entablature. The first floor has a verandah with rendered balustrade, columns, entablature and arched spandrel panels with decorative keystones. This elevation has a rooftop balustrade, between column tops surmounted by spheres, with a central curved pediment with laurels in relief.
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The windows are aligned to feed light through stained glass insets in the coffered dome hanging over the rotunda. A cornice extends out over the false porticos and their pillar from the bottom of the outer dome. A balustrade, runs along the top of the cornice which like the porticos below it would appear as a hexagon if viewed from above. Eagle statues are perched wherever two sides of six- sided balustrade meet.
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The roof is encircled by a balustrade, and has an octagonal cupola at its center, also topped by a balustrade. The main facade is five bays wide, with simple corner trim rising to a plain entablature and modillioned cornice. Windows are sash with shutters, and there are decorative panels between the floors. The main entrance is framed by pilasters and topped by a half-round window and deep cornice supported by scrolled brackets.
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An adjoining wing extending to the rear contains staff quarters and a single storeyed kitchen. The ground floor colonnade comprises round rendered concrete columns with an entablature with rectangular motifs, and a rendered concrete balustrade with shaped balusters. The first floor has cast iron columns with floriated capitals, a wrought iron balustrade, and a timber frieze. The entrance portico has paired columns to the ground floor flanking an arch with a keystone.
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Within the building is a fine wooden staircase with timber turned balustrade. Curved limestone retaining walls extending from both ends of the building support access roads to the rear area.
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Following a flood, three arches were rebuilt by Richard Clarke from 1810–1812 to a design by John Treacher (1760–1836) developed in 1809, and a parapet and balustrade added.
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The commission again discussed the columns in January,"Design Is Approved for State Building." Washington Post. January 7, 1931. and eliminated a granite balustrade around the great plaza (saving $400,000).
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The building's roof line features a frieze, cornice, boxed eaves, and a parapet with a balustrade. See also: It was listed on the National Register of Historic Places in 1983.
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At the top of the tower is a dentilled cornice and a balustrade. The windows at the sides of the church are round-headed. The bays are separated by giant pilasters.
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Interior furnishings include oak pews, stained glass windows, a coffered ceiling over the sanctuary, and an altar balustrade. The building was listed on the National Register of Historic Places in 2005.
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Each pavilion is joined to the house by a wing wall containing a central round- arched pedimented doorway and two 12-pane sash window, and is topped by a vase balustrade.
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The roofline is also topped by a balustrade and the heavy modillions adorning the pediment give the First Bank an appearance much more like a Roman villa than a Greek temple.
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These have the same decorative iron balustrade as the main stand. Between the staircases at the front of the stand are concrete seating tiers with slatted timber benches. Behind the seating tiers the rear brick wall has arched openings with the same decorative metal balustrade as the stairs and front and sides of the stand. There is a rear promenade at this level, but several tiers of later timber seating have been installed here, restricting pedestrian circulation.
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This ceremony was call a lit de justice — bed of justice. Rather than the king sitting on a throne, he would recline on a bed-like piece of furniture in order to preside over the ceremony. The bed as a symbol of royal authority was further emphasized in that the bed was always placed in an alcove that was separated by a decorative balustrade. Entry into the alcove behind the balustrade was strictly forbidden, unless authorized by the king.
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The State Government Offices in Townsville is a two storeyed masonry building with a basement. Externally, the building features a rock- faced granite plinth and cement rendered facade. The main entrance, on Flinders Street, is surmounted by a broken pediment with a crest supported on pairs of engaged square fluted columns, and is centrally located within a two storey colonnade. The ground floor storey has an ornate concrete balustrade whilst the upper storey a simple wrought iron balustrade.
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Flanking the stair are timber posts, through which a simple two rail timber balustrade runs, and forms the stair balustrade. Centrally located on this and on the southern face of the building are simple entrance doors. The entrance door on the northern elevation is flanked by two casement windows made from the original sash windows. The interior of the building is lined with VJ boarding on the walls and ceilings and the timber boarded floor is covered with carpet.
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The main building is two storey, timber framed with green painted corrugated iron to the hip roof with skillion veranda awnings on three sides. External walls are clad with painted vertical corrugated iron. The former front section of the timber deck veranda has been removed, the lower level open rail balustrade replaced with weatherboards and steps added to access the bar. At the upper level the cross braced open balustrade remains as does the decorative fascia boards.
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The upper portion of the balustrade leads to the Promenade. A bandstand was located along the top of the balustrade on the Promenade, but it was removed because of its deteriorated condition in 1958. By the early 1970s curbs and paving at the old main entrance constructed in the 1890s had been changed and Holly trees were planted to border the entryway. The areas around the bases of the stone pillars, originally paved, were grass-covered by that time.
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A wide fascia board at the first floor level of the verandah, has signage, "Maryborough Heritage Centre". Joining the columns on the first floor are balustrade panels of decorative cast iron. Surmounting the columns on the first floor is a dentilled entablature, being the fascia of the awning. The ground floor of the verandah is lined with cast iron columns on rendered masonry plinths between which a wrought iron balustrade runs, also on a rendered masonry plinth.
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To the northern or street elevation, the two-storeyed timber verandah which overhangs the footpath, has a skillion roof and boarded ends. Set on stone plinths, the stop-chamfered posts to the lower level are topped with timber cornices, and have a slatted valance above. The upper level balustrade, now clad in fibrous cement sheet appears to have a dowelled balustrade concealed beneath. The posts of the upper level are finished with scrolled timber brackets below the roof beam.
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The building corners are pilastered, supporting an entablature that rings the house. The front facade has a single-story porch supported by Doric columns, with a low balustrade above. The front facade of the wing has a projecting bay with paneled corners and full-height windows, and is also topped by a balcony with a similar balustrade. Windows on the ground floor of the main facade and south side are full length, with more standard-sized sash windows elsewhere.
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Twin balustrade-lined steps curve around an oval-shaped basin before connecting to a broad terrace on S Street. A granite lion-head fountain is located in the basin at the top of the steps. The area is lined with a mix of magnolias, eastern red cedars, oaks, and other flowering trees. To the east of the Spanish Steps, a brick and stone retaining wall with balustrade creates and defines a formal side garden for the Codman-Davis House.
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The annex was built in 1976 and is a simple red brick structure with no adornment and large rectangular windows. A solid balustrade runs along the building and hides the flat roof.
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4 May 1912. Supplement p. iii. Advertisement for the urns and balustrade of Trentham Hall. One of Britain's great ducal country houses, Trentham Hall was demolished with little public comment or interest.
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The town's arms show two wooden bridges, one over the other, in gold on blue over a wavy silver watery surface, each bridge with two little flags on the balustrade flying left.
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Gerald Woehl created in 1990 the Bach organ implementing a design of Johann Sebastian Bach. The organ is located on the gallery balustrade and forms with the Sauer organ a compositional unit.
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The artist was local sculptor, Diane LaFond Insetta. On September 11, 2017, Hurricane Irma flooded the park and destroyed the balustrade along the seawall. As of 2020, it has yet to be fixed.
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The covered verandas lack excess detail, having modest turned balustrade spindles and supporting posts. The decorative effect of the house comes from the basic design features: the octagonal shape and the external verandas.
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Wood forms from another WPA project were used to shape the deck, and the construction of the new bridge was completed in 1939. The original bridge had a decorative balustrade along each side.
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It replaced an earlier statue from the 16th century which earlier had decorated the basin. Two statues of sphinxes by Mathieu Lespagnandel, from 1664, are placed near the balustrade of the grand canal.
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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.
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A balustrade encircles the roof's edge and is punctuated by a pediment with a cartouche above the south entrance. Interior decorations include Doric columns, fretwork floor tiles, Roman-style grilles, and architrave trim.
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These elements include a Palladian-inspired window in the gable end, jig-sawed detailing on the porch columns, S-scrolled brackets in the arcade's spandrels, and an ornate balustrade on the porch roofline.
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A single-story porch extends between the center points of these bays, and is also topped by a low balustrade. The house was listed on the National Register of Historic Places in 1979.
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It is accessed by a staircase on one side and a simple timber balustrade spans between iron columns which are located at each point of the octagon. There are acroteria at each corner.
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The balustrade encloses the second-story balcony. Decorative corbels and scrollwork are found on the fascia above the first level, and the columns at the corners of the portico are matched by pilasters on the front façade. The doorway is flanked by engaged columns and sidelights, with a semi- circular fanlight above. A two-level Greek Revival gallery with seven two- story Doric columns, and using the same balustrade as seen on the front portico, is located on the rear of the house.
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Original windows are timber-framed, three-light casements of patterned glass, and louvres to the stove recess. The front verandahs have been enclosed with louvres above balustrade height. A short flight of steps to the front door has a modern metal handrail, while the rear steps retain their timber balustrade. Non-significant elements of the exterior include: louvre windows to the verandah enclosure and rear bathroom addition, roof ventilators, security screens to doors and windows, vinyl cladding, and metal handrails.
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In the gables and balustrade circling the transept at its highest point and signifying the chapel's dedication to education, are shields bearing the insignia of the twelve oldest European universities in order of their founding. Along the lower balustrade parapet are carved the seals of American colleges and universities founded before 1820, in order of their founding. The seals of those founded after 1820 are on the spandrels beneath the parapet, and the seals of women's colleges are carved on the buttresses.
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The two entrances are topped by Federal-style fanlights, and there is a half-eye window in the pavilion's gable. The tower's first stage has louvered openings with half-round fanlight tops, and is itself crowned by a low balustrade with urned posts. The belfry, with arched openings, is crowned by a similar but smaller balustrade, which surround a cupola and weathervane. The structure was built in 1831 as a church for the local Baptist congregation which was organized in 1794.
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The base section of the tower is also stone, to a point above the roof ridge, after which it is wooden. The stone section has a surrounding balustrade with wooden spires at the corners, and the wooden stage houses a belfry with paired rectangular openings on each side, topped by lancet-arch panels. The wooden section is also surmounted by a balustrade and wooden spires. The main entrance is at the base of the tower, recessed in a marble lancet-arch opening.
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The smaller forms are surmounted by a rounded pediment. Sections of the ground floor arcaded loggias are enclosed with timber framed glazing, and the open sections have cast iron balustrade and French doors with fanlights. The verandah, off which French doors with fanlights also open, has paired timber posts with cast iron balustrade and valance. Metal stanchions have been added to the face of the brickwork for the purpose of tying the roof down, and sections of floor have been replaced with concrete.
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The cantilevered concrete staircase to the gallery has a metal balustrade with circle ornamentation. The gallery is a stepped concrete slab surrounded by a solid balustrade, which is ornamented with cover strips in a pattern of lines and rectangles on the auditorium side. The former cloak room, ticket box and soft drink bar are partially surrounded by timber counters with sliding windows above. Inside, an opening has been created between the rooms and the ticket box and cloak room counters removed.
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The cornice is wooden. The State House has been modified somewhat since it was first built. As originally constructed, the building had neither balustrade or cupola, but the balustrade was added in the early 19th century for the protection of firemen, and the cupola was constructed in 1827 with its bell and John Stanwood's statue of Justice. An original (1796) stone spiral staircase behind the northern arch, designed by Asher Benjamin, led to the second and third floors; it no longer exists.
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The interior of the house was slightly modified when the house was divided into apartments in the 1930s. The walnut balustrade of the main stairway was removed and the stair enclosed with a partition wall in order to provide privacy for the upstairs apartment; the balustrade has been discovered in storage in the attic. The endwall fireplaces were also sealed at this time and remain inoperable. Asbestos shingle siding was applied to the exterior of the home sometime in the 1950s.
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The seawall was generally retained in its existing condition with only minor repairs. However, significant repairs were required to the concrete balustrade, with sections affected by concrete cancer removed and repaired with epoxy cement, and degraded reinforcing replaced with stainless steel. A new layer of thin render was applied to the surface of the balustrade to bond the repaired and original sections. All the original lamp standards were replaced with exact replicas made by casting new columns from an original mould.
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In 1790 a balustrade was added parallel to the façade that ran from the bottom of the steps the full length of the house and then returned at both ends, there are a series of 30 pedestals along the balustrade, that until their sale in 1921 were topped by bronze urns. These were replaced by replicas in 2013. This was probably added to keep visitors from the lower windows of the house, and formal flower beds were laid out in the area.
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Fragment of the inscription at the Israel Museum. The Temple Warning inscription, also known as the Temple Balustrade inscription or the Soreg inscription, is an inscription that hung along the balustrade outside the Sanctuary of the Second Temple in Jerusalem. Two of these tablets have been found. A complete tablet was discovered in 1871 by Charles Simon Clermont- Ganneau, in the ad-Dawadariya school just outside the al-Atim Gate to the Temple Mount, and published by the Palestine Exploration Fund.
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It is a -story, , brick- veneer house on a brick foundation. The front elevation faces east. The hip roof with composition shingles has a balustrade around its top. The house has wide, overhanging eaves.
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Carmagnola or la Carmagnola is the traditional name of a porphyry head of a late Roman emperor, widely thought to represent Justinian, now placed on the external balustrade of St Mark's Basilica in Venice.
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When Reading Bridge was completed in 1923 work began on replacing Caversham Bridge with the current structure which is of concrete with a granite balustrade. It was opened in 1926 by Edward Prince of Wales.
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To the underside of the mezzanine is in extensive pressed metal ceiling and cornices, with a pressed metal cladding also to the balustrade. The ceiling to the store is raked, exposing the timber roof trusses.
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Two marble busts, Joseph Skoda and Theodor Billroth, are placed on the balustrade. The small conference room is located in the wing facing the backyard; it is richly ornamented with two busts and a painting.
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The roof and side and rear walls are clad with wide-profile metal sheeting. There is a metal sheeted balustrade along the sides and front. The sub-floor contains a bar and other members facilities.
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The interior is distinguished by its original altar balustrade and pulpit, and an ancient stone baptismal font brought from a church in England. It was listed on the National Register of Historic Places in 1988.
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Major design features such as the open spandrel arch were retained. The decking was replaced with new reinforced concrete. The original railings with oval apertures were recast with a new concrete balustrade with rectangular openings.
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The gallery floor is timber, supported by cast-iron brackets, and surrounded by a red painted lightweight tubular balustrade. A pedestal for the lens was installed in the lantern room, though the lens was removed.
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The main block features a distinctive parapet of alternating balustrade and panels. It was later converted for use as a restaurant. See also: It was listed on the National Register of Historic Places in 1978.
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Marsden, 19–21. belvedere and cupola. One of the most Carolean features of the house is the balustrade and cupola surmounting the roof, another element introduced to English architecture by Roger Pratt. The cupola at Belton does not light a lofty domed hall, as is often the case in Europe, but houses a staircase which gives access to a large viewing platform on top of a lead roof, concealed from the ground by the balustrade which tops the more conventional and visible hipped roof.
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The balustrade was replaced by an 8-foot-high barrier in an effort to deter suicides, but the bridge retained its nickname. To this day, some still use the bridge as a means to end their lives. For example, on October 27, 2015, British-American model and reality television star Sam Sarpong committed suicide by jumping from the bridge. In 2016, temporary anti-suicide barriers, in the form of 10-foot-high chain link fencing, were installed on the sidewalk inside the balustrade, blocking the seating alcoves.
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The building sits on timber stumps and is encircled by verandahs. The roof has dormer windows with rounded gables and twisted terracotta chimney flues. The gables have cast iron infill panels with decorative timber work, including arched vents and brackets to the eaves. The verandahs have concave corrugated iron roofs, with the first floor having cast iron brackets, valance and balustrade and the ground floor having cast iron brackets, lattice valance panels and timber batten balustrade with sections of the ceiling being boarded and panelled.
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The exterior of the observatory building has a brick cornice, with stone sills and lintels, stone water course, ornamental gutters, and original copper downspouts. Most of the building's windows are of the wooden double- hung variety and original, as are the front entrance door transom and concrete stoop. The original front balustrade has been replaced, however, the western stoop and ornamental iron balustrade is still original. Aside from the transit room conversion to office space the building has seen other major work in the past.
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Simultaneously, he was a student of dramatic arts by correspondence at the Theatre Faculty of the Academy of Performing Arts in Prague (DAMU). His first own full-length play performed in public, besides various vaudeville collaborations, was The Garden Party (1963). Presented in a series of Theatre of the Absurd, at the Theatre on Balustrade, this play won him international acclaim. The play was soon followed by The Memorandum, one of his best known plays, and The Increased Difficulty of Concentration, all at the Theatre on Balustrade.
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A central supporting wall, forming part of the hallway of the upper level, supports the increased load. The upper level was originally used as a manager's residence. It has a timber balcony with a two- rail dowel balustrade, square stop-chamfered timber posts with shaped timber brackets above capital moulds, and covered by a bullnose corrugated iron roof on two sides. The floor of the balcony has been painted white, with dowels and timber brackets, and red/brown rails and posts on the balustrade.
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On March 26, 1985, the Central Park Conservancy and the architecture firm of Buttrick White & Burtis presented plans to the Landmarks Preservation Commission for a full restoration of the plaza, including the Pulitzer Fountain. The plans called for the restoration of the balustrade and columns removed in the 1935 repairs.The New York Times, March 27, 1985 The work was completed in June 1990, including a reconstruction of the fountain, this time in granite. Plans to restore the balustrade and columns were abandoned on account of costs.
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Works to the Rose Bay Promenade since completion were generally limited to maintenance and repairs until 2007, when a major upgrade occurred. An engineering study in 2003 into the condition of the concrete seawall, balustrade, stairs and light standards found evidence of cracking and salt attack in the seawall and varying degrees of spalling and corrosion in the other elements. The study proposed various remedial measures. The major restoration and upgrade works carried out in 2007 included repairs to the balustrade, light standards and stairs.
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The dome is adorned with oil paintings—now damaged and covered with a plain fiberboard paneling—and has a lace balustrade part of which functions as a balcony. The lower section of the minaret is made of dry masonry and is what remains of an older minaret demolished in the 1920; its extant replacement was constructed in the 1990s. The pulpit, minbar, and balustrade of the choir bear incised ornate wooden carvings painted in different colors. The building is lit by several windows cut in each wall.
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A verandah runs across the front of the house with a recent cross braced balustrade replacing an earlier dowel balustrade. The cottage is clad externally in weatherboards and has ogee-profile steel window hoods surmounting the windows, which are double hung timber sashes. The detached kitchen is located at the back of the house, connected by a raised, covered walkway that has been enclosed in horizontal, corrugated iron sheeting. On the western side this area is abutted by a bathroom also sheeted in corrugated iron.
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The porch spans half of the facade, which consists of a door and a window. It is supported on lathe turned piers which have decorative brackets at the tops, and the balustrade has a geometric design. This type of balustrade was a popular element of the Victorian period, but there are few extant examples of the type in Park City. Because porch elements are the first to deteriorate and be replaced, it is difficult to determine if indeed this type of decoration was common in the area.
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The entry foyer, now in the art deco manner, features decorative plaster ceilings, patterned floors, tiled walls, timber doors with etched glass panels, and a 1930s lift. The original 1889 staircase has been refurbished with metal balustrade and tiled walls to the first floor level but retains its original timber joinery and balustrade between the first and second floor. Two arched windows, the lower one being leadlight, illuminate the stairwell. A lounge, dining room, kitchen, private bar and staff rooms are located on the first floor.
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The building's design includes limestone trim meant to approximate quoins, a balustrade with ornamental urns, and pediments atop the entrance blocks. The building was added to the National Register of Historic Places on March 15, 1984.
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This balustrade matches that on the porch balcony. The western wing was built in the mid-eighteenth century. There is a single gable, matching those of the south front. At either side is an embattled parapet.
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The building is topped with a cornice and balustrade. Terra cotta lintels and decorations add an Adamesque influence to the building. The building was added to the National Register of Historic Places on June 26, 1987.
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Below that on the balustrade parapets are college and universities founded in the United States before 1820. The spandrels beneath show seals of those founded after 1820 and the seals of women's colleges are on the buttresses.
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It is in the shape of a cupola. It has eight arched openings, each fitted with a bell. The dome is needle-shaped and has a triple-bar Orthodox cross. The cupola is circumscribed by a balustrade.
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A penthouse appears above the ninth story cornice. It is of a still lighter shade of brick and is finished with such refinements as pilasters, rusticated brickwork, quoins and swag ornaments; a balustrade caps the penthouse cornice.
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A narrow verandah with a balustrade infilled with horizontal weatherboards runs along the north of the wing accommodating the kitchen and service areas. The house yard is marked by a low horizontal timber boarded fence painted white.
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Balustrade-holding Yaksa with Corinthian columns, Madhya Pradesh (?), Shunga period (2nd-1st century BC). Musee Guimet. Indian relief of probable Indo-Greek king, with Buddhist triratana symbol on his sword. Bharhut, 2nd century BC. Indian Museum, Calcutta.
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The Fidelity Building interior The Fidelity Building is a four-story, three-bay brick building originally constructed in 1871, and extensively remodeled in 1929. The building was originally designed in an Italianate style, and contained a central pediment and balustrade, and storefronts flanked by Corinthian columns. In 1929, the architectural firm Baumann and Baumann remodeled the building, and the pediment, balustrade, and exterior Corinthian columns were removed. The building's first-story Gay Street facade, which reflects the 1929 remodeling, consists of an ashlar veneer, with a recessed entrance topped by an eagle-and- garland frieze.
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His first own full-length play performed in public, besides various vaudeville collaborations, was The Garden Party (1963). Presented in a series of Theatre of the Absurd, at the Theatre on Balustrade, this play won him international acclaim. The play was soon followed by The Memorandum, one of his best known plays, and The Increased Difficulty of Concentration, all at the Theatre on Balustrade. In 1968, The Memorandum was also brought to The Public Theater in New York, which helped to establish Havel's reputation in the United States.
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Block A includes one Boulton & Paul building to the east, and part of another Boulton & Paul building to the west, and retains its original chamferboard-clad northeast corner verandah balustrade, and bulkheads approximately halfway along the verandah indicate the location of the former domestic science laundry. The verandah is accessed by modern metal-framed stairs, and is enclosed with lattice and metal mesh above the balustrade. Windows along the verandah wall have been replaced with modern aluminium- framed sliding sashes, with fanlights. Classrooms have half-glazed, boarded doors.
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Lébl's first theatre direction in the Theatre on the Balustrade, The Maids by Jean Genet, won the second place for the best theatre production in the poll of Czech theatre critics. In 1994 he became a pedagogue at the Faculty of Theatre, although he never finished his studies there. In 1995 Lébl received the Czech theatre prize, Alfréd Radok Award, for the production of The Seagull by Anton Chekhov. He gradually became one of the leading personalities of Czech theatre and significantly influenced the face of the Theatre on the Balustrade.
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The roof was originally encircled by a low balustrade, which has been removed; a similar balustrade still adorns the garage. The main facade is three bays wide, the central one sheltered by a massive two-story four-column temple portico, with Doric columns rising to an entablature and fully pedimented and dentillated gable. An open porch is set to the left, and a solarium enclosed in glass is to the right. The interior is lavishly finished, with parquet floors in the foyer, a grand curving staircase, and mahogany paneling and bookcases in the library.
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The hotel complex, including the 1868 and 1899 buildings, demonstrates the utilitarian pattern of approach adopted in the late 19th century towards reconstructing business premises by incorporating earlier sections as the place developed. The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. Tattersall's Hotel features a rare pattern of cast iron balustrade particular to North Queensland. The incorporation of this design of balustrade is an important link to the other two buildings it survives upon in Townsville; the private residences of the former Rooney's House (Yolonga Lodge) and "Kardinia".
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Steps with terracotta-dressed cement walls and piers lead to three identical round-arched entrance doors with wood panelling, flanked by terracotta columns and set below a balustrade. This is supported on brackets with foliage decoration, and has four decorative terracotta urns corresponding with the top of each column. This forms the centre bay of a three-bay façade; the outer bays have paired round-arched windows. The balustrade spans the width of the façade between ground- and first-floor level, forming a kind of porch or portico.
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An example of Steuben Glass design during the Houghton era is the Balustrade Candlestick set, which mimics a classical balustrade. Of special note is the hallmark of the perfectly formed tear drop air bubble suspended in the design. Corning Glass Works appointed Arthur A. Houghton Jr. as President in 1933, and under his leadership Steuben changed artistic direction toward more modern forms. Using a newly formulated clear glass developed by Corning (referred to as 10M) which had a very high refraction index, Steuben designers developed beautiful, fluid designs.
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The verandah has cast iron single columns, brackets, valance and balustrade, curved corrugated iron roof, timber partitions and floor with French doors and fanlights. A rendered parapet balustrade with circular openings above a deep cornice has the inscription PHOENIX BUILDINGS over the two centre panels. Each shop has a hipped corrugated iron roof with, except for the corner shop, a central clerestory skylight behind a perimeter parapet. The two end shops nearest Merton Street are deeper, giving the building an L-shaped plan, the other four shops have a basement.
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The two-storeyed filigree verandah extends over the footpath to the south and part of the east side, then continues along the eastern and western facades. It has stop-chamfered timber posts which are tripled at the splayed corner. The upper level mostly has a cast iron balustrade, with a cast iron fringe and brackets below, but as the eastern verandah returns the balustrade becomes timber lattice with a boarded valance below. The verandahs have a bull-nosed roof with shaped rafters, and a ripple iron underside with internal gutters to its perimeter.
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The Peirce–Nichols House is a three-story wood-frame building sheathed in clapboards. It has a low pitch hipped roof that is encircled by a low balustrade at the cornice, which further has a central flat section that functions as a roof deck and is also surrounded by a balustrade. The corners of the building are decorated by fluted Doric pilasters rising the height of the building. The front entry is in the center bay (of five), and is sheltered by a pedimented porch supported by Doric columns set on a brownstone step.
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It features a flat-roofed portico feature a wide, simple wood entablature topped with a rooftop balustrade. It was listed on the National Register of Historic Places in 1992. It is located in the Jewell-Lightburne Historic District.
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The balustrade was solid over the piers and abutments but turned spindles over the spans to permit maximum views of the river by motorists using the bridge."White House Drives Are Made Dustless." Washington Post. August 3, 1926.
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It is a two storey face brick building with slate roof, and a balustrade with wood shingles. The adjoining St Michael's parish hall is a two storey stuccoed brick with tiled roof building in an ecclesiastical Gothic style.
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Vizhinjam Cave Temple is an 8th century BC Hindu temple at Vizhinjam, near Trivandrum in southern Kerala, India.Krairiksh, Piriya. "A NOTE ON THE ‘MAKARA’ BALUSTRADE AT MALACCA." Journal of the Malaysian Branch of the Royal Asiatic Society, vol.
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The pedestrian 'Auld Brig' across the Carmel water in Kilmaurs was built to replace stepping stones in 1824. It has been the scene of two deaths. Craufurdland Bridge with the balustrade from Cessnock Castle. Both BeattieBeattie, Robert (1990).
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A small porch is located between the entrance and a flight of stairs leading to the sidewalk. The flat roof is framed by a balustrade which in turn hides a large skylight that illuminates the Great Chamber below.
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A 1-1/2 story, gable-roofed addition is located on one side, and a flat-roofed, single-story addition is on another. The cupola, porches, chimneys, and bay window balustrade were reconstructed during the 1981-82 renovation.
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It was topped by a balustrade, with four obelisks on corner plinths. The belfry level beneath this had round headed windows framed by swags. The stage below that, marking the limit of building in 1684, had round windows.
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The lookout was developed as part of the 1936 centenary celebrations, a project in which the top of the hill was levelled, and the area landscaped with gardens and paving with a curved balustrade on its southern side.
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The old bridge had seven arches and was recorded in 1849 as having an iron balustrade. The arches were divided by pointed cutwaters. Ultimately the old bridge was demolished in 1936 to make way for a modern replacement.
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A second stone pathway at ground level was enclosed by a stone balustrade. The railing around Stupa 1 do not have artistic reliefs. These are only slabs, with some dedicatory inscriptions. These elements are dated to circa 150 BCE.
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There are some major decorative touches in the main rooms. The front parlor has an elaborate ceiling medallion, and the library features built in bookcases with glass cabinets. A carved balustrade on the winding, spacious central staircase is intact.
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The design includes a three-bay facade with segmental arched windows and a wraparound front porch that features brackets, turned posts, and a balustrade. The house was added to the National Register of Historic Places on May 22, 1992.
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The Shrine is decorated with emerald green and scarlet mosaics on the balustrade above, a fire-gilded bronze symbol of the Greatest Name of the Baháʼí Faith at the four corners, and a multitude of intricate decorations and motifs.
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Medieval pulpit, probably mid-15th century, in the nave of the church. It is one of the best preserved of its period, with a full set of stone steps. The intact carved lion on the balustrade of the pulpit.
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It is topped with a gabled roof from which four brick chimneys rise. The west elevation features a two-story porch supported by six pillars. Its upper story has a balustrade. All doors and windows have simple wood trim.
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His son Rowland, eldest brother to Herbert Bowyer Berkeley inherited the manor. At about the mid-part of the century a delicate, ornamental stone balustrade was added to the top of the brick facing, above the sham, glazed windows.
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The interior has few features of distinction, but the fine wrought-iron staircase balustrade built in the inner hall by Sir Charles Halford is similar in design to the wrought-iron gates of the Halford chapel in the church.
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The top story is also arranged as a small arcade with arched windows. The top story runs below a parapet with a balustrade. As built, the entrance on Broadway contained a large arch, but this was eliminated in 1923.
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The façade is symmetrical with three bays. The porch roof is supported by brick piers with concrete caps. The balustrade is solid brick and features panels with a lions' head reliefs on both sides. The main entrance is framed by sidelights.
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He studied acting at DAMU. He was an actor and a director in The Drama Club and later Theatre on the Balustrade. Kačer was a parliament representative in Federal Assembly from 1990 to 1992. His wife is the actress Nina Divíšková.
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Approached from the west by a grand staircase, the monument sits on a terrace surrounded by a classical balustrade. A tablet, dedicated to the horses who assisted the firemen with their duties, was embedded in the monument's terrace paving in 1927.
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The church has a single nave. The sanctuary is separated from the rest of the nave by a marble balustrade. The main altar, in white marble, was designed and sculpted by Alessandro Verdi. The organ was built by the Serassi family.
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The front has a veranda with red tiles, a wooden balustrade, and four columns. In the original design, the entrance of the teahouse, consisting of sliding doors, with windows in the doors and on either side, was located behind the veranda.
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A large wrap-around porch (reconstructed from photographs) with wooden columns and balustrade runs from the front to the south facade. Windows are primarily four-over-four, with the exception of three six-over-six windows in the rear extension.
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1870, and is a vernacular structure with an ornate Italianate bracketed hood over the entrance. The Edwin Wilmarth House was built about 1880, and has a porch with spindled balustrade, and a three-story tower characteristic of the Queen Anne period.
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Windows are topped by bracketed cornices. An open veranda extends across the front, its balustrade also with delicate woodwork. The home is a rare surviving farm cottage is what is now an urban section of South Portland. It was built ca.
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The entablature carries over onto the projection with the tower rising for another two levels before terminating in platform lined with a balustrade. Below this platform is a four-faced clock and arched vents where the courthouse bell is kept.
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The full- length semi-cantilevered balcony features exceptionally rich balustrade and valence panels and has an elaborate iron palisade front fence.Branch Managers Report to the Heritage Council 25 July 1980 There is a rear service wing that encloses a courtyard.
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The buildings were topped with an entablature with architrave and an unadorned frieze with a dentiled cornice. The building has a low roof with an open balustrade. Construction was completed in 1879. The total cost of construction was about US$2,806,000.
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There are porches on the north and east sides. On the north side the porch features turned posts and a decorative balustrade. The plainer east porch has wooden columns. Near it a gabled hood with scalloped edges shelters the rear entrance.
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The upper tier of the portico features an elaborate ironwork balustrade and latticework. Minor alterations were made to the building during the late 19th century, the rear portion was expanded in 1924, and a full-scale renovation was completed in 1950.
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The front porch has a solid weatherboard balustrade and a decorative timber front gable with a metal finial. The windows now have glass louvres and the timber trim is painted white. Internal walls and ceiling are lined with fibrous cement sheeting.
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Approach to the building is by the long timber stair. The verandah and stair have cast iron lace balustrade panels, with a timber handrail. Externally, the building is clad in chamferboards. The windows are timber sash, or aluminium- framed glass louvres.
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In the central three bays of the fourth and fifth floors is a recessed balcony with Ionic columns. There are similar columns on these floors in the second and tenth bays. Above the sixth floor is a cornice with a balustrade.
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The windowsills, lintels and water table are also of limestone. Atop the building is a hip roof. A balustrade surrounds the cupola, with a rounded roof and overhanging cornice. At the northeast corner a single brick chimney pierces the roof.
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The building is a T-shaped Neoclassical structure with a hip roof, a raised uncut stone basement. and a stone facade. The second story porch has Ionic columns and a balustrade. The front lawn is bordered by a low retaining wall.
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His feathered hat is on the balustrade, and he is seen holding one of his white gloves in his hand. He wears díszmagyar, the elaborate court dress of Hungarian aristocracy with a sword, medals on his chest and yellow boots.
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Across from the top of the stair is the building's dedication plaque. An iron balustrade with bronze railings runs along the stairs, marble like all the building's flooring. The ceilings are enameled, and the door and window surrounds dark wood.
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It has a terrace of four-storey, three-bay houses with Classical touches such as Doric-columned porches. There are ground-floor sash windows and iron balconies, and a parapet with a balustrade runs along the top of the building.
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Accessed 2010-10-15. Among these elements are rusticated stone courses, a molded balustrade, and trimmed windows. In recognition of its distinctive and historically significant architecture, the club building was listed on the National Register of Historic Places in 1983.
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P. 93. A heavily sticking out projection with a broken pediment can be seen in the centre of the main façade. There is a symmetric staircase with four flights of stairs and a balustrade in the centre of the back façade.
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The elaborate entrance to the Sizun enclosure Access to the Sizun "enclos paroissial" is through an "Arc de Triomphe" like structure with a total length of 15 metres, built between 1585 and 1590. A life size reproduction of the Sizun entrance was shown at the 1989 "Commémoration du Bicentenaire de la Révolution française" held in Paris' Jardins des Tuileries. The structure has three arches separated by fluted columns with Corinthian capitals and is surmounted by a double stone balustrade from which emerge the three crosses of a Calvary. At each corner of the balustrade is a "Lanteron" (a lantern-lke structure).
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1512), and of Baldassare Peruzzi's tomb of Pope Adrian VI in Santa Maria dell'Anima (1523-1530), all constructions with which Sansovino was likely familiar from his second period in Rome (1516-1527). Detail of the polychromatic façade showing oriental breccias, marbles from Verona and Carrara, limestone from Istria, and lapis lacedaemonius from Greece. Locally available red Verona marble is used for much of the structure: the cornices, crowning balustrade, the panelling inside the niches, and the frames of the upper reliefs. The balustrade also contains opalescent lumachelle from the valley of San Vitale near Verona, noted for its fossilized mollusk shells.
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The building has timber panelled internal doors with fanlights, and decorative ceiling cornices to the first floor. A concrete edged, curved garden bed with a small cannon positioned centrally is located against the southern wall of the building, and decorative timber gates enclose the passageway between the office building and No. 2 shed to the east. A timber wharf extends from the southern elevation of the office building, and extends along the southern frontage of No. 2 shed with timber post and rail balustrade chain balustrade. This wharf has non-slip compressed sheeting fixed to the upper decking in traffic areas.
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The façade is dominated by the giant pilasters that originally supported a balustrade above the narrow entablature but later extensions obliterated the balustrade. The central bay of the façade is a concave curve with angled pies at its edges, perhaps in recognition that this façade would always be seen at an oblique angle because of the narrowness of the street. The central door leads into the courtyard where Borromini intended a curved arcade but this was not built.Blunt, 1979, 246 Only the left hand side of the façade relates to the chapel and the right to the stair and entrance to the College.
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The two storey verandah has a small projecting roof at first floor level and is detailed in timber with paired columns, slatted balustrade and valance. On the southern section of the ground level verandah, the balustrade has been removed and the columns have been sliced off above ground floor level and are supported by concrete plinths. At ground floor level all the major rooms associated with the original design of the building as a bank remain intact. The entrance porch opens onto the main banking chamber, which has all its original cedar door and window joinery, pressed metal ceiling and black marble fireplace.
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Three months later Ladislav Fialka and his mime group joined the company with their production Pantomime on the Balustrade, and brought back fame to the almost forgotten theatre genre. Drama and mime companies coexisted at the theatre till Fialka's death in 1991. In the early 1960s, with the arrival of director Jan Grossman, set designer Libor Fára and a stage hand and later dramaturg and playwright Václav Havel, the Theatre on the Balustrade became the centre of the Czech form of the absurd theatre (V. Havel: The Garden Party, Memorandum, Alfred Jarry: King Ubu, Franz Kafka: Process).
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The Noble fountain at the Reserve Avenue end of the Promenade moved to this location in 1957. The Maurice Spring fountain and retaining wall just north of the Maurice Bathhouse was completed in 1903. The original main entrance to the reservation was between the Maurice and Fordyce bathhouses directly below the Stevens Balustrade, at about the center of Bathhouse Row. The two bronze federal eagles on their stone pillars still stand guard over the old entrance, forming a gateway to the concrete path that leads between the two bathhouses up to the baroque double staircase of the balustrade.
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Internally, the William Street section has a central entry vestibule, with rooms accessed via the rear verandah or through adjoining doorways. A concrete stair with an iron balustrade and timber handrail is located centrally in the linking section to the rear wing, and is accessed through an arch which has been enclosed to form a doorway . Timber staircases were originally located on the rear verandahs, but only one flight remains linking the basement and ground floor on the southern side. This staircase has chamfered newel posts with turned capitals, and a timber batten balustrade which has been mostly sheeted over with hardboard.
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The galvanised iron verandah roofs are separate to the main roof. The west (front) and south (side)verandahs have decorative cast iron columns, balustrade and valances on both levels, incorporating ecclesiastical motifs of lancet and rose windows in the designs. The east (rear) verandahs originally had a similar decoration to both levels, but the balustrade has been removed from the upper verandah, which has been enclosed with aluminium-framed windows. The north (side) verandah, which originally was single-storeyed, has the same decorative cast- iron work on the lower verandah, but the upper verandah is enclosed with s weatherboards and timber casement windows.
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The roof is masked by a balustrade. Note: This includes and Accompanying photographs. All exterior elevations are of "Hobart" buff face brick laid in common bond with dressed limestone detailing. The central entry bay is flanked by large windows on either side.
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The horizontal bands of Istrian stone underline the symmetry and harmony of all the elements. The facade terminates with a white balustrade, which delimits an extensive roof terrace and is supported by a dentiled cornice. There are neoclassical frescoes inside the palazzo.
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The vault of the presbytery is decorated with a blue sky with gold stars. The presbytery contains an altar made of stone, which is separated from the rest of the church by a balustrade in gothic style and in the same material.
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It also has a balustrade with pedestals capped by onion domes that top the east and west bays. and Accompanying photo It was listed on the National Register of Historic Places in 1973. It is located in the Belfield-Emporia Historic District.
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The main house and grounds of Belle Mina in 2011. The house and grounds were originally surrounded by a high brick wall. It was demolished during the Civil War. The rooftop deck and balustrade were destroyed in a tornado on July 16, 1875.
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The Hapgood House is a historic house in Stow, Massachusetts. Built c. 1726, it is a well-preserved late First Period, including a rare surviving stairway balustrade from the period. The house was listed on the National Register of Historic Places in 1990.
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The parvise is accessed through a marble façade culminating in a wrought iron .... decorated with 10 bronze statues of saints. The parvise is separated from the cathedral square by a balustrade in white stone, featuring five large statues of saints in Carrara marble.
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The facade is surmounted by a cornice supported by corbels adorned with acanthus leaves, preceding a simple articulated parapet with balustrade. The internal spaces are partitioned and organized from two straight staircases (one main and one service), directly adjoining the rectangular compartments.
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The main staircase of stone is believed to be unique, built in 1580 with carved figures in the balustrade. The Great Chamber's floor is original and dates to the 16th century, whilst the fireplace is carved with figures including a Native American.
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The London blacksmith Thomas Stephens (d. 1771) made a cast-iron balustrade,Edward Saunders, Biographical Dictionary of English Wrought Iron Smiths of the Seventeenth and Eighteenth Centuries, The Volume of the Walpole Society, Vol. 67 (2005), pp. 237–384 (PDF) at p.
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The F.W. Woolworth Building is a historic department store building located in Kansas City, Missouri that served as a retail location for the F. W. Woolworth Company from 1928 until 1964. The one-story building includes a balustrade parapet and Moderne storefront.
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The one-story three bay wood frame house had simulated wood quoins at the corners and an arcaded porch across the front. The porch featured segmental arches on Doric columns. The roof was flat, with a balustrade matching that on the porch.
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This, for its part, is intercut with footage from the boxing match with Toni Alonso. The next sequence in the experiential strand then closes the film, with Belarmino in long shot walking in a crowded street, glimpsed through the balustrade of a veranda.
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Ceilings were replaced due to water damage, internal linings have been replaced, and a verandah balustrade added. The skillion section at the rear was refitted. The building comprises two bedrooms, lounge and separate dining room, kitchen and family room. The bathroom has been modernised.
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Slate roof. Central portion three windows three-storeys, steep hipped roof rising to a dome. Large decorated lucarne over second floor windows, bears inscription "The Kings Head". First floor three pairs of French windows open on to verandah with iron balustrade and ogee roof.
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According to legend, the bodies of a husband and wife were walled up inside the house. It is said that the man was killed in a duel, and the woman later committed suicide. Their ghosts were sometimes reported, leaning over a balustrade in the house.
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The building was built of reinforced concrete in the Renaissance Revival style. It had three floors and a full basement. From the lobby, an elaborate granite stairway with an ornate oak balustrade leads to the second and third floors. The roof formerly held a garden.
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Northern side of Angelokastro. The precipitous nature of the terrain is apparent. The larger of the two early-Christian closure slabs, found inside the Church of Archangel Michael with a Byzantine cross. The slab was part of the sculpted balustrade of an earlier Basilica.
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Many of the features of the house typify it as Greek Revival. The gable returns, eyebrow windows, columned porch and side hall interior are particularly prominent. The entryway sidelights and transom, along with the finely done balustrade, are highly developed applications of the style.
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The main entrance is on the corner, behind a stone column. Decorative elements include a stone balustrade along the roofline, lintels and sills of lighter stone on the second-story windows, stone bands of alternating sizes (8 and 16 inches), and light reddish mortar lines.
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A curved balustrade leads to the pulpit altar on the eastern wall. The organ is placed over the high altar and was built by the Holstein organ builder, Johann Daniel Busch. The Carrara marble baptismal font was a gift of the Russian Tsar Alexander I.
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Its Queen Anne influence can be seen in the wooden balustrade on its porch and the gabled dormers with half-moon windows on each side of its hip roof. The house was added to the National Register of Historic Places on May 29, 2020.
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Petr Lébl Petr Lébl (16 May 1965, Prague – 12 December 1999, Prague) was a Czech theatre director, scenographer, actor, designer and artistic director of the Theatre on the Balustrade. Lébl is considered one of the most significant personalities of the 20th century Czech theatre.
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In architecture, this term is also used for a dwarf-wall of plain masonry, carrying the roof of a cathedral or church and masked or hidden behind the balustrade. According to the Shorter Oxford Dictionary (3rd edition revised) "bahut" also means "a dress for masquerading".
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Designated a Recorded Texas Historic Landmark in 1988, Marker number 101114. 714 Main Street A typical German fachwerk design house, with a porch roof parapet, gable-end chimneys, and a decorative wood balustrade. This was built c. 1870 for German watchmaker-stonemason Ludwig Schneider.
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The staircases were as a rule exceedingly good. Carved and pierced brackets were fixed to the open strings (i.e. the sides of the steps), giving a very pretty effect to the graceful balustrade of turned and twisted columns. Renaissance figure work calls for little comment.
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The house's cornice is decorated with paired brackets, as is a projecting bay on the east side. The front porch has a balustrade and is supported by bracketed columns. The house was added to the National Register of Historic Places on November 30, 1978.
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The holy ark, width 1,70m, height 4,50m, was placed on a table of drawers. In three tiers it was ornamented by winding flora with symmetrically positioned birds and animals. The bimah stood on an octagonal podium and was surrounded by a balustrade with banisters.
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Japanese pagodas have an odd number of stories. While the tahōto may appear to be twin-storied, complete with balustrade, the upper part is inaccessible with no usable space. The lower roof, known as a mokoshi, provides shelter and the appearance of an additional storey.
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Entrances on both sides of the tower led to a high balustrade from which it was possible to enter onto a roof walkway. Columned pillars flanked both sides of the main doors which, together with the tower itself, formed an imposing entrance from Broad Street.
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They are supported by stone columns with a small balustrade at the base. At the top, brick corbels on stone bases support the broad overhanging eave of the pyramidal roof, clad in green tile. It is crowned by an Angel of Judgment blowing a trumpet.
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Belt courses at sill level divide the stories. Above the fifth story the roofline is marked by a frieze and cornice topped by another balustrade. Behind it is a small terrace sheltered by a wide overhang. An end chimney rises from the gabled tile roof.
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The Ludger-Duvernay Theatre ingeniously integrates the latest technology into a 19th-century architectural gem, while the Studio Hydro-Québec, with its clean lines and Meccano-like permutations, offers exciting flexibility. On the third floor is La Balustrade, a 55-seat cabaret style theatre.
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The High Street end has a Doric colonnade. Each end has marble columns. A musicians gallery, with a wrought iron balustrade and gilt lions heads and garlands, is in the centre of the arcade. Number 7 was the photographic studio of William Friese-Greene.
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The church represents an exquisite Baroque style. It has three storeys, with three doors and three windows with round balustrade balconies on each storey. At the rear of the church is a dome with the bell tower. The roof is made of wooden planks.
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The sleep-outs have leaded, diamond paned casement windows, and are surmounted by a gable with stucco infill. The verandah has a tiled skillion roof supported by short, paired timber posts on brick piers, and a timber balustrade with crossed central balusters, and a curved timber valance. The verandah also has a concrete floor on a brick base, with a quarter turn stair at either end with a low brick balustrade with a curved parapet. Four central entrance doors, accessing each of the flats, open off the verandah, and are flanked by leaded, diamond paned casement windows with face brick to sill height and stucco above.
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The main entry is via a large arch to the north side of centre which accesses a recessed entry porch with a tiled floor, concrete balustrade and arched timber door, sidelights and fanlight assembly. The public bar is accessed via a timber and glass door with fanlight at the south, and a separate entrance to the lounge area is located to the north. The building has sash windows with arched headers, and the street facade has rendered details including sills, main entry arch and balustrade, and a deep skirting base. The first floor bridges a driveway on the south side of the building which services the rear of the property.
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The balustrade on the first floor is cast iron with a timber handrail. To the west is a wide Edwardian timber verandah extension which has detailing that is an interpretation of the late Victorian verandah with paired square timber posts, timber semicircular valance with slatted detail, slatted timber balustrade with central diamond pattern section at ground and first floors and shaped bracket posts at first floor. The walls beneath the verandahs are painted and unpainted brick with rendered quoins on the corners and surrounding doors, windows. A lift has been installed on the northern verandah that rises through the first floor and is finished in a weatherboard-clad dormer.
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The Shields Street elevation is less symmetrical, with two slightly recessed bays, the eastern one having a balcony with a rendered balustrade and a flagpole on a rendered scrolled base at the parapet. All windows have rounded pressed metal hoods with square bases. Internally, the building retains the original lift and a timber staircase with cross-braced balustrade. The original office and reception area, Public Bar and toilets on the ground floor have been altered, and the Shields Street shops have been converted into a bar area, but many of the original plastered ceilings and a section of herringbone parquet flooring in the dining room remain intact.
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The side arches house tall narrow sash windows which have similar imposts, voussoirs, keystones and abutment treatments, and which are flanked by circular Ionic pilasters with square Ionic pilasters at the corners of the projecting bay. The pilasters are supported by a deep base, either side of an enclosed balustrade panel of interlocking circles, and in turn support a heavy entablature with a parapet above which has open balustrade panels of interlocking circles. The clock tower, square in plan, has paired square Corinthian pilasters at each corner supporting an entablature with pediment to each face. The clock faces have been removed, and are now blank.
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The narrow balcony has a concrete floor and a balustrade made from two tubular steel rails and widely separated balusters covered in asbestos cement sheeting rendered with pebble-dash on the exterior face. The steel balusters pierce the concrete floor slab and are fixed on the underside. At the far north-west end of the balcony is a steel ladder with safety grille, which provides access to the flat concrete roof of the observation room. A waist-height, tubular metal balustrade, with fibre cement panels attached, runs around the edge of this area, with the lantern that once housed the 1968 sealed beam array light located in the centre.
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It is the dominant feature of the building and streetscape and is accessed internally via an elegant cast iron spiral stair and fixed timber ladder leading up to the clock mechanism at the third-floor level from the first-floor level. Paired narrow sash windows beneath each face light the level below. There are three arcaded and balustraded facades fronting Peel and Fitzroy Streets and the laneway to the north. The two storey arcades comprise solid masonry elements and round arches to the ground floor with a wrought iron balustrade, and round arches supported by slender classical concrete columns to the first floor with a masonry balustrade.
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Internally, the pumphouse walls are lined with cream and green tiles on the lower part. A wooden staircase leads to a mezzanine balcony with a wooden balustrade. In the main, southern part of the building, there are the four pumps which pumped water out of the dock.
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It has double timber doors and a small timber loading platform on its north- west elevation, which is reached by modern steel steps with a steel balustrade. The loading banks are made of earth, with retaining walls made with a combination of concrete, steel and timber.
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In 1750, an extensive restoration of Osbyholm were made. In 1853, a new central part was built, which was provided with a third floor with a flat, balustrade-edged roof. In 1931, Baroness Anna Trolle had the castle rebuilt according to drawings by the architect Leon Nilsson.
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The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. The building is important as a rare surviving example of an intact balconied hotel in North Queensland, very few hotels survive with their balconies intact and of these fewer survive with an intact 1880s balustrade.
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128 Mocatta also designed the eight stone and brick pavilions and a stone balustrade which embellish Rastrick's brick viaduct over the River Ouse.Ryall et al. (2000) p. 702 The L&BR; built fully equipped locomotive depots and workshops at Brighton in 1840 and Horley in 1841.
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The building is constructed in sandstone, the upper storeys being timber-framed with plaster panels, and is roofed in slate. It is in three storeys, and has one bay. At ground level is a modern shop front. At the level of the Row a shaped balustrade.
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Above the alcove is a small balcony topped by a pediment, which is supported by four Ionic columns. The pediment contains a tympanum decorated with a wreath surrounded by flags. A balustrade lines the balcony. The second floor contains arched windows set into rusticated stone blocks.
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Rails for a transfer line run across the north entrances to the chambers. Four sets of twin wheels and belts are fitted to the top third of the exterior west wall beneath the overhanging eaves. A projecting timber walkway with a timber balustrade runs along beside them.
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The principal staircase has heavily carved foliated open panels to broad balustrade. A stone screen on the landing was added in 1850 by Francis Ruddle of Peterborough.Images of England No. 49711 National Monuments Record, English Heritage (retrieved 27 January 2008). See also Country Life XVL (p.
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The treads are bullnosed and obediently creak to each and every footfall a visitor may place upon them. Square carved oak newel posts support the ends of banisters with carved tapered balusters running between. The opposite side of the stairs are mirrored with a Trompe d'œil balustrade.
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The arched windows have keystones on the ground floor and dripstones on the upper level, and the roofline is decorated with a cornice and balustrade. In 1930, a new wing and entry corridor were added and the interior was renovated. The interior is currently undergoing further renovations.
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It has a flat roof with a limestone cornice and balustrade with shaped balusters. The Salem town offices were housed in the Salem Town Hall until consolidation in 1913. The building was renovated in 2000. It was listed on the National Register of Historic Places in 2001.
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A decorative fleche is centred on the roof ridge, aligned with the dormer and bay windows. The eastern, smaller building, is asymmetrical. Seven timber approach steps, with a simple iron balustrade led to a forward projecting gabled porch. Paired aluminium doors provide entrance to the screened verandah.
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The verandahs have a recent dowelling balustrade between timber columns, which have decorative timber brackets. The handrail is an angular shape. Flooring to the verandahs is of 4in wide hardwood. Modern replica work includes the fretwork under the gable, the gable finial and the property name sign.
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This mixture of styles is present in other fifteenth century Catalan buildings. The bell tower, a square, is attached to the walls. The top is closed with a balustrade. On each side of the entrance, there are two Romanesque images representing Saint Peter and Saint Paul.
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William Newton. The main school building was originally Highams Manor or Highams Park, and was built in 1768 by William Newton (1735–1790). The exterior has Ionic order pilasters and a polygonal roof lantern. Notable internal features include a stone staircase with a wrought-iron balustrade.
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Tie rods have been inserted through the building in various places. Internally, the police station has recently been refitted. Twin entrances each lead into a hall containing a staircase with timber balustrade. Rooms retain timber doors, architraves and skirtings, boarded ceilings and some timber fireplace surrounds.
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In the middle of the other sidewall, a doorway led to the inner courtyard. The walls and the ceiling were stuccoed. The southern elevation was closed off with a stone balustrade between the pillars and the wall. The ornate lobby was designed for important state ceremonies.
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The roof is hipped and clad in corrugated iron with brick corbelled chimneys. The eaves feature a dentilled cornice. The two-storey bullnose verandah runs the length of the building with cast iron columns and decorative iron brackets and balustrade. The front door features an arched fanlight.
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The Ponte della Vittoria is 122.4 metres long, with a maximum height of 12.25 metres and three arches with a maximum span of 49 metres. It is made of reinforced concrete. Two false shoulders emphasise the join with the riverside balustrade with concrete cassons faced with stone.
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A third iteration, a wooden covered bridge was completed in 1832 and stood until 1900. The next bridge opened in early 1902. It had concrete balustrade railings which were lost to the 1913 flood and replaced with pipe railings. The fourth bridge was deemed unsafe in 1979.
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The tower was brick-built, with a slight taper. At the base it was in diameter, with thick walls. At the gallery located at the top, it was in diameter with walls. The gallery chamber was surrounded by a cornice and parapet, with an iron balustrade.
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At the landing next to this window the stairs divide. They are girded by an iron balustrade with bronze railing. The stairwell is further balustraded with a stylized compass in the center and a wave beneath the rail. In the second floor hallway, decoration is more restrained.
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The Arco del Granarolo (Granarolo Arch), completed in 1822, is surmounted by a marble balustrade and stands on two marble pilasters."Arco del Granarolo", Comune di Brescia. Retrieved 11 September 2012. In 1825, he completed the raised dome of the Duomo Nuovo designed by Luigi Cagnola.
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Although the bridge was opened to traffic by the end of 1778, a new scheme for the balustrade and the completion of the south western corner were not finished until 1782 and 1790 respectively.Jaine, T.W.M. (1971). The building of Magdalen Bridge, 1772–1790, Oxoniensia xxxvi, p.70.
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Its central space was nearly a square, with two side courtyards. The narthex on the west side connects with the courtyards. The intervals between the columns separating the basilica's naves are closed off by balustrade slabs. The capitals resemble those at Hagia Sophia, also built by Justinian.
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The marble is added to the walls approximately a foot high as floor molding. The marble stairs have marble wainscotting on all levels. The stairway's iron balustrade incorporates a scrolling foliage design and a walnut banister. This foliage design at every level wraps a marble newel post.
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The center three on the first floor are topped by triangular pediments, while those on the second floor have keystones set just below a Greek key frieze. A balustrade rings the flat roof. The house was listed on the National Register of Historic Places in 1989.
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The present façade was built in 1732–1734 by the architect Ferdinando Fuga on the orders of Pope Clement XII Corsini, whose coat-of-arms, trumpeted by two Fames, still surmounts the roofline balustrade, as in Piranesi's view. It formerly housed Mussolini's ministry of colonial affairs.
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Other elements within the grounds are primarily arranged on two axes: an east-west axis from Inglis Street to Thomas Street (north of Block C); and a north-south axis on the western side of the site (in line with the centre of Block A). The east-west axis comprises a driveway beginning at the decorative, wrought-iron Thomas Street gates. The gates stand between rendered concrete piers and have an archway featuring "WILSTON STATE SCHOOL" lettering welded to iron latticework. Emphasising the east-west axis is a concrete balustrade (1933) that tops the retaining walls, forming the south and west edges of the former parade ground (north of Block C). The balustrade, which steps with the contours of the terrain, has large square piers and decorative concrete balusters. Rounded stairs, located in a break within the balustrade, are aligned with the centre of Block C. A timber bell tower with a gable roof and decorative timberwork is located at the east end of Block A and houses an early school bell.
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The house was built in 1828 by a builder from Castine. A number of its exterior features, including the wraparound porch, are Colonial Revival alterations made around the turn of the 20th century. The balustrade that is now atop the roof is not original. A carriage house, built c.
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The building was built with yellow bricks with unadorned rectangular windows. The entrances were lined with red brick pilasters supporting a pediment roof. The roof was flat with a balustrade. A rectangular tower rises from the center of the building and is crowned with four arches supporting a dome.
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The church façade has eight pilasters over two stories, with empty niches. The interior is simple until the presbytery with a baroque main altar made of colored marble. The large wooden altarpiece has a painting depicting St Michael. On the counterfacade is an organ with a wooden balustrade.
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However, by this time, the French absolutist monarchy now preferred the classicising monumental severity of the Louvre's facade, no doubt with the added political bonus that it had been designed by a Frenchmen. The final version did, however, include Bernini's feature of a flat roof behind a Palladian balustrade.
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Deep entablature with pairs of Corinthian columns in antis to pavilions. four columned entrance portico, also in antis, the entablature topped by balustrade in front of attic. Above rises broad tower embellished with order of Corinthian pilasters and piers, arched niche and colossal figure sculpture. Stepped upper part.
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Directly above the main entrance a double casement window flanked by single casements opens onto a small balcony with a wooden balustrade. Dr. Orr practiced medicine in Anderson for 25 years, and was active in the community. The house was listed in the National Register on April 13, 1973.
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The architect of the Hall was James Matthews, who also designed the arched balustrade running the length of Union Terrace Gardens and from 1883 to 1886 was Lord Provost of Aberdeen. Room hire is available for very reasonable rates, full details on the Venue Hire page of the website.
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The large surface area of the site allowed to build a set consisting of a main building exempted -of three floors topped with a slender balustrade- and a large garden in which there were plenty of greenhouses. The entire set was closed with an elegant cast-iron fence.
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Brown, History of the George Washington Masonic National Memorial..., p. 66. In 1939, the granite steps leading up to the portico, the walls containing the patio which surrounds the memorial and the stone balustrade for the granite steps were installed."High Masonic Chiefs to Meet Here Friday." Washington Post.
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Around the side walls are stalls of carved and inlaid wood, by Antonio da Colle. The ceiling was adorned by Sebastiano Mainardi, Ghirlandaio's brother-in-law and master, with figures of the Evangelists and Doctors of the Church. The chapel was enclosed with a marble balustrade in 1661.
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Robinson, p.57 Mundersfield Harold is an even earlier Augustan era mansion made of brick on an H-Plan with typical bays and hipped roofs. There is a Venetian staircase, plaster mouldings, and a glazed porch. In the Victorian period a south wing with a terracotta balustrade was added.
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The building's design includes an arched stone entrance flanked by Ionic columns and topped by a balustrade, brick quoins, a bracketed and dentillated cornice, and pedimented dormers on each side of the roof. The building was added to the National Register of Historic Places on November 30, 1978.
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The upper-floor bays have round-arch windows articulated by brick pilasters. Building corners have brick quoining, a dentillated cornice, and a low balustrade on the flanking end wings. The school was constructed in 1895 in response to rising enrollments. It replaced a three-room schoolhouse, built c.
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The two onion-shaped towers were added in 1844 during an extensive rebuilding. The nave of the church and the side galleries were lengthened and a consistory was added to the church. Another modification was performed in 1880. The towers were rearranged and a romantic balustrade was added.
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Ceilings in the lower level are fibrous plaster or masonite with cover strips. The south-east verandah has masonry arches, infilled with cast iron panels, and a timber floor. The north-west verandah is timber, with a timber balustrade and lattice, and weatherboard toilet rooms at the northern corner.
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The addition is a four-room and passage block to the south. The Colonial Revival style is reflected in a one-story, one-bay wooden portico with Doric order columns and square balustrade. and Accompanying photo It was listed on the National Register of Historic Places in 1985.
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In this occasion also the columns of the south church were substituted with piers, and the balustrade parapets of the narthex were removed too. The building burned once more in 1918,Eyice (1955), p. 80. and was abandoned. During excavations performed in 1929, twenty-two sarcophagi have been found.
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Saint Martin's Church (Martinskirche, Evangelical) was consecrated in 1775 and with seating for 1,000 worshippers is one of Rhenish Hesse's biggest churches. Its Wegmann organ from 1762 together with the original organ balustrade comes from the old Welschnonnenkirche – once a convent church, now no longer standing – in Mainz.
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The tower is topped by a balcony supported on timber brackets which has a lightweight balustrade. The cylindrical lantern sits above, capped with a hemispherical dome. Access to the light is via a timber stair. The tower is painted white, with the dome and the concrete base painted red.
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It features a one-story, three bay wood front porch with an elaborate Doric order entablature, fluted columns, and a delicate railing. It also features a roofline balustrade. An addition was completed in the 1920s. See also: It was added to the National Register of Historic Places in 1980.
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Sophie Amalienborg was built in the style of a large three storey Italian villa suburbana with long one-storey lateral wings. The central wing had a high ground floor with a mezzanine. It had a flat roof lined by a balustrade and with a small tower in its centre.
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The choir with wooden balustrade stands on Tuscan stone pillars with capitals. There is a painted wooden ceiling under the choir. The western wall under the choir is painted with 4 Latin inscriptions, which were added in the reconstruction from 19th century. There is a columbarium under the choir.
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An Ark is located on the western wall. In front of it, there is a platform rounded by a balustrade. The platform is preceded by 5 steps. On the left side of the wardrobe a ner tamid and a plaque with an inscription in the Hebrew language are placed.
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It became the first public park created on Tyneside. John Fulton, the Town Surveyor, laid out Leazes Park similar to other parks being built in Britain at that time. The layout centres on the lake. The Bandstand was added in 1875 and a balustrade stone terrace in 1879.
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The chapel is constructed in red brick with stone dressings and a slate roof. It consists of a nave with an apsidal chancel. Around the top of the chapel is a moulded stone cornice and a balustrade. The balusters are interspersed with square piers supporting swagged ball finials.
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To its south is the main stair with a simple handrail and balustrade. Two large parlors are to the west. The west wing's first floor is given over to the living room; the east is the kitchen wing. On the second story are four bedrooms and a bathroom.
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Martin L. C. Wilmarth House is a historic home located at Glens Falls, Warren County, New York. It was built about 1910 and is a square, 2-story, frame Colonial Revival–style residence. It is topped by a hipped roof with decorative balustrade. The architect was Ephraim Potter.
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The roof's cornice is bracketed, displaying the design's Italianate influence. A veranda along the front of the house features detailed moldings along the edge of the roof and a balustrade along the bottom. The house was added to the National Register of Historic Places on February 10, 1983.
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Below the eagles are the names of Secretaries of the Interior Hoke Smith (1893–96) and John Noble (1889–93) and "U.S. Hot Springs Reservation." The balustrade itself is of limestone ashlar masonry and concrete construction. The central bay houses a vaulted hemicycle niche containing a drinking fountain.
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The Manor House was built in about 1620 and is the remaining part of a much larger mansion. The house contains an original oak staircase which has an open balustrade with finial topped ovals and lozenges, very similar in design to the staircase at Princes Risborough Manor House.
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By 1942 the name has changed to the Criterion Hotel with Mrs Mary Gummow as proprietor. The building has experienced many changes including the replacement of a fine cast iron balustrade with a course timber cross braced alternative and the infilling of sections of the ground floor verandah space.
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These are flanked on each side by three bays containing sash windows. Projecting from the left three bays is a single-storey kitchen wing with a first floor terrace and a balustrade. Inside the house are two Jacobean staircases with turned balusters and square newels surmounted by ball finials.
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Doors here are > typically low-waisted four panel, some with fanlights. The floors are timber > boards. > In the upper level, the lantern provides a boarded rooflight to the central > corridor. At the end of the corridor, an arched opening and timber > balustrade form a balcony which overlooks the courtroom.
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The seventh bay is a regular door, leading to offices. The two stories are separated by another blind balustrade. Above the arched second story windows, set with six-over-six trabeated sash, is a plain cornice and marble-topped parapet. The police wing, on the east, is mostly identical.
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In the middle of the wings, and above the central pavilion, is a solid panel. That above the pavilion has "CHASE" carved in it. The north (rear) facade is less ornate but also well-delineated. A balustrade runs along the flat roof; there is a penthouse in the center.
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The U.S. Post Office in Demopolis, Alabama is a historic post office. It was built in 1914 in a Jeffersonian Neoclassical style. The facade is granite and brick with five arched bays, the three central bays feature Palladian windows. The roof line is crowned with a vasiform balustrade.
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The present palace was built in the 17th century on the site of a previous Gothic building of the 14th century. The palace was heavily remodeled in later periods. A large terrace with a balustrade was added on top in 1924. Dandolo is the name of a Doge family.
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Continuing up the stairs leads the individual to the Hemicycle's terrace. Map of the interior of the memorial as of 2013. On top of the Hemicycle is a terrace of light gray granite wide. A granite balustrade, original to the Hemicycle, frames the eastern side of the terrace.
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Accessed 2013-11-28. The third floor balcony is reached through French doors (framed with slit windows) as well. It features a low balustrade of turned granite interrupted by pedestals, which are decorated with variegated marble panels. The placement of the pedestals mimics the pillars and pilasters below.
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The balustrade at The Elms is taller, but simpler in detail. Furthermore, the pediment on Trumbauer's garden facade is likely a variation of the pediment at Hôtel Porgès, 18 avenue Montaigne in Paris, built in 1892 by the architect Ernest Sanson. There is no pediment at Château d'Asnières.
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Avant-corps corners are pilaster-shaped. The top floor of front elevation has attic style balustrade. At the gable top is placed a lyre, symbolizing music and poetry, in relation with the cultural function of the building. Building interiors originally comprised a main concert hall and a ballroom.
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Large square shingled piers anchor the balustrade of the front porch. One of its early owners, Annie Bliss, wrote a column in the local Reading Chronicle, and ran a candy shop out of her home. The house was listed on the National Register of Historic Places in 1984.
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Zorzi, La libreria di san Marco..., p. 140Deborah Howard suggests that the idea for the balustrade may have been derived from Raphael's design for Palazzo Branconio dell'Aquila. See Howard, Jacopo Sansovino..., p. 27. Among the sculptors were Agostino and Vigilio Rubini, Camillo Mariani, Tiziano Aspetti, and Girolamo Campagna.
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The entrance gate is located on the northern front façade, where three semicircular arches are located. The first floor of the front façade has a balcony with four Roman-style columns and a Neo-Renaissance balustrade. There are decorations above windows that were influenced by Classical Greek architecture.
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The main entrance, framed by stylized pilasters, leads to a central hall that goes all the way to the back of the shed-roofed addition. The interior has been stripped for repair work, but original pieces included a mahogany balustrade on the main stairway and a black marble mantelpiece.
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The cupola is octagonal and decorated with Corinthian columns in the lower area and the upper area has a window with a balustrade and statues of saints. Topping the cupola is a lantern window with a statue depicting the Immaculate Conception. Inside, there are paintings by Juan Rodriguez Juarez.
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The historic Denton Road bridge was a single steel I-beam stringer with arched concrete fascia. The bridge was 23 feet long and 32 feet wide, with a 23.2-foot roadway. flanked by sidewalks. It had concrete balustrade railings on each side with integrated posts at the corners.
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The main entrance is via a gable-roofed entrance portico at the southern end. Semi-enclosed by face brick walls, it features a large timber-framed glazed screen in the southern wall, fitted with metal louvres and tall, wired glass panes. The portico contains a short flight of brick stairs with a tubular metal rail balustrade. A secondary entrance is via an open flight of timber stairs, also with a tubular metal rail balustrade, to a covered walkway on the north side, which links Block G with the ground floor level of Block E. The western passageway has a timber floor and is enclosed by profiled metal-clad bag racks and banks of wired glass louvres.
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The double staircase built in 1654 is the design of architect and sculptor Orazio Torriani (fl.1602–1657). In 1907 he wrote: "I did in Rome a study of a magnificent curved staircase and balustrade, leading to a grand facade that would reduce a millionaire to a worm...." The painting now hangs at the Ashmolean Museum at Oxford University and the pencil sketches are in the collection of the Harvard University art collection of the Fogg Museum. Sargent later used the architectural features of this stair and balustrade in a portrait of Charles William Eliot, President of Harvard University from 1869 to 1909. Sargent's fame was still considerable and museums eagerly bought his works.
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View along pier, 1966 In 1950 the pier tram was sold for £12 10s because it could not pass the Bailey bridges, and replaced by a narrow-gauge steam railway which was gone by 1959. On 1 March 1949 the pier entrance suffered sea-storm damage, and again between 31 January and 1 February in the North Sea flood of 1953, when a twenty-foot storm surge swept past the old pier-master's house, Richmond Villa, and as far as the High Street. As a result, in 1953 the stone balustrade from London Bridge, set at the entrance in 1833, was taken down and replaced with railings. The present whereabouts of the balustrade is unknown.
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This single-storeyed chamferboard building, with a corrugated iron gambrel roof, is located on the corner of Queen and Edmond Streets in the centre of Marburg, opposite the Marburg Hotel and adjacent to the Rosewood Scrub Historical Society Building. This building is L-shaped in plan, has concrete stumps with timber stumps to the perimeter, and a central parapeted section of the south wall, fronting Edmond Street. The southeast corner has a decorative timber porch with double entry doors, cross- braced balustrade, curved brackets and a parapet concealing a corrugated iron skillion awning. The western elevation has a partly enclosed verandah with timber posts, cross-braced balustrade, curved brackets and a corrugated iron skillion awning.
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A 1928 design signed by Reyburn Jameson, Brisbane City Assistant Architect 1926-29, repeated the plan form of the existing kiosk to double its size and provide for a two-storeyed timber extension to the northwest to accommodate living quarters. The shelter shed and small kitchen were demolished, the prominent fleche and chimney were added, and the roof resheeted with red fibro cement tiles. The open balustrade nature of the kiosk changed at this time, with the inclusion of sliding multi-paned timber sashes above hand rail level and a fibro cement balustrade below. The enlarged kiosk reflected the increasing popularity and visitor numbers to Mount Coot-tha, and the proliferation of motor transport.
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The entry staircase is a prominent feature of this elevation, along with a large weatherboard gable with a bold decorative screen in the plane of the bargeboards. Stairs from two sides arrive on a central landing and then a single stair leads to the front verandah, the landing is covered with a simple timber pergola and post and beam-style timber "arches" mark the bottom of the staircases. The verandahs of the house are characterised by substantial timber posts and a simple balustrade. At the north-eastern corner of the house the verandah enlarges to become a semi-enclosed room of generous proportions, with large vertical timber louvres infilling the space between the roof and the balustrade.
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The Lochis Madonna is a c.1475 tempera on panel painting by Giovanni Bellini, now in the Accademia Carrara in Bergamo. Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007. It is signed IOANNES BELLINVS on a small scroll attached to the marble balustrade in the lower foreground.
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The hipped roof of the building is clad with corrugated iron sheeting. Verandahs line three sides of the building. The timber verandah posts are stop-chamfered and located between the posts is timber dowel balustrade. A gabled projection on the southern principal facade of the building emphasises the principal entrance.
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This piece is part of what was once a complete balustrade running along the roofline. In 2006 construction began on an observation deck giving panoramic views of Woodsfield. The octagonal room is lined with long windows and topped by a roof rising to a weathervane in the shape of a locomotive.
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Weathervane The church is a stone box with quoins. Some medieval work remains in the south and west walls, the latter of which is of brick and rubble. On top of the body of the church is a balustrade. The windows are arched with square brackets – a favourite device of Wren.
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The antebellum plantation house has elements of French Colonial and Anglo-American styles. It is characterized by its wide hallways and high-ceilinged rooms, while featuring a carved cypress balustrade. Several of the rooms contain red Italian marble mantlepieces. Six wooden pillars are large in size and square in shape.
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The east side facade has a sunroom, that used to be a veranda. It is supported by buttresses and features rounded windows. A balcony with a masonry balustrade is located on top of it. Another entrance with a two-step stairs is situated next to the sunroom under a wooden canopy.
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The interior was gutted of its redwood framing to install an elevator and more modern steel framework. The massive ornate wooden staircase with turned wood balustrade was removed. The original lath and plaster was replaced with plaster board. The steel fire escapes on three sides of the building were all removed.
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The original turned oak spindlework and balustrade remain on the stairs. Upstairs, the rooms on the second floor have been enlarged to allow the installation of private bathrooms. The rooms on the third floor are their original size; the shared bathrooms have been enlarged. The original window trim remains on both.
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Nizamuddin's mausoleum Nizamuddin's tomb has a white dome. The main structure was built by Muhammad bin Tughluq in 1325, following Nizamuddin's death. Firuz Shah Tughlaq later repaired the structure and suspended four golden cups from the dome's recesses. Khurshid Jah of Hyderabad gifted the marble balustrade that surrounds the grave.
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The balcony window on the first floor has a segmental pediment and shouldered architrave. The windows of the second and sixth bays have pediments, while the others have frieze and moulded cornice. A band marks first-floor height. There is a flight of eight steps with balustrade supporting two urns.
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A nearby staircase led up to the boarders' dormitory. Directly behind the entrance lobby was the nuns' refectory, which included a fireplace and mantle. To the left of the entrance lobby, a grand timber staircase with turned silky oak balustrade ascended to the upper floor. Beyond the staircase was the chapel.
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The late Kora Chandy described the Mayo Hall as "one of the most elegant public buildings of the era in Southern India." Several Greco-Roman elements and influences are apparent in the building: architrave and pediment windows, key-stoned arches, balustrade ledges, beautiful consoles, Greek cornices, Tuscan columns, and wooden floors.
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The main aisle is demarcated by a balustrade interspersed by four larger and four smaller chapels. The building's construction and the architectural motifs are very precise. A unique set of artistic decorations adorns the building as well. Created around 1700, some of the works it contains are undoubtedly of gallery quality.
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The main facade faces east toward School Street and has a single- story hexagonal porch. The porch has six doric order columns and a simple balustrade. The adjacent facades (northeast and southeast) feature a first- story three-windowed bay. Above these bays are a grouped pair of double hung windows.
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This was formerly the residence of Lorenzo Cáceres, a colonel of engineers. Its three-story neoclassical facade presents traditional quartered windows; a high arched central gate with a stone frame, cornice, and balustrade; this gate between large flowerpots; and a pretty hidden balcony sporting turned balusters in the main window.
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The bridge was rebuilt in 1870–73 by William Henry Barlow to a design by T. Dyne Steel. The iron was cast by John Butler of Stanningley. The cast iron balustrade is of rings and flowers. The east side bears the arms of the Corporation of Leeds (crowned owls and fleece).
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The altar is dedicated to Our Lady of Mount Carmel. Four columns in elegant French red marble support a pediment surmounted by a pediment lively. At the center of the gable is placed a garland of golden metal with two palms. Frontal, and balustrade pedestals are inlaid with red marble.
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Tattersall's Hotel is part of the Flinders Street East Precinct. Tattersall's Hotel is a two-storeyed rendered brick building with frontages to Flinders and Wickham Streets. A timber verandah supported on timber posts extends along the two street frontages. The verandah has a cast iron balustrade separated by double timber posts.
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The Villa Margherita was used as a hotel in 1921 when it was featured on a Charleston postcard. balustrade and cupola to the roof. The Villa Margherita is an Italian Renaissance house at 4 South Battery, Charleston, South Carolina. It was built in 1892 and early 1893 for Andrew Simonds.
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The gable ends are clad with splayed weatherboards. The verandah structure is from the 1970s and the slab balustrade is probably more recent. The cottage has double hung windows (not original) either side of the 4 panelled front door. A brick chimney is external to the cottage on a side wall.
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A central pavilion is flanked by north and south wings, the latter of which is the main entrance. Both wings have round-arched windows divided by partially engaged Ionic columns. The former main entrance, on the Liberty Street side, has free-standing Corinthian columns. At the cornice is a balustrade.
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The entire building is dominated by large and handsome rhythmic, round-headed windows with simple keystones. The window openings are flanked by engaged Doric columns on the first and second stories. Square pilasters mark the corners of the pavilions and the facades. A cornice and balustrade surround the entire building.
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Decorative balustrades are located below each window. The columns support a classical entablature that consists of a molded architrave, an incised frieze with an egg-and-dart molding, and a cornice that features a dentil course. A balustrade tops the building. The interior of the original portion contains the postal lobby.
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The building's front porch, which projects from the three center bays, has a balustrade supported by three arches and decorated with terra cotta. The red tile mansard roof has five dormers and a bracketed cornice along the bottom. The building was listed on the National Register of Historic Places in 1995.
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The roofs are in green slate with lead flashings. The south front has nine bays, the central three bays projecting forward. On each side of the central projection is a semi-circular stairway leading to the middle floor. The stairway is built in rusticated stone and it has a moulded balustrade.
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The gallery has a wrought iron balustrade, and a pressed metal frieze along the fascia and return with brackets over the columns. There is an exit via a side door and a steel external stair. The stage is of timber boards. Over the stage is a proscenium decorated with timber mouldings.
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The building is generally Georgian Revival in style with its pediment, quoins, and balustrade. It was designed by Warren Powers Laird & Paul Philippe Cret, who also designed six other buildings on campus: the Central Heating Station, the Stock Pavilion, Lathrop Hall, the Home Economics Buildings, Wisconsin High School, and Sterling Hall.
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The ground floor has large arched windows to match, containing leadlight panes in their central part. The windows to the upper storey are rectangular. The verandah is railed with a balustrade of urn shaped masonry elements. This was repeated on the ground floor, but has been partially removed for access.
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It was a Classical eleven-bay house with a three-bay pediment, quoins, hipped roof, balustrade and belvedere on the roof. It was further enlarged in 1688, but pulled down in 1777. The splendid wrought-iron gates went to St John's College and Trinity College, Cambridge, and the rectory at Cheveley.
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The ait is toward the edge of the central urban area of the town of Reading and connected by a gangway attached to the middle of the downstream stone balustrade of Caversham Bridge, a road bridge that links that town to its left bank suburb of Caversham, its closer bank.
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The entrance to the church is through the west door of the tower, above which are three lancet windows. Above these are three-light louvred bell openings and a balustrade. The windows in the gables of the chancel and transepts are rose windows containing stained glass. Elsewhere the windows are lancets.
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The film starts in 1968. Václav Havel works as a playwright at Theatre on the Balustrade where he receives ovations. His career is interrupted by the Warsaw Pact invasion of Czechoslovakia. The story then moves to 1976 when he participated in the preparation of Charter 77 which led to his imprisonment.
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The second stage sports paired blind windows with semicircular heads. The corners feature less prominent angle-buttresses with fleur-de-lys finials. The third stage has more but smaller paired windows and the buttresses are here clasped. At the fourth stage there is a single large window featuring a balustrade.
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From the main mass on either side extend four-story wings on raised basements, accented by projecting three-story oriel bays. The top of the wing is accentuated by a segmental balustrade. The main level contained administrative offices and the main entry. The second floor was occupied by the library.
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The Osmund Osmundson House around the turn of the twentieth century. Note the brick color and elaborate balustrade front porch. Osmund Osmundson was born in Nedstrand in Tysvær, Norway in 1826 and immigrated to the United States in 1850. He settled in Milwaukee, Wisconsin before joining the California Gold Rush.
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The Washington Club did not, however, alter the main marble staircase, its wrought iron balustrade with red velvet banister, or the fountain on intermediate landing between the first and second floors. The Patterson Mansion was renovated again in 1985. The renovation was overseen by Oerhlein & Associates Architects.Moeller and Feldblyum, p. 209.
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Reiby House was demolished in 1964. In 1970, Patris Projects bought Stanmore House and divided it into seven flats. Aluminium windows were put in, the back verandah was partially enclosed with fibro and the staircase balustrade was lost. The house was classified by the National Trust of Australia (NSW) in 1982.
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The entirety of the interior is plastered and painted in white. Along the left wall is a pulpit over corbel and with wooden balustrade. To the left of the triumphal archway is a doorway that provides access to the sacristy. Both the pulpit and sacristy doors are decorated within cornices.
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The Georgian mansion has an entrance topped by a pediment supported by Doric columns.Mount Pleasant :: gophila.com – The Official Visitor Site for Greater Philadelphia A balustrade crowns the roof which also has prominent dormers and two large chimneys. Two small symmetrical pavilions flank the main house, an office and a summer kitchen.
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The Versailles Orangerie is under the flowerbed known as "Parterre du Midi". Its central gallery is in length, and its frontage is directed towards the south. The "Parterre Bas" is bordered on its south side by a balustrade overlooking the Saint-Cyr-l'École. This separates it from the "Swiss Pond".
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The Bowser Gazebo is a historic gazebo at 25 Linden Street in Reading, Massachusetts. It is an open octagonal wooden structure, measuring about . It has a low cross-hatched balustrade, above which piers rise to support the octagonal bell-cast roof. The piers are paneled, with circular holes in the paneling.
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The John Wright Stanly House is a historic home located at New Bern, Craven County, North Carolina. It was probably designed by John Hawks and built about 1779. It is a two-story, five bay, central hall plan Georgian style frame dwelling. It has a hipped roof and roof deck with balustrade.
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The building is detached and built of sandstone in the classical style, with a tower and steeple at the corner. There is a rusticated basement and two storeys above with arcades, columns and arches. Around the top of the walls there is a balustrade with finials. There is a metal roof with skylights.
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This platform or daïs is about three feet above the floor level. Beyond this is a large (and even higher) platform or daïs, forming a very large preaching- station or pulpit. This feature is circular and surmounted by a balustrade. It may perhaps be one of the largest pulpits in any church building.
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Corbels rise through the entablature above each column. The top pediment is marked by stretches of balustrade. All the windows in this front facade are arched. The interior of the first section was substantially remodelled in 1964–1965, with the addition of a concrete frame structure, new floors, a mezzanine and air-conditioning.
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The ground floor is rusticated outside. The columns are connected to the balustrade at the level of the first floor. The cornice of the building is decorated with a number of small projections - dentils, which are in the shape of rectangles. The first floor has got high semicircular windows with rusticated frames.
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Charles Bridge and the Holy Crucifix, c. 1935 The avenue of 30 mostly baroque statues and statuaries situated on the balustrade forms a unique connection of artistic styles with the underlying gothic bridge. Most sculptures were erected between 1683 and 1714. They depict various saints and patron saints venerated at that time.
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The front has a single-story shed-roof porch extending its full width, supported by piers of conglomerated stone, and with a fieldstone balustrade. Built in 1927–28, it is a fine local example of craftsman architecture executed in stone. The house was listed on the National Register of Historic Places in 1998.
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Each side of the memorial has a pillared marble balustrade. Above this is a row of three leadlight gothic style windows. A rectangular leadlight runs along the top of all the walls. The rear wall is mostly covered with inscribed marble tablets while the front of the memorial is open with metal gates.
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The Hotel Imperial's façade is in the Italian Neo-Renaissance style. The top of the building contains a stone balustrade that frames heraldic animals from the Württemberg coat of arms. The main entrance portal contains four statues that are also symbolic. The original portal was wide enough for a two-horse-drawn carriage.
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A balcony (from , scaffold; cf. Old High German balcho, beam, balketta; probably cognate with Persian term بالكانه bālkāneh or its older variant پالكانه pālkāneh;Dehkhoda Persian Dictionary) is a platform projecting from the wall of a building, supported by columns or console brackets, and enclosed with a balustrade, usually above the ground floor.
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Upstream side of the bridge, pictured circa 1920 Constructed in 1909, the Broadway Bridge is a three-hinged arch bridge built of concrete. A single span crosses the entire stream, and a balustrade prevents vehicles and pedestrians from falling over the side into the stream., Ohio Historical Society, 2007. Accessed 2014-01-13.
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From the center of the red, clay-tiled roof rises a square clock tower. It has two parts that are separated by a cornice and balustrade resembling the balcony over the main entrance. The lower section contains paired, deepset, compound, round-arched windows, divided horizontally into four lights. The springers are decorated.
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A balustrade, punctuated by sculptures atop the giant pilasters, capped the composition, one of the most influential of Michelangelo's designs. The two massive ancient statues of Castor and Pollux that decorate the balustrades are not the same as those posed by Michelangelo, which now are in front of the Palazzo del Quirinale.
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Above the flat roof with balustrade are two drums supporting a dome. The first drum consists of a colonnade of Corinthian columns; the second, Corinthian pilasters. Large arched windows line the drum walls. The dome is high, and supports a lantern with a smaller dome capped with a gold-leafed orbed finial.
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Roosevelt suggested that Sargent didn't have a clue what he (Sargent) wanted. Sargent responded that Roosevelt didn't know what was needed to pose for a portrait. Roosevelt having reached the landing, planted his hand on the balustrade post, and turned to Sargent angrily demanding "Don't I?!" And the perfect pose had been found.
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The front is determined by the central entrance, over which the coat of arms of Madagascar as a large plaque is attached. The façade ends with a balustrade from small columns in the European Baroque style. Behind it rises a steep and shingled roof tent in a typical design for the Malagasy architecture.
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The roof is encircled by a low balustrade. The town common is separated from town hall by a curving drive. It is a grassy rectangular area, with walkways crossing it and occasional plantings of trees and shrubs. Fronting Great Plain Avenue is an area with a flagpole and a brick memorial wall.
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A 20th-century renovation added two-storey single-bay links to wings, and the attic. Internally, the building still contains the original Adam style fireplaces and ceilings decorated with gold leaf. The modest staircase has a wrought-iron honeysuckle balustrade. The apartments contain a collection of paintings by ancient and modern artists.
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The cathedral is long and the transept is wide, with an exterior height of . The towers are in height, and have Rhenish helm spires, each topped by a cross. One tower contains a single large bell, and the other three smaller bells. The west front rises to a balustrade between the towers at .
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There, smooth Ionic pilasters divide the bays. It, too, has six-over-six double-hung sash, set in singly arched windows that are otherwise similar to their counterparts on the main block. The balustrade continues along the roof of the wings as well; both have the same pairs of chimneys at the end.
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The Ole Carlson House, not long after its construction. Note the existence of balustrade and lack of plantings. The Ole Carlson House was both designed and built by Ole Anderson Aasved for his neighbor Ole Carlson, a fellow Norwegian immigrant farmer. Its location on a slight elevation makes the structure very visible.
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The Dutch Colonial Revival home features a gambrel roof, a front porch supported by Tuscan columns, and a balustrade along the roof of the porch. It is the only extant Dutch Colonial Revival building in Central City. The house was added to the National Register of Historic Places on December 6, 1990.
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The verandah has paired verandah posts and timber rail balustrade. Four timber approach steps are off centre and directly access the main entrance door to the police station. A faceted bay window protrudes onto the verandah space. An eyelid dormer window with four small fixed casements is located above the bay window.
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A park lies adjacent to the residence. Originally a formal, Baroque garden (depicted for the first time in 1726), it was transformed into a landscape garden during the 19th century. A few remaining Baroque architectural elements were destroyed during World War II, and today only a single balustrade remains from the Baroque garden.
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Greer House is a historic home located at Rocky Mount, Franklin County, Virginia. It is a two-story, three bay, frame dwelling in the Greek Revival style. It has a low hipped roof and is sheathed on weatherboard. The front facade features a full width, one-story front porch topped by a balustrade.
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The 6th puzuo brackets are the most complex that survive from the Yuan Dynasty.Steinhardt (1998), 71. Based on the complex bracketing, the marble balustrade and the height of the platform, Steinhardt identifies the Dening Hall as one of the two most eminent and important extant wooden halls that date from the Yuan period.
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The remainder is fish scale shingles, unpainted and weathered. A one-story verandah with coupled Ionic columns and a balustrade with lattice-style railing wraps three sides of the structure, with a flight of steps in the front-center. Its historical significance is in its unique architecture, as well as its history.
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The facade was symmetrical with a central risalite, crowned with an attic and a balustrade. The first tier of the facade was rustic, the second tier of risalita was decorated with six pairs of ionic pilasters. The owners were Maria Sanguszko and her husband Alfred Potocki. The palace was dismantled in 1860–1861.
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Above it the roofline is enhanced with a balustrade. Three panel doors, with a rectangular light above, lead inside. Inside, the main block is one main room with the stacks and circulation desk. A fireplace with ornate mantel is on the wall between it and the reading room, in the east wing.
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Two storey Regency house of sandstone. Newly renovated and, with new building on adjoining block, is now a boutique assisted living building containing nine independent suites. Five french doors open onto second storey balcony with metal balustrade and veranda posts. Corrugated galvanised iron roof to main building and verandah painted in wide stripes.
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In order to secure the liturgical orientation, when the mosque was converted into a cathedral its width was made the length of the new church; and it was divided into two parts, the lesser part, on the cast, being separated from the rest by a balustrade and grating, to form the chapel royal.
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Played at the St Gissop School, West Sussex, this version is similar to Eton Fives except that a beveled stone 'balustrade' features three feet and three inches above the floor of the tangential wall of the court. The game was supposedly invented by alumnus George Henry Steering, who excelled at the game.
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The main roof cornice is deep, with decorative modillion blocks regularly spaced. The front entry is sheltered by a single-story porch which has a spindled frieze and balustrade. It is supported by very slender turned columns with brackets at the upper end, below the frieze. The stairwell windows feature decorative stained glass.
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The house is a large 17th-century stone-tiled rubble stone building. Some parts are possibly 16th century, containing a Tudor-arched fireplace. The grounds have a mid 17th-century dovecote and two summer houses. The frontage includes a two-storey porch topped by a balustrade having Georgian busts at its front corners.
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The verandah balustrade is a later bag rack form. The building does not retain original windows or doors. The interior retains its original technical college layout with internal partitions dividing the space into classrooms accessible from the verandah. The walls and coved ceilings are lined with v-jointed tongue and groove timber boards.
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The balustrade enframing the roof of the central building has magnificent vases on the posts which smooth passage from frieze and cornice to the belvedere topping off the central cubage. The belvedere is not such static form as a pediment, and emphasizes the ascent of the whole arrangement, augmenting the Pashkov House building.
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The building's design features terra cotta arches around the entrances, ornamental terra cotta panels between the windows of the upper and lower floors, a balustrade atop the sixteenth floor, and a two-story penthouse with a broken parapet. The building was added to the National Register of Historic Places on November 22, 2011.
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The house had two wings and a balustrade on the roof added. The reconstruction work was finished in 1839. In the 1830s an English park was planted around the manor house and the farm buildings were removed away from the sea side. The bridge over to Meilahti was built in the 1840s.
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Each section is capped with a hip roof with gabled vents at the peaks, and features irregularly spaced rectangular windows. The court area includes a second story balcony on three sides; the original wooden balustrade has been replaced with a metal rail. The interior of each section includes two apartments on each floor.
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The eastern one was originally built for that purpose; the western one was a courtroom. In the former, the aldermens' desks are within a semicircular balustrade outlined with paralleling benches for the public. The Roman Doric continues to be used. Fluted pilasters in that mode support a full entablature and modillioned cornice.
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Unlike Lincoln House, the dispensary is only two stories in height. Atop the building is a narrow frieze created by vertically laid bricks and a marble cornice with Wall of Troy molded marble dentilling. The roofline has a marble balustrade instead of a parapet. The side elevations are mostly similar in treatment.
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On the north (front) facade, the first-story marble is rusticated. Trabeated six-over-six double-hung sash windows are slightly recessed in arched surrounds. The corners are slightly recessed; the middle 11 bays project slightly to form a small pavilion. Atop the first story of that pavilion is a blind paneled balustrade.
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At the west end of the church is a 17th-century gallery with a balustrade. The octagonal font dates from the 15th century; its bowl is carved with quatrefoils and shields. The pulpit dates from the 17th century. It is carved with arcading and circles, and stands on a 15th-century sandstone plinth.
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See: , accessed 2013-11-28. The entrance originally featured French doors, but were replaced by black enameled doors decorative by bas-relief wreaths. The second-floor balcony is framed on either end by pilasters decorated with candelabra. Each wall is angled inward by two bays, with one of the bays behind the balustrade.
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The Commandant's Quarters is a square, red-brick building on a brick foundation. The hipped roof is covered with slate, and has gabled dormers and a balustrade. A two-story verandah with square columns extends around the front and side of the building. The wrought iron railing near the front entrance is handmade.
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Turner–LaRowe House is a historic home located at Charlottesville, Virginia. It was built in 1892, and is a two-story, Late Victorian style dwelling. It features two one-story verandahs with a low-pitched hipped roofs, spindle frieze, and bracketed Eastlake Movement posts and balustrade. A small second- story porch above the.
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The pyramid consists of a series of square terraces with stairways up each of the four sides to the temple on top. Sculptures of plumed serpents run down the sides of the northern balustrade. Around the spring and autumn equinoxes, the late afternoon sun strikes off the northwest corner of the pyramid and casts a series of triangular shadows against the northwest balustrade, creating the illusion of the feathered serpent "crawling" down the pyramid. To contemporary visitors, the event has been very popular and is witnessed by thousands at the spring equinox, but it is not known whether the phenomenon is a result of a purposeful design since the light-and-shadow effect can be observed without major changes during several weeks near the equinoxes.
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Sets of low, s concrete steps are located along the south edge of the driveway, with one set leading to the pool and others on the north side of Block C. The north-south axis links Block A with the northern oval. It is defined primarily by a footpath that begins at a set of curved, concrete stairs with low edge walls at an intersection with an Art Deco-style balustrade (1935). This balustrade has concrete piers linked by tubular metal handrails and stands on an ash-brick retaining wall that wraps around the southern and western edges of a lower playground. The axis pathway continues north to a second set of concrete stairs with low edge walls, providing access to the oval.
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It is clad in white marble with grey veins, and its bottom few steps swell out in a shallow curve, flanked on either side by ornate, plaster balustrade end posts that are topped with vessels for displaying flowers. The remainder of the balustrade on either side is made from plaster employing the same style of ornamentation as the walls, with the top surface of the upper rail covered in maroon and white marble and the bottom skirting made of grey-blue and white marble. A copper and brass handrail, similar to the one in the entrance hall, runs up the centre of the staircase. A landing divides the stairs in two, in line with the height of the balconies along the side walls.
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Local newspaper Ayer reported the next day that Barranco had fallen from the balustrade, making no mention of his incarceration. The official version was the same as the one offered three months later regarding Julián Grimau: suicide. The then Tourism and Information Minister, Manuel Fraga Iribarne, defended the government version in a letter to José Manuel Caballero Bonald, who had signed a manifesto to force the authorities to investigate the incident. > When the warder opened, as usual, the cell occupied by Mr Moreno Barranco, > at eight in the morning of February 22, the recluse jumped head first from > the balustrade of the corridor located in front of his cell and fell to the > yard, and the base of his skull was broken.
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Goodman's Buildings is a two-storey rendered brick commercial and residential building with Victorian Filigree details, high parapet and façade which curves around the Parramatta Road and Johnston Street corner. The building houses thirteen separate shops and residences above with renovated shopfronts on the ground floor with suspended awnings and narrow balconies over on the Parramatta Road frontage and wide posted balconies along the Johnston Street frontage. The first floor balconies all feature cast iron lace balustrade and posts which support the corrugated iron roof (ogee profile). Large double hung timber framed windows are regularly spaced along the first floor facades topped by rendered cornice and mouldings and bayed parapet with moulded cement balustrade and decorative urns at the end of each bay.
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No person was actually sucked into the machine bay. All of the eight people who died were crushed at the base of the escalator by other passengers who did not have time to move away, forming an obstruction. Some did attempt to jump out of the way by climbing onto the balustrade, but the thin plastic coating could not withstand the weight and collapsed (thus the rumours), yet those who did fall through would have hit a solid concrete foundation with no moving parts of any sort a few metres under the balustrade, with most suffering minor injuries. As the wounded were carried off, at 17:10 the station was put on exit only and at 17:35 closed altogether.
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It was designed by James O. Gordon of Madison in Classical Revival style, with the front door framed by two two-story Colossal Doric Order columns. Above that is an entablature and pediment surrounding a bulls-eye window. On each side of the columns is a porch with balustrade. Large 2-story bays flank that.
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The earliest photographs show the building to have been painted a light color. The use of paint was discontinued following adhesion problems during a restoration. A small rear wing was added in 1938 containing a block of jail cells. The front facade features a triple arched portico topped by a classic entablature with low balustrade.
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The width of each bay is devoted to stained glass windows. The design of the Flamboyant tracery is generally uniform throughout, with only a few small deviations between bays. Only the entry portal features a gable, which pierces the balustrade above. The openwork gable is steeply pitched and complements the tracery in the windows below.
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Floors two through seven have identical double hung single pane windows. There is a narrow belt course between floors six and seven, and the windows on the seventh floor have continuous sills. A heavy cornice separates the seventh and eighth floors. The eighth floor windows are arched, and a balustrade above caps the facade.
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The current exterior of the building mostly dates from Fortling's expansion in 1756. He added an extra floor topped by a balustrade decorated with vases and statues. The complex also comprises the two perpendicular rear wings from 1706 and a half-timbered building in the yard from the second half of the 17th century.
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The M-88–Intermediate River Bridge is long and wide, with a roadway width of and sidewalks lining both edges. It has concrete balustrade railings with square balusters and posts, and an ornamental railing on one wing wall to protect pedestrians from the steep drop. A bridge plate gives the construction date of 1931.
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Ground floor splayed bay with entrance to bar. Flanking portion each side two-storeys plus mansard with pointed dormer behind balustrade. Wings each side 1 1/2-storeys, one window, ramped parapet pierced by a bull's-eye window on the left. Right wing a facade only; first floor window is blank with inscription "Rebuilt 1896".
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As Sargent wearied of portraiture he pursued architectural and landscapes subjects. During a visit to Rome in 1906 Sargent made an oil painting and several pencil sketches of the exterior staircase and balustrade in front of the Church of Saints Dominic and Sixtus, now the church of the Pontifical University of Saint Thomas Aquinas, Angelicum.
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The building was designed by Don Pedro A. Beibal. It is located on the north side of the town plaza and is surrounded by a balustrade concrete wall with pillars that features metal grillwork gates. A square bell tower dominates the main façade. The bells are in the third level contained within open arches.
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On the final circuit are pinnacles between which placed a cast- iron balustrade. The roof of the tower lost on the rest of the building low hipped covered with a sheet. Museum collections associated with the romanticism era and the Krasińscy family. Inside the castle, two strings are located on the system enfilade of rooms.
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The building is topped by a parapet alternating broad brick piers and sections of balustrade. In the lobby the floor is tiled quarry marble with marble strip details. The walls have a marble panel wainscoting that is topped by plaster. The principal modern intrusions are a glass and aluminum vestibule, and a handicap access ramp.
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The three central bays feature broken pediments and decorative urns above the second-floor windows. A parapet with a balustrade runs along the top of the building. . After the original theater closed, the Palace reopened in 1998 as an arthouse. The theater was added to the National Register of Historic Places on May 11, 1993.
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It also contains a small Ganesha, Muruga and reclining Nandi. The balustrade on the opposite side offers the four-armed Vishnu holding the Discus, Conch, Mace and Lotus. Sreedevi is present in one side of Him and Bhoodevi on the other. The Sreekovil is circular, copper tiled and in procession of an inner encircling corridor.
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There were also Rizzoli inscriptions above the second floor. The third and fourth floors' articulation was designed as a single unit, with each bay separated by pilasters containing Corinthian-style capitals; the windows on these floors are casement windows. The fifth floor is within a black slate mansard roof, recessed behind a stone balustrade.
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There are five vertical window bays, separated by thin vertical steel mullions. The top floor is set off by a modillioned cornice with console brackets supporting a balustrade. The sloping metal-covered roof with its arched dormers allowed the building to harmonize with its neighbors. Inside is a 5-story atrium with a balcony.
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The courthouse somewhat resembles the old U.S. Capitol before the Civil War additions. The rusticated foundation is hidden behind a balustrade that wraps around the entire structure. The ground floor consists of smooth stone and arched windows, each with a decorative keystone. The entrances are accessed by a small recessed portico with three large arches.
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There is a palladian window on the first floor set in an arch with a balustrade below. The ornamental doorway has Corinthian columns and a pediment. The former stables and coach house are of similar build to the main house being constructed of red brick with stone dressings incorporating sash windows. Gives details of architecture.
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Leading from the drawing room is the staircase hall with an open-well staircase. The hall is top-lit from a timber lantern and the stairs are in black marble. The wrought iron balustrade on the stairs and landing was made by Robert Bakewell and moved from the Old Hall. The handrail is in rosewood.
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Balustrades were solid, other than decorative timber batten panels centred beneath timber bracket arches with side openings. The battening pattern used was consistent throughout: below arched openings and on the front stair balustrade in the infill latticework. The house cost between £1,200 and £2,000. The house was the venue for family and formal events.
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Nine main rooms, three downstairs, six above, kitchen and servants quarters attached, billiards room added 1910. Two storey verandah with ornate lace balustrade to north facade and north of tower. Richly carved entry door surrounded by fine stained glass. Fine pedimented cedar doorways internally, boldly carved ceiling plasterwork, carved cedar staircase, fine stained glass.
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The hip roof is topped by a balustrade. Built in 1900 to a design by Charles L. Thompson, its interior is claimed to have been designed by Louis Comfort Tiffany. Peter Hotze, for whom it was built, was a major cotton dealer. The house was listed on the National Register of Historic Places in 1975.
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The oriented palace is a nine-axial, ground-floor building with a classical order portico. The two pairs of protruded columns are of considerably slim proportions, and have simplified Ionic capitals. The high, hip-and-valley roof is covered with tiles. The whole complex is surrounded by a wall finished with a balustrade assembly.
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After its destruction, the barracks was rebuilt in 1937. Near the convent there was a wooded area called Campo de S. Francisco. Coelho do Amaral turned this field into garden, closing it with a balustrade, which has long since disappeared. Ordered the construction of a road between the harbor and the Mong Ha Siege.
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The wall surfaces have been rendered and scribed to imitate stone blocks and a new ceiling with downlights has been installed. A door opens to the shops on either side. The landing level has carved timber balusters which pre-date the existing stair and balustrade. The auditorium is entered under the gallery, or dress circle.
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Walters House, also as known as the Walters Residence, is a historic home located in Morgantown, Monongalia County, West Virginia. It was built about 1900-1901, and is a brick Queen Anne style brick dwelling. It features a three-story tower in the southeast corner topped with a wrought-iron balustrade. The architect is unknown.
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Above each door is a pair of ionic order columns joined by a decorative balustrade. Between each of the two pairs of columns are two windows separated by an oval cartouche. A triangular pediment with an eagle signifies that this is a federal building. Floral designs within the triangle top each of these entries.
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Simple recessed panels separate the second and third stories. Projecting pavilions, each containing two modified, Corinthian order columns, frame the two principal entrances located at each end of the High Street elevation. Wisconsin black marble surrounds the entryways. A curved terrace, enclosed by a granite-and-iron balustrade, stretches between the granite entrance steps.
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The eastern row, or the eastern facade, represents "The Female Qualities" and the Queen. Below this facade is the palace park, the Logården. On a balustrade closing of the Logården from the Skeppsbron are four sculptures representing music, religion, poetry, and mercy. These can be seen as old perceptions of female values and interests.
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Five bays wide, the facade features windows with shutters surrounding a central main entrance. This door is approached by a wooden porch with a distinctive balustrade under the eaves, and sidelights frame the doorway. Masonry is employed throughout the construction; the foundation mixes brick and stone, while the windows and doorways uniformly feature stone lintels.
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Narrow pilasters decorate the angles of the clock tower. Arches are present over a niche and doorway. The top of the clock tower features a parapet with balustrade. Iron railings surround the memorial, which is prominently sited between Broadway and Upminster Road in front of Saint Helen and Saint Giles, the parish church of Rainham.
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Jana Hubinská (born 7 June 1964) is a Slovak film and stage actress. She won a Czech Lion for Best Supporting Actress at the 2002 Czech Lion Awards, for her role in the film Girlie. She has performed in theatres such as Divadlo West in Bratislava and the Theatre on the Balustrade in Prague.
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A flat wooden roof extends out to cover the sidewalk on both sides, supported by smooth round wooden Tuscan columns. The second story is faced in brick. On the north face fenestration is one-over-one double-hung sash windows. Its middle three bays have a recessed porch with Ionic columns and a wooden balustrade.
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There are diagonal buttresses, alternating quoins, paired round-headed bell openings, and a balustrade on the summit. On the south side of the church is a porch, a priest's doorway and three tall two-light windows. The east window has five lights. Inside the church is a four-bay arcade carried on octagonal piers.
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An early-20th century painting of Christ in Glory by Reginald Frampton is on the east wall. The octagonal font has a panelled bowl and stem which dates from the 15th century. It had been discarded in 1771 but reinstated in 1841. The pulpit is made of stone construction and has a wrought-iron balustrade.
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Since its construction there have been some alterations. A balustrade on the roof was removed. All the front window sash save for the window above the main entrance has been replaced, and the loading area was moved from the south to the east. New lockboxes and lighting have also been installed in the lobby.
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The church was designed by Alfred J.R.E. Zucker, a German-American architect then based in Vicksburg. The church is a modified cruciform structure of brick. At its entrance is a four-story square tower with a round arch balustrade. Its lancet stained glass windows are set in compound pointed arches in slightly recessed bays.
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It is substantially intact with most of its original glazing, joinery and hardware. The verandah has a timber floor and elegant cast-iron grille columns supporting the concave roof. The underside of the verandah roof is lined with tongue and groove boards. A timber hand rail and modern wrought iron balustrade run between the columns.
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It has cedar and hoop pine joinery throughout. The centrally located entrance hall has cedar stairs with a finely turned and carved balustrade. An ogee-shaped archway decorates the foot of the stairs. The Dining Room has a deep plaster cornice, and a fireplace with a finely carved mantelpiece, and tiled and cast iron surrounds.
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Close inspection of side walls of the bridge reveals two seams marking the end of the cantilevered arms. A concrete balustrade with urn-shaped spindles runs along each side of the roadway, terminating at each end in an octagonal lamp stand. Orange pebble aggregate is included in the spindle concrete mix for color and texture.
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Details of glass walls (Dutch) The restaurant has a main helical staircase with a full glass balustrade manufactured by Eestairs and did win the prize for the best staircase of the year in 2008. In 2009 Aegon decided to buy this building from real estate fund Unibail-Rodamco and keep the building as their headquarters.
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The house's design includes a two-story rounded portico supported by four Ionic columns, a balcony above the front door, an entablature with a dentillated cornice, and a balustrade encircling the roof.Spindell, Robert E.; Spindell, Ethel G. (January 12, 1992). National Register of Historic Places Registration Form: Root-Badger House. Illinois Historic Preservation Division.
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The south façade faces the town while the north closely abutted a large defensive wall. Not surprisingly, this southern façade received the most attention from the architect and sculptors. Indeed, it is richly adorned and features intricate stone carving. Dramatic, steeply-pitched gables intersect a tall balustrade, creating an openwork screen of sinuous stonework.
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Above this is a balustrade parapet with hour glass balusters. Original chimneys survive in the north eastern corner and at the rear of the building. Access to the building is via a central hall from Quay Street which has a pair of flanking offices on the eastern side. Original fireplaces exist in both these rooms.
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The Ward House is a 2½ story, frame structure executed in the Queen Anne style. The main block measures and the summer kitchen adds another . The primary decorative feature on the exterior is a wrap-around porch. It is highlighted by a corner turret capped with a finial, and it is enclosed with a balustrade.
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The asymmetrical facade has a second story porch above the main floor porch with a distinctive balustrade. The main block of the house is capped with a hip roof. The cross gables feature metal crests along the top. At one time there was a barn on the property that housed the carriage and horses.
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This verandah was later extended to cover the front as well, and it mirrors the pedimented central bay. A hipped roof was hidden behind a balustrade. The house was constructed in double brick, and it is this unreinforced masonry construction that was unable to cope with the earthquake forces. Upstairs, windows were round-headed.
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The ground floor porch is open, with square posts that lack bracketing found in the original. A short skirt of angled slats runs around the base. The second-floor porch balustrade has elements in a figure-eight pattern, and there is a spindled valance above. The porch wraps around to the side facing West Street.
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This has timber posts, with mouldings, and lattice infill to the archways between the posts; the upper balustrade is cross braced. Windows are twelve pane and have shutters. A skillion section runs along the rear of the building. The interior includes high-ceilinged rooms and several narrow hallways with steep stairways and cedar joinery.
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The roof line parapet has low pier balustrade with '1890' inscribed in stucco. On the ground floor there is an arched entrance and windows, the engaged pilasters have ashlar effect quoining. The inscription of "Fares House" appears below the first floor sash windows. It was originally built for J. M. Ferguson, who was an importer.
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Heritage boundaries A row of twelve Victorian Italianate terraces with encompassing hip ended long gable roof of rendered brick. Party walls extended to upper verandah roof only. Curved verandah roof supported on flat cast iron columns with cast iron trim and balustrade on both levels. Two pairs of french doors per dwelling on upper floor.
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Both front and back elevations have a two-storey verandah. The front upper verandah has a bell-cast roof and cast iron columns with drip moulds, iron lace brackets and fringe and a wrought iron balustrade. The front lower storey verandah has remnants of original detail, including cast iron verandah posts and iron lace brackets.
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The circular, green-enameled brick minaret rises above the southern pier of the portal, carried on a circular stone base of black and white stone. Its single balcony is supported by three rows of muqarnas and is protected by a carved stone balustrade below wooden eaves. The minaret ends at a pointed conical crown.
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507-509 N. Central Street, now called McMillan Place, is a two-story, two-unit, Colonial Revival-style rowhouse built circa 1905. The building has a brick exterior and foundation, and a flat roof and a metal cornice. The front porches are lined with wooden columns with Doric capitals and a sawn wood balustrade.
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The finial details are repeated at the top of the tower, which is surrounded by a low balustrade. Anglican services have been held in Connecticut since 1702. The Episcopal Diocese of Connecticut was organized in 1785 by Samuel Seabury. This church was designed by New Haven architect Ithiel Town, who designed that city's Trinity Church.
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The colonnade has two-story fluted round columns with Ionic capitals, and is topped by a balustrade. An ornate three- stage clock tower rises above. The entrance leads to a large oval lobby, which serves as the town's war memorial. With Hamden was originally part of New Haven, and was separately incorporated in 1784.
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The grounds include a small weatherboard cottage to the northwest, sitting on timber stumps with a corrugated iron gabled roof and a front verandah. There is also a timber garden shed with a corrugated iron gabled roof and solid timber balustrade. The furniture contained within the homestead is excluded from the cultural heritage significance of the homestead.
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The house is a small Victorian Italianate semi detached residence of rendered brick under a hipped iron roof. It has a symmetrical facade with central front door reached by a flight of brick steps. It has a full width bull nosed verandah with cast iron columns and frieze. A later wrought iron balustrade has been added.
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There are matching wide staircases on each end of the bridge that connect the top to the bottom level. It has two bronze lions on each side, which were replaced during repair works in 2016, when parking on the bridge was also blocked by pylons to prevent parking on the bridge, and a new basaltic stone balustrade.
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It served in town offices, the state legislature, and the local militia during the War of 1812. This house was his home until his death in 1867. In 1970, the building's owner, Marvin Hatch, added the roof balustrade and the first ell, the latter based on discovered house plans. The building now serves as an inn and event venue.
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The Astoria Center was designed by architect Louis Allen Abramson as one of the earliest synagogues in Queens. The building features a brick façade, two stories tall, and five bays wide. The trim is cast stone, and features double-height Ionic piers flanking round-arched windows. The piers support an entablature and are topped by a balustrade.
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The complex was enlarged in 1677 and 1888. The interior has a three lobed nave with a presbytery with a balustrade. The main altarpiece is a depiction of the Madonna and Child above a grove of Chestnut trees (1888). In the left nave is an altarpiece depicting a Pietà, attributed to the studio of the Campi.
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His house has a Queen Anne design featuring a wraparound front porch with a balustrade, decorative shingle siding, and metal crests along the roof. The two-story brick warehouse, located behind the house, was used by Bretz for his contracting work. The house and warehouse were added to the National Register of Historic Places on August 10, 2000.
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The light they let in is supplemented by artificial light from hanging fixtures. A stairwell in the northwest corner of the vestibule leads to the choir loft. It has marquetry panels with Hungarian folk art motifs below the balustrade. The church's basement has been remodeled into an auditorium with paneled walls and a dropped acoustic-tile ceiling.
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On the balustrade of the pulpit four cherubs are perched with the symbols of the Evangelists, some of them holding a pen and a book. Another characteristic part of the decoration is an arm holding a cross. The abat-voix is decorated with a dove, the Tablets of Stone and a pelican symbolizing the sacrifice of Christ.
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There are two storerooms at ground floor level. The tower contains a concrete spiral staircase with slate treads and cast iron and brass balustrade. The lamp gallery has a painted cast iron floor grate with a cast iron stair leading to the outdoor gallery. The lamp itself is encircled and protected by perspex and aluminium panels.
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Thornwell-Elliott House is a historic home located at Fort Mill, York County, South Carolina. It was built about 1877, and is a one-story, "L"-shaped frame dwelling in the Late Victorian style. The front façade features hip roofed porch with decorative brackets and turned balustrade. It was added to the National Register of Historic Places in 1992.
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At the center of the south (front) facade is a porch supported by Doric columns and a wooden balustrade topped by a wide frieze and triglyph with dentilled moldings. The words "SKENE MEMORIAL LIBRARY" are on the entablature. Its overhang is also supported by narrow brackets. Three wide stone steps with iron railings climb up to it.
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The house was built in 1930 for the locally significant Storm family. Architect P. A. Engwall designed the house in the Spanish Colonial Revival style. The walls of the house are stucco, and its roof is covered in red clay tiles. The front porch is arcaded, while a second-floor porch features a wooden balustrade and brackets.
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The walls received their ornamental textile covering, with a design of flowers and birds, in 1805. It was restored in 1968–1986 using the original fabric as a model. The furniture in the room all dates to the First Empire. The balustrade around the bed was originally made for the throne room of the Tuileries Palace in 1804.
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The scene is enclosed by free-standing pillars at either side, over a balustrade. Sculpted cherubs recline upon skulls above the cornice, and in addition to Offley and Nechylls heraldry there are shields for the Merchant Taylors, The Muscovy Company, and the Merchants of the Staple. The memorial verse gives his age as 82.The Genealogist Vol.
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The building's design features a central clock tower, arched entrances on the east and west sides, column-supported balconies above the entrances, and a balustrade along the roofline. The building has continuously served as the seat of county government since its opening. The courthouse was added to the National Register of Historic Places on June 11, 1981.
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They are separated from the broad central space by large semi-circular arches on stout columns with carved capitals. The transept apses each have a balcony with a concave balustrade. Directly above the crossing is a dome supported on pendentives. Around the base of the dome are decorative gilt bands, the lower depicting a scrolling vine.
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It includes the main entrance with a round-arch stained glass window above the three-panel doors. The round-arch openings in the bell chamber feature a balustrade. Round-arch windows filled with stained glass line the side elevations. The three windows in the cross-gabled section are taller than the four windows that flank it.
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Recently installed timber balustrading replaces the original simple balustrade at the front of the gallery. The central hall is a large space with a stage area at the rear end. Full width timber arches separate the stage and gallery areas from the hall. Narrow timber steps lead up to the stage at both sides of the hall.
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The main entrance is located at the south side of the house. There is an open porch, built in 1800. Over the steps to the main entrance, a balustraded balcony is supported by two pillars. A semicircular balustrade runs from the bottom of the steps to the edge of the south walls of the west and east wings.
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In this house Bulfinch has made the first floor with his characteristic recessed brick arches, here ornamented with Chinese fretwork balconies in iron. The facade has four bays, with somewhat odd use of Corinthian pilasters on the 2nd and 3rd floors. There is a roof balustrade and a largish, octagonal cupola. Otis lived here until 1806.
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There is a portico in front and one behind. The front portico opens on a terrace, cut from the rolling lawn by a balustrade of red sandstone. Marble steps lead from the lawn to the terrace and from the terrace to the portico. From the portico is an entry to a baronial hall, running entirely through the house.
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The brick eastern end has high-level windows. The east and west walls are blank. All access is via the northern facade. Timber stairs at the western end, which also provide access to the adjacent Building A6, are semi-enclosed with single-skin walls of exposed timber studs and chamferboard cladding, and have a timber post and rail balustrade.
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', officially the ' (), is a in the province of , . According to the , it has a population of people. The name Alabat came from the local Tagalog word Alabat, meaning "balustrade". The town is home to a few speakers of the critically endangered Inagta Alabat language, one of the most endangered languages in the world as listed by UNESCO.
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Wood steps with a balustrade lead up to it, and consoles support a small sheltering hood. Above it is a double window with similar treatment. All the windows have cornices – molded and flat on the first story, rounded on the second. The roof has three arched dormer windows, with the central one having a pair of windows.
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The entrance is recessed at the center of the 9-bay State Street side. The building is capped by a modillioned cornice and balustrade surrounding a flat roof. The Springfield Fire & Marine Insurance Co. was incorporated in 1849. Originally housed at the City Hotel, it built the Fort Block on Main Street in 1858 to house its growing business.
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The half-turret's conical roof retains its Spanish tile. The library room is a long two-and-a-half-story space with a wood barrel-vaulted ceiling. It is flanked by two-story, red-oak book stacks to the east and west. A second-story gallery with red-oak balustrade wraps around three sides of it.
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The first level is accessed via external steps. The ceiling and central core are lined with fibre-cement which has been painted to resemble the flesh of a pineapple. The floor is lined with linoleum tiles. The second floor is accessed via an open-riser, curved staircase with steel stringers, unpainted timber treads and a curved steel balustrade.
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The term often applies to a raised area in front of a monumental building or structure, which is usually reached by a grand staircase and surrounded by a balustrade. A terrace may be supported by an embankment or solid foundation, either natural or man-made.Harris, Cyril M. Illustrated Dictionary of Historic Architecture. New York: Dover Publications, 1977, p. 529.
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Preparatory study for the Coronation of the Virgin on the vault.The oblong shaped chapel consists of a sail-vaulted anteroom and a narrower, barrel-vaulted chancel with the altar. The space is lit dimly by light coming through a lunette window on the back wall. The arched entrance is closed by a balustrade of colourful marble.
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Slight cornices there form the springline for the arches. The pilasters' Ionic capitals support a molded frieze with an egg-and-dart pattern underneath the modillioned cornice at the roofline. Above it is a balustrade. The gently pitched hipped roof is pierced by two brick chimneys at either end with a copper roofed cupola in the middle.
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A projecting, hexagonal-shaped forebody, adorned with a balustrade, marks the entrance. The seven towers, topped in turrets, and the main building are covered with glazed scaly tiles that highlight the multiple offsets of the roofs of the castle. The outbuildings (former stables and servants' quarters), also renovated, are located near the monumental entrance where visitors are also welcomed.
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There are separately roofed verandahs to the front and sides of the core. These have a two-rail balustrade and simple timber brackets to the verandah posts. The verandah along the southwest side has been enclosed at a later date to accommodate a bathroom and toilet. The north western elevation is the front of the house.
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Balustrade stringcourses define the division of the base from the body, and the body from the top. Each window above the stringcourse is capped with a pediment or cornice. Panels of escutcheons and light-yellow marble decorate the structure horizontally at four-floor intervals. The lobby walls and ceiling, and hallway walls are made of tan Bottocino marble.
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Roseneath is a Colonial Georgian style residence of rendered brick construction on basalt foundation. Roseneath has a central main entrance of heavy double doors framed by multi-coloured venetian glass, balanced by symmetrically placed eight pane French doors. The first floor verandah has light cross-braced timber balustrade. The interior features a cedar stair, hallway with excellent joinery.
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The original front entrance opens onto a small balcony with a decorative cast-iron balustrade supported on large cast-iron brackets. The house was renovated by the Historic Lexington Foundation in 1969–1970. and Accompanying photo It was listed on the National Register of Historic Places in 1971. It is located in the Lexington Historic District.
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Running between these is a cast iron balustrade. Above is a series of steel struts providing the bracing. At the western end of the kiosk, behind the louvres is a servery with marble benches. Above the benches are three marble plaques facing east, with gilded lettering naming some eighty local soldiers who served in the Boer War.
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Its wall of sandstone on laterite basis constitutes the outer enclosure. Along the east side there are two long galleries, whose roofs were made of wood and tiles.Glaize, 1993, p.136 They were illuminated by balustrade windows. The second terrace is 5.5 m higher. Each of the first two terraces has a gopura at the four cardinal points.
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The Kent–Valentine House is a historic home in Richmond, Virginia. It was built in 1845 from plans by Isaiah Rogers of Boston. It is a three-story, five bay, stuccoed brick mansion with a two-story wing at the rear of the west side. It features a two-story, three-bay portico with Roman Ionic columns and balustrade.
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The front facade is divided into three bays, with a center entrance sheltered by an Ionic portico. An aluminum clock- face is set into the building wall above the entrance. A continuous modillion cornice runs along the top of the building, with a balustrade concealing the low hipped roof. Bronze window units are set in large arched window openings.
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It had a frontage to the sea of , again of three storeys, the upper two having private balconies on the sea side. A rooftop garden was a feature; it had a balustrade all round. Electric lighting, fans and heaters and electric lifts were among the modern creature comforts, and boasted of "catering for only the best class of people".
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The building is in three storeys and is constructed in yellow sandstone and brick with stone dressings. The top storey is timber-framed. A modern shop front has been inserted into the lowest storey. The middle storey, which incorporates a section of the Rows, has a timber balustrade, behind which is the walkway, and then another shop front.
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Villa Tizzoni Ottolini is built in the architectural style of the eighteenth century. The building has a portico with five arches topped by a wrought iron balcony and two service wings that are slightly lower. The central hall on the ground floor is dominated by a coffered ceiling. The patio leads to a staircase with a balustrade.
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Shirley Hall, also known as Devereaux House, is a historic home located at Virginia Beach, Virginia. It was built in 1940, and is a two-story, five bay, Georgian Revival style brick dwelling. The main block is covered by a hipped roof with balustrade. A gambrel roofed service wing connects the main block to a hipped roofed garage.
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'Kenso' Cottage is a long gabled cottage which appears to date from the 1920s. The main part of the cottage is one room deep, with a broad skillion at the rear providing additional accommodation. The front verandah is a skillion, separated from the main roof. Its structure and balustrade appear to be a reproduction by the museum.
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The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with Coade stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.
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It was characterized by the representational style popular at the time and featured newly arranged cypress wood pews, and richly decorated paneling. The balustrade railings were embellished with molding and decorative elements (cartouches) embossed with gold. Friedrich Laske was also responsible for new architectural demands such as fire protection, heating, lighting, and improved of visibility from the balconies.
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At the opposite end of the church, above the entry, a gallery is supported on smaller intermediate posts. To the underside, a pressed metal ceiling, similarly elaborately painted, is of a different pattern from the vaulted ceilings. The gallery is approached by a timber stair, its balustrade crossing a window space. The gallery floor is raked, of boarding.
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The first-floor lobby has an ornate plaster ceiling. The east wall of the lobby contains a tripartite leadedglass window; the center portion bears the inscription "He is Thy Life." The stairway to the mezzanine has a cast-iron balustrade with a wood railing and marble steps. The newel post contains classically inspired ornamentation appropriate to the building style.
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The columns support entablatures that include classical balustrades. Windows with ornately carved hoods featuring split pediments and eagle-and-shield motifs are directly above the arched openings. Ionic order pilasters separate windows on the upper stories of the pavilions. A balustrade runs between each of the pavilions at the roofline, topping the recessed portion of each elevation.
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Windows on the second level each have a classical balustrade, frieze with carved classical motifs, and molded cornice supported by scrolled brackets. The third and fourth stories are marked by large round-arched windows with scrolled keystones. These windows denote the interior location of the courtrooms. The arched windows are divided by classical pilasters (attached columns) and circular medallions.
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The transepts of the church are formed by projections aligned with the two most easterly bays of the nave. Housed in the northern facing chancel is the Weedon Memorial Chapel. It is separated from the church by a face brick balustrade. Housed in the chancel on the southern side of the church is a vestry and organ case.
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A small timber toilet block is located at the rear of the building. The hexagonal section is surrounded by a verandah with turned timber posts and dowel balustrade. It is of single-skin timber construction with timber chamferboards and exposed bracing. The roof has decorative finials and a small gable is located above the short entry stair.
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The house features an entrance portico supported by fluted Corinthian-inspired columns based at ground level and reached by a long stairway. The porch is enclosed by a balustrade. Windows flanking the portico have wrought iron ledges. Formerly known as "Montrose", the home is now the Alan Fuqua Center for young people, associated with the Reid Memorial Presbyterian Church.
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A dentil course decorates the projecting cornice and pediments of the building. A granite balustrade lies within the parapet topped with coping, which conceals the fourth story. Although the courthouse has accommodated various functions since its construction, it has remained in continuous use. These functional changes resulted in major renovations of the interior, most notably to office areas.
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The second and third stories are covered with smooth limestone and feature prominent Tuscan pilasters (attached columns) between window bays. The facade is topped with an entablature with a smooth frieze and medallions. The cornice contains a dentil course of small squares, a common feature on classical buildings. A parapet wall with a balustrade sits above the entablature.
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Arched openings, enriched by keystones and swags, encompass the double-height windows that light the interior court-rooms at the third story. The north and south sides of the building are less ornate. Above the rusticated base are a series of tripartite window openings flanked by colossal Corinthian pilasters. A heavy balustrade rises above the fourth-story cornice.
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The pyramidal base is topped by a shrine containing three rooms, the final room of the three is circular. The temple has three steep stairways flanked by balustrades. The main stairway ascends directly from the plaza, those on either side are perpendicular to the main stairway. The balustrade of each stairway terminates at the top in a vertical panel.
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A door and windows to the north wall of the hall have been blocked by the extensions. The first floor is accessed by a timber L-shaped staircase with carved balustrade. The risers are carpeted and the treads are lined with a dark rubberised material. A rail for a chair lift is fitted to the stairs along the wall.
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The former consists of two, three-story brick buildings with only the top story visible from the street that are built next to one another to form a gateway to the Concourse Yard. They feature ornamental limestone columns and aluminum doors. The buildings are connected by an iron bridge that retains its original Art Deco balustrade.
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Four flights of balustraded stairs—two flanking the entrance at the front and two at the rear—lead to a level terrace. The balustrade extends around the terrace to form a parapet. Originally open to the public, the terrace has since been closed due to safety concerns. Infantry and Cavalry statues at the corners of the obelisk.
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The paneled door features large decorative wrought iron hinges. The door is accessed via a short concrete stair with sandstone balustrade. Lancet windows with sandstone quoining line the nave of the church and are separated by the sandstone buttresses. The extension site for the southern transept which is yet to be constructed is clad with corrugated iron externally.
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The awning is supported on stop chamfered timber posts. Sections of timber balustrade extend from the timber posts to the front face of the church. The entrance door is a double timber boarded door in a pointed arched timber doorframe. The awning covers a small concrete pad which provides a level threshold for entrance to the building.
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The verandah has a dowelled and cross-braced timber balustrade with diagonal lattice panels above. There is a pair of dowelled gates to the entry. The original gates were taller and remnants of these still exist stored under the building. The verandah also has chamfered timber posts with timber capitals, and a cast iron lace frieze with brackets.
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New York : Oxford University Press, 2001. A shadow appears to descend the west balustrade of the northern stairway. The visual effect is of a serpent descending the stairway, with its head at the base in light. Additionally the western face points to sunset around 25 May, traditionally the date of transition from the dry to the rainy season.
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A steep, steel industrial staircase and balustrade connects the three levels. The walls and ceiling are unfinished concrete and the floor has a smooth cement render finish. The plant located in the basement is presumably part of the air- conditioning installation and electrical distribution. Other plant and installations presumably relate to the laboratory functions on the first floor.
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The front verandah finishes short of each end, leaving a small bay for a double-hung window on each level. The verandah has projecting bays at each end over the entries, with double posts at the corners. There is a slatted balustrade to both levels with fretted feature panels. The lower level has an arched timber valance.
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McLaurin House, also known as the Lamar McLaurin House, is a historic home located near Clio, Marlboro County, South Carolina. It was built about 1880, and is a two-story clapboard Italianate style frame dwelling. It has a truncated hip roof with a balustraded deck. The front façade features a one- story porch with balustrade and decorative brackets.
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This central arch originally had two smaller archways supported on a slender central Corinthian column above which was a small circular window. The original sash windows of these openings have been replaced by large casements. The three openings are separated by pilasters with Corinthian capitals. Below each window is a balustrade of roundels, with a rosette in each circle.
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Lining the curve of an arch was a sign reading "Harrison National Bank", but now reads "Rosebud Mining Company", the current occupants. The façade of the building contains two floors of large arched windows with decorative capstones. The flat roof is hidden behind a machicolated solid balustrade. Two large brick chimneys can be seen rising from the roof.
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The stairway ends in a curved balustrade on the second floor hall, done in Circassian walnut. This level was given over originally to bedrooms for the family and guests. The rooms in the tower were used as a solarium. The third floor hallway is more open and was, according to the Horton family, used as a ballroom.
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The main palace has two floors. Petras Vileišis' office and an ante-room were located on the first floor, as were a hallway, two drawing rooms and a dining room. The large chandelier in the vestibule was a gift from the workers at the Vilija factory. A terrace between the first and second floors was surrounded by a balustrade.
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The portrait of Henry Peirse is signed and dated at the base of the balustrade. The work derives from the collection of Sir Henry de la Poer Beresford Peirse, a descendant of the depicted gentleman. The portrait was commissioned by the gentleman during a visit to Rome. The painting was acquired by the state in 1970.
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Only the Augustinian emblem on the pediment, motifs on the cornice and the balustrade on the belfry break the monotony of design. The plastered façade contrasts greatly with the bare stone walls on the side and interior of the church. To the right of the church is the three-tiered bell tower, with the top level done in concrete.
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It was a neo-classical eleven-bay house with a three-bay pediment, quoins, hipped roof, balustrade and belvedere on the roof. It was further enlarged in 1688, but for reasons now unknown pulled down in 1777. The splendid wrought-iron gates went to St John's College and Trinity College Cambridge, and the rectory at Cheveley.
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The building's most prominent Classical Revival element its main entrance, which includes a balustrade and detailed pediment. Its Baroque influence is apparent in the Dutch gable above the main entrance, while its rounded arched windows and corbeling come from the Romanesque style. The monastery was added to the National Register of Historic Places on March 6, 2013.
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Decorative stone panels separate two floors of windows. A stone balustrade surrounds the terrace, and balconies on the first floor windows flank the entrance pavilion. The side elevations and the rear of the building provide a simpler appearance, but the cornice surrounds most of the building. The interior walls were built of travertine and marble covers the floors.
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The building is a two-storey stone structure built in the Federation Free Classical style. The upper floor has a balustrade parapet, elaborate central pediment and stuccoed ionic pilasters. The upper floor rectangular windows have false balustrading and shell decorations above them. The ground floor has a granite plinth, horizontal shadow lines, broad doric pilasters and large arched openings.
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The reredos is a mosaic depicting the Last Supper dating from 1866 by Salviati. The pulpit is large and rectangular, made of polychromatic stone and marble with a balustrade of Corinthian columns. The lectern stands on a simple marble column. The font is square and made of polychromatic marble with a mosaic medallion in each face.
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The ironwork on the balustrade is a combination of linear and curvilinear forms. Colorful glazed tile floors are found above the first floor of the building. Various colors and designs are used in different parts of the building. The wainscoting on the first floor is made of yellow and blue glazed tiles that were popular in the 1890s.
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Regardless, in the immediate post-war period it suffered severe damage by the Clearance Office of the . The structure was looted for valuable construction material, including its heating boiler. Particularly damaging was the dismantling the iron roof structure, when the four baroque sandstone sculptures, including balustrade and the cartouche of the middle avant-corps, were toppled and destroyed.
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The hall is constructed in red brick with stone dressings, and is in Jacobean style. It has an L-shaped plan with a tall staircase tower. The tower originally had a pyramidal roof, but now is surmounted by a balustrade. The interior of the house is decorated with delicate plasterwork, and the windows around the staircase contain stained glass.
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The outer edges of the ceilings taper downwards creating a substantial cornice feature. The proliferation of windows throughout the building contribute to naturally well lit and ventilated interior spaces. The stair hall is a dog leg timber stair with balustrade clad with fibrous sheeting. As at 2018, the building has been demolished and replaced with an apartment block.
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Along the top of the bridge is a stone balustrade with square piers. Also in the grounds is an icehouse dating from the 18th or early 19th century. It is built in brick and consists of a circular domed chamber. From the arched entrance a barrel vaulted passage leads through a rectangular opening into the chamber.
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The statues of Virginity (left) and Humility on the right of the nave were completed (1722–1723) by Antonio Corradini and Giuseppe Torritti respectively. The bronze angels on the balustrade are by Girolamo Campagna. The wooden frontal represents the Miracles of the Madonna (1724) and was carved by Francesco Bernadoni. The Tabernacle is by Giovanni Scalfarotto.
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They in turn support a broad balustrade. At the pavilion ends and above the three center bays are panels with vertical gougework in a wave pattern. The center is further decorated with the inscription Quid Aere Perennius, Latin for "more lasting than brass." On the east and west sides are a central entrance with steps on either side.
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Due to the change in use, there is less original detail in the west chamber. The balustrade, wall clock and light fixtures are among those aspects that do. The ceiling, also original, has the same center rosettes as its eastern counterpart but with square panels on the outer portions. alt=A section of a stone building.
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The palazzo has three levels, including the ground floor. The noble floors are decorated with quadriforas flanked by pairs of single-light windows. The lower quadrifora is supported by a balustrade. The interiors were created by Meduna in the same period as the restoration of the Ca' d'Oro took place and were inspired by the neo-Gothic style.
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The most prominent feature of the estate's landscaping is the four-level terrace that extends down the hill from the south wing. The top level has a fieldstone retaining wall topped by a balustrade with Jacobean balusters. The garden descends to the fourth level, where there is an octagonal pool at whose center is fountain imported from Italy.
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The tower is surmounted by a balcony and Chance Brothers diameter lantern room, housing a VRB-25 lantern.Diameter and other details according to . Note that says the original diameter was and there is no evidence the lantern was ever replaced. The balcony is made of radial cantilevered timber sections and is surrounded by an iron balustrade.
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One thing that remains is the wooden screen that blocks light from entering the main entrance. It is made of cedar decorated with carved geometric figures along with flowers and mermaids. It contains a stained glass window depicting the Holy Trinity. Another is the choir balustrade, also made of cedar and intricately carved with baskets of fruit.
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The verandahs have dowel balustrade, lattice valance and timber arch brackets. The plan consists of a dining room, a smoking room and a two- roomed guest suite. These are accessed from an enclosed verandah entrance hall with entrance doors at both ends with sidelights and fanlight of etched coloured glass. All rooms have fretworked cedar ceiling roses.
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A projecting cornice divides the third and fourth floors. Unlike Iowa's other Beaux Arts courthouses, the long axis of the building is perpendicular to the main facade. The interior features a rectangular light court that is covered with a white glass barrel-vaulted skylight. A marble staircase with brass balustrade and handrails is located in the light court.
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In the late 1990s, she was assistant to Petr Lébl at the Theatre on the Balustrade. From 2009 to 2012, she lived in New York City; she taught a course on Franz Kafka at the Gallatin School of Individualized Study. She is an editor and contributor on cultural topics to Czech newspapers Respekt and '. Platzová lives in Lyon.
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The facade was part of a project to enlarge the buildings of the university. On the facade are sculptural groups of allegoric representations of the subjects taught in the building. The central area has four gigantic columns, and at the top a comb. On the balustrade are represented the Spanish kings that contributed to the improvement of the university.
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The interior of the Lenhart Farmhouse is a perfectly symmetrical Federal "I" House design with a central three-story walnut staircase and balustrade from the first floor to the attic. The east, west and ell room interior dimensions are . Typical finishes include plaster and simple woodwork. Chair rails are found throughout the first floor "I" House rooms.
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On 28 February 1906, the fort was ceded to the municipal authority by the Secretaria de Guerra (War Secretariate). The walls of the fort were partially destroyed during the night, and its place a balustrade replaced the curtains. The interior monument was inaugurated on 4 October 1929. During the 1960s, the fort was reconstructed by municipal council.
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The building's north entrance on Massachusetts Avenue has a 6 x 6 foot (1.8 x 1.8 m) stoop flanked by limestone balustrades. Above the entrance and ground floor windows are limestone corbels and guttae. The corbels support limestone second floor balconies and a vase balustrade. The third floor balconies are made of limestone and feature cast iron railings.
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In the process of enclosing the front verandah with timber cladding and aluminium windows, a dowelled balustrade, verandah gate and decorative timber posts with capitals and fretwork brackets have been lost. Modern quad guttering has replaced the original ogee profile and acroteria. Timber stumps have been supplanted by concrete and the front fence has been replaced.
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Decorative parapets project on each side of the entrance. Original window openings have been filled in. A balustrade of reinforced concrete runs along the top, with lamp posts at regular intervals. The interior contains two levels: an upper level formed by the deck surrounding the pool, and a lower level consisting of the interior space beneath the pool deck.
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The first floor windows received stone surrounds and the high windows of the entertainment rooms on the ground floor were also provided with small bracketed canopies. A balustrade extended over the entire length of the facade above the entablature. Other than the laurel wreaths below the bracketed sandstone cornice, the facade has no other sculpted ornamentation.
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A tower rises above the main facade, whose first stage is a square, with a sunburst louver pattern on three sides. This section is topped by a low balustrade with Gothic pinnacles at the corners. The next state is an open belfry, with eight columns rising to support a bell-shaped steeple, with spire and weathervane. Photograph c.
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It features a distinctive tower that contains an 1828 bell from an earlier building. The entry is distinguished by a two-story, five-bay portico supported by six Ionic columns and crowned by a Chippendale patterned balustrade. See also: It was listed on the National Register of Historic Places as the Mexico Academy and Central School in 1991.
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The Maple Street Overpass is a historic bridge in Fayetteville, Arkansas. The bridge carries West Maple Street over the railroad tracks running just east of the University of Arkansas at Fayetteville campus. It is a reinforced concrete single-span arch, in length and in width. The bridge has a decorative Art Deco balustrade with inset lights on both sides.
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A classically-styled rendered balustrade extends across the parapet. The three central bays of the colonnade have a classical pediment and parapet surmounted by a small central belltower. The physical condition of the building was reported as good as at 1 December 1999. The integrity of the building is good, although tower is defaced by telecommunications apparatus.
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The scene was located in the corner of the hall. From the hallway, it was possible to go to the balcony with a balustrade. Along the facade on Khalturinsky alley, there were situated a dining room, a living room, a bedroom, and other premises. Each of the rooms had been decorated with stucco, which was painted with oil.
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Grey Hook is a historic home located at Poughkeepsie, Dutchess County, New York. It was built in 1911 and is a 1-story, two-bay-wide concrete block Bungalow-style dwelling. It features a roof that sweeps out over the porch with concrete block columns and balustrade. It was added to the National Register of Historic Places in 1982.
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At the front (north) of the building is a veranda with a central timber stair. The stair and the floor of the veranda are not original but from the renovations in the 1980s. The rail balustrade and veranda posts are timber. There is a swinging wooden gate at the entrance of the top of the stairs.
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The mantel shelf downstairs is fashioned from white oak; the mantel upstairs of red mahogany from Thailand. The balustrade is composed of cedar poles and mulberry boards. The bedroom ceiling is covered with Korean grass paper. The oriental features recall the present owner's life in the Far East where he for some years represented an American manufacturer.
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The facade overlooking the street is finished in Portland limestone with intricate details, including wall openings, a crowning balustrade, clover-leafed windows and mosaics. The architecture is inspired by Italian and Spanish trends from the 16th century. The interior includes the entrance hall, a staircase and the richly stuccoed exhibition hall. The building houses a collection of fine art.
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Each face of the octagonal base of the dome has a round window. A vented fleche surmounts the dome and three other similar fleches are mounted on the ridge of the roof. Panels of classical balusters form the parapet around the dome and the balustrade to the upper level verandah. The ground floor verandah has wrought iron balustrades.
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Sterchi Oaks (205 West Fifth Avenue) is a three-story brick Neoclassical-style apartment building, also constructed circa 1910 by James G. Sterchi. The building has extended porches and balconies on all three levels. The first-story porch consists of a brick arcade supported by marble piers. The second-story balcony has four Doric columns and a brick balustrade.
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It has a slate-covered gambrel roof topped by a ribbed dome with a balustrade and lantern. and Accompanying photo In 1995, a fire destroyed the third and fourth floors of Sonner-Payne Hall. Sonner-Payne Hall was subsequently gutted and rebuilt with improvements. It was listed on the National Register of Historic Places in 1987.
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In a niche at the base of the chancel is the polychrome terracotta statue of the Madonna del Ponte. The facade has a projecting portion formed by the portico which is capped by the balustrade. The exterior walls are made of brick. The campanile is separate from the rest of the structure and has three levels.
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The portico has three round arches on columns and is surmounted by a balustrade. The central doorway has a round arch and on each side are two mullioned and transomed windows. On the first floor is a central doorway with a mullioned window above and arched niches in each side. The other bays contain mullioned and transomed windows.
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On the exterior, little differentiation between floors is made: there is no obviously visible piano nobile. On the garden front, access to the park is from the central recessed portico only; a balustrade above a deep ditch keeps out informal wanderers. The Villa Pisani at Montagnana from I quattro libri dell'architettura, Giacomo Leoni, 1742. Not built as planned.
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Dictionary of Ohio Historic Places. Vol. 1. St. Clair Shores: Somerset, 1999, 624. Architecturally, the most distinctive portion of the LuNeack House is the large porch, which is attached to the southward-facing front of the house. Many ornamental elements compose its walls and railings, such as spindles and a balustrade; moreover, the porch-facing windows feature prominent lintels.
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The oculus Mantegna's playful ceiling presents an oculus that fictively opens into a blue sky, with foreshortened putti playfully frolicking around a balustrade painted in di sotto in sù to seem as if they occupy real space on the roof above. Breaking with the figures from the scenes below, the courtiers who look down from over the balustrade seem directly aware of the viewer's presence. The precarious position of the planter above, as it rests uneasily on a stray beam, suggests that looking up at the figures could leave the viewer humiliated at the expense of the courtiers’ enjoyment. Mantegna's exploration of how paintings or decorations could respond to the presence of the viewer was a new idea in Renaissance Italy that would be explored by other artists.
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The Rose Bay Promenade is a collective term for various elements including: the seawall, the balustrade with light standards directly above; four sets of stairs to access Rose Bay; the road carriageway, footpaths to the north and south of New South Head Road; landscaped verge of mature fig trees and other plantings punctuated by parking bays either side of New South Head Road; and the early refreshment rooms. The setting comprises Rose Bay Park to the west and the waters of Rose Bay. The seawall consists of a structure covered by cement render, above which is a reinforced concrete balustrade wall of 30 panelled bays topped by 29 regularly-spaced light standards of precast concrete columns with single spherical glass lights. A thin coat of surface render has been applied in the 2007 reconstruction.
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This verandah is now enclosed at the eastern end. The rear verandah is a later addition to the building and is partially enclosed at both ends creating a semi enclosed space. The balustrade to the front verandah consists of a top and middle rail while the rear verandah balustrade has a top and bottom rail with timber batten infill. Windows to the building are all double hung however vary from a six pane configuration on the eastern and western elevations to a four pane configuration on the northern and southern elevations On the western elevation a timber framed sun hood shelter a bank of three double hung windows while on the eastern face metal sunhoods are set over single double hung windows set central to the school building and verandah enclosure.
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Set on brick piers, the highset timber building contained two large classrooms, a verandah to the northwest and an attached teachers room. It had a Dutch gable roof of asbestos slates. Its southeastern, southwestern and northeastern sides were open above balustrade level, and the posts and valances to those elevations were of decorative timber.'New Farm Infants Annexe Opened', The Daily Mail.
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Doors made from walnut wood lead to the rooms on the ground floor. The second floor contains the main entrance to the building from the Chambers Street staircase. Within the rotunda, there is a cast-iron ceiling, balustrade, and marble-and-glass floor. The stair halls are located behind archways just outside the rotunda; they contain marble floors and plaster walls and ceilings.
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The house was constructed at the end of the 19th Century. It is considered the most important example of a neoclassical private residence in Cascais. The exterior features smooth and curved pediments, fluted pilasters, and triglyphs. The main façade features a rectangular portico, which frames the entrance and creates the balcony on the second floor, which is protected by a balustrade.
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The floor is timber. The height of the balustrade was raised within the last 10 years to meet BCA standards at that time. External windows of the house are generally painted with a dark green stone sill and cream timber joinery around the window panes with cream louvered timber shutters. Other than shutters there is little decoration on any of the windows.
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It was constructed with the piano nobile on the ground floor and a mezzanine above. The north facade has a large portico of Corinthian columns. The terminating windows of the piano nobile are pedimented and recessed into shallow niches, as are the end bays of the east front. The roof, typically for the palladian style, is hidden by a balustrade.
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They feature three story porticos, a Corinthian pediment, balustrade caps and the cornice. The building's windows are decorated with Doric surrounds. The architects wanted the building to give Bloomington residents the feeling that the courthouse belonged to them. To encourage this feeling the entrances on all four sides of the building are identical, a way to welcome people from all directions.
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The building presents architectural forms of Modern architecture and Eclecticism. The facade is adorned with stylish ornaments, such as Auricular style details, characteristic of Mannerism and Rococo periods. The massive facade is flanked by two piles of balconies with wrought iron balustrade. The first floor is decorated with bas-reliefs and gargoyles, whereas the third level is enriched with cartouches and upper friezes.
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The windows flank a doorway with belted columns, Ionic capitals and a small pediment. The terrace has two slender round columns with broader square piers at the corners, each with Ionic capitals. The pediment has floral scrolls and a central school insignia in relief. The belvedere comprises an octagonal pitched roof on eight round columns with Ionic capitals, with a braced timber balustrade.
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The brick church was built originally circa 1200 and dedicated to San Martino. An adjacent Augustinian convent was the home of Saint Nicola da Tolentino for a year. Over the centuries it has undergone numerous reconstructions including a major one in the 16th century, and again in the 18th century. The piazza side has a staircase and balustrade added in 1927.
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261x261px The most important room in the palazzo is the Salone d'Onore, also known as Salone of the Fasti Romani. It consists of two bands: the inferior band depicts the history of Rome, and the superior band displays dames and signori, musicians, servants, and mendicants peering over a balustrade as though a public observation of the feasts for which the room was dedicated.
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The verandah has a timber, two-rail slat balustrade, a raked ceiling and a single skin verandah wall. Former hat room enclosures of single-skin weatherboard walls survive at either end, and bag hooks are attached to the verandah wall. The building retains much of its original timber joinery. The south wall has five banks of casement windows with fanlights.
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The house comprises a long, rectangular three-storey main block, with square four-storey towers projecting northwards at the ends. Each of these towers had a flat roof with a stone balustrade, and is flanked by a turnpike stair housed in a turret in the internal angle. The ground floor and first floor are linked by a straight stair, unusual for its date.
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The four-story, limestone Classical Revival federal building sits on a granite base. The primary (south) elevation has the concentrated enrichment. This elevation consists of a horizontal balustrade with simple Tuscan capitals and an unenriched entablature, flanked by two monumental pavilions. The pavilions terminate the composition of the south elevation and consist of two 4' diameter, two-story high Doric columns in limestone.
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The neoclassical façade consists of a ground floor, noble floor, and a loft of substantial size, for a total of three floors and twenty openings. In the central part of the ground floor there is a portal flanked by two quadrangular windows. The portal is covered with rustication. The noble floor offers a tall trifora decorated with a balustrade and large pediment.
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The use of a jaguar symbol indicates Olmec influence. Next to these two, there is a small pillar with worn, unidentifiable designs, whose purpose are unknown. A small door in the entrance area covers a stairway that leads to the choir area above. This choir area contains medieval style murals and a balustrade with a crest of Fleur-de- lis sculpted of sandstone.
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Inside the church is a horseshoe-shaped gallery carried on thin cast iron columns with Ionic caps, and with a foliated balustrade. The ceiling is coffered with glazed panels in the centre. The original pipe organ was built by Gray and Davison and had two manuals. This was replaced in 1881 by a three-manual organ built by W. E. Richardson.
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The entrance portico has Ionic columns supporting an entablature and balustrade. Flanking it are round-arch windows with bracketed brownstone sills and lintels. The second level has three taller windows with similar surrounds, with interior round-arch windows topped by circular pane. The building's construction was funded by a gift of $200,000 from George Peabody, and it was formally dedicated in 1854.
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The traditional Maltese balcony is a wooden closed balcony projecting from a wall. By contrast, a 'Juliet balcony' does not protrude out of the building. It is usually part of an upper floor, with a balustrade only at the front, like a small Loggia. Modern Juliet balconies often involve a metal barrier placed in front of a high window which can be opened.
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The stair also features a wrought iron balustrade with polished timber handrail, and is top lit from above. The corridors have parquetry floors. The furniture throughout is silky oak, maple and cedar, all from Queensland, and particularly from Atherton. The symmetrical facade and overscale columns give the building great presence as part of the streetscape in this portion of Ann Street.
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The dominant feature of the house is its porch, which extends across the front and around the right side. Its roof is supported by bulky Tuscan columns, with a balustrade of turned spindles. The main entrance is framed by sidelight and transom windows, with slender Tuscan columns flanking its outer edges. The interior features high quality period woodwork that is largely unaltered.
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It is built of rock-faced stone blocks. The entryway has a balustrade balcony, on a corbel table, spanning a one-story entry with gargoyle light fixtures. Above the balcony is a two and one-half story round- arched window. Flanking the central pavilion are single bays, with a pair of windows topped by a round arch at the ground level.
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It was restored in the 1980s. The layout of the church is in the shape of a Greek cross in which the space between the arms has been partially filled by lower volumes. On the canal side is the main entrance, the elevation of which is supported by a balustrade. Some 500 people were buried in the church, including Adriaan Dortsman.
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The abat- voix is larger than the lower part creating a top-heavy effect. The carved floral and vegetal decoration is particularly rich on the door and the gable of the abat-voix. On the front of the balustrade there is gilt relief showing "Christ crowning St Paul in Heaven with the crown of martyrdom".Eva-Maria Gärtner: Auf den Spuren des hl.
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The Brown House is a historic house at 1604 Caldwell Street in Conway, Arkansas. It is a 1-1/2 story wood frame structure, with Colonial Revival and Queen Anne features. It has a tall hip roof, from with gables project, some finished in decoratively cut shingles. It has a wraparound porch supported by Ionic columns with a balustrade of urn-shaped spindles.
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It was built in 1917, and is a massive, -story, three-bay wide, shingled gable-roofed dwelling with smaller flanking three-bay wings. It features a two-story portico with colossal Doric order columns and topped by a decorative balustrade. It is representative of the Colonial Revival style. It was added to the National Register of Historic Places on September 26, 1985.
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The roof is clad with corrugated metal sheeting and includes a series of ornate metal ridge ventilators. Architectural plans, 1888 Verandahs extend along the eastern and western elevations of the wings of the building. The verandahs have timber posts and handrails with decorative cast iron balustrade infill panels. The end sections of the verandahs are also enclosed with lattice screening.
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Wilkinson-Dozier House is a historic plantation house located near Conetoe, Edgecombe County, North Carolina. It was built about 1815, and is a two-story, three bay by two bay, Federal style frame dwelling. The front facade features a tall, rather delicate double portico with a Chinese Chippendale balustrade. It was listed on the National Register of Historic Places in 1974.
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The roof is hipped and covered with painted corrugated iron. The north and east elevations are dominated by the double storey verandah. The posts are timber although those on the extremities have been replaced with steel columns. At first floor level there is a two- rail dowel balustrade over a deep, scalloped, valance formed from tongue-and- groove matchboards and decorative fretwork brackets.
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Four bays of the balustrade have been replaced with galvanised iron sheet and most of the fretwork brackets are missing. Where the building has been extended the veranda is fully enclosed with adjustable timber louvres. The south elevation reflects the additions that have occurred over time. These are illustrated in changes of roof pitch, joint lines in the chamferboard and various window types.
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Due to building laws, the pylon stands on the "French half" of the bridge inside the balustrade whereas on the German side it is attached on the outside. The electrical power supply is provided by the French company EDF and is paid for by the municipality Grosbliederstroff.Fernmündliche Information des Hauptautors durch die Kleinblittersdorfer Gemeindeverwaltung, Abt. FD 01, im Juli 2007.
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An access ladder and safety rails, installed in 1990, provide access to the cupola. In the center of the lantern is the VRB-25 apparatus, mounted on steel box. Surrounding the lantern is a concrete gallery, accessible through a door in the lantern wall, with a white painted balustrade, and a 1990 railing. The solar panels are mounted on the gallery.
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It is usually known as "Holden Bridge". It is a notable feature for motorists travelling along Leek New Road, which is perfectly straight here. A plaque on the balustrade reads: City of Stoke-on- Trent, Holden Viaduct. This bridge was opened by Mrs J W Oakes on the 14th July 1930, and was erected to replace the original structure built in 1844.
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The three central bays each have a balustrade and a window with a tympanum containing a roundel. Each of the three lateral bays contains a window with a cornice, and a round window above it. Along the top storey are oculi between panelled pilasters. On the summit of each of the two lateral bays is a cupola on a short Tuscan colonnade.
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Stiftung Preussische Schlösser und Gärten Berlin - Brandenburg: Schutz der Putten von Sanssouci (German). The same workshop created the vases on the balustrade, and the groups of cherubs above the windows of the dome. By contrast, the north entrance façade is more restrained. Segmented colonnades of 88 Corinthian columns—two deep—curve outwards from the palace building to enclose the semicircular cour d'honneur.
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The groundfloor walls beneath the gallery are decorated with some of Carr's neoclassical plasterwork depicted in white against the eau de nilNilewater, a pale tint of cyan. colour of the walls. Recent analysis of the paint has shown that the walls were originally a pale stone colour and the staircase balustrade was painted blue with gilded figures on the (blue) plaques.
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At some point during the 1870s the bridge's open balustrade was replaced with cast iron, to remove the badly polluted river from view. In 1991 this was replaced with stone-clad reinforced concrete, partially restoring the bridge to its original appearance. It lies within the Parsonage Gardens Conservation Area, and was granted Grade II listed status on 4 February 1988.
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Beyond this a central hallway runs parallel to the main facade, linking the north-eastern and south-western wings. This has a carpeted floor and stop-chamfered edges around openings. Rooms on the southern side of the corridor are the former nun's refectory, a small office (formerly work room) and the main staircase. This features a polished silky oak balustrade.
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Its three-bay gabled facade has a diamond paned window in a curved recess near the gable peak, and a small Palladian window below. Its porch wraps around to the side, and is supported by clusters of Doric columns, set on piers with a low balustrade between. The house was listed on the National Register of Historic Places in 1989.
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Each end has a tall limestone basement level, with window sills that are just above ground level. The brick walls above contain projecting stretcher courses at regular intervals, creating a rusticated look. Every floor has four window openings with limestone lintels below and limestone keystones above. A limestone entablature and a stone balustrade within a limestone frame tops the building.
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The Charles N. Rix House is a historic house at 628 Quapaw Avenue in Hot Springs, Arkansas. It is a two-story American Foursquare wood frame structure, with a hip roof and a brick foundation. It has a single-story porch extending across its front, supported by Ionic columns and a turned-spindle balustrade. The roof is adorned with projecting dormers.
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The lower story has a single bay on three of its faces. A stairway goes up to the north-east turret. The next tower is over the cathedral sacristy and is called the "Tour du Sanctus", probably because the "Sanctus" was rung from here announcing a mass. The pointed roof of the "Tour du Sanctus" is surrounded by an ornate balustrade.
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It is 2-1/2 stories high, five bays wide, with a side gable roof and end chimneys. Its main entrance is sheltered by a portico with fluted columns and a balustrade on its roof. The barn on the property is a rare surviving example of a Greek Revival barn. The farmstead was listed on the National Register of Historic Places in 1982.
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A wood porch projects from the center of the ground floor. Four square piers support a flat roof with balustrade. At the top of the stone section of the wall is a molded cornice and plain fascia. Above it the gable field is sided in clapboard with a pair of windows and a small lozenge-shaped window in the apex.
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The porch is topped by a low balustrade, and there is a pedimented entrance to the upper level of the porch on the second floor. Windows on the lower two levels have stone keystones, and there are panels of garlands between the second and third levels. photo c. 2010 Allen University was founded in 1870, and established its campus in Columbia in 1880.
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It is a two-story, Frame Vernacular building, with an L-shaped floor plan. It has a steeply-pitched, side gabled roof. The symmetrical main facade is dominated by a two-story, hip roofed porch with chamfered post supports and a balustrade. There is a rear gabled, one-story ell, and a two-story shed roofed addition on the rear elevation.
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The Pugh House is a historic house on US Route 65 in Portland, Arkansas. The house was built c. 1905 to a design by architect Charles L. Thompson. It is a basic Foursquare house that has been elaborated by a hip roof with flared eaves, and a wraparound porch supported by Ionic columns and decorated with a neo-classical balustrade.
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Above the entrances are four colossal Corinthian columns inside a recessed panel. Rectangular windows spread out on either side of this panel, lighting the various rooms within. An entablature supports the flat roof and a balustrade lines the roof. Instead of a typical dome, the building is crowned by a large dome containing a skylight illuminating the stained-glass window inside.
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To the side are rectangular six-pane casement windows with sandstone lintels and sills. The sandstone courses and arched windows continue on the western facade. South of the first bay on the first story, there is a semi-octagonal stone-faced projecting bay window with a wooden balustrade on top. Each facet has one single-pane window with a three-light transom.
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On the facets and either side of the bay are similar single-pane windows with four-pane transoms. The second story echoes the ground floor with four narrow, untransomed windows. The facets and north flanking windows follow this pattern, single panes like those below but without transoms. Below the south facet another balustrade springs, accessed by a door on the south flanking side.
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Perry-McIlwain-McDow House, also known as Fairview Farm, is a historic home located near Lancaster, Lancaster County, South Carolina. It was built about 1840, and is a 1 1/2-story, Greek Revival raised cottage. It has a temple- front classical portico containing a recessed porch with balustrade. It was added to the National Register of Historic Places in 2011.
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The string course and the cornice form unifying lines across the facade, although the number of arches for each bay and the spacing between them varies. Two bays of the building rise to a fourth storey with plain rectangular openings. The parapet, formerly with a balustrade and pedestals supporting vases, is now solid. A cantilevered street awning runs the length of the complex.
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The lighthouse is conical in form. It stands high, constructed of prefabricated cast iron plates, and painted white, with splayed flanges at the base, much like the Sandy Cape Light. The tower is topped by a cantilevered iron gallery, with a simple iron balustrade. Inside the tower is a spiral iron staircase with cast iron steps, adjoined to the internal walls.
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Dr. Glenn R. Frye House is a historic home located at Hickory, Catawba County, North Carolina. It was built in 1937, and is a two-story, Colonial Revival style stone dwelling. It has a 1 1/2-story frame wing. Also on the property are the contributing garage (1937); wrought-iron balustrade, fence, and gates (1937); and stone wall (1937).
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On the left side of the opening is the foot of a stairway, open on the dining room side, which ascends to a second floor landing. The stairs are carved wood with rectangular newel post. It has a turned balustrade, and moulded, wood rail. The north side of the dining room has three doorways with cafe doors to the kitchen on the west.
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Some of the smaller squared windows have thick stone lintels and all the window frames have been painted white. There is a first-floor balcony on the symmetrical, truncated corner of the building. The sandstone balustrade has rounded coping, supporting two thick sandstone columns. It has a v-joint boarded soffit, green painted concrete floor and a single pendant light at the centre.
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The main block is covered by a hip roof, with a low balustrade surrounding it. This appearance largely matches the first known image of the house, a drawing made in 1802. In 1814, Nicholas Brown, Jr. purchased the home. His descendants owned the house until the death of Anne S.K. Brown in 1985, at which point it was donated to Brown University.
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It is sheltered by a semicircular portico supported by fluted Corinthian columns. A similar portico adorns the rear, with its balustrade also topped by urns. On the wings flat pilasters support a frieze, with columns on the semi octagonal south wing creating an arcade. The main entrance leads into a rectangular hall with doors leading to the two parlors on either side.
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The architect of the complex is unknown. The house was designed in the style of Academism. It is projected as the ground-floor building with an emphasized side avant-corps, which ends with a balustrade in the zone of the roof. In the central part of the symmetrical façade lies a portal that ends with a semicircular shape, surmounted by a triangular pediment.
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There is a central brick chimney rising above the main roof, and resting on stone foundations. The front verandahs have timber posts with decorative capitals and fretwork brackets. On the lower level the timber balustrade has simple timber dowel in-fill and there is a timber lattice valance. Two of the bays are in-filled with timber lattice privacy screens.
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The Clyde Carter house has a flat, parapet roof, with a decorative course of brick. The façade is clad in stucco, and the base is scored to mimic a stone finish. The main entrance has a sidelight and is flanked by two single-pane windows. The elaborate metal storm door and front porch balustrade are obvious cues of the Spanish Eclectic style.
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Doorways are set in the three central bays, topped by half-round transom windows. A four-stage tower rises above the entrances, each tier topped by a low balustrade with urned posts. The bottom two stages house a clock and belfry respectively, the latter with arched openings. The church bell was cast in 1822 by Paul Revere & Sons and weighs .
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The stair has polished timber handrails with a metal balustrade and brackets. The passenger elevator is predominantly intact. Only some of the original timber veneer partitioning remains in the general office space. Despite the loss of some of its integrity the building is still an indicator of the beginning of the stylistic influence of the European Modern Movement in Queensland.
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Three eight-light fixed metal-framed windows provide natural light to the stair landings. The concrete interior surfaces are unpainted. The balustrade around the edge of the tank top is made of tubular metal and currently supports aerials for local telecommunications companies. A frame of similar materials covers a central circular opening where a ladder from below provides access to the dome.
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A simple staircase with square balusters, turned newel post and molded rail rises from the central hall to the second story. The balustrade continues along the stairwell in the second floor hallway. Like the first floor, many original finishes remain. A door in the hallway conceals a short stair to the attic, which also mostly remains as it was originally constructed.
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Opposite the original front door at the southeast corner is a brick fireplace trimmed with unglazed terra cotta, including egg-and-dart molding. A T-plan staircase has its original decorative balustrade and newel posts. The northeast door is the main entrance to the newer wing. It opens onto a living space that runs the length and half the width of the addition.
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Here he wears three-quarter armour; on the right, behind a balustrade, is a shoreline with the fleet beyond. Buckingham's growing wealth was emphasised by the detail of his clothes. This is evident in the lovingly depicted lace about his collar and cuffs in the full-length portrait by Cornelis Janssens van Ceulen. and the head and shoulders by Anthony van Dyck.
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Wains Hotel has an Italianate style, with an elaborate façade noted for its columns, pilasters, and carved figures. At ground level, substantial columns of Port Chalmers basalt breccia rise, topped with capitals of Kakanui limestone. These columns support arches above which sit carved figures of Bacchus, Neptune, and mermaids. The entranceway is topped by a stone balustrade featuring an eagle as its keystone.
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Six Corinthian columns support the entablature and pediment above. The doors are surmounted by a transom and sidelights with Ionic columns supporting a false balcony above. The roof is surrounded by a balustrade with a central drum rising to an entablature. The tower continues to a four-faced clock with decorative iron-work, four Ionic columns support a pedimented roof.
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A rotten ceiling over the prayer room was replaced, and a new parquet floor was laid. Relying in part on pre-War photographs, the original colouring of columns and the windows on the Eastern wall were recreated. Also, the bimah and steps to Ark, which were surrounded by a balustrade, were restored. However, the Ark could not be recreated at the time.
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To the left of the entrance is the 16th-century baptismal font with stone base with a sculpted lion and foliage. The lion holds the seal of the church with a bishop's mitre, and the words S. Leo 1592. Above the portal are statuettes depicting a baptism. The main altar, with a polychrome baroque balustrade, has a 16th-century marble Virgin.
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A round handrail is fixed with brackets to the balustrade and follows the curve of the staircase. Treads and risers are lined with carpet. Natural light enters the stairwell through the large arched leadlight window which is framed by wall mounted Art Deco light fittings. The vaulted ceiling over the stair is simply detailed and forms an archway to the upper vestibule.
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The former clinic is flanked at the front by a rendered concrete fence with metal balustrade and metal gate on Mellor Street. Entry to the female public toilet is via a timber ramp and landing, accessible through a timber gate from Mellor Street. This ramp is supported by timber posts. A privacy screen of lattice has been erected around the landing.
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The Thomas Shelby House, also known as Kerr House, is a historic home located near Lexington, Lafayette County, Missouri. It was built about 1855, and is a two-story, Greek Revival style brick I-house. It has a two-story rear ell with two-story porch. The front facade features an entry portico with tapering octagonal posts and scrollwork balustrade.
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These large, sandstone statues stand on a balustrade, surrounding the church. They depict 74 saints and four allegorical figures : Belief, Hope, Charity and Justice. After his death in 1748, his son Francesco finished the work of his father with the statues at the tower in 1752. Many statues were completely destroyed during the bombardment of Dresden on 13 February 1945.
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Interior of the Cathedral The cathedral was built in a Romanesque style and is noted for its stained glass windows, the ornate high altar and reredos, the balustrade at the staircase in the front entrance, the bell tower topped with a dome and the use of red brick for the exterior. The cathedral was later expanded when a west wing was constructed.
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The Flint Federal Building is a classical Art Moderne two-story building faced with Kasota limestone. The front facade is symmetrical, end extends for 230 feet along Church Street. The facade contains a broad pavilion with colonnade with four bays to each side. A terrace edged with a balustrade projects from the central pavilion, and leads to three pedimented doorways.
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The Duncan House is a historic house in 610 West Central Avenue in Harrison, Arkansas. It is a 1-1/2 story wood frame structure, with asymmetrical massing and a busy roofline typical of the Queen Anne style. Distinctive features include metal cresting on the ridge lines, and a wraparound porch with tapered columns and turned balustrade. An octagonal cupola caps the roof.
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That facade is nine bays wide, divided into three subgroups by the slight projection of the center five bays. The ground floor houses commercial storefronts, with the main entrance at the center. The second floor has seven three-part picture windows, and is topped by a stone stringcourse. There are balustrade-like decorations above the stringcourse and below the third-floor windows.
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The top two storeys are in Georgian style and date from about 1744. Externally at street level is a 19th-century shop front with two chamfered piers. Behind this, the undercroft has two naves, each with four bays which are divided by octagonal columns. At the Row level overlooking the street is a wooden rail on a balustrade divided by two Tuscan columns.
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It opens into a central hallway with a natural-finish oak staircase rising two flights to the second story. Oak is also used for the paneled spaces below the stair's balustrade, which incorporates a small bench. All interior woodwork on the first floor is similar natural-finish oak. The door and window surrounds are flat pilasters with ogee-profile moldings at the entablature.
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It is a two-story brick masonry building, with exterior coated with smooth cement stucco and painted. It has full-height engaged Doric columns with capitals which support a classic cornice, which was once surmounted by a balustrade, behind which was the hipped roof. Its interior has Ionic pilasters. The property is enclosed by "a fine iron fence and gates".
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The third floor, separated from the second by a limestone stringcourse, has ten small windows grouped in pairs. Above that, a modillioned cornice is topped by a wooden balustrade. The local Elks chapter was established by local businessmen in 1905, and first met in a variety of other meeting halls. Its first dedicated space, located on Foster Street, was built in 1907.
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The building is topped with a cornice and pediments on each side; a balustrade which originally ran between the pediments was removed in 1928. A low dome originally topped building; it was removed in 1958. An upper dome still is in place. The rear of the building is of simpler design, constructed of brick and containing simple windows with stone sills.
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For example, he has referred to himself as "Blunebottle" and "Blatbottle" on occasion. Other characters are often misnamed as well, including "Count Morinanty" for Count Jim Moriarty, "Robinge Hood" for Robin Hood and "Miss Balustrade" for Minnie Bannister. Neddie is always "My Captain", pronounced with four syllables [ma-cap-i-tain]. In "The Yehti" he reads his own name as "Blunbintle".
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On both end there are symmetrical, two-bay pavilions outlined in quoins. The front facade has a five-bay open porch with Ionic columns and a flat roof, entablature and balustrade. The main entrance is a double door with semi- circular transom. On the east facade a series of round-arched French doors give access to the garden, topped by a balustraded balcony.
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Architect Corydon B. Bishop designed the grove's Queen Anne house. The two-story redwood house has an asymmetrical plan with a multi-component roof. A wraparound front porch at the main entrance features a balustrade, turned posts, and decorative bracketing. The upper stories of the house feature shingle siding, several balconies, more brackets on the cornice, and cresting along the roof's gables.
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The passage section is earlier and the lower level has vertical timber boarding to the walls and a hardboard ceiling with timber cover strips. The rooms have hardboard partition walls and ceiling panels. Three steps access the rear building from the lower level. Internally, the rear building has a central staircase with metal balustrade and newel posts, timber handrail and concrete treads.
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Pediments with dentils (square blocks) are centrally located on the top story of the street-front facades. A prominent corner tower that ascends a full story above the rest of the building is located at the confluence of Meeting and Broad Streets. The uppermost story of the tower contains a series of arched windows. The tower is topped with an open balustrade.
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Atop the bronze entry doors are elaborate decorative grilles of bronze and aluminum. A colonnade of fifteen fluted, engaged Doric columns spans the eastern facade, supporting a classical entablature and parapet with balustrade. Three-story high window openings are recessed behind the columns. In each bay, just below the third floor, is a decorative metal screen set on marble backing.
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Webbley, also known as the O. Max Gardner House, is a historic home located at Shelby, Cleveland County, North Carolina. It was built in 1852, and overbuilt in 1907 in the Colonial Revival style. It is a two-story frame dwelling with a low-pitched hip roof, flat roof deck, and roof balustrade. It has two hip roof rear ells.
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Dictionary of Ohio Historic Places. Vol. 1. St. Clair Shores: Somerset, 1999, 660. it is primarily a Neoclassical structure, featuring elements such as a pediment and Ionic columns on the massive wrap-around porch with a fragile narrow balustrade. Situated in the center bay of the facade, the main entrance is framed by sidelights and a transom window of leaded art glass.
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Inside the central block is a triple arch behind which is an imperial staircase with an ornate wrought iron balustrade. The roof timbers are exposed, and the hall is lit from above. Beyond this is a five-bay hall with two-light transomed windows. The windows contain small pieces of stained glass depicting badges of the benefactors of the hospital.
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At the right of the west (entrance) front is a circular projection with a tall conical roof and at the left end is an octagonal turret with a tall pyramidal roof. The east front includes a massive three-storey tower with an embattled parapet and a truncated pyramidal roof with a wrought iron balustrade. The tower has an additional octagonal turret.
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The trusses are fixed at their supports by iron straps bolted through the walls. Remains of a perimeter gallery with timber floor and cast and wrought iron brackets survives but with the balustrade missing. The gallery brackets are also fixed to the iron straps. Evidence exists for the original location of the stairs from this gallery to the north end of the space.
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Moffett-Ralston House, also known as the John C. Robinson House, is a historic home located in Lafayette Township, Owen County, Indiana. It was built in 1864, and expanded and modified about 1870. It is a two-story, vernacular Greek Revival / Italian Villa style frame dwelling. It has a hipped roof with brackets and a rebuilt ornate porch with balustrade.
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The entrance, in the west-facing wall, sits below a stone entablature with a stone-pilastered doorcase. Above this is a round- arched stone-dressed window with mouldings, linked to the entablature by a stone balustrade. Above the window is a stone pediment. Arched windows to a similar design are on each of the other seven walls at first-floor level.
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The property has been sold twice since 1994. Changes have been minor. The most noticeable exterior change has been the removal of the timber veranda deck to the Reynolds Street side and the installation of low steps to provide access to the bar and the side verandas. The timber rail balustrade was replaced on the ground floor by horizontal weatherboards.
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The central bay contains the entrance, flanked by two Composite full columns. These two columns support a small, round-headed pediment displaying the Fermor arms and heraldic motto. Above the door at second floor height is a massive Venetian window. The roof-line is concealed by a balustrade which is decorated by covered stone urns at the ten intervals above the pilasters below.
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On the iron balustrade above these doors, the Hungarian and EU flags appear alongside the former Hungarian coat of arms, which depict Hungary quartered with Dalmatia, Croatia, Slavonia, Fiume and Transylvania. Above the first floor on the southeast side is a tympanum, in imitation of Graeco-Roman architecture, with the Roman numeral MDCCCVI (1806, the year of the completion of the original palace).
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The adjacent ante-room is thought to have been a nursery or dressing room. The stairwell contains a U-shaped curving cedar staircase which has been partly restored. A protective timber cover and temporary handrail has been installed, with the original turned cedar balustrade and handrail in place to the first floor landing. The stair is lit by a tall sash window.
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Praetorian Palace, Tito Square The external staircase facing Tito Square was completed in 1447. In 1481, Giovanni Vitturi replaced peaked gothic windows with semicircular renaissance ones. The arms of the city governors on the facade attest to the fact that the balustrade was not completed until the beginning of the 16th century. The center of the crenellated portico features a statue of Justice.
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It has a stone balustrade and other similar treatments to the porches on the southeast facade. Atop, a chimney rises from between two dormers. At the other end of the northeast facade, with fenestration similar to the rest of the house, is a flat-roofed balustraded porch, now enclosed. It has similar treatments to the doors and windows on the southeast facade.
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The entire oriel is decorated in sculpted reliefs and mural paintings. The first-floor balustrade is adorned with eight sculpted coats of arms, six facing the square and two flanking panels, representing Maximilian's territories.Parsons 2000, p. 367. Above the coats of arms are frescoes by Jörg Kölderer, painted in 1500, showing two knights bearing heraldic flags representing the Holy Roman Empire and Tyrol.
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The Holtzendorf Apartments, at 105 W. Pine St. in Fitzgerald, Georgia, was built in 1908. It was listed on the National Register of Historic Places in 1988. It is a two-and-a-half-story brick apartment building. It has a two- story double porch in the middle of its main facade, with square columns; the upper porch has a wooden balustrade.
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It comprises a square, four-storey main block, with narrow circular towers at each corner. These have ogee-shaped roofs, and the whole building is harled. The north front has a pair of crow-stepped gables, linked by a balustrade. An east wing was added first, then a western extension with a bay window, built around 1815, probably by James Gillespie Graham.
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Her husband Meinoud was captured and imprisoned on 8 May by Canadian troops. Immediately after the war, Meinoud Rost van Tonningen died in the Scheveningen prison while awaiting trial. He allegedly jumped over the balustrade of a staircase. Rost van Tonningen-Heubel always contended that her husband had been murdered and that this was supported by testimony from fellow prisoners.
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The east and west facing fronts are marked at the corners by four groups of statuary by Paul Raphael Montford, representing Peace, Justice, Patriotism and Sacrifice. The Art Deco style and motifs draw on Greek and Assyrian sculpture. The symbolism is Neo-Classical. Around the outer stone balustrade that marks the Shrine's external boundary are the 16 stone "battle honours" discs.
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The enclosed verandah is weatherboard-clad with casement windows. A section of battened timber balustrade remains to the north. The verandah wall is single-skin with external post and belt rails supporting v-jointed (VJ) timber boards. The interior layout comprises three bedrooms accessed via a central hallway at the front, with a living room, kitchen and bathroom to the rear.
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The tower is a massive cylindrical structure, of 19m high—including the lantern—by a 2.5m inside diameter. It terminates in rectangular bracket-supporters for the cement circular gallery and cast-iron balustrade that encloses the cast-iron, copper, and glass 3rd order lantern. A cast-iron spiral stairway also led to the lantern that had vertical bars. Image undated ca.
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The Great Hall opened in March 2007, although a Costa Coffee outlet opened earlier in January 2007. This glazed structure houses five restaurants and cafes. Construction took 18 months at a cost of £26 million. It houses a sweeping staircase featuring hundreds of metres of marble balustrade from China and what the centre claims to be the largest chandelier in the world.
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The timber slatted balustrade is a replacement. The rear of the building has a two storeyed post supported verandah, onto which internal rooms are accessed. Openings to the ground floor have moulded plaster surrounds, and retain some early joinery and leadlight glazing, although there are some replacement louvres. First floor openings are generally inward opening, half glazed, french doors with operable fanlights above.
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The church itself is not particularly long, but it is unusually wide. Before the pipe organ was installed in the gallery in 1933, the church could seat 700 people. Davik Church is thus one of the biggest in the county. The chancel and the nave are partitioned only by a low balustrade, and have the same width as the porch.
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Along the walls there are five pointed-arch windows on either side, with green and red top sections. The altar rail is oval with a white-painted balustrade, similar to the low chancel partition. The usual vestries are located behind the chancel. On the western wall is the spacious porch with stairways on either side leading up to the gallery.
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The White Hart, Mitcham, London The White Hart, Mitcham is a currently closed, listed 18th century building situated near Mitcham Cricket Green.What Pub, White Hart, MitchamWimbledon Times It is Mitcham's earliest recorded inn, rebuilt in 1749-50 after fire damage. The central porch, with frieze and balustrade, is supported by four Tuscan columns. Stagecoaches used to start from a yard at the rear.
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The structure rests on an exposed ground level covered in rusticated stone. The building has lost several elements that gave it architectural interest. with They include the cupola, tower, roof balustrade, and upper floor windows have been boarded up. The structure was expanded in 1977 when a separate facility to house the sheriff's offices and jail were constructed south of the courthouse.
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As of 1977, the brick was painted red. It has an outset center bay, with a one-story portico of Doric columns, with a fanlight in its gable; the portico's roof-balcony has an iron balustrade. It was designed by Weiser architect H. W. Bond, and was built by contractor George Brinson. With It has also been known as the Farnsworth Hotel.
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Ephraim B. Potter House is a historic home located at Glens Falls, Warren County, New York, United States. It was built in about 1900 and is a square 2½-story frame residence that incorporates transitional Queen Anne- / Colonial Revival-style design elements. It is topped by a gambrel roof. It features a raised, one-story covered porch with balustrade and rounded entrance pediment.
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A wide central hall divides each level. The upper level, structurally intact, includes an ornate fireplace and has been adapted as private living quarters. French doors with fanlights open onto the verandahs, and a spacious stairwell, with painted turned timber balustrade, is lit by skylight through a tapering timber boarded shaft. The lower level contains reception rooms and a kitchen.
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The first floor verandahs are supported by paired cast iron columns with corinthian capitals; these are in turn supported by masonry plinths. Between these are cast iron balustrades with timber hand rails. These columns support a dentiled soffit. Similarly paired cast iron columns support the first floor balcony and the ground level balustrade has moulded concrete balustrading with hourglass-shaped balusters.
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The columns that hold up the portico follow the Renaissance Ionic order after Vincenzo Scamozzi. The columns rest on paneled pedestals. Between them is a cast concrete balustrade that was extended in the early 20th-century in a semi-circular fashion beyond the portico. The north front of the house has a one-story porch that covers the middle three bays.
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Guilford County Courthouse is a historic courthouse building located at Greensboro, Guilford County, North Carolina. It was designed by architect Harry Barton and built between 1918 and 1920. It is a five-story, rectangular Renaissance Revival building. It has a rusticated raised basement, fluted Ionic pilasters on the upper three stories, a stone balustrade, and a shallow pedimented hexastyle portico.
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The later side verandahs have cross-braced timber balustrade and more recent timber brackets. Most of the northeast wall has been enclosed with chamferboard and a pergola structure attached to the northwest front. A decorative cantilevered timber porch with a concave corrugated iron awning has been added to the front entry. The rear of the building has been clad with vinyl boarding.
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The building exhibits several features that are unique among courthouses in Iowa. The Wright County Courthouse has a large polygonal projection at the rear of the building. Its front entrance is recessed within a single-story projecting pavilion, which features a stone roof, balustrade and a semicircular bay on one side. There are similar semicircular bays that flank the site entrance.
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The front porch has turned posts and balustrade, and a delicate spindlework arch in one of its bays. It was built for the widow of William Black, a prominent local businessman, politician, and veteran of the American Civil War. The house was listed on the National Register of Historic Places in 1976. 1895 Major William Black House in Brinkley, Arkansas.
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The roof originally had a cupola in the center and a balustrade. An addition was built onto the west side of the building in 1932, and an enclosed loading dock was added in 1951. The post office moved into a new facility on North Tenth Street in 1977. The building was listed on the National Register of Historic Places in 1978.
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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.
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Norman bases and capitals have been added, together with plain cylindrical Norman shafts. Balusters are normally separated by at least the same measurement as the size of the square bottom section. Placing balusters too far apart diminishes their aesthetic appeal, and the structural integrity of the balustrade they form. Balustrades normally terminate in heavy newel posts, columns, and building walls for structural support.
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A simple balustrade tops the tower. The building was constructed in 1846 by Joseph Bigelow, a regionally well-known builder of the period from Skowhegan. Money for its construction was raised by subscription, the largest donation coming from John Ware, who also gave the land. The building now hosts the River of Life Church and a local chapter of the American Legion.
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The porch juts forward in front of the door with an additional pediment. The veranda is also the only one to have a balustrade. The Bernier-Montminy House (; 1602 Marie-Victorin Road) dates from the mid-1840s. It is the only pre-1900 house on the site besides the Pâquet House to lack a verandah, contending with a small, uncovered porch.
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The parapet has a balustrade and five highly decorative pediments extending below. The original entrance is still located between the shops and features stained glass leadlight sidelights and French doors between. Originally the entrance hall and vestibule lead to the shops and offices, the staircase being made from polished jarrah. Tiles in different colours have been used for dados, corridors and decorations.
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This stairway features a metal balustrade with a distinctive art deco decorative motif which is found throughout the theatre complex. It was reported to be in good condition overall as at 31 October 2016. The roof and dance floor are in need of repair due to water damage, however this can be repaired. The overall integrity of the building is excellent.
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The main entrance to the building is situated at the corner of Bolshaya Sadovaya street and Khalturinsky alley. On both sides of the mansion there were placed false windows, decorated with stucco architraves. Above the corner portion rises a gazebo with a dome ― it is the composite core of the mansion. On the second floor there is a balcony with a balustrade.
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It was restored in 1641 and 1677, and was totally rebuilt in 1823 at which time spires were added. Further restoration took place in 1987 with the addition of metal handrails, stone steps, and access for the disabled. The spires lie at each end of the bridge. A carved balustrade runs on either side of the walkway, and gargoyles decorate its arch.
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The last part of this wishful thinking is heard over a high-angled long shot taken through the blurred wrought-iron bars of a balcony. There is a slow rack focus that reverses the blurriness of the balustrade and the clarity of the street, leaving Belarmino indistinct in the midst of the mass of passers-by and brings the enclosing bars into focus.
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The three central bays are distinguished by flanking giant order pilasters which extend from above the ground floor level to the cornice line below the parapet. The openings on the upper level have semicircular arches. The three central openings have individual balconies with balustrading and a projecting cornice/balustrade that returns to the flanking side bays. These are plainer with narrower openings.
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The front facade features a mid-19th century porch supported by chamfered columns connected on each level by a decorative cyma frieze and sawn balustrade. The tavern was built to accommodate travelers in the heavy migration through Cumberland Gap to the west in the early 19th century. and Accompanying photo It was listed on the National Register of Historic Places in 1982.
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The Increased Difficulty of Concentration is a play by Václav Havel. The English translation is by Štěpán Šimek. It is a metaphysical farce, in which Hummel, an academic, juggles lovers, philosophy, and the questions from a strange machine called Pazuk, while trying to make sense of his life. It was originally performed in 1969 in Prague at the Theatre on the Balustrade.
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However having used cement, the fountains were in a bad state when Prince Camillo began restoration works in 2011. Prince Camillo stated that Napoleon, who was related to the Aldobrandini's through marriage, took statues that were all along the top of the balustrade of the Teatro and said he would pay Aldobrandini after coming back from Russia.Monty Don Villa Aldobrandini - Ninfeo.
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Patton Mansion is a historic home located at Charlottesville, Virginia. It was built in 1907, and is a two-story, five-bay, double pile, Jeffersonian Revival Style brick dwelling. It has a hipped roof and a full-height Tuscan order portico covering the center three bays of the front facade. There is a small hanging balcony with Chinese Chippendale balustrade above the entrance.
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The upper level is also divided into three bays with semi -circular headed openings similar to ground level but of lower in height, they are divided by pilasters and have been infilled with glazing. Above these windows is a further cornice with central triangular pediment. A balustrade rises above this. The southern openings provides access to what was the coach entry.
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There are string courses between the storeys and over the upper storey. Over the lateral two windows on the ground floor are curved tympani, and over each bay in the upper storey is a broken tympanum. Each of these tympani contains a sculpted human head. A balustrade runs around the top of the roof, and at its rear are six joined chimneys.
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The interior of the house is well preserved despite extensive remodelling in the 20th century. It has original doors and door hardware, including latches and strap hinges of wrought iron. The narrow entry hall includes a winding staircase with original handrail, balustrade, and newel post. In the older rear ell, the heavy post and beam framing is exposed in many places.
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The corner building is a two storey Federation Filigree style structure. The highly decorative parapet has five large pediments featuring stilted arches with columns and decorative stucco along with balustrade and columns. The corner of the building parapet has the remains of a dome inscribed with the name The P&O; Hotel in decorative stucco. The top of the dome has been removed.
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The facade features a veranda-style porch with a delicate balustrade and Ionic columns. Underneath the porch roof, the main entrance is surrounded by large sidelights, while a transom window of leaded glass sits above the doorway. The overall floor plan is that of the letter "L", divided into four bays on the front and three on the sides.Owen, Lorrie K., ed.
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They rest on s burnt red, clay-tiled, terraced portico floor and steps, and support a plain, banded entablature and balustraded parapet, which conceals a shallow, hipped, corrugated steel roof. The deep portico retains a white-painted timber boarded and shaped batten soffit, with later pendant lighting installed, and a recent steel balustrade to the disabled retail entry terrace leading around from the western ramp. The ground-floor rear addition of the residence to the eastern side is a combination of face and cream-painted brickwork, with a weatherboard and asbestos cement-sheet laundry and bathroom addition to the northern end. There is a timber porch to the eastern wall, with a corrugated steel roof and timber boarded soffit, supported on squared timber posts and with a cream-painted, timber-slatted balustrade, unpainted timber floorboards and slate on rendered brick steps.
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It has a central porch with a balustrade, and three-light mullioned and transomed windows on each side. Above the porch is a two-light sash window. The parapet is plain, rising in two steps to the projecting wings. These have three-light mullioned windows in the lower level, three-light mullioned and transomed windows in the upper level, and a single-light window in the gable.
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Many of the external features were replaced or rebuilt during major renovation work in the 2010s, including the restoration of columns, imposts, and cornices, plus an added roof parapet including a balustrade. The exterior fire escape, which had become dangerous, was also removed at this time. Several of the building's interior features and fittings were formerly part of the now largely demolished Cargill's Castle.
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Members of the Van Schaick family, one of Albany's oldest, later lived in 744. The lot at 750 remained undeveloped until 1875, when Jacob Sager, a manufacturer of window trim, built his house there. Its decoration reflects the Italianate style common for late 19th-century urban American townhouses, with a sweeping balustrade and bracketed cornice. His family lived there for the rest of the century.
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The central stair is constructed of concrete with terrazzo treads and a concrete balustrade. Each flat has decorative plaster ceilings to most rooms, and multi-paned French doors open from the main bedroom to the enclosed sleep-out. Doors, architraves and skirtings are finished in painted timber, with plate rails to the living and dining rooms. Leaded diamond paned swing doors separate the living and dining rooms.
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The American Legion Memorial Bridge is long and wide, with a roadway width of . The span is formed by a barrel-vaulted elliptical arch. Sidewalks, supported by concrete brackets, overhang the face of the arch. The original balustrade railings on the bridge have been replaced with planks, but the approaches still contain the original solid-concrete parapets and concrete balustrades with urn-shaped spindles.
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Should the carpet be subsequently replaced with hardwood, the balcony balustrade may have to be removed to add the nosing. ; Flight : A flight is an uninterrupted series of steps. ; Floating stairs : A flight of stairs is said to be "floating" if there is nothing underneath. The risers are typically missing as well to emphasize the open effect, and create a functional feature suspended in midair.
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The facade probably faced on to a small square originally. The interior has stucco decorations attributed to Alessandro Vittoria. An entablature is finished with a rich decoration of cherubs and tendrils and creates a transition to the dome vault, along with a balustrade. Palladio alternates deep niches on a rectangular ground-plan and closed wall areas with figure tabernacles between the eight regular half-columns.
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Johnston County Courthouse is a historic courthouse building located at Smithfield, Johnston County, North Carolina. It was designed by architect Harry Barton and built in 1920–1921. It is a three-story, rectangular steel frame building with a cut stone veneer in the Classical Revival style. It features a four-column portico in antis, a tetrastyle pedimented portico, and a stone balustrade at the roofline.
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To the rear, two storey outbuildings housed the kitchen, bathroom and maid's room. A slate roof with dormer windows were partly concealed by a balustraded parapet, inscribed with "Harris Terrace 1866" at its centre. A cast iron balustrade and full length venetian blinds featured on the upper balcony. Early tenants of Harris Terrace who were parliamentary politicians included Joshua Bell, William Yaldwyn and Kevin O'Doherty.
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The balustrade is decorated with ironwork and the face of John the Baptist, because Halifax possibly means "holy face". There is a second gallery of doorways here, with decorative plaster panels above, and fluted pilasters between. There are repetitions of the "H" motif. Between the tops of the doors and the glass ceiling coving are cherubs supporting devices for England, Northern Ireland, Scotland and Wales.
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A large, metal school bell is attached to the western balustrade of the first floor verandah. Its bracket is marked with "JPSS, 1888" in raised letters. The undercroft level comprises open play-space, a modern tuckshop and storage space, with enclosed classrooms and storage spaces in the lateral wings. It has a concrete slab floor, with floors in some enclosed spaces covered in recent linoleum and carpet.
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The Lafayette Street Overpass is a historic bridge in Fayetteville, Arkansas. It is a three-span open masonry structure, carrying Lafayette Street over the tracks of the St. Louis–San Francisco Railway. The bridge is about long and wide, and consists of reinforced concrete spans resting on concrete abutments. It features an Art Deco railing, with a metal balustrade covering concrete piers with inset light fixtures.
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Cherublike angels are sitting on the ledge with the symbols of the tetramorph. The balustrade is decorated with three gilt reliefs (The Good Shepherd, The Sower and Two Sons). An orb of flowers forms a hanging finial under rich garlands. There is sculpted relief above the door with a group of symbols: the Eye of Providence, a horn, a violin, a wreath and a palm branch.
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The main entrance The keystone The rotunda The five- storey building is constructed in brick. The building has rustication on the ground floor and arched openings along the two sides. The four upper floors stand dressed masonry and has wide pilasters between the windows. The roof features a three-bay Belvedere, topped by a balustrade, with views of Tivoli Gardens on the other side of the street.
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It however only allows commuters to transfer between the LRT and MRT, and does not allow anyone out of the stations. To accommodate this pedestrian bridge, the LRT station had to undergo some renovation. Besides removing the balustrade at the Concourse Level, the LRT station fare gates were also relocated closer to the entrance. A new service counter was also built replacing the older service counter.
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Saša Rašilov (born Alexandr Rašilov, 26 July 1972) is a Czech film and stage actor. He studied at the Faculty of Theatre in Prague, later performing on stage at theatres including the Theatre on the Balustrade. He is the grandson and namesake of Czechoslovak actor Saša Rašilov (1891–1955). He was married to actress Vanda Hybnerová, with whom he has two daughters, between 1993 and 2014.
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Inside there is an all- cantilevered staircase with simple iron balustrade. The gardens were designed by noted landscaper Humphry Repton. Only three other houses of Soane's are still standing: Pitzhanger Manor in Ealing, Tyringham Hall in Buckinghamshire, and Pell Wall Hall in Shropshire, plus the library at Stowe House in Buckinghamshire. The house was used as a hospital for most of the 20th century.
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The verandahs are about wide, with stop-chamfered posts, arched boarded valance, a handrail but no balustrade between the posts, and are unlined. The external walls have exposed timber framing, lined with 185 chamferboards. The Brown Street side wall has five casement windows, with 3-panes per sash and 2-pane toplights. The height of the sill of these windows alternates from floor level to sill level.
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During the 1960s, Fára collaborated with the Prague's Theatre on the Balustrade for which he created many timeless stage designs and posters. Libor Fára is represented in the permanent collections of various major art museums, including the National Gallery, Prague, Czech Museum of Fine Arts, Prague, Gallery of Modern Art, Roudnice nad Labem. In 1952, he married the Czech art historian and photography theorist Anna Fárová.
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Palmer Home is a historic home for the aged located at Dover, Kent County, Delaware. It was built in 1907, and is a 2 1/2-story, brick structure with a gable roof in the Colonial Revival style. A two-story, flat roofed wing was added in 1930. The front facade features a hip roofed porch with Doric order columns and a square balustrade.
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Esmont is a historic home located near Esmont, Albemarle County, Virginia. The house was built about 1818, and is a two-story, three bay, square structure in the Jeffersonian style. It has a double pile, central passage plan. It is topped by a low hipped roof, surmounted by internal chimneys, further emphasized by the use of a balustrade with alternating solid and Chinese lattice panels.
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The church is a Grade I listed building. It resembles two other churches by the same architect — in particular Holy Trinity Church Marylebone — in its use of London stock brickwork with stone dressings, and carries the Soane hallmark of tall arched windows set in recesses. The depressed Ionic front with cornice sand balustrade over avoids the architectural problems encountered when a pediment is used.
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The rose marble balustrade was installed in 1923, and derives from the former church of Santa Maria Murella. Along the right wall, the first altarpiece is a 16th-century canvas depicting the Virgin of the Rosary, St Dominic, and a nun. The canvas is surrounded by 15 smaller depiction of the mysteries of the Rosary. The 14th-century apse frescoes are attributed to Domenico Rainaldi.
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The Saint John of Sahagun Parish Church, locally known as the Candon Church, is a church situated in the city of Candon, Ilocos Sur, Philippines. Constructed with an Earthquake Baroque design, the church is maintained and is still being used up to present. The church's four-storey octagonal bell tower has an alternating open and blind apertures, a balustrade and is topped by a (bell tower).
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The deck above has a short balustrade, and the original French door has been replaced with a window with sidelights. The interior is laid out in a center-hall plan with two rooms on either side. A spiral staircase runs from the first floor all the way to the attic. See also: The house was listed on the National Register of Historic Places in 1982.
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The High Street end has a Doric colonnade. Each end has marble columns. A musicians gallery, with a wrought iron balustrade and gilt lions heads and garlands, is in the centre of the arcade. Cleveland Bridge was built in 1826 by William Hazledine with Henry Goodridge as the architect. St Michael's Church was rebuilt between 1835 and 1837 and St. Stephen's Church built in Walcot.
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During the 20th century, the dispersal of a country house's contents became a frequent event. The sale of Mentmore Towers' contents highlighted the issue. Two years before the beginning of World War I, on 4 May 1912, the British magazine Country Life carried a seemingly unremarkable advertisement: the roofing balustrade and urns from the roof of Trentham Hall could be purchased for £200.Country Life.
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Ajello also often designed lobbies that would shield from first view the elevators, presenting instead a staircase with a curved balustrade in order to recreate the experience of entering a single-family home. His buildings commonly carry a cornerstone with the carved legend "G. Ajello, Architect".Photos of engraved cornerstones on the Upper West Side In 1912, Architecture and Building devoted an entire article to his architecture.
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Both the front and rear facades are all-header bond, while the remaining sides are English bond. The present roof form was built in 1894 during a significant remodeling. The large brick wing to the rear was an addition that replaced a wooden structure during the 1894 remodelling, as was the addition of the roof-top balustrade. The interior features a central hall plan.
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Z. Ritchie House is a historic home located at Plattsburgh in Clinton County, New York. It was built between 1856 and 1869 and is a two-story, frame dwelling on a stone foundation in the Gothic Revival style. It features a cross-gable roof, decorative bargeboards, and a one-story projecting bay with ornate balustrade. It was listed on the National Register of Historic Places in 1982.
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The bridge is among the rare with live trees. Two rows of birches divide the pedestrian and vehicle lanes, intentionally obscuring the bridge silhouette. They are complemented by a balustrade of vase-like elements and a row of short columns at each side. There is also a statue of Saint John the Baptist, the patron of the church, at the center of the bridge.
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French doors with fanlights open onto the verandahs. The foyer has a single panelled door with sidelights and fanlight and a carved timber staircase with turned balustrade. An arch leads to a central hallway with dining rooms and a lounge to either side. The lounge has an elaborate marble and carved timber fireplace, a timber bar has been installed and the walls have been papered.
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A three-part window is centered above the front entrance. The remaining bays are defined by rectangular twelve-over- twelve sash windows on both levels. A hip roof, originally crowned by a balustrade, covers both the portico and main structure. An original one-story, semi-detached brick service wing with three rooms is located towards the rear of the house, on the south side.
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The balustrade is of cast aluminium. Internally the house consists of a wide, central arched hallway with to the right a living and dining room, each with a cedar fireplace, and to the left three bedrooms. All the windows are sashed, and joinery and doors (with fanlights) throughout are of cedar. A doorway into the front living room has been widened at some stage.
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Included in the Historic Places designation is the school's stadium. This stadium was built in 1935 and, despite the construction of two different high schools to replace it, James Monroe High School sports teams continue to use it for home games. On the slope between the school and the field, bleachers of stepped-concrete bleachers were built. A brick balustrade forms the edge of the spectators' area.
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The facade of the mosque. It was constructed by the Fatimids, then expanded by the Crusaders, the Ayyubids and the Mamluks The facade of the mosque was built in 1065 CE on the instructions of the Fatimid caliph al-Mustansir Billah. It was crowned with a balustrade consisting of arcades and small columns. The Crusaders damaged the facade, but it was restored and renovated by the Ayyubids.
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The free standing, octagonal, timber-framed rotunda stands on face brick piers with brick infill panels. Eight hardwood posts support a bell shaped roof clad with fibre cement shingles. The timber lined ceiling of eight triangular panels falls towards the centre of the rotunda. A decorative timber valance with a harp motif fringes the roof and the rotunda has a timber balustrade containing a tulip motif.
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The little church was rebuilt single-handedly in 1802 by James Smith of Farndale. The interior of St Aidans includes items from an earlier church, such as a balustrade that dates to 1682. The church was renovated again in 1880 and is now a grade II listed structure. A most unusual, complex, four-faced sundial stands by the roadside in the centre of the village.
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Row in front of Bishop Lloyd's House in 2008 showing the walkway and stallboard The ground floor of the west house includes a shop with a central entrance. On each side are two piers and an 18-light bow window. At the row level is a wooden balustrade, and brackets with carvings similar to the east house. Above this level are eight recessed carved panels.
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An open two-arm staircase, with a wrought iron balustrade, leads to the main entrance on the first floor. The north side of the hall is entirely of brick and is simpler. The whole house is built on a foundation made of blocks of copper slag from the Patten's smelting works. The detached service wings each have 13 bays and are similar to each other.
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The structure and the diagonal bracing of the walls are exposed externally. Each end of the upper verandah has been sheeted behind the balustrade otherwise it remains intact. The cast iron balustrades are identified as being the design of John Crase & Co. Foundry who operated out of Warren Street, Fortitude Valley, Brisbane from 1885 until at least 1902.Turner, Australia's Iron Lace, 1985, p.
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Roof eaves are studded with paired brackets, as are the cornices of projecting window bays on the front and side. The porch is supported by chamfered square posts, and features a low balustrade and a decorative valance. The roof is broken by gabled dormers with decorative hooded windows. The house's interior features original ornate wooden finishes, and fine fireplace mantels, including one of delicately veined black marble.
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Christian Park School No. 82 is a historic school building located at Indianapolis, Indiana. It was built in 1931, and is a two-story, rectangular, Colonial Revival style brick building with a two-story addition built in 1955. It has a gable roof with paired end chimneys, balustrade, and an octagonal cupola. Note: This includes It was listed on the National Register of Historic Places in 1995.
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It projects from the flanking pavilions, which on this side of the house are partially screened by planting. The fenestration which is concentrated on the broad bay at the centre of the facade provides the essential rhythm and relief.Musson, p76, explains the concept of such neoclassical facades. Above the second floor, a balustrade not only hides the roof, but unites the projecting bay with its flanking bays.
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It is a multi-span continuous steel girder bridge made up of four steel girder main spans, four continuous steel string approach spans, and concrete piers which support the bridge deck. It features 28 cast- iron light standards along the balustrade, and the Gothic-influenced pointed arches cut out of its concrete piers. It was listed on the National Register of Historic Places in 1994.
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These are supported by thick, plain, squared columns. The floor is concrete and shows traces of previous rubberised coverings and red paint. A walk-in Chubb safe room with an external wooden bench stand against the eastern wall. The centre of the floor is pieced by a square well hole surrounded by an intact silkyoak balustrade constructed in an angular style with pinnacled newell-posts.
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Four white Doric columns of brick, covered with stucco, give this Greek Revival mansion it's monumental appearance. The house features a massive frieze board with dentil moldings which surrounds the entire home. Board siding and double hung paned windows are all original. A cupola or belvedere with classical balustrade sits atop the low-hipped roof and there is also a balcony above the entrance.
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Anne is shown full-length, sitting in an outside setting, facing to her left with her legs crossed, apparently lost in thought. She leans on the stone balustrade of a terrace, while a stairway behind her leads down into the garden.Impelluso, p. 282 She is dressed in the height of contemporary fashion, including a beige translucent shawl with gold fringe trimmings, and white slippers.
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The main entrance to the station is through a covered stone porch framed by three semi-circular arches supported by columns. A stone balustrade spans the porch. Six faces of individuals significant at the time the building was constructed decorate the capitals: Governor Hazen Pingree, Detroit mayor William Maybury and the four men who made up the Detroit Police Commission. Two conical roofed towers, flank the entrance.
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That is why the city wall has stood for a long time. On top of the outer wall were 13,616 crenellations, or battlements, for defenders of the city to observe the enemy or dodge arrows. Opposite it was the parapet wall used as a balustrade to keep the defenders and horses safe. Standing on the wall, you will see tall ancient trees under your feet.
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Petr Lébl was known as a sensitive and complicated personality. According to testimonies provided by his colleagues, he suffered from depression and often spoke openly about his suicidal tendencies. He attempted to fight with his depressive disorder, and shortly before his death he visited a psychiatrist. On 11 December 1999, he hanged himself from the flies of his home stage in the Theatre on the Balustrade.
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The portal of the facade is flanked by four Corinthian columns. On top of the central part is a large Baroque window with a triangular gable and a balustrade with statues of saints. The deep niches in the facade contains statues of Saint Blaise (patron saint of Dubrovnik) and Joseph with Child. The lateral sides of the cathedral are rather plain, articulated by pillars and semicircular windows.
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After his father died in 1399, Johann continued work on St. Vitus Cathedral. He oversaw construction of the South Tower and was probably the designer of the tracery balustrade, which completes the facade. He then moved to Kutná Hora (), where he became master builder of St. Barbara's Church. He was the first architect of the church, construction of which had already been started in 1388 but interrupted.
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Three broad horizontal bands of limestone – along the basement, at the top of the first floor, and the balustrade – artistically unite all the facades.National Historic Landmark Nomination, pp. 4–5 The 22nd Street facade is most richly ornamented with a grand entrance behind a monumental gate and a wrought iron fence. The entrance is classically composed, flanked by Roman Doric columns with richly carved capitals.
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House at 58 Eighteenth Avenue is a historic home located at Sea Cliff in Nassau County, New York. It was built in 1893 and is a two-story, three bay clapboard sided residence with a cross gable roof in the Late Victorian style. It features a first floor porch with spindle balustrade and fishscale shingling. Also on the property is a contributing cast iron fence.
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The tops of the original dormers included tablets with pediments, but S. Edison Gage added another row of roof-line dormers in 1913, These contain a similar articulation to the original dormers, though these are faced with terracotta instead of brick. A brick balustrade runs above the original brick dormers, just below the roof-line. An elevator shed and chimney are located behind the westernmost (leftmost) dormer.
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The outer court of the Sanctuary had projecting wings on either side of the main building. The exterior of these walls were stone and the partitions were of mud brick. A ramp with balustrade led to the first court of the Sanctuary, passing between two thin pylons, and likely continued as a causeway to the altar in the centre. This first court was full of offering tables.
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Double sliding glass doors open onto the balcony created by the balustrade. The bays on either side on both stories are set in arched one-over-one double-hung sash. All three northern bays are on a projecting pavilion. To its south on the first story, double French doors, flanked by similar single doors, with three- and six-pane transoms open onto a set of stone steps.
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The front of ten windows was crowned by a balustrade with twelve life-sized sandstone statues representing figures of Greek mythology. The building was not only used for wintering sensitive plants, but also as a garden social venue and dining room. While being functional, the orangery was also home to one of Germany's most famous collections of Japanese camellia. Today, the building is only a ruin.
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On top of the facade is a semicircular gable and a balustrade with three statues by Marino Gropelli: a free standing Saint Blaise (in the middle) and personifications of Faith and Hope. The barrel-vaulted interior is richly decorated in Baroque style. The Corinthian columns in the center bear the tambour of the cupola and lantern. The corners of the nave show blind cupolas.
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An open balustrade staircase leads to the upper level, which features the original wide pine plank flooring. The walls throughout the house are mostly plaster and contain lath, both sawed and split. The farmhouse faces south, standing over a one-room deep hand-dug earth basement with a bedrock floor. The house is supported by a stone-rubble foundation featuring original hand- hewn beams.
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The Hayward–Hill House is a historic house located at 540 S. Main St. in Hillsboro, Illinois. The house was built circa 1850 for John Shaw Hayward, a local businessman and land speculator who founded the Hillsboro Academy. The two-story, "L"-shaped house has an Italianate design. A verandah, which is topped by a porch with a balustrade, runs along the front of the house.
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Quoins at the corners and on projecting elements, alternating arched and pedimented windows on the second floor, and a cornice with a balustrade also decorate the building. Two wings in a matching design were added to the building in 1918, and a modern annex was placed on the rear in 1986. The building was added to the National Register of Historic Places on August 8, 2014.
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The main stairway ascends directly from the plaza, those on either side are perpendicular to the main stairway. The balustrade of each stairway terminates at the top in a vertical panel. The temple facade is in good condition although the roof of the temple is missing. The range structures are unequal in size and each contains a single long room atop a low platform.
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The building is in Federation Free Classical style with an exuberant, free and mannerist use of classical features: parapet with a Palladian balustrade skyline, globe finials, double layer of alternating pediments (the lower pediments having crests), string course, Romanesque arched windows and doors, hood moulds above and aprons below windows.R Apperley, R Irving and P Reynolds, A Pictorial Guide to Identifying Australian Architecture, p. 104-107.
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Two musicians are playing string instruments on the terrace on the right while the spectators are sitting underneath a balustrade on the right.Júnia Ferreira Furtado, Sons, formas, cores e movimentos na modernidade Atlântica: Europa, Américas e África, Annablume Editora, 2008, p. 265 File:Jacobus Ferdinandus Saey (Attr.) - Palace architecture with nocturnal illumination and numerous figures1.jpeg File:Jacobus Ferdinandus Saey (Attr.) - Palace architecture with nocturnal illumination and numerous figures2.
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The Perrigo House is a two story wood-framed Queen Anne house clad in clapboard . It has an asymmetric massing and window location, as well as an irregular roofline. The facade contains Eastlake detailing, providing an eclectic appearance. The front porch contains wooden ornamentation, including a jig- sawed porch apron, an arcaded balustrade with a molded handrailing, spindle- work uprights, and carved fan brackets.
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It contains a staircase with quarter landings and a turned balustrade. The dining room is situated in the eastern side, and has a large bay overlooking the eastern and southern gardens. The stables to the east date to the 18th century and have been converted into a house by Kellet & Partners, which is now known as "The Manor" and the older house the "Old Manor".
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The two- story pilasters rise from a buff-colored sandstone belt course at the second floor line. The pilasters support a sandstone string course, cornice, and parapet. Originally the parapet had a balustrade in portions aligning with the five bays. The first story, which is detailed in red brick and follows the organization above, is elevated and defined by a sandstone water table course.
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This last episode prompted reconstruction in 1596-1599, as announced in a cornice inscription, leading to the facade we see today, designed by Agnolo FrancoNapoli e i luoghi celebri delle sue vicinanze, Volume 1, by Stanislao Aloe (for ecclesiastical sites); Gaetano Nobile Publisher, Naples 1845, page 332. Typical of Franciscan churches, the facade has a sober and simple restraint, accessed through a staircase and balustrade.
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The center section consists of a large square tower, its upper portion finished in diamond-cut shingles. Its corners are pilastered similarly to the left section, and the tower is topped by a turned balustrade. The right section of the house has a side-gable roof, with an engaged porch supported by Greek Revival columns. A tall dormer projects to the front, with a Gothic arched window.
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The second floor is all bedrooms, except for that portion in the kitchen wing. Originally it was a sleeping loft as well, but has since been converted into a children's playroom. The back hall is the primary means of access to all rooms save a guest bedroom. At the top of the back stairs are an identical newel post and balustrade around the stairwell.
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A staircase with a turned and panelled newel post, octagonal at its base, and a balustrade featuring turned and fluted balusters leads up to the second floor. From there it extends along the hall to the door to the attic stairs. There are four bedrooms. The floor has a lower baseboard than the first floor and no molded detailing, but is otherwise similar to the downstairs.
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These have roofs separate to the main roof, and where un- enclosed, are supported by chamfered timber posts with timber capitals. Along the front and western verandah low benches have been constructed between the verandah posts. There is no evidence of an earlier balustrade. Steps lead from the front [south] verandah to a garden terrace with flagstone path and early stone-edged flower beds.
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Craftsmen included the plasterers John McKay and Thomas Albur, cabinet maker William Scott, plumber Joseph Foster, smith Alexander Gardener, and the wright Andrew Barclay.Innes, p.18 The staircase, with its wrought-iron balustrade decorated with roses, thistles, tulips and oak leaves, bears many similarities to the one at Caroline Park, Granton, and was the work of the smiths James Storrie and James Horne.Lowrey, p.
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The hardwood doors in the main foyer had to be carved on the curve and the staircase, with its modern hand joined balustrade was greatly admired. The beautifully carved fireplaces are fully functional. The stables were converted in 1917 to house member's cars and this garage was enlarged and improved in 1922 and 1928. A squash court was built in 1922 and this is now the laundry.
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Timber posts support the hipped verandah roof which is also clad in corrugated steel. The verandah also has a timber balustrade and timber boarding partially encloses the eastern end. The front façade also has pairs of timber and glass French doors with timber shutters and twelve paned timber framed double hung windows with stone sills. Timber framed windows are also located at the gable end.
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The 2-1/2 story, Queen Anne/Colonial Revival style timber-framed residence was built in 1906 for Siler City businessman and town mayor, Cadmus Bray. It features multiple bay projections covered by a steeply pitched and cross-gabled hipped roof surmounted by a square frame balustrade and a wraparound porch. It was listed on the National Register of Historic Places on December 30, 1999.
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The Buttrick Library building is located on the north side of Main Street, between Exchange and Spring Streets. The front portion of the building, its historic portion, is a tall single-story brick structure, with round-arch windows and a projecting semicircular entry pavilion. The building is topped by a balustrade. Additions extend the building to the rear, providing space for modern stacks and services.
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The Hornibrook House is a historic house at 2120 South Louisiana Street in Little Rock, Arkansas. It is a two-story brick structure, with the irregular massing and projecting gables typical of the Queen Anne Victorian style. Its wraparound porch is festooned with detailed woodwork, with turned posts and balustrade. A three-story rounded turret stands at one corner of the house, topped by an octagonal roof.
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Wessington House is a historic home located at Edenton, Chowan County, North Carolina. It was built about 1851, and is a 3-story house with a full English basement, brick dwelling with a center hall plan. The front facade features a two-tiered full-length porch with elaborate iron railings and balustrade. It was listed on the National Register of Historic Places in 1973.
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A primarily timber structure, the stair has ornamental balusters, carved stringers and marble treads and risers on the flights between ground and first floor. Painted cast iron panels are incorporated into the stair balustrade. Beyond the first floor the stair treads and risers are timber. A narrower stair connects the second floor to a room at the top of the tower under the belvedere.
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Classical balusters form the balustrade between the arches of the arcade. The base of the building is rendered in a banded pattern with arches opening to the undercroft. The bay in the centre of the symmetrical facade is ornamented with pilasters and narrow stained glass arched windows with decorative pediments. A large pediment with a cross mounted on its apex surmounts the central bay.
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The entry steps are in black slate. The floors of the veranda and entry are elaborately patterned in tessellated tiles. The interiors are decorated with fine joinery, likely cedar, in the grandly scaled skirtings, doors, windows and the main stair case that has helix-shaped balustrade and newel posts that reference the columns under the entry arch. The joinery is simpler within the service wings and tower.
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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.
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The Presbytère is located on the northeast side of Jackson Square, between the cathedral and St. Ann Street. It is a two-story brick building, originally built with a flat roof that had a balustrade topped by urns. Its ground floor has a nine-bay open arcade of elliptical arches, with pilastered corners. The upper level also has arched openings, all articulated by pilasters, with multipane windows.
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Williamsville is a historic home located at Studley, Hanover County, Virginia. The main house was built between 1794 and 1803, and is a two-story, five bay, brick I-house in the Federal style. It has a rear ell. The house features a one-story wood porch surmounted by a balustrade and sophisticated trim, including the fully developed modillioned cornice and the elaborate Adamesque mantels.
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Enclosing the perimeter of the platform is a white marble balustrade capped by lions. The hall itself measures seven by four bays and is surrounded by a covered arcade. According to the Yingzao Fashi, a Song Dynasty architectural treatise, the Dening Hall has 6th puzuo type column bracketing to support its roof. This type of bracketing has three transverse and three horizontal bracket arms.Steinhardt (1988), 68.
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Main façade of the Teatro.At the level of the first floor, the two side bodies have two straight-polished doors crowned by low windows. Although with the same two windows, at the second floor level they feature balustrade in stonework, protruding cornice and a small window in the mezzanine area. The main room (performance hall) is elliptic, has five tiers of boxes and seats 1148 people.
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The lion's head of Saint Mark appears on the cartouche at the center of the arch. In spite of its traditional construction in the salt-white Istrian stone used everywhere in Venice and the classic vase profiles of the balustrade, this bridge, called ', the "doll's bridge" in Venetian, for its diminutive size,Piccio, Dizionario veneziano-italiano, s.v. "piavola". was built at the late date of 1840.
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The Theatre on the Balustrade (Divadlo Na zábradlí) is situated in Prague, Czech Republic. The theatre was founded in 1958. Its founders - Helena Philipová, Ivan Vyskočil, Jiří Suchý and Vladimír Vodička named their professional theatre after a street leading from the square to the river. Its first production, a musical collage titled If a Thousand Clarinets (Czech: Kdyby tisíc klarinetů), was premiered on 9 December 1958.
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The house is a three- story brick structure, rectangular in shape, with a three-story ell extending the rear. The brick is laid in Flemish bond, and the trim is white marble. The roof is surrounded by a low balustrade above a modillioned cornice, and is pierced by two interior brick chimneys. There are marble trim bands separating the floors, and the third floor windows are shortened.
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The Federal Building, U.S. Courthouse and Custom House was listed in the National Register of Historic Places as part of the Duluth Civic Center Historic District in 1986. The building is faced with polished granite and has a terra-cotta cornice. A flight of granite stairs with granite abutments leads to the first level of the building. A terrace enclosed by a classical balustrade encircles the building.
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The wartime reconstruction used blue brick, a darker type often used for heavy-duty construction. The 26 narrower arches are round-headed, whereas the wider span across Preston Road is elliptical. Each pier has a long, rectangular opening on each inner side, with rounded arches at the top and bottom. Running along the top of the viaduct on both sides is a balustrade with stone balusters.
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The building has weatherboard cladding to the exposed northeast end, and single-skin exposed framing to the verandah walls. The northwest verandah has been enclosed with hardboard sheeting and louvred windows. Verandahs have a timber rail balustrade, timber posts and curved valance, with French doors and sash windows opening from the court room. The northeast end has sash windows with timber batten and corrugated iron hoods.
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The cornice was unique in that it had a ventilation system ornamented with a Liberty cap design. A similar cornice could be found upon the rear one-story wing but with a flower design instead of the Liberty Cap one. The exterior walls are weather-boarded. The house had a portico in the center of its facade supported by fluted columns and a balustrade.
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The interior public spaces are monumental in scale and classical in detail. The first-floor entry lobby, while reduced in size from its original configuration, retains its ceiling, featuring a cast-plaster cornice, moldings, soffits, and modillions. Marble adorns the walls and window sills. A central marble staircase with a richly ornamented cast-iron balustrade ascends from the first-floor lobby to the upper floors.
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Thomas Stilwell House is a historic home located at Glens Falls, Warren County, New York. It was built about 1875 and is a rectangular, two and one half-story, frame residence with a gable roof and sheathed in clapboards. It features a raised, bracketed one-story porch with balustrade and ornate scroll-sawed fretwork. It is representative of a modest transitional Italianate – Eastlake style.
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Wide moulded architraves surround the openings. The concrete balcony to the first floor spans the space within the portico and is detailed with a moulded concrete balustrade containing urn-shaped balusters. The south elevation is more simply detailed and is rendered and finished with an ashlar pattern. There are seven square metal-framed windows to the upper level and four rectangular metal-framed windows lower level.
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The President's House is a three-story Italianate structure, with numerous wing additions to the original central mass. It is constructed of bricks covered with stucco, the stucco being marked to resemble mortar courses. The house is topped with a truncated hipped roof supported by double brackets, and a balustrade in the center. The main entrance is through a small porch with Doric columns.
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Its main entrance is on the west elevation, sheltered by a porch with clustered columns supporting a roof with decorative scrollwork balustrade. From this side projects a one-and-a-half- story wing with a shallow hip roof. It has a porch on its north facade with a similar treatment to the one on the main block. A brick flue pierces its roof at the west.
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The Curtis House is a two-story brick building designed in the Classical Revival style. A two-story entrance portico dominates the front facade of the home. The portico is supported by octagonal columns, features a porch with a balustrade on both stories and is topped by a triangular pediment. The first and second story entrance feature identical doorways with transoms, sidelights, and flanking pilasters.
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It had asymmetrical massing, and an ornate centered entry porch. Eaves were studded with paired brackets, and the entry porch was topped by a low balustrade. The house was built in 1870 to a design by local architects E. Boyden & Son. It was built for Henry Goddard, a manager at the Washburn and Moen Wire Works whose father was an early partner in the business.
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The mansard roof features include limestone entablatures, architraves, friezes, and an urn balustrade. Many of the original details remain inside the house, despite renovations that have occurred through the years. The Arts and Crafts style entrance hall leads guests to the Colonial Revival style reception room on the east side of the building. The stair hall and oval library are on the west side of the building.
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It is a five-tiered gateway tower, clearly influenced by Indian religious architecture. Its icons and decorations, however, are typically Balinese in style. Notable depictions include a Bhoma head overlooking the main gateway, the god Wisnu astride a bull, great elephants on the central stairway balustrade, and Siwa standing amongst skulls. The roof of the temple is made of the fibre of chromatic black palm tree.
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The entrance hall has stone walls which are marble- lined and a ceiling carved by the Piccirilli Brothers. The marble staircase with an intricate wrought metal balustrade leads to the second floor which was private. The first room on the ground floor is the Fragonard Room, named for Jean-Honoré Fragonard's large wall paintings. The room is furnished with 18th- century French furniture and Sèvres porcelain.
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The chapel is built in red brick with a slate roof. It has a cruciform plan with a three-bay chancel and transepts, and a two-bay nave. It stands on a brick plinth with a moulded stone cornice and has rusticated quoins. The west entrance leads to the family pew and is approached up nine stone steps with an ornamental cast iron balustrade.
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The steel balustrade and timber hand rail continue round the gallery. Male and female toilets open off the east side of the gallery. As with the ground floor, the east wing is the more unified in its detail design and use of fittings and fixed furniture. While laboratory fittings in both wings are in similar configurations, their detailing, fittings and tap ware are distinctive.
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Part of the verandah on the western side of the building retains an early dowel balustrade. A flagpole is attached to this part of the verandah. The exterior wall of the upper floor, where sheltered by the verandah, is of exposed timber stud- framing, lined with chamferboards. Several timber-framed windows and timber French doors open onto the verandah from the first floor offices.
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The facade, facing the Rio Marin, is of four levels with a mezzanine and two noble floors. The first noble floor is decorated with an elegant serliana with white-stone inserts and a balustrade. Both noble floors are underlined by stringcourse cornices, standing out of the pink plaster wall. There is a gable in the central part of the top floor, terminating with a tympanum.
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The altarpiece of the Madonna delle Grazie was painted by Giuseppe Marullo; he also painted a Ste Rosa and a Vision of Ste Candida for the church. The tabernacle and balustrade of the presbytery were completed in 1790 by Gennaro Sammartino. The original chapel at the site remains in part as the sacristy, with an altarpiece depicting the Triumph of Faith. Fondazione Mondragone, short description of church.
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Above the cornice is a parapet with a central triangular pediment. At the ends of the parapet are pedestals and an open Italianate balustrade runs between these and the pediment. Three large cast cement urns crown the pedestals and the pediment. The building at the rear of the site fronting Burnett Lane was originally separate, but has been amalgamated with the front building during the present ownership.
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It stands on a raised concrete platform and has concrete steps on the southern side, facing the cenotaph. There is no balustrade and a garden bed runs around the edges. The ceiling is ornamented with a raised geometric pattern with art deco influences. The eight lamp posts are also made of concrete, with a simplified classical plinth and an eight sided, slightly tapered post.
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The second-floor balustrade is decorated in eight sculpted reliefs, six facing the square and two flanking panels, depicting various images associated with Maximilian's life. The two central reliefs show Maximilian. The one on the left shows the Emperor with his second wife Bianca Maria Sforza on the left holding an apple, and his beloved first wife Maria of Burgundy on the right.Bousfield 2001, p. 467.
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It is accessed through steps partly enclosed by a balustrade with a large dome of great beauty. Lotus flowers, designed in concave shape, spaced at , arranged in concentric circles in decreasing layers and depicting a central blossom of the lotus, decorate the roof. The lotus pendant is covered by a large pyramidal roof. The pillars that support the roof with the lotus pendant are founded on plinths.
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It has a front-facing gable and intersecting side gables, with a wooden entry porch in the ell between the front and east-facing wings. The porch has three chamfered posts and four square posts with a balustrade of turned balusters. A Sanborn fire insurance map recorded that the house, as of 1893, had a wood-shingled roof. By 1982, the roof was asphalt-shingled.
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1949 neo-Georgian replacement porch, with three windows on the first and second floors. Most of the windows are sashes with glazing bars, under flat rubbed brick arches. Those on the first floor have a stone balustrade recessed between the two stone platbands running across the façade. The central window, above the porch, also has a stucco architrave with console brackets, and a segmental pediment.
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Limestone stringcourses serve as a water table between the basement and first floor, between the first and second floors, and above the top floor. The building is crowned by a modillioned and dentillated cornice and a low balustrade. Windows are set in pairs in each bay, with limestone keystones. The international YMCA was founded in Great Britain in 1844, and its first American branch opened in 1851.
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The current casino was opened in 1907 and its looks have not changed much since its construction. Only the balustrade and iron lamp posts have disappeared. Built with tourism in mind, it offered concerts, balls, fêtes and other shows, welcoming theatre companies and at one had its own permanent company. The casino also had a round room for ladies and organised fayres for children.
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This is a result of the English and French populations as well as the preference during the Porfirio Díaz presidency between the 19th and 20th centuries for French style. The two towers of the palace are of English design. The façade, with its balustrade, lamps and fencing show Neoclassic influence. Its portico, courtyard and "Salon de Cabildos" or Delegation Hall is Art Nouveau in design.
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Stone tablet commemorating John Milton, now at St Mary-le-Bow The main frontage of the reconstructed church faced north onto Watling Street. It had eight round- headed windows (one of them blind) decorated with carved keystones. The plan of the church was in the shape of a slightly irregular quadrilateral with an annex protruding on the south. The walls were topped by a balustrade.
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The Ferry Street side of the building is a five bay loggia at the second story level. This building is topped by a stone parapet, with a balustrade over the entrance. The building was described in the 1972, as "one of the finest examples of Italian Renaissance style in this country". The building also boasts a tiffany glass window depicting the Venetian scholar and printer Aldus Manutius.
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The arched windows to the main bar areas at the main corner of the building comprise pairs of semi headed double hung windows with circular lights above. Verandahs on timber posts with cast iron valance extend over the footpath with balconies above to both street frontages. The balconies have timber posts with cast iron balustrade and brackets. Pairs of frenchlights with fanlights above open onto the balconies.
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The First World War Memorial Bridge is located south of Brooweena on the Brooweena-Woolooga Road. Apart from the memorial pillars, it is a typical country bridge located in a treed landscape. It is constructed of timber and is supported by piers to form a slight arch over a small creek. A simple white painted timber balustrade runs between the pairs of pillars located at either end.
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Charles S. McCullough House, also known as the Memorial Center, is a historic home located at Darlington, Darlington County, South Carolina. It was built in 1889, and is a 1 1/2-story, brick Second Empire style residence. It has a projecting one-story ell and a porch on three sides. The front porch has elaborate sawn brackets on paired turned posts and an ornamental balustrade.
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Toilets, stores and service rooms are located at the northwest end of the building, and have terrazzo floors and ceramic tiled walls. A second terrazzo dog-leg stair is located fronting Fitzroy Street at the northern corner of the building, with an entrance foyer with terrazzo floor. This stair has a sculptural balustrade consisting of tapered metal vertical members, shaped timber handrail, and solid vertical panels.
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The main entrance at street level, behind a long awning, is flanked by two Doric pilasters supporting a horizontal lintel, set in rusticated stone. Above that story is a full-width balustrade. On the upper stories the stone is laid in an ashlar pattern with quoins at the corners. The second story windows are double glass doors topped with carved bracketed pediments (rounded in the center).
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The largest sculpture in the grounds, technically in two parts, is the 17th-century Borghese Balustrade on the parterre. Purchased by Lord Astor in the late 19th century from the Villa Borghese gardens in Rome, it is crafted from Travertine stone and brick tiles by Giuseppe Di Giacomo and Paolo Massini in c.1618–19. It features seats and balustrading with fountain basins and carved eagles.
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The stop-chamfered timber posts of the verandah are paired at the ends and the three central bays. Arched between these posts on both levels is a slatted timber valance. To the upper level is a cast iron balustrade with a clover leaf motif to the centre of each panel. The underside of the verandah is clad in ripple iron, with gutters to its internal perimeter.
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On the southern, King Street, facade a Porte Cochere is supported by sandstone Roman Doric style columns, the balustrade above the entablature has circular turned balusters. The balusters are slim and have been largely replaced by synthetic stone balusters. The upper two storeys of the major facades are treated as a single storey united by Ionic columns. The ground floor is treated as a rusticated plinth.
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The corrugated steel roof is half-hipped with gablets to the front and rear. The timber verandah has a dowelled balustrade to the upper level, and a boarded valance, ripple iron ceiling and concrete floor to the lower level. From the upper level are views to the north over adjoining buildings. The south-east and south-west verandahs are enclosed and clad with chamferboards.
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The front porch was rebuilt with a steeper shingled roof and its Gothic bracing and wooden crockets were removed. The Gothic window over the front porch may have had its sill-level raised. The south side porch was enlarged from a half-octagon shaped protrusion, which had been accessible from only the south parlor window. Its Gothic balustrade, bracing and parapet railing were kept.
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The river section is marked by high flood banks. Haddlesey Lock is normally open unless there are high volumes of water passing down the Aire. Shortly after the lock, the canal is crossed by Tankard's Stone Bridge, which dates from the construction of the canal and is grade II listed. It is a humpbacked bridge, built of sandstone ashlar, and is topped by a cast iron balustrade.
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Capitol Crypt On the ground floor is an area known as the Crypt. It was intended to be the burial place of George Washington, with a ringed balustrade at the center of the Rotunda above looking down to his tomb. However, under the stipulations of his last will, Washington was buried at Mount Vernon. The Crypt houses exhibits on the history of the Capitol.
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The finished mural portrayed a view of the Mountain of Temptation on the ceiling and several of Lord Hertford's relatives and godparents to his children behind the trompe-l'œil balustrade of the trompe-l'œil landing. He was interviewed on film by author Margaret Powell, who wrote the popular book Below Stairs that would lead to television shows such as Upstairs, Downstairs and Downton Abbey.
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The main entry features a panelled timber door with patterned glass fan and sidelights surrounded by timber pilasters supporting a large cornice. French doors with fanlights open onto verandahs on both levels. Internally, the building has a central corridor opening into dining rooms, a bar and kitchen. The dining area has had fretwork arches added, and existing arched openings have had their balustrade removed.
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On the north (front) facade the centrally located main entrance is sheltered by an extensively ornamented wooden portico. A balustrade at the top creates a balcony accessible from a round-arched window the recessed section above it. All the other windows are single-pane double-hung sash windows. Those on the bottom have small cast-iron balconies of their own with similar patterns to the front fence.
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An open deck with balustrade extends most of the way across the front and beyond the left corner. The first floor interior originally consisted of three small chambers across the front, and a larger open chamber to the rear, which was used as a classroom. The main sanctuary is on the second floor, with original pews and other 19th-century features.Goebel-Bain, Michael (2016).
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At the rear of the house is an attached bathroom and kitchen wing. The verandah has a timber balustrade. The planning of the interior of the house comprises a wide central corridor flanked by the main living and sleeping rooms, with the aforementioned bathroom and kitchen wing located in the south-east corner. A motor vehicle garage is attached to this wing on the north side.
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Gwynn's original design included an extravagant decoration for the balustrade with sculptures and sphinxes that were commissioned to Henry Webber in 1778 but eventually abandoned in 1782.Jaine, T.W.M. (1971). The building of Magdalen Bridge, 1772–1790, Oxoniensia xxxvi, p.69. According to Pevsner, the bridge has "good sturdy balusters", although these have been replaced over the years because of degradation due to pollution.
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At each end Pratt introduced large stair compartments, with independent apartments at the angles. At Horseheath, Pratt added a pediment to the front. The house was illustrated in Colen Campbell's architectural survey, Vitruvius Britannicus, although it was again attributed to John Webb. The eleven-bay house had a three-bay pediment, rusticated quoins, and a hipped roof topped by a balustrade and lantern.[5].
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The side walls have diamond- glazed coloured-glass edged tracery windows, with smaller half-lights over the doors. Above the altar is a large stained glass window depicting the Resurrection of Jesus. The pointed arched doors are timber-framed and boarded. The chancel contains a richly carved Gothic-inspired Oamaru stone altar which sits on a stepped marble base bounded by a marble balustrade with brass gates.
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Makin Cottage is a single- storey hipped roof cottage originally designed as a semidetached pair. Walls are of rubble stone (now painted) and the low central chimney is face brickwork. The skillion roofed front verandah features truncated square timber posts on a painted brickwork balustrade and a (modern) boarded end. The cottage is currently not readily visible from the highway, being hidden behind a group of shops.
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The site is generally lawned with hard paved areas for carparking and pedestrian pathways. The Cape Byron Lighthouse is a circular tower, approximately 22m in height to the top of the lantern. Built of precast concrete blocks on a mass concrete foundation, the tower includes a concrete circular staircase with metal balustrade to its upper chambers and second floor. A metal staircase continues to the lantern room.
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A dominant interior feature of the Historical Society Building is the asymmetric central marble staircase and an intricate iron balustrade. The interior holds plaster walls decorated with elaborate friezes and parquet floors of marble, oak, and walnut. The halls of each of the unique floors are adorned with plaster pilasters with elaborate capitals and decorative friezes. These long corridors are laid with patterned marble with borders.
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The house is constructed in Ruabon brick and has a chipped and rendered upper storey; the roofs are in Lakeland green slate and the chimneys are brick. Its north (entrance) front has five bays. The outer bays project forwards and are gabled with finials. In the centre is a projecting porch with pilasters, over which is a balustrade including a panel containing a carved griffon and motto.
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The landing and stairwell retain an original double-hung window (without glazing bars) the original skirtings and cornice, and the cedar balustrade to the staircase. The ceiling has been replaced with sheet material. The toilets are modern and have been formed from a former box room and linen press. The locker room (maid's room) retains its original double-hung window with six-pane sashes and ogee architrave.
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Above this is an open section with square posts at the corners which are decorated with paired pilasters. A low balcony railing stands between the posts on all four sides, and the church bell hangs in the opening. The posts support an entablature and an ogeed cornice. Above this is a dome which is surrounded by a low, narrow balustrade set between small columns at the corners.
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It, too, has a gabled metal roof and chimney. The main entrance, a deeply recessed paneled door with Greek Revival surround and glass transom, leads to a central hall that runs the full depth of the main block, to a curved rear wall. Original finishes include the wall and ceiling plaster, moldings and wide plank flooring. The staircase has a finely turned newel and balustrade.
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The next sections in from the sides each have five window bays. The center section houses the main entrance at its center, with flanking single windows on the ground floor, and doubled window bays in the upper level. The section is flanked by paired square pilasters, and the entrance bay is framed by Corinthian columns. The section is topped by a balustrade with an embedded clock.
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The doorway is recessed from the facade in a paneled opening, and is flanked by sidelight windows and topped by a transom window. The opening is flanked by fluted pilasters with elaborately-carved capitals, supporting a flat-roofed architrave. The roof is surrounded by a "chinese balustrade", a restoration of a feature the house was known to have earlier. Although long believed to have been built c.
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A number of brass-ribbed plates are fixed to the floor at regular intervals where the skirting moves up the wall. A choir stall projects above a high section at the rear of this area. The stall is supported by carved timber brackets, and its solid balustrade features applied, polished timber decoration. A door in the base opens onto stairs leading to the level above.
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The old Mittagong Post Office was built in 1890-91. The land was purchased from the Commercial Banking Company of Sydney in 1887, and it was built by Gatty and Flook, who tendered £1393 for construction. The verandah was removed 1948, and the balcony was infilled with windows featuring glass louvres some time after 1949. Low cast iron lace work balustrade was also removed.
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Alexander St. Clair House, also known as the Peery House, is a historic home located near Bluefield, Virginia, Tazewell County, Virginia. It was built about 1878, and is a large two-story, three-bay, brick I-house dwelling with a two-story rear ell. The roof is sheathed in patterned tin shingles. The front facade features a one-bay Italianate style portico with a second floor balustrade.
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The Captain Robert S. Craig Cottage, also known as Bay Breeze, is a historic building located in Ocean City, Worcester County, Maryland, United States. It is a simple 1½-story rectangular frame structure with a gable roof. The full- width front porch is capped with an open X-cross balustrade. A two-bedroom rental apartment was added to the rear of the house around 1964.
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One day the author had met with the mahatma Kuthumi on the roof of the headquarters, next to Blavatsky's room. He was near a balustrade which "running along the front of the house at the edge of the roof" when the Master "materialized," stepping over the balustrade, as if before that he had been flying through the air. Leadbeater says: > "Naturally I rushed forward and prostrated myself before Him; He raised me > with a kindly smile, saying that though such demonstrations of reverence > were the custom among the Indian peoples, He did not expect them from His > European devotees, and He thought that perhaps there would be less > possibility of any feeling of embarrassment if each nation confined itself > to its own methods of salutation." Occult training Subba Row The author claims that when he arrived in India, he did not have any clairvoyant abilities.
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The lift enclosure has been paint finished to match the marble walls. The doors leading to the banking chamber have been replaced by a fire door. A fire door at the rear of the vestibule leads to a large square planned reinforced concrete staircase with an ornamental wrought iron balustrade and cedar handrail. The walls above the staircase are lined to dado height with large glazed green tiles.
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The building is symmetrical on both axes. It uses elements reminiscent of traditional gothic church buildings (buttresses, tall windows, high ceilings), but interprets them in an Art Deco style. Grand staircases lead to the podium level and extend symmetrically on the north and south sides of the building on the main axis of Hyde Park. The balustrade around the exterior of the podium level is surmounted with cast stone urns.
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An open balustrade links these and other solid sections of parapet which support urns, visually separating the three distinct parts of the building at parapet level. The central archway contains the words "WATSONS 1887 BUILDINGS". The side and back walls are unpainted brickwork. No trace remains of an earlier post- supported street awning (extant by , but not part of the original design) with its curved corrugated iron roof and central archway.
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The window above the entrance is a full-length sash with a rounded top, and is flanked by sidelights in the style of a Palladian window. The ground-floor windows on the front are topped by decorative headers. The roof is encircled by a balustrade, which is a 20th- century addition recovered from another period house. The building interior retains many original features, including an elliptically curved central staircase.
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The Fred Bartell House is a historic house at 324 East Twin Springs Street in Siloam Springs, Arkansas. Built c. 1900, it is a 2-1/2 story wood frame structure, with asymmetrical massing typical of the Queen Anne style. It has a low octagonal turret at the front left, and a porch, supported by Tuscan columns mounted on a lattice of concrete blocks that form a low balustrade.
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The staircase has a steel rod and pipe balustrade. The floor of the lift foyer and the staircase is tiled in green and white mosaic tiles. Dramatic semicircular ramp, 2015 Dominating the eastern end of the building is a dramatic semicircular ramp which is used by cars exiting the building. A concrete staircase, similar in style to the original stair on the western end now protrudes from the north east corner.
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The Railroad Cottage is a historic house at 208 North Rust Street in Gentry, Arkansas. It is a small single-story L-shaped wood frame house with Folk Victorian styling, including a reconstructed jigsawn balustrade and turned porch posts. The house was built c. 1900, and is one of the best-preserved small houses built at the time to support an influx of people working in the fruit and railroad industries.
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The roof is surmounted by an iron ridge ventilator. Simple timber verandah posts support the verandah and a simple timber dowel balustrade and handrail line the verandahs. Entrance to the building is provided on the southern face via an open tread timber stair. The rear wing abuts the northern edge of the verandah on the northern face of the building and has a small rectangular plan with gabled roof.
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The central wing verandah has a two-rail slat balustrade, curved timber arches between verandah posts, a raked ceiling and a single skin verandah wall. Early timber joinery includes tall, horizontally centre- pivoting fanlights over doorways and later sash windows with fanlights. Verandahs to the east and west wings have been partially enclosed by weatherboards. The interiors are lined and large openings have been cut into the verandah walls.
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It is divided into three storeys with iron floors and staircases. The walls are thick at the base tapering to at the top. The gallery around the lantern is cantilevered on massive stone brackets capped with elegant gunmetal balustrade. A square oil room at the base of the tower is connected to the head keeper's cottage by a covered stair with a windbreak wall integral with both buildings.
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The house has a rectangular main block, measuring , with a side ell that is about square. When first built, it was attached to a plant conservatory that was also designed by Town. The house is two stories tall and five bays wide, with a hip roof surrounded by a low balustrade. The main facade is flushboarded, with pilasters at the corners; the other sides of the house are sheathed in clapboards.
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Above this granite base stand the three principal floors, which are faced with white marble. Ionic columns supporting a well- proportioned entablature are used for the building's five porticoes, the principal one of which is topped by a pediment. Two additional stories are partially hidden by a marble balustrade. It presents a somewhat more restrained appearance than the neighboring Cannon Building, which was designed in the more theatrical Beaux Arts style.
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Wilson House, also known as the Hull House, is a historic home located at Fort Mill, York County, South Carolina. It was built about 1869, and is a two- story, three bay, frame I-house with several one-story rear additions. The front façade features hip roofed porch with decorative brackets and turned balustrade in the Late Victorian style. It was added to the National Register of Historic Places in 1992.
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The exterior is modestly detailed, with bracing, studding and nogging over tongue-and-groove boarding, paired shaped eaves brackets under the main roof, and timber doors and double hung sash windows. The verandah has square timber posts with a braced balustrade. The Landsborough Street elevation has central timber stairs with a timber pediment above the landing. The Little Brown Street elevation has timber stairs, new doors, and a partially enclosed verandah.
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2014 photo O'Reilly House is located in Placentia, Newfoundland and Labrador, Canada. It was built for Magistrate William O'Reilly who served as Magistrate of Placentia from 1897-1923. He was the son of Thomas O'Reilly who had been the magistrate of Placentia from 1877-97. In 1902, Magistrate O’Reilly employed the architect W.J. Ellis to build a Balustrade Queen Anne Victorian house that would serve as his family home.
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