It has touches of former elegance: Corinthian columns, a toothed cornice.
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A cornice is an overhanging mass of ice created by high winds.
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She used words that he didn't know she knew. Cornice. Eave. Gable.
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A second balustrade runs around the cornice of the roof, echoing the one below.
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What homey perfection hides behind each cornice and gable, bay window and ornate lintel?
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In the seconds before the avalanche hit, Crouch was standing on a cornice, eyeing his next run.
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The exterior retains its cornice, modillions and gabled dormers, as well as a portico with ornate columns.
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It turned out to be a massive cornice, an enormous blanket of snow folded over the chute.
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The cornice of a hotel came down in the southern tourist city of Oaxaca, a witness said.
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The study to the right of the entrance has a carved wood cornice over the big windows facing front.
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Every time I'm out in the backcountry and I see a cornice, I think of that day and what happened.
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The weather had broken the night before, and Paris was bathed in cool midwinter sun, every column and cornice etched clear.
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Word of the Day noun: the topmost projecting part of an entablature noun: a molding at the corner between the ceiling and the top of a wall noun: a decorative framework to conceal curtain fixtures at the top of a window casing verb: furnish with a cornice _________ The word cornice has appeared in 10 articles on nytimes.
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Following a leap from a windblown cornice into a ravine, he twisted to avoid a chunk of rotten snow and fell hard.
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Many of its original architectural features remain, like the marble fireplace mantels, the ornate cornice work and moldings, and the high ceilings.
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Each housing type is broken down to the smallest detail — practically no cornice, window frame or brick pattern is insignificant to the field guide.
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Snowboarder and surfer wunderkind Brock Crouch is lucky to be alive after being swept off a cornice during an avalanche in the Canadian backcountry.
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CBC News, citing one rescue team member, said the group may have fallen as much as 500 meters (1,640 feet) when the cornice collapsed.
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But somehow, he ended up on a cornice — a bulge of snow sculpted by wind that bends over a ridge to form a ledge.
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On the wall dividing the room from the entrance hallway and echoing the cornice moldings hangs one of Roy Lichtenstein's "Entablature" paintings from the 1970s.
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And in a peculiar example of life imitating art, real plants are growing out of a decorative band of terra-cotta leaves on the structure's cornice.
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From this quiet aerie, the lion heads along the cornice of the 23-story Peninsula New York Hotel, across West 55th Street, almost looked close enough to feed.
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Its Italian Renaissance design, complete with grand entrance arch and copper cornice, was a 676,000-square-foot temple to commerce — and was named a city landmark a decade ago.
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At Old Westbury, Mr. Crawley conjured up a home of subdued, symmetrical elegance, its cherry red Virginia brick accented by cream-colored Indiana limestone and a terra-cotta cornice.
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Backstage Beauty Report Today's Roberto Cavalli show was set inside the 16th-century Palazzo Spinola in Milan, where giant chandeliers hung overhead and every cornice was covered in gold leaf.
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The city's Landmarks Preservation Commission also had to sign off on the facade, which has cream-colored, thin Danish bricks and a ribbed steel cornice that resembles an egg-slicer.
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Reading "Belgravia" is rather like visiting a modern re-creation of a Victorian house — every cornice molding is perfect — but it's a Victorian house with 21st-century plumbing and Wi-Fi.
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Complete with a grand entrance arch and copper cornice, the 22016,215-square-foot store is a temple of urban commerce — and was named a New York City landmark a decade ago.
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"When we rebuild, we will maintain the existing cornice line and will also ensure the facades of the new commercial space are appropriate for the block," Toll Brothers said in a statement.
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Eisenberg and Shawn live in a narrow beige rowhouse with a black cornice and a lightly peeling facade, which give the place, its exorbitant property value notwithstanding, an air of mild bohemian dilapidation.
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Along with 828, with its three-story limestone base, metal cornice and terra-cotta details, the city's Landmarks Preservation Commission is considering six other historic buildings along Broadway just south of Union Square.
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RCMP received a distress call on Saturday from one hiker after a cornice collapsed on the peak of Mount Harvey, which is situated 33 kilometers (20.5 miles) north of Vancouver, in the Lions Bay area.
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The next thing Crouch knew, the cornice had cracked and he was being pulled "butt-first" off of a 20-foot ledge, then nearly 1,500 feet down the mountain, carried by the wall of snow.
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The climax of my book was built around a true-life event: In 1974, a cast-iron building facade that was under the protection of the city Landmarks Preservation Commission was stolen, cornice to curb.
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Lit in an ambient red and blue, the sculpture swims with cast iconography: flowers, ropes, and jewels congeal on the facade, and the comically small doorway to the gate is made with strips of cornice detailing.
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Rand was on a ski tour of Sacajawea Peak, the Hurwal Divide and Chief Joseph Mountain with his friend when a large cornice break started an avalanche and swept Rand down a narrow chute, officials said.
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Its cornice says "Katz 1890" within a sunburst panel, but its number of stories and setback differ from neighboring buildings from around that time, indicating it may actually be a pre-law tenement built before 1860.
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Halfway down the building, that decoration even turns a somersault as a band of ornate terra cotta goes from sitting flat on the facade above the narrow embrasures to becoming a protruding cornice over the wider ones.
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The days of a Fenway or a Wrigley, two historic ballparks that are part of the fabric of their Boston and Chicago hometowns, embedded into them like an artful roof cornice or original tin molding, are largely over.
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Most of the fabric of the original galvanized-steel pilasters survived, but these too were put aside and meticulously replicated in aluminum, as were the pediments and the cornice, which had been lost in the fire and replaced by fiberglass facsimiles.
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Hercules stands where he always has, just as the city simply adds to its intractable buildings so that in just one facade you might see a baroque cornice on top of a frieze of Renaissance windows spliced into a medieval arch.
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And yet those same streets, even a short time later, seemed almost entirely unfamiliar; I could never understand how they fit together, and only the stray detail (an old cornice carving, an oddly painted façade) reminded me I had passed that way before.
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"Done in the neo-Classical style, with marble columns, pilasters and cornice in a range of hues, this double-height octagonal space was the work of Walter L. Hopkins, who did some of Warren & Wetmore's most distinguished work," Ms. Clark explained, referring to the building's architects.
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The cornices of a modern residential building will usually be one of three types: a box cornice, a close or closed cornice, or an open cornice.
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An open cornice In an open cornice, the shape of the cornice is similar to that of a wide box cornice except that both the lookouts and the soffit are absent. It is a lower-cost treatment that requires fewer materials, and may even have no fascia board, but lacks the finished appearance of a box cornice.
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The archways are surmounted by cornice with curvilinear angles, interconnect with the lateral cornice work.
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A common cornice with bead and reel molded cornice set off by a simple chair rail and dado paneling unites all areas. Decoration continues above the cornice with cyma recta moldings in egg-and-dart and Greek fret and foliated patterns below carved modillions on the cornice. Above the cornice is a triple fascia. The rooms are entered through portals with sliding doors.
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The nave had a "delicate trefoil cornice in wood, reminiscent of the plaster cornice in Florence Court staircase".
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There is a small copper cornice above the 12th story, and a larger copper cornice above the 13th story.
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A wide box cornice with lookouts Box cornices enclose the cornice of the building with what is essentially a long narrow box. A box cornice may further be divided into either the narrow box cornice or the wide box cornice type. A narrow box cornice is one in which "the projection of the rafter serves as a nailing surface for the soffit board as well as the fascia trim." This is possible if the slope of the roof is fairly steep and the width of the eave relatively narrow.
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Additional characters include Ivan Vishnevski (Philip Voss), Harold Cornice (Stephen Moore), Sarah Cornice (Jill Baker) and Jess Taylor (Daniela Denby- Ashe).
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Third-floor windows are topped by arched hoods. The projecting cornice is metal, fabricated by the Detroit Cornice and Slate Company.
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La Conejera's base, cornice and chamber were all painted. Black paint remains on the base. The cornice on the northwest corner had white squares painted over a black background. Investigators have assumed that this pattern was repeated over the rest of the cornice.
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The Hunter House is a simple -story Greek Revival house, of plank construction, measuring . It is clad with clapboard, and has a cornice with cornice return.
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Winter, Nancy A., "Monumentalization of the Etruscan Round Moulding in Sixth Century BCE Central Italy", pp. 61–67, in Monumentality in Etruscan and Early Roman Architecture: Ideology and Innovation, edited by Michael Thomas, Gretchen E. Meyers, 2012, University of Texas Press, , 9780292749825, google books; Example in the reconstructed Etruscan temple at Villa Giulia Additional more-obscure varieties of cornice include the architrave cornice, bracketed cornice, and modillion cornice.
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The term cornice may also be used to describe a form of hard window treatment along the top edge of a window. When used in this context, a cornice represents a board (usually wood) placed above the window to conceal the mechanism for opening and closing drapes. If covered in a layer of cloth and given padding, it is sometimes called a soft cornice rather than a hard cornice.
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Illustrations of cornices in different styles cavettos In architecture, a cornice (from the Italian cornice meaning "ledge"Compare ) is generally any horizontal decorative molding that crowns a building or furniture element – the cornice over a door or window, for instance, or the cornice around the top edge of a pedestal or along the top of an interior wall. A simple cornice may be formed just with a crown, as in crown molding atop an interior wall or above kitchen cabinets or a bookcase. A projecting cornice on a building has the function of throwing rainwater free of the building's walls. In residential building practice, this function is handled by projecting gable ends, roof eaves, and gutters.
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Large stylised vermiculated keystones rise from the arches to support the cornice. At either end of the upper facade large fluted pilasters with Corinthian capitals also support the cornice. The cornice is an elaborate element of the facade considering the size of the building. It has large brackets and ornamented dentils.
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Modillions under the cornice of the Morgan, Leith, and Cook Building in the East Portland Grand Avenue Historic District, East Portland, Connecticut A modillion is an ornate bracket, a corbel, such as underneath a cornice which it helps to support, more elaborate than dentils (literally translated as small teeth). All three are selectively used as adjectival historic past participles (modillioned, corbelled, dentillated) as to what co-supports or simply adorns any high structure of a building, such as a terrace of a roof (flat area of a roof), parapet, pediment/entablature, balcony, cornice band or roof cornice. They occur classically under a Corinthian or a Composite cornice, but may support any type of eaves cornice. They may be carved or plain.
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Cornice of Maison Carrée (Nîmes, France), an ancient Roman temple in the Corinthian order In Ancient Greek architecture and its successors using the classical orders in the tradition of classical architecture, the cornice is the topmost element of the entablature, which consists (from top to bottom) of the cornice, the frieze, and the architrave.
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Mountaineer Hotel, roof line. The street level and mezzanine stories are accentuated by a stringcourse at the cornice line, with the cornice line accentuated by angled bricks to give a dentil effect. Around the windows at the mezzanine level are false arch brick work in a keystone and centered diamond pattern. The roof's cornice line has brick corbeling.
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A rake is an architectural term for an eave or cornice which runs along the gable of the roof of a modern residential structure. It may also be called a sloping cornice, a raking cornice. The trim and rafters at this edge are called rake-, verge-, or barge-board or verge- or barge-rafter.Christy, Wyvill James (1879).
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A close cornice A close, closed, or snub cornice is one in which there is no projection of the rafters beyond the walls of the building, and therefore no soffit and no fascia. This type of cornice is easy to construct, but provides little aid in dispersing water away from the building and lacks aesthetic value.
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The Grand Gallery is ringed by a colonnade of monumental Corinthian columns supporting an entablature and cornice. A barrel vaulted ceiling above the cornice contains skylights that provide the space with natural light.
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Immagine in Cornice has been certified gold by the RIAA.
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It contains oversized Roman arched windows and a segmented cornice.
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The town hall retains the pressed metal ceiling and cornice.
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Atop the cornice line are rectangular urns with ball finials.
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A gable roof with two cornice returns on the Härnösands rådhus A cornice return is an architectural detail that occurs where the horizontal cornice of a roof connects to the rake of a gable. It is a short horizontal extension of the cornice that occurs on each side of the gable end of the building (see picture of the Härnösands rådhus with two of these). The two most common types of cornice return are the Greek return and the soffit return (also called a boxed or box soffit return). The former includes a sloped hip-shape on the inside of the cornice under the eaves which is sheathed or shingled like the rest of the roof above it and is considered very attractive; the latter is a simple return without these features.
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A dentillated cornice with brackets and a secondary wooden cornice top the structure. The street level contains central recessed entryways in each storefront, flanked by large display windows which sit on a raised foundation.
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A cornice above small corbels crowns the top of the building.
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Along the top of the frontage is an elaborate corbelled cornice.
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An entablature, cornice, and balustrade span the top of the building.
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The parapet does not culminate in a cornice of any kind.
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Today, the building still exhibits the "COORS" bannerhead at its cornice.
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This has a straight-headed fanlight and sits below a cornice.
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Pendants support the brackets at the roofline cornice above the tripartite window; all the other brackets on that cornice are identical to those on the bay windows. Above the tripartite window an engaged turret rises. The lower of its two stages has round-arched one-over-one double-hung sash. Another bracketed cornice above it supports the flared, conical roof.
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At each corner is an engaged column with Doric order capitals and bases and fluting to the lower half. These support a small cornice, capped with a larger frieze and cornice. The digger statue stands on a base above the cornice and stands erect with the right foot forward and a tree stump for support. The life-sized statue is of Italian marble.
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The cornice passes over the Vallon des Auffes . On the sea side of the cornice Kennedy is a bench running nearly its entire length, with almost no interruption, making it the longest bench in the world.
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Between the two windows is a sculpted plaque: :REEDIFICADA PELO / PADRE FRANCISCO / LUIZ DE FREITAS / HENRIQUES / ~1868~ :Reconstructed by / Father Francisco / Luiz de Freitas / Henriques / 1868 The three sections have double lintel surmounted by cornice, and the facade is delimited by socle, with cornerstones and cornice that continue to the belltower and circle the building. Over the cornice is a frontispiece that accompany the slope of the ceiling. The vertical apex of the frontispiece has a trapezoidal form, defined by two scrolls that support a horizontal section of cornice surmounted by cross with the initials JHS. In the tympanum is a circular oculus framing a 45º square (intersected by cornice) and flanked by two small squares.
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The sixth floor has ornate arched window openings, with a cornice frieze below the floor and another decorative cornice above. The building has undergone $17 million renovation and restoration beginning in 2014 and has reopened in 2017.
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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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The four-story structure measures . The dominant feature of the exterior is the bay windows that protrude from the wall surface. The pressed-metal cornice unifies the building's composition. High parapet gables are located above the cornice.
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A cornice above small corbels crowns the top of the station building.
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The corona and the cymatium are the principal parts of the cornice.
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It has a bold concrete cornice with dentils across the front facade.
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The cornice is square set and the floor is vinyl on timber.
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Part of the renovations will include recreating the cornice removed in 1957.
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Above this is a denticulated cornice, and above that was a wider frieze with triglyphs and alternating medallions with classical busts. Above that was another denticulated cornice with gargoyles. The pedestals above the Corinthian columns featured statue groups.
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This mixed style has been described as early Elizabethan with elements of Italian Renaissance, Beaux-Arts, early 19th century Georgian, late Victorian, and "baronial". Herter Brothers of New York City designed and installed new plasterwork ceiling and cornice. The ceiling was white, while the cornice was painted a delicate gray. Below the cornice was a delicately carved frieze featuring (at Roosevelt's insistence) taxidermied animal heads.
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A two-tiered palline losanghe cornice separates the ground floor from the first floor. This cornice is similar to the one found at the nearby Palazzo Falson. The more recent upper floor is characterized by four ornate mullioned windows, and a one- tiered palline losanghe cornice is located at roof level. A number of coats of arms can be found on both floors of the façade.
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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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A dentilled cornice line occurs above ground level above which is a plinth with balusters in front of the window openings. Another horizontal cornice line runs at the seventh floor level which has a plinth above it. The entablature has a large dentilled cornice supporting a parapet with a raised section corresponding to the three central bays. The Edward Street facade is longer but also symmetrical.
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Pilasters with Corinthian capitals and foliage motifs border the role, joined at the top by a dentil cornice. Above the cornice is a triangular pediment, within which are crossed rifles over a football and a crown at its apex.
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Above were the cornice with supporting brackets and frieze, also of galvanized iron.
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The song is also featured during the closing credits of Immagine in Cornice.
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The cornice is also embellished with friezes consisting of eagles and lion heads.
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The portal above the other hosts oval window. ordonov ledge of the tower follows the cornice of three-nave and the presbytery. The tower has a baroque facade. From the corner towers on the facade relegated thirst with cornice capitals.
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The porches with shared entrances have partial cornice returns. They also have a screen with wood cut-outs between each doorway. The building features a corbelled brick belt course, and egg-and-dart molding on the facia of the metal cornice.
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The cellar entrances are both topped by canopies in pinkish Nexø sandstone supported by corbels. A cornice decorated with dentils runs below the roof. Above the cornice is a decorative wrought-iron railing in the full length of the building.
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This room has a simple dentil cornice. To the north of it is the dining room with a marble mantlepiece, a cornice decorated with gilded flowers and leaves and, in the ceiling, rosettes with a large central rose with a chandelier. To the south of the ante-room is the drawing room. Here the cornice is decorated with arrows pointing downward and there is a central rose with a chandelier.
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The architects crowned the Ambassador with a distinctive cornice frieze of terra cotta griffins—a motif also displayed in two prominent New York skyscrapers of the period. Gazing across the rooftops, the griffins were well-placed as traditional guardians of treasure in antiquity. The planar quality of the cornice and flattened treatment of the griffins suggest the influence of modernist trends. The cornice marked a departure from older style.
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The building in the Art Nouveau style is nearly square with outer measurements of 25,39 × 25,05m. The height to the finishing cornice is 14,91m and to the rooftop 17,50m. It has three tiers, whereby the lower two tiers are separated from the upper tier by a molded cornice. The front facade shows six pilaster; the pilasters and the cornice are painted white with the main walls are painted in green.
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An ornate cornice tops the seventh story, with a penthouse at the very top.
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Brick corbels are a feature above the upper-floor windows and on the cornice.
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An elaborate cornice with sculpted figures wraps around the top of the structure's exterior.
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In July 2013 Blue Cross Blue Shield of Michigan was finalizing the purchase of the Cornice and Slate Company Building, which had the Metro Times and Paxahau, an event production and management company that produces the Movement Electronic Music Festival. The Cornice and Slate building is adjacent to the BCBS Bricktown customer service facility. The acquisition of the Cornice and Slate building would add additional space to BCBS's Greektown facility. The ground floor lease to the Flood's Bar & Grille would be maintained while the Cornice and Slate second and third floors would be used as office space for about 100 BCBS employees.
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The western storeroom currently has a mail chute installed in the floor which accesses the ground floor. The first-floor ceilings comprise a variety of types and all have been painted green. These include board and batten ceilings with a flat strip cornice to the locker room and ladies bathroom; plasterboard with a coved cornice in the southeastern corner section of hall; and pressed metal with a moulded cornice in the hall, northeastern, northwestern and southwestern rooms. There is square set plaster in the western storeroom and plaster with a moulded cornice in the western end of the stair landing.
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At the roofline is a molded cornice. The tower has a stringcourse separating its top and bottom stages, with a single segmental- arched window similar to those on the south facade on each of its faces. Small brackets hold up the cornice.
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There is a cornice above the 16th floor. The capital is four stories tall with loggias and a metal cornice above the 20th floor. The loggias, located on the 18th and 19th floors, are composed of Corinthian paired columns that form a colonnade.
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The building is made of ashlar blocks, and it is crowned with a corbelled cornice.
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Its primary decorative feature is the metal cornice, with dentil molding, finials, and ornamental frieze.
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The upper part of the chimneypiece is similarly decorated, ending in a frieze and cornice.
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The fixing systems (dowels and spikes) of the statues at the horizontal cornice were nearly the same in Athens and Olympia. However, for the heaviest (in the center), the Parthenon sculptors had to innovate. They were held by iron props that sank to one side in the plinth of the statue and the other deep in the horizontal cornice and tympanum. These "L" props made the weight of the statue cantilevered on the cornice.
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The clapboard siding is original. The roofline is distinguished by a finely- molded cornice with brackets and wide eaves. The corners are trimmed with broad pilasters. Smaller pilasters and a cornice surround the entrance, where a wide door is divided into four arched Gothic panels.
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Also, the nave has the cross-ribbed vault with reduced supports. Massive columns and the simple shaped arcade look heavy-footed. The supports of the vault ended on a cornice of columns. From the cornice come out a cuboidal slab to the pointed arch.
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The ceiling is plaster with a molded cornice. The wooden tables and bulletin board are original.
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A substantial parapet above the cornice is simply ornamented with raised terra cotta rosettes, and rectangles. .
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A DVD documenting the band's shows in Italy entitled Immagine in Cornice was released in 2007.
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There were also horizontal belt courses between several stories. The 26th floor was inside the cornice.
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Five rectangular windows are placed above within a wide frieze, under a boxed cornice with returns.
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The cornice, an elaborate belt course did not carry over from the tower section. The strip pilasters have a broad pediment on the second floor level. A cornice at the top of the tower conceals a gable roof. The four-story, rectangular section had a flat roof.
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Above the plain, unadorned architrave lies the frieze, which may be richly carved with a continuous design or left plain, as at the U.S. Capitol extension. At the Capitol the proportions of architrave to frieze are exactly 1:1. Above that, the profiles of the cornice mouldings are like those of the Ionic order. If the cornice is very deep, it may be supported by brackets or modillions, which are ornamental brackets used in a series under a cornice.
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The raking cornice of the gable forms an overhanging eave and a broken horizontal cornice is supported on either side by a pier giving the impression of a pediment. The latter is emphasised by prominent modillions, which are also used below the projecting cornice of the porch. Within the tympanum is a Diocletian window, common in Palladian architecture, with a moulded architrave and keystone. The piers are astylar and though prominent are decorated in low relief.
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The L-shaped building has a flat roofline and a simple blue cornice that encircles the structure.
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A cornice with an egg and dart molding surrounds this pediment, below which is a plain frieze.
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It has a "stepped parapet roof with corbeled brick and recessed brick panels along the cornice." With .
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Its seven bays are divided by square Tuscan piers which support the frieze, cornice and blocking course.
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Heavy modillions with guttae adorn the raking cornice and pediment that crown this part of the structure.
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Above this is a cornice and an embattled parapet. At the southeast is a square stair turret.
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The towers are crowned with the scotia cornice, the roundlet of which is continued down the angles.
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It begins > with a corbeled brick stretcher course above which are two recessed brick > panels. Above the panels is a projecting metal cornice with garlands across > the frieze. Above this, a short brick parapet rises to a secondary brick > cornice which echoes the lines of the lower metalwork. With .
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A continuous modillioned cornice forms the sill of the fourth-story windows. Raised brickwork at the corners suggests quoins. At the top of the facade is an entablature with a wide dentilled and modillioned frieze below a molded overhanging cornice. Inside, the interiors are continuous with the Pritchard Building.
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The top of the triglyphs meet the protrusion of the cornice from the entablature. The underside of this protrusion is decorated with mutules, tablets that are typically finished with guttae. The cornice is split into the soffit, the corona, and the cymatium. The soffit is simply the exposed underside.
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St. Mark's Lutheran Church is a historic Lutheran church on Main Street in Guilderland, Albany County, New York. It was built in 1872 in a vernacular Italianate style. It has curved arched windows and a bracketed cornice. It features a square bell tower with pedimented cornice and steeple.
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It features Georgian corner pilasters, pedimented dormers, wooden belt courses, an Adamesque-style cornice with dentils and decorative modillions, and an elliptical fanlight. The porch features columns in the Doric order and a plain dentilled cornice. The house was listed on the National Register of Historic Places in 1986.
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This is a simplified brake, usually much smaller than cornice or box-and-pan brakes. Typically, a single handle both clamps the workpiece and makes the bend, in a single motion, but the depth is usually much less than what a cornice or box-and-pan brake can handle.
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On the southeast facade it is crowned by a cornice with geometric motifs in relief and decorated by statute of Melpômene over acrotary, with the inscription: 1893 / THEATRO DIOGO BERNARDES. This facade includes three sections, structured by overlapping pilasters, with the central three sections with archway over pilasters with cornice. It forms a flag and window over pilasters, decorated with curvilinear frontispiece with tympanium. The lateral sections with similar door frame and window, also over pilasters is decorated in cornice and ovular oculus.
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From the lower buttress another buttress rises to a level parallel with a cornice at the roofline on the side faces. The cornice does not continue onto the south facer of the tower; it is replaced by a centrally located shield-shaped stone commemorative plaque reading "St. Paul's Church, A.D. MDCCCXXXV". Above it is another cornice at the top of the roof, setting off a final stage with a narrow pointed-arch louvered vent in the center of each face.
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A modillioned cornice conceals its roof. Windows are square-headed bipartite timber sashes with stone sills and lintels.
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The east bedroom's mantel is flanked by molded pilasters and a deep cornice. There are no interior shutters.
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Above the fourth floor is a smaller cornice topped with a pediment bearing the building's date of construction.
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The building originally carried a wide cornice topped by a low urned parapet, but this has been removed.
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Over this is a cornice, rising from which is a plastered barrel vault decorated with ribs and pendants.
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The cornice above this has gargoyles at the corners, and the roof has a prominent crow-stepped gable.
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The building's cornice is also dentillated, and a parapet runs along the street-facing sides of the roof.
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The frieze of the portico is plain with large dentils under the cornice. The dentils are continued around the projecting cornice of the pediment. A sunflower rosette, perhaps hand carved by Wind, is in the center of the pediment. A cantilever balcony is under the portico, over the front door.
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The third stage contains elliptical windows, some of which are blind, and above these clock faces. The belfry windows are of two lights and louvred. The top has an embattled parapet above a cornice. The exterior of the nave and chancel are expressed as two storeys, with a cornice between.
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The mansion is an 8,198 sq. ft. Colonial Revival, centered on a large lot and constructed of buff-colored brick. It features a massive porch with Corinthian columns and a bracketed dentiled cornice. Three pedimented dormers adorn the roof which is accented with a cornice matching that of the porch roof.
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Windows on the second floor are one-over-one sashes topped with decorative brick arches; ten similar windows on the side of the building facing Meridian Street have been covered. The cornice has sunburst patterns alternating with triangular brackets. A panel over the center of the cornice reads "W.L. Halsey - 1904".
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The modern glass door is framed by projecting Doric pilasters. These support a plain frieze and denticulated cornice, above which is the same archivolt found on the flanking windows. Inside, the lobby has marble wainscoting and high plaster ceilings with a deep cornice. The windows have Adamesque carved wood surrounds.
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The second floor also features rectangular windows with hoods above them. The building has a cornice across the top.
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Two stone stringcourses separate the first and second floors, and separate the fourth floor from the large cornice above.
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The temple's outer façade was measured to be inclined at 82° up to a cavetto cornice with torus mould.
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The cornice rests on tightly spaced brackets with a shallow overhang of red mission tile suggesting a sloped roof.
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It has 3 giant bronze-spandrelled windows framed by Portland stone pilasters [pilaster], with a projecting stone cornice above.
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A four-meter two-sided staircase leads to the main entrance. The ground floor ends with a wide cornice.
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Facing the main entrance is a small open shrine, consisting of a cornice and dome upheld by four pillars.
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The bell tower has five stages, all faced in narrow clapboard. The first ends in a narrow molded cornice; the second, slightly smaller, ends in a much larger cornice. Above it the taller third stage has a louvered rectangular vent on each side, flanked by pilasters with a larger pilaster at each corner, all topped with mutules ending on a molded course. The fourth stage, above that, is another short clapboarded section ending in a projecting cornice, above which a short clapboarded parapet, the final stage, rises.
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Between the porch and the two plain outer entrances in the centre bay are single straight-headed windows divided into two lights by a single mullion. A pair of short towers stand alongside the centre bay. They each have a simple straight-headed entrance with pilasters, a cornice and a pediment at ground-floor level, and two more windows and a door above. A wide dentil cornice runs around each tower, and on the inside an extra section projects inwards and upwards beyond the cornice line.
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The building has the aspect of an Italian Renaissance palazzo, built around a central court. Its first four floors are lightly rusticated; deep quoins carry the rusticated feature up the corners to the boldly projecting top cornice. A strong secondary cornice above the fourth floor once made a conciliatory nod to the cornice lines of the private houses that flanked it, whose owners had fought its construction in court.City Realty: 907 Fifth Avenue When it opened, there were two twelve-room apartments on most floors.
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At its apex is a cross over rectangular base. The axial doorway with double lintel and cornice is surmounted by a guillotine window at the level of the high- choir. This window, also with double lintel and cornice, have prolong jambs and is decorated in scrolls over the doorway. Above the window cornice are two pinnacles, and a small rosetta framed by circumference To the left of the facade is located a rectangular bell tower, divided into levels by cornices that encircle the building.
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The windows on the front facade have panels and triple lintels, meanwhile the intermediary cornice, the lintel and upper cornice are integrated with a pronounced relief. Above the windows, the frontispiece includes a circular oculus in the tympanum, surmounted by cross. On the left is the bell tower which is divided into two levels by a cornice that circles it. The upper portion of the lower level includes a frieze surmounted by cross, while on the lower section is a lateral doorway with arch.
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Another prominent Des Moines architectural firm, Proudfoot, Bird and Rawson, converted the building into a hotel in 1913. The original cornice was significantly altered and the raised basement was eliminated at that time. The building was later converted into an apartment building in the 1960s. In the 1980s the cornice was restored.
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The proposal included an adaptive reuse renovation of the 1911 building, along with rebuilding the cornice in a design similar to the original cornice. Later additions to the building were proposed for demolition. Ground was broken on the complex on October 25, 2006 and Eitel Building City Apartments was completed in September 2008.
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Above its frieze and cornice is a copper dome. Stone steps with center and side iron guardrails rise to the deeply recessed main entrance. The front door is framed by more Doric pilasters, sidelights and a transom above its own cornice. It opens into a central hallway with offices on either side.
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The portico includes four Tuscan columns, a pediment with its own cornice, a plinth, and acanthus decorations, and an oak double door with another cornice and an overhead window. The library has been continuously used since its opening. The library was added to the National Register of Historic Places on September 12, 1980.
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Above the third story is a full entablature with gouge work and medallions topped by a broad dentilled and modllioned cornice. The fourth-story windows are the same as the ones below. Above them is a slightly less broad dentilled cornice supporting a small parapet. The entrance is a simple bronze door.
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The entrance has a decorative surround in red granite. A cornice over the entrance supports a cartouche. The window immediately above the entrance is surmounted by a broken bed pediment. Other windows on this level have a projecting cornice where as the windows on the levels above and below have only simple architraves.
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The second-story windows have limestone sills and are topped by segmental arches. Decorative iron work ornaments the vents above the windows. The facade is crowned by a cornice made from stamped tin. Other decorative elements are found in the brick work below the windows and corbelled brick work below the cornice.
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The building is seven bays wide and has a three-bay median risalit. The facade is divided horizontally by a cornice between the first and second floor. Under the roof runs another cornice supported by corbels. The complex also comprises a seven bay long side wing and a five-bay rear wing.
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Ancient Egyptian architectural tradition made special use of large cavetto mouldings as a cornice, with only a short fillet (plain vertical face) above, and a torus moulding (convex semi-circle) below. This cavetto cornice is sometimes also known as an "Egyptian cornice", "hollow and roll" or "gorge cornice", and has been suggested to be a reminiscence in stone architecture of the primitive use of bound bunches of reeds as supports for buildings, the weight of the roof bending their tops out.Brier, Bob, Hobbs, A. Hoyt, Daily Life of the Ancient Egyptians, p. 200, 2008, Greenwood Publishing Group, , 9780313353062, google books The cavetto cornice, often forming less than a quarter-circle, influenced Egypt's neighbours and as well as appearing in early Ancient Greek architecture, it is seen in Syria and ancient Iran, for example at the Tachara palace of Darius I at Persepolis, completed in 486 BC. Inspired by this precedent, it was then revived by Ardashir I (r.
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An oriel above the entrance is heavily decorated, and its roof comes to a bracketed cornice with an ornate frieze.
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The arches are of pale Ohio sandstone, as is the thick cornice band incised with a lengthy and sententious motto.
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Topping these columns is another entablature with a cornice. This 'attic' room is lit by a series of sloping skylights.
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The Long Room has a decorative moulded plaster cornice and pilasters. All the joinery throughout the building is silky oak.
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The basement and ground floor are rusticated. Between the floors are a frieze and a cornice, the upper cornice being dentillated. In the centre of the building is a double parallel staircase with a balustraded parapet. This leads to a porch flanked by a pair of pilasters and a fluted Doric column on each side.
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Behind them the actual entryways are recessed. At the top of the stone there is a decorative cornice with "Reformed Dutch Church 1642" carved into it. Above the central window is another decorative cornice along the gabled roofline, corbeled by a miniature version of the arcade. At the apex of the gable is a weathervane.
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The windows have rectangular shape, but apparently used to have a pointed arc on the top. The cornice dividing the first and the second floor is also rustic and minor. While on the second floor, the windows are decorated with a simple edicule without any tympanon. The windows are united by another plain cornice.
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The first and second floors are faced in limestone and feature piers supporting a cornice; the third floor is also covered in limestone. The fourth through eleventh floors are constructed in red brick; windows on these floors feature terra cotta keystones and sills, and the eleventh floor is capped by a terra cotta cornice. The twelfth floor is decorated in terra cotta panels which incorporate Crane Company valves in their design; this floor is also topped by a cornice. The building originally housed offices for the Crane Company, which manufactured plumbing and heating equipment.
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He had the bracketed cornice replaced with a Classical cornice with dentils and a projecting molding. The window lintels were altered in a style similar to the new cornice. On the tower, the two windows on the first floor were replaced with one larger window while the projecting bay over the east portico was removed and made flush with the rest of the house. The windows over that portico were replaced with a heavy double door that opened onto the roof over the veranda, which had been built over the entire front of the house.
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The sides of the portico are also arched and pilastered. The tower section, whose interior houses the vestibule area, rises the full width of the portico to the height of the gable peak, where there is a cornice line, above which rises the tower, flanked by carved wooden fan designs. The first stage of the tower is square, with clock faces adorning otherwise plain brick walls. Above a cornice is the second stage, a round section with a partially open belfry surrounded by twelve Ionic columns, which support an entablature and dentillated cornice.
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The square planned columns are paired flanking the central Richmond Street bay. The pilasters support a detailed entablature with a projecting cornice with stylised Corinthian order detailing, including dentil mouldings and modillions (or small scrolled bracket giving the impression of supporting another projecting moulded band of the cornice). Surmounting the cornice of the building is an Italianate parapet, formed by a balustrade of elongated urns separated with panels aligned with the pilasters on the face of the building. On the parapet over the two central bays are flat rendered brick panels.
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The ceilings to the first floor comprise board and batten to the lunch room, plasterboard with a coved cornice to the hallways, plaster with a wide, simply moulded cornice to the office and storage room and asbestos cement sheet with a quad-mould cornice strip to the toilet areas. Lighting is suspended fluorescent, except in the toilets where attached globes are used. Air conditioning vents are located in the ceilings and there are some units on the walls. Architraves to the first floor openings appear to be original and have been painted.
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Over the sill is a cornice, supported by two half-scrolls that define the skirt, with an incomplete cartouche in their centre. Above this section is the belfry, with an archway on each of the three principal faces, defined by an extension of the stonework that begins at the base. The towers are topped by a cornice and surmounted by a bulbous octagonal cupola over a drum, and surmounted by pinnacle. The doors of the lateral facades are framed by a double lintel and cornice and flanked by pilasters over high, framed pedestals.
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Wooden framing remains on the bulletin boards and the entrance to the postmaster's office has a wood surround with denticulated cornice.
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The top of the gatehouse has brick corbels supporting a cornice. A square cupola is at the center of the archway.
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The original cornice of the building has been removed. The interior of the structure contains office space with no significant features.
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Paired and single brackets are used to support a cornice, and single brackets support the shallow eaves of the main roofline.
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Slightly receding bats are on either side. An ornamental cornice tops the facade, above which is a low tin hipped roof.
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A row of Maltese crosses are located at the cornice level of the tower. Three lancet windows line the side walls.
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Its windows are smaller than those on the rest of the house. The roofline has a boxed cornice with raking fasciae.
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A metal cornice supported with brackets runs across the top; the brackets provide a delineation between the storefronts on each facade.
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Above the drum of the halfdomes there is a stone molded cornice. The square base of the drum and the dome itself are faced with polished stone alternating with courses of three bricks set in a thick bed of mortar. Also the dome is crowned with a stone molded cornice. The roof is covered with lead.
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The tunnel is straight with a length close to . The spandrels of the tunnel portals are infilled with regular coursed quarry faced sandstone, crowned by a deck and projecting cornice. The segments forming the arch on the entry portal are of rendered stone. Set into the hill above the cornice is a section of stone retaining wall.
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The forged-iron railings of the balconies are elaborated after the Art Nouveau style. The facades are crowned with a continuous masonry cornice. On top of this cornice, a battlement-type parapet with sculptured lion faces and "candelabra" decorates the roof line of the structure. The main entrance is off-centred and located on Reina Street.
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There is a notable pendant with eight ornamental flutings, more than . A cornice surrounds the room, except in the area of the fireplace and the carved partition. The partition's cornice, made of plaster, is ornamented with figures and mottoes. On the north wall are two figures—a man apparently giving a cloak to a poor man or monk.
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A one-story kitchen wing, with a gable and chimney, projects from the rear, connecting to a two-story rear extension. Inside, the house retains much of its original finish. A molded plaster cornice runs through most of the first floor rooms and the second-story hall. In the parlor and dining room, more flat pilasters support the cornice.
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The proscenium arch is almost square with a central cartouche containing a female mask. In the ceiling is a round saucer dome with four relief plaster leaf scrolls and four smaller swags dividing the dome. The whole is surrounded by a moulded cornice. In the main part, above the stalls, there is an octagonal raised cornice.
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In July 2000 the former Studebaker showroom was the Texas Texas restaurant. The building lost its cornice in 1988 but was still a fixture of Times Square. Its chamfered corners and broad arched windows were still evident to observers. The absence of its elaborate cornice hurt its chances of gaining national historic landmark protection against demolition.
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The upper section rises over the cornice and the cornice narrows even further. It has a hexagonal shape and houses the clock and the bell. In 1870 a weather- cock was placed on its very top. From the entrance of the tower to its last section, there are spiral-shaped wooden stairs, which lead to the clock mechanism.
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Its roof is supported by square piers that form an arcaded frieze embellished with drop pendants beneath a wide panelled and bracketed cornice. Windows on all facades are mostly paired round-arched windows with louvered shutters. A tripartite bay window projects from the westernmost bay on the north. It, too, has a bracketed cornice and hipped roof.
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Most floors have wood-framed double hung windows, while the sixth floor has arched windows. A decorative cornice adorns the top of the building with a dentil course. The cornice is mostly limestone, except for the area above the additions which is metal. A metal fire escape runs along two of the windows on the Galena Blvd. facade.
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The whole building is decorated by a light bossage, a simple string course, a weathering and a cornice. There are also soprafenstras. Three layered gables (one on each side) are above the cornice. Due to this combination of dynamical design and modest decoration is Karlova Koruna chateau considered to be one of the best Santini-Aichl's structure.
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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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Three round-arched windows mark the second story. Their lower sections have one-over-one double-hung sash windows and black wooden sills. Projecting bricks form another modillioned cornice which serves as a springline for the arches, and goes around them. At the roofline is another modillioned and dentilled cornice with ornate brackets supporting a broad overhanging eave.
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Each is surrounded by a shouldered architrave and topped with a projecting molded cornice surrounded by foliate consoles. The living room is done in a vaguely Adamesque style. The room side of the portal echoes in wood the design done in plaster on the hallway side. Plaster paneled sgraffito walls rise to a restrained cornice and coffered ceiling.
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The whole of the pedestal is surmounted by a large frieze and cornice. Above the cornice sits an octagonal two stepped base of trachyte surmounted by a circular step. This forms a base for a red granite column with a marble Ionic order capital. Surmounting the column is a marble digger statue, which is life-sized.
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A cornice similar to the main storefront's caps this one. The upper story's windows are mostly one-over-one double-hung sash with brickwork sills and lintels. The two southernmost on the western facade are less decorative, recessed single-pane windows with plain surrounds between brick pilasters. Above them is a paneled frieze below the cornice.
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Bed-mould, in architecture, is a kind of moulding found under the cornice, of which it is a part. Similar to crown moulding, a bed mould is used to cover the joint between the ceiling and wall. Bed moulds can be either sprung or plain, or flush to the wall as an extension of a cornice mould.
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The facade is decorated with moulded plaster details including small pilasters with acanthus leaf capitals, rosettes, keystones, brackets, cornice and balustraded parapet.
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A cornice runs across the top. The interior was and is a single room, with a brick vault against the rear wall.
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The building is topped by a copper cornice. The beige terracotta panels contain highlights in red, blue-green, and greenish- yellow hues.
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The bronze statue is on a Portland ashlar pedestal with a moulded plinth and cornice. It depicts the king in Roman dress.
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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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The cornice has dentil molding, with a parapet above. The building was listed on the National Register of Historic Places in 1987.
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The main building features a dormer window above the main door and a wooden cornice running the length of all three buildings.
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A cornice features alternating marble medallions and attic windows. Brick and sandstone piers divide the plate glass windows on the first floor.
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Its Ionic columns and dentillate cornice are Colonial Revival. The house was listed on the National Register of Historic Places in 1982.
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Over the portico, separated by cornice and parapet with the building's name in sans serif letters. Other decorative elements at this level include overhangs, a segmental round cornice over the recessed center window, louvered casement windows with segmental round openings and plain glass transoms and a rosette on top of the center recess between the two volumes. In contrast, the first floor of this south facade presents large rectangular windows with wide planar moldings and a simple cornice with a segmental pyramidal profile on the top molding, a cornice and rectangular windows with false segmental arch crowned by an equally false keystone all part of the original 1885 construction. The rear half of the building conserves the original one-story configuration with a repetition of rectangular openings surrounded by wide planar moldings and top cornices.
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Above the porch is a smaller round-headed window. The bellcote is louvred and has a cornice, an ogival cupola, and a weathervane.
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Cornice Peak, 3188 m (10459 feet),Bivouac Mountain Encyclopedia is a mountain in the Continental Ranges of the Canadian Rockies in Alberta, Canada.
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There is a full architrave under a dentilled cornice. The white-and-gold ensemble would still have been fully in style in 1790.
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It features a wooden box cornice around the entire roof line. and It added to the National Register of Historic Places in 1983.
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The frieze exhibits fruit festoons suspended between bucrania. Above each festoon has a rosette over its center. The cornice does not have modillions.
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A short corridor accesses a bathroom at the rear, which has a boarded ceiling with timber cornice, and original panelled door and architraves.
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At the roofline a denticulated cornice is below the overhanging eave. A small vestibule connects the church to its rectory on the north.
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1919-1926 with the present Italianate cornice, bringing it more in sympathy with its neighbors. The building housed a department store until 1985.
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The main section features a corbeled stone cornice. Note: This includes It was added to the National Register of Historic Places in 1985.
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The interior cornice has double bands of green and red. To the extreme west of the painting, there are skull designs.Rodriguez, p. 135.
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Both buildings feature a tripartite division of base, center and cornice that horizontally divide the buildings. Both buildings also feature Commercial style windows.
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Performances of the song are also included on the DVD Immagine in Cornice and the MTV Unplugged DVD included in the Ten reissue.
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The upper stories are similarly symmetrical with rectangular windows. A simple cornice frames the top of the building. A cupola tops the structure.
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In 1971, a turret was added and the Neo Gothic cornice along the battlements replaced to restore the tower to its medieval shape.
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The façade is broken up by colossal pilasters with flat composite capitals that extend the full height of the building to the cornice.
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It retains many of its original architectural features, including a bracketed cornice, segmented-arch dormers in the mansard roof, and an elaborate cupola.
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Each section is composed of seven bays, separated by paneled columns with Corinthian capitals. Above the first two floors there are modillioned cornices separating the floors, with a deeper projecting cornice at the roof level. The roof cornice of the outer levels is further adorned with a layer of dentil work below the modillions, and has brackets above each of the columns. The middle section cornice includes a fully pedimented gable, and is raised above a frieze panel with vine motifs around two circular panels with the dates 1868 and 1999, and a central panel bearing the legend ZCMI.
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The soclo and cornice encircle the buildings spaces. The door, with triple lintel, has pilasters flanking the framed entranceway with pedestals and capitals. Over the capitals are corbels that frame the upper lintel and support the cornice. Over the cornice is a triangular apex flanked by pinnacles and over this a cartouche inscribed with: :REEDIFICADA / Po-P VIGARIO / FRANCISCO DE FRAGA E ALdo m / ANNO 1763 :Rebuilt /by Father Vicar / Francisco de Fraga e Almeida / Year 1763 The inscription is flanked by scrolls and surmounted by a stone with the sculpted symbols of St. Peter in bas-relief.
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The mausoleum is the earliest surviving square-shaped building with a single dome in Bengal. The brick structure has thick walls and an octagon-shaped interior, which together minimize the size of squinches required. The mausoleum has a smoothly curved cornice, terracotta ornamentation on the walls, and engaged towers at the corners. The cornice supports the hemispherical dome on square squinches.
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Gotham House is a 3-storey Flemish bond red brick building, with a basement. It has a symmetrical 5-bay front with four brick columns reaching to the top of the first floor, two surrounding the entranceway and one at each end. These are topped with moulded caps and a projecting white cornice. Four columns extend from this cornice to the roof.
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The building's first three stories are clad with limestone and decorated with flat Corinthian columns and balustrades on the second-story windows. The remainder of the building is brick and includes a dentillated cornice at its roof and a second cornice above its eleventh story. The building was added to the National Register of Historic Places on May 14, 1986.
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The colonnade terminates at the top of the 35th floor, where there is an elaborate cornice. Another belt course separates the 36th and 37th floors, and a cornice is located above the 38th floor. The top of the building, composed of the penthouse, is faced with brick and terracotta. It contains pilasters similar to the lower sections of the building.
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Pilasters flank all eight side windows, rising to a broad, flat cornice at the ceiling. In the space between the cornice and window sash are five wooden bosses. The space is illuminated by chandeliers hung from the ceiling. Staircases at opposite ends of the front vestibule lead up to the organ and choir where a trap door permits access to the bell tower.
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Starting as a simple path, the cornice developed in two stages in the nineteenth century. From 1954 to 1968 , the municipality of Gaston Defferre expanded the cornice. It overlooks the Mediterranean and its islands. Along it are fishermen's barracks, nineteenth century villas (Villa Valmer and Gaby Deslys Villa ), hotels, restaurants (including Le Petit Nice and Gérald Passédat ), bars and beaches.
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The house is designed in the Italianate style. A verandah wraps around the south and west sides of the house; the verandah features scroll brackets on its cornice and at the top of its supporting posts. Scroll brackets also decorate the cornice of the house's hip roof. The house's exterior windows are tall, narrow, and topped by arched brick lintels.
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The building's character is defined by its form as its decorative elements are more reserved. The six-story "towers" surround a two-story entrance in the center, which creates a sense of mass and enclosure. The building's exterior decorative elements were confined to a cornice, which is now gone, and the main entrance. It's possible the cornice was lost in the 1939 fire.
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Only three other Manhattan buildings which lacked cornices have received landmark designation. Robert Redlion, an engineer employed by the owner, submitted plans to repair ornamental cornice in October 1999. A 1987 facade inspection filed with New York City concluded the cornice was safe. Redlion and the owner contended that the ornamental molding was dangerous, with pieces having fallen on the ground.
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Atop is a molded cornice in a Greek fret pattern topped by a broken pediment with carved swan's neck, patera and large acorn finial. The double glass doors open into an enameled vestibule with large windows and original interior doors. The lobby has mottled light brown marble wainscoting. Its plaster walls rise to a deep molded frieze and cornice at the ceiling.
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At the roofline is a narrow cornice. Three string courses encircle the house flush with the brick surface. Decorative elements are restrained. They are mainly found on the large dentils on the cornice, the turned Eastlake post and punched frieze on the second story porch, and a wall dormer on the central tower that has an elaborate projecting sill and triangular pediment.
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The kast was of Dutch origin, and featured a large drawer in the base unit. Atop the base were shelves concealed behind one or two heavy doors. An elaborate cornice usually ran along the upper edges. Influenced by the William and Mary style, the American kast featured removable feet, simplified the cornice, and eliminated the intricate inlays favored by the Dutch.
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Dansville Library is a historic library located at Dansville in Livingston County, New York. It is a large two story Neoclassical style frame structure. It is dramatically enhanced by a pedimented, giant portico covering its full width. The portico features four Doric columns, an elaborate frieze with triglyphs and rosettes, a modillion cornice, and a semi-ellipical fan decoration in the cornice.
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A wide box cornice, which is common practice on houses with gentle roof slopes and wide eaves, requires the use of lookouts to give it support and to provide a surface to which to securely attach the soffits. Box cornices often have ventilation screens laid over openings cut in the soffits in order to allow air to circulate within the cornice.
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The ashlar and brick sections are broken by a cornice and the brick section is topped with a heavy corbel cornice. The windows are framed in sandstone with twin arches above and rope ornaments on the sills below. The roof is half-hipped and topped with glazed tile. The interior features a marble stairwell with wrought iron railing and patterned masonry.
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The facade of this building is constructed from finely crafted galvanized steel.Detroit Cornice and Slate Building (Archive) from the city of Detroit These metal facades permitted elegant ornamentation to be constructed quickly and cheaply, particularly in locations like Detroit where stone was not easily obtainable. The Detroit Cornice and Slate Company itself fashioned many of the building's simulated carvings from sheet metal.
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Located in front of the Temple of Apollo, the main altar of the sanctuary was paid for and built by the people of Chios. It is dated to the 5th century BC by the inscription on its cornice. Made entirely of black marble, except for the base and cornice, the altar would have made a striking impression. It was restored in 1920.
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It has corner pilasters supporting a full and wide cornice. Windows are set in moulded frames, the main entry is framed by sidelights, pilasters, and a cornice, and there are secondary entrances one the east elevation, one with sidelights and a transom window, the other with a transom window. On October 7, 1983, it was added to the National Register of Historic Places.
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Both stories are set with narrow nine-over-nine double-hung sash windows. Above the columns and pilasters is a plain frieze divided by a small molded cornice. On the portico, the upper portion of the frieze has the legend "Court of Appeals State of New York" engraved in it. Above it is another, broader, overhanging cornice, also found on the pediment.
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On either side of the three, a section of cornice and plain frieze coincides with the arches' springline to suggest the top of a pilaster. Above the windows is another wide plain frieze. Just below it, in the northernmost bay of the east, is a group of three small windows. The roofline has a denticulated pressed-tin cornice below broad overhanging eaves.
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The next five floors are uniform, with sash windows in rectangular openings. The bays at the corners are finished in light-colored stone, a contrast to the darker brick of the other bays. The eighth floor once again has more elaborate window treatments, and a detailed cornice separates it from the ninth, which is also crowned by a projecting cornice.
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The atrium is paved and has only a few trees. The portal is Neoclassic with a frieze formed by metopes and triglyphs from ancient Greek architecture, along with a thick cornice. The main entrance has a niche on each side. A truncated arch is found above the cornice and the base has the papal seal which alludes to Saint Peter, the patron saint.
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The exterior consists of properly processed limestone blocks. In the authentic form, all three free standing façades of the fountain were decorated, and water pipes were placed on them. In the lower part there was a plinth high, whereas in the upper zone, at height there was a semi-circular cornice. The former appearance of the façade above this cornice is unknown.
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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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Architectural style is provincial classicism. There are rusts of the first floor, window frames, proportions of the facade, inter-floor panels, strictly decorated cornice.
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The stone building features a stone frieze, cornice, and a mansard roof. It was listed on the National Register of Historic Places in 1982.
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Numerous finds came to light, including the grave stone of Ulrich I von Regensberg, which was misused as a loophole cornice of the bulwark.
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It is a two-part commercial block building. Although the lower level's facade has been modified, the building retains its notable terra cotta cornice.
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In a subsequent renovation, the lower two floors were refaced with gray granite and a pediment above the central entrance and cornice were removed.
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In the "nicely furnished interior", a "rather high" pulpit originally stood between two windows in the rear wall. The roof has a bracketed cornice.
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Floors 3–6 form the middle layer. At the top is a cornice of brick laid diagonally in an Art Deco zig-zag pattern.
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Architectural writer Paul Goldberger called Price's design for the bank building "a lovely eclectic creation", praising its Ionic portico, narrow shaft, and "enormous, elaborate" cornice.
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The fifth and sixth floor bays are articulated by fluted stone pilasters, and the building is crowned by an elaborate projecting cornice with metal cresting.
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The roof cover is of do-chala type (similar to the mud plastered houses in Bengal with layers of slanting rounded roofs) with curved cornice.
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Accessed 2013-11-26. Matching porches are placed on the front and rear of the house, featuring chamfered and bracketed pillars and a bracketed cornice.
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Terracotta tile roof. Floors are ground floor concrete, upper floor timber frame, with carpet finish. Walls are painted render. Ceiling is plasterboard with plaster cornice.
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The facade is finished by a heavy cornice supported by corbels. The first name of the school, name "Tegneskolen for Kvinder", is written in relief lettering on a band below the cornice. The side wing seen from the yard of neighbouring Hotel Alexandra A side wing extends from the rear side of the building. The two buildings are joined by a canted corner bay.
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Battered clasping buttress to each corner, and two set close together towards centre of each long side, all running into deep brick plat band under eaves. Rendered coved cornice with deep roll to base and chamfer to top. Low rendered parapet. Truncated projecting brick stack, formerly tall and tapering, filling most of east gable end, with cornice carried round it and bearing the initial "P".
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The front entrance is flanked by bronze statues of Thomas Jefferson and Alexander Hamilton sculpted by Karl Bitter. Directly above the front entry doors are three large arched windows between fluted columns of the Ionic order allowing daylight into the courtroom within. The frieze of the cornice includes the inscription "Cuyahoga County Courthouse". Above the cornice are several stone statues of historical law givers.
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Massive, monolithic Corinthian columns support an entablature with denticulated cornice. Each of the three entry doors has an elaborate limestone surround featuring fluted engaged pilasters which support a decorative cornice. There are two secondary entrances with decorative limestone surrounds set within the flanking colonnades. The southeast elevation is the main elevation of the original 1915 building and features two entries, one at either end.
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First floor windows are round-arched and slightly recessed, while those on the second floor are rectangular. A line of granite marks the transition to the cornice at the top of the facade; the cornice, along with the gable elements, features heavy dentil molding. The building was listed on the National Register of Historic Places in 1986; it continues to serve as Salem's primary post office.
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The Adelaide Street facade has a similar arrangement of openings, but has arched windows in the end bays of the top floor with keystones that extend to the cornice line. A similar cornice occurs above all the other window openings as sun hoods. Cantilevered balconies occur only on the first floor level at each end and in the centre. These have wrought iron railings with diagonal balustrading.
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It has a molded cornice at the roofline. On the north elevation the frieze and cornice at the top of the stone wall continue around the corner and terminate in returns. The basement window on that side shows the signs of having once been an entrance. The west (rear) has a centrally located door and three windows, with the southernmost having an unusually large lintel.
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The William Hamilton House is a historic house in Bellevue, Nebraska. It was built in 1856 for Reverend William Hamilton, a Presbyterian minister. With It was designed with Greek Revival features like "the low pitch of roof, the design of the windows, and the use of cornice boards and cornice returns." It has been listed on the National Register of Historic Places since October 15, 1969.
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Moulded triangular pediments top the second floor windows. The top of each pilaster consists of a shamrock crest, positioned directly below a dentilled cornice. Above the projecting cornice, the pilasters are extended with recessed panels between them to form a decorative parapet. The recessed panels are infilled with masonry circles that shape the initials TCB and all the panels are topped with a flat moulded capping.
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John Rogers house as seen from road in 2019 after renovation by architect Peter Woerner. The John Rogers House, located at 690 Leetes Island Road [in the Route 146 Historic District], was constructed on a rectangular plan with its ridge parallel to the street. The house has a steeply pitched roof with minimal overhang at the cornice. Small dentil, moldings are featured below the cornice.
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The main entrance is flanked by fluted floral-topped wooden pilasters that support an entablature with similarly foliated cornice. Above it a plain frieze reads "Hudson, N.Y., 12534." The entire entry is surrounded by a large arch with a decorated marble surround, featuring rosettes, an archivolt with interlocking wooden circles. It is topped by an architrave with carved guttae and a deep cornice with modillions.
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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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There are original (1937) wood baseboards and chair rail with abstracted triglyph (three vertical band) design. The ceilings of the lobby have a molded plaster cornice; the corridor ceilings have a plain cornice band. At the westernmost end of the east-west corridor is a built-in, paneled wooden service counter. The counter is enclosed with a centered operable window, flanked by two fixed windows.
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Similarly, the original building's third-floor window openings are topped by scrolled keystones and set beneath carved limestone panels. The rear addition contains a simple brick facade on the upper stories with rectangular windows. A small cornice separates the third floor from the attic, which contains wide carved limestone panels flanking each of the narrow windows. A larger, more extensively decorated terracotta cornice runs above the attic.
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The entries themselves are recessed, and the entry projections feature surrounds extending up to the second level, which contains a group of three windows and a terra cotta cornice with a stepped parapet above. The main body of the building has wide window openings with terra cotta banding above and a terra cotta cornice below the roof line. A parapet wall tops the facade.
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It has brick hood moulds over the windows and a denticulated, bracketed cornice - typical of the Italianate style that was popular at that time. On one side the cornice is broken by a round-topped pediment which frames "1875 - Pritzlaff". Additions and other blocks were added in 1879, 1887, 1895, 1903, 1912, 1915 and 1919. The surviving blocks are all brick, in Italianate style.
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Wesleyan purchased the property from the administrators of the estate of E.A. Russell and then sold it to Alpha Sigma Delta Alumni Association, Inc. in 1934. At this time the structure was altered for use as a fraternity house. The heavy cornice at the top of the building was lowered to the second floor and windows were placed above the cornice to form a full third floor.
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The Elliott-Larsen Building is a six-story (originally seven-story) U-shaped Classical Revival structure with a flat roof, with a facade of cream-colored sandstone above a granite basement. A cornice separates the second and third floors, forming a base for four-story pilasters with Tuscan capitals above. An entablature with cornice runs above the pilasters. As originally built, the building had three arched entrances.
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The Sentinel Block is a historic building located in Iowa Falls, Iowa, United States. Previous commercial blocks in Iowa Falls tended to follow the more ornate Italianate style. This building, completed in 1905, marks a departure from those older structures. with Rectilinear brick panels above the windows replaced the decorative hoodmolds, and the brick patterned cornice with a plain stone cap replaced the heavy metal cornice.
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The building has a decorative cornice, and an ornamental frieze is located beneath the pediment and cornice at the entrance. The Works Progress Administration expanded the back of the library in 1939. The library operated until 1995, when it was replaced by a new building and purchased by the city's historical society. The library was added to the National Register of Historic Places on January 26, 1998.
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The ceremonial hall – the Warriors' hall has side-mounted windows, with rhythmically arranged columns between them, with Corinthian capitols bearing the architraved cornice. Above the cornice there are warriors' busts, naked and in armour. The ceiling is decorated with medallions with floral elements, similar to the ceiling in vestibule. Above the entrance door the cartouche with military insignations bearing two female figures was set up.
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The Smith house is a two-story, three-by-three- bay clapboard-sided frame structure on a raised brick foundation with a moderately pitched hipped roof. The roofline has broad overhanging eaves, a molded cornice and paired brackets. A full-length porch runs along the first story of the south (front) facade. It has a similarly pitched hip roof with a molded, dentilled cornice.
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Peyton–Ellington Building is a historic commercial building located at Charlottesville, Virginia. It was built in 1893, and is a two-story, three- bay, brick building with an iron front facade. The facade features decorated pilasters at each end that support a cornice with a plain frieze, modillions, and cornice stops. and Accompanying photo It was listed on the National Register of Historic Places in 1982.
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The entrance to the building is slightly recessed, and is flanked with six engaged Ionic columns which extend upward to a modillioned cornice. The cornice continues around the sides of the building. The windows are set into two-story arched recesses topped by a keystone. On the front, the spandrels between the first and second-story windows contain stone lion heads and floral swags.
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The Enosburg Congregational Memorial Church stands in the rural crossroads hamlet of Enosburg Center, on the east side of Boston Post Road south of its junction with Grange Hall and Nichols Roads. It is a single-story wood-frame structure, three bays wide and three deep, with a gabled roof and clapboarded exterior. A square tower projects from the center of the main facade, rising unadorned to a point above the roof ridge, where three sides have blind oculus panels below an entablature and cornice. Above the cornice is a shallow roof around the smaller belfry, which has round-arch louvered openings below a cornice.
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But it demounted in 1970. Decorative elements: The walls are smooth with pilasters, cornice is anfractuous. Semicircular windows are decorated with architraves. Interior is not preserved.
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Like many Baltimore houses, the brick three-story rowhouses of Baltimore Block present a unified wall-like front to the street with a continuous cornice line.
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Special elements include the tile inlay bearing the letter "M", the floral motif in cornice decoration, original tiling to walls and the timber pagoda-style entry.
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It features a projecting entrance pavilion, stone cornice, and brick parapet. Note: This includes It was added to the National Register of Historic Places in 1988.
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The fourth floor has a band of smaller rectangular windows. The facade levels are underlined by elaborate string courses; the top terminates with a dentiled cornice.
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The crossbeams contain Roman portrait heads, while the cornice contains generic sculpted grotesques. The lobby also contains a set of German chimes designed by Harry Yerkes.
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There are two stone string courses and a stone cornice. The façade is flanked by circular bays, which have two small windows with semi-circular heads.
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The house is full of Ernest's and the daughters' artworks and light covers, one of the daughters even painted the cornice in one of the bedrooms.
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Stone stringcourses and a cornice encircle and visually unify the building. The rowhouses were added to the National Register of Historic Places on February 25, 2004.
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Finally, in 1683, the church was adorned with a tiled cornice in yellow and blue, featuring a written history of the church in Old Slavic typeface.
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The round arches are composed of brick with stone keystones. Large brackets with pendants band the cornice at the roof line of the two-story structure.
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Cave 2 shows an overhanging cornice with artificial windows. This Mogalarajapuram temple has an Ardhanarisvara statue which is thought to be the earliest in South India.
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The Facade resembles that of the Lodi Cathedral. Its defining characters are its accentuated vertical extension, arched windows, a staggered cornice, unique pointed pinnacles, and Acroterion decoration.
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The roofline has a wide cornice with returns and the roof is covered with diamond shingles. Evidence of farm outbuildings can still be seen around the house.
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The upper stage contains a two-light louvred bell opening on each face. At the top of the tower is a moulded cornice and a crenellated parapet.
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The second floor consists of a series of panels, containing four windows similar in to those at the first floor level. Brick corbelling runs across the cornice.
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The high floors for dwellings, have heights of cornice and composition of different facades, varying between four and five storeys, the remaining unit to the urban image.
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It had a brick cornice with a concrete parapet and a concrete entablature with dentils. It was listed on the National Register of Historic Places in 1992.
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The ends of the hall are in the form of shallow apses, with marbled niches, and below the bold cornice runs an egg-and-dart moulding. Both the drawing and dining rooms at Sennicotts have coved ceilings with a bead moulding on the ceiling flat, and an unusual leaf enriched torus moulding at the cornice. Charles Baker lived until 1839, when the estate passed to his nephew, Christopher Teesdale.
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On the north facade a denticulated cornice sets off the top of the first story of the middle section. It continues around the pedimented gable end, filled with a stucco tympanum. Within is a cast pewter eagle; below the words "United States Post Office Beacon New York" are spelled out in affixed metal letters in the entablature. A molded wooden cornice is located along the roofline of the wings.
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At street level all the original detailing has been removed, except for the large curved pediments above each entry. The first and second floors are linked by giant order Corinthian pilasters which support a highly moulded frieze and cornice. The central pilasters of each bay have a pediment, which rises above the cornice. On the top floor the line of the large lower pilasters is continued by smaller paired pilasters.
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The end elevations are unadorned except for the massive cornice and frieze that surrounds the house at the eaves. The cornice is decorated with a beaded molding inspired by an illustration in Asher Benjamin's American Builders Companion, 1805. The rear elevation has the same center door and fenestration as the front. There is a small two-story twentieth-century frame addition in the center of the rear wall.
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An elaborate cornice runs along the roof on the front facade, while a plainer cornice above the second floor and a belt course above the ninth separate the building's sections. Like most luxury apartment buildings of the period, the building features a heavily ornamented entrance, a large lobby, and spacious ten-room apartments. The building was added to the National Register of Historic Places on January 2, 2013.
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The building is a fine example of high Victorian commercial architecture in Davenport. Of particular merit is the metal cornice that was apparently added by John Miller, whose name appears on it. The original storefronts had been removed and were restored in the 2009 renovation. The easternmost bay, where the hotel's main entrance was located, is more decorative than the other six and is below the cornice arch.
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The gateway is a free-standing rendered masonry archway with a pair of wrought iron gates below. The archway has an elliptical arch with scored voussoirs, a coved cornice and scored pilasters to either side. "Their name liveth for ever" stands in relief on the cornice, with the dates "1914" and "1919" on each pilaster. The ironwork of the gates includes the words "Soldiers Memorial Gate of Honour".
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Inside the church there was originally a horseshoe gallery, but this has been reduced in size to a curved gallery. This has a panelled front and is carried in slim cast iron columns. Around the church is a dentilled cornice, the ceiling is panelled, and the windows have moulded surrounds. At the west end is a plastered Corinthian architraved opening with a modillion cornice and an inscribed frieze.
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Its mansard roof was altered in the 1960s when it original diamond-shaped shingles, gabled dormers and decorative cornice were replaced with modern windows, asphalt shingles, and a severely plain cornice. All those features were restored in 2013. The second section was added to the east of the original section in 1893. It too is symmetrical and has a projecting central pavilion, but it is five bays wide.
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Windows on the facade are topped by bracketed hoods, that on the second floor center window with a curved cornice. The main roof cornice is modillioned. The interior of the house is well-preserved, retaining original woodwork and plaster. Dr. Job Holmes arrived in Calais sometime after 1830, and established a medical practice, joining his brother-in-law, Cyrus Hamlin, brother to future United States Vice President Hannibal Hamlin.
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Against the backdrop of the prismatic volume, completed by two domes with slightly pointed tunnels, a deeply shaded aperture of the mosque portal is clearly drawn. Above the northeast corner of the mosque stands a minaret, ending with a stalactite cornice supporting a balcony that had a stone barrier before. The inscription encircles the minaret below the stalactite cornice. It is executed in the font "nash" and contains an inscription.
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They have semicircular arched doorways to right; panelled doors with sidelights and fanlights; one a stuccoed Doric porch. Their windows are recessed sashes, in stuccoed reveals, under flat gauged arches. Reaching out below the first floor is a stucco plat band, painted stone or stucco cornice over the next, then a stucco cornice and blocking course marking the attic storey. Original, cast iron, geometric patterned balconies adorn the first floor.
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By 1858 he was well-enough established to build a fine house, reminiscent of homes back east. The style is Greek Revival, with a complex cornice, cornice returns, symmetric windows in the front of the main block, and Doric columns in the entry porch. The side walls and back consisted of coursed dolomite, but the front surface is the notable one. The front is veneered in small cobblestones - i.e.
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The Horton Bay General Store is a rectangular gable- front two-story frame Late Victorian commercial building, clad in clapboard, on a fieldstone foundation. It has a symmetrical, falsefront facade with an upper cornice containing a central triangular pediment. The storefront contains a centrally located, recessed doorway flanked by display windows. A storefront cornice with supporting bracketry is located at the point where the porch roof meets the facade.
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The temple was modified several times during its history. The first consisted of a narrowing of the entrance to the inner sanctum by building flanking walls against the formerly free-standing inner pillars. The second, and most important, modification was the addition of stone benches and a small projecting cornice. On the cornice are bas-reliefs of the glyphs of the 20 days of the sacred tonalpohualli calendar.
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The gable-fronted roof, pierced by a brick chimney on the northwest, has overhanging eaves with exposed rafters. A molded cornice also marks all the house's rooflines. The exposed basement is made of stone. A flat-roofed raised wooden porch with bracketed cornice supported by elaborate lattice-style columns runs the length of the first story on the front (southwest) facade, across the main block and both wings.
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The five-story, Beaux Arts style building was designed by Stephen Codman and built in 1896. The first floor has modern storefronts; the next three levels have brick pilasters separating the window bays with cast stone architraves. A cornice line separates the fifth level from the lower ones, and has oxeye windows at the building's rounded corners, and a dentillated cornice. It has also been classified as a Classical Revival building.
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Manually driven bending brake Cornice brake Hydraulic press - 400T A brake is a metalworking machine that allows the bending of sheet metal. A cornice brake only allows for simple bends and creases, while a box-and-pan brake also allows one to form box and pan shapes. It is also known as a bending machine or bending brake or in Britain as a sheet metal folder or just a folder.
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500 BC, reproducing the portico of his palace. Its first employment in Athens is in the cornice of the caryatid portico of the Erechtheum (480 BC). When subsequently introduced into the bed-mould of the cornice of the Choragic Monument of Lysicrates it is much smaller in its dimensions. In the later temples of Ionia, as in the temple of Priene, the larger scale of the dentil is still retained.
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The main facade, facing the street, is symmetrical, with a double-door entrance at the center, with flanking pilasters and a triangular transom window that has a cornice above. The flanking bays have sash windows, also topped by triangular cornices. In the attic level above the entrance are a pair of pointed-arch windows, again beneath a single triangular cornice. The eave of the roofline is decorated with jigsawn bargeboard trim.
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The gable is fully pedimented, with a modillioned and dentillated cornice that continues around the building. The pediment houses a floral design surrounding a central medallion. The entrance below is set in a tall round-arch and keystoned opening, the arch supported by attached Ionic columns and flanked by floral motifs. The building cornice is adorned with swags, and incised with the names of prominent European literary figures.
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The fifth floor is faced with smooth limestone and brick. The facade contains a belt course on top of the fifth floor, which projects slightly. The sixth and seventh floors also comprise an arcade, similar to the second and third floors, but with a smooth brick face. A cornice runs atop the seventh story, and the southeast corner of the building also contains a molding at the cornice.
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The remaining ground-floor bays all have commercial glass storefront windows, articulated by stone or brick piers. The outer bays on the second floor have segmented-arch windows, while those on the third floor are round-arched. The fourth floor dormers have segmented-arch windows. The main cornice (below the steep mansard roof section) is bracketed and dentillated, and a secondary cornice at the transition between the roof sections is dentillated.
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Except on number 63, a narrow canopy sits between the first-floor window and the cornice. Another cornice spans the full width of the terrace above third-floor level. The slightly recessed houses on each end (numbers 60–61 and 65–66) have pairs of dormer windows. ;131 King's Road The former St Albans House was designed in 1828 by Amon Henry Wilds alone and was fitted out by William Izard.
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The central bay at the first level consists of an array of plate glass windows, topped by a metal cornice. The second level central bay has seven sash windows, separated by brick piers topped by concrete medallion. The outer bays of the upper level have paired sash windows separated by slender columns. A concrete banding course separates the second level windows from a brick entablature and simple dentillated cornice.
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The windows and the doors feature curved wooden lintels and flat enframements. The house is capped by a low hipped roof with a plain, unbracketed, wooden cornice. The south side of the house features a two-story polygonal bay that has a bracketed cornice above the main floor bay. The single-story screened porch on the south side and the chimney of rock on the rear are later additions.
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The entrance has a transom window, and is flanked by pilasters which rise to a frieze and cornice. The second story has a slight overhang above the first floor, and the gable ends on the sides have a similar overhang as well. The main roof cornice has a line of dentil moulding. The house had a stone chimney at its center, With which is no longer visible above the roof line.
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Above this is the proper first stage of the tower, which features a small round window in the front facade, with projecting corner sections, and a cornice line above. The second stage houses the belfry, with square louvered sections framed by inner and outer pilastered arches, and decorative corner woodwork. Another cornice line, studded with doubled Italianate brackets, separates this stage from the octagonal steeple, weathervane, and spire.
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The former porch to the side door has been converted into a postal box filling area. The brick walls have been overpainted, and the raked ceiling is of plasterboard with a scotia cornice. The small sorting room (former kitchen) has plastered walls, with staff moulds on the chimney breast. The upgrade to this space involved the installation a new plasterboard ceiling, scotia cornice and carpet over the timber floor.
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The second and third tier bays have engaged round Corinthian columns, also rising to an entablature and cornice; the top tier columns rise to the building cornice, which is studded with modillions. The interior of the building has been extensively altered since the Tiffany period of ownership, and only traces of its former grandeur survive on the top floor, as does the original Tiffany vault in the basement.
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Of the main two quadrants and main facing return of the crescent, forming 47 of the 50 buildings, the first floor has stucco-applied doric order pilasters between the windows and a subsidiary cornice above. The second and third floors are united by paired ionic order pilasters set between houses. These are surmounted by a heavy modillion cornice. Most have a balustrade finished with urns to the final unit.
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The façade terminates with a dentiled cornice. The rest of the façade is quite simple and unadorned. There is a garden in the back side of the structure.
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It features a slightly projecting center section, stone cornice, and brick parapet. Note: This includes The building was added to the National Register of Historic Places in 1988.
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It has modest Greek Revival styling, with a single entrance framed by pilasters and an entablature with cornice. There are sash windows on either side of the entrance.
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The two upper floors feature cast iron arcades. Pilasters structure the facade vertically. Round windows are embedded above. The final cornice is decorated with a cross diamond frieze.
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Above the bays and the windows is a coved cornice. There are porches projecting out at either side with antae, sunburst shells and ammonite scrolls in the stonework.
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The building can be entered through a single entrance: a rounded, door at the head of a staircase. An oblong gable over the cornice accentuates the building's front.
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A modillioned cornice is used on the eaves. Four Mile Tree's oldest interior woodwork is in the central stairhall where the turned balustrading on the stair, the heavy hand rail and the high dado place the date in the first half of the eighteenth century. The southwest room, which probably dates from the early nineteenth century, has two framed niches flanking a simple mantel and overmantel topped by an architrave, frieze and cornice; only the cornice and a paneled dado ornament the other walls of the room. The remaining rooms have mantels which seem to date from the first half of the nineteenth century but only in the southeastern room is there a paneled room.
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Elements window covers curved lintel cornice. In belfry is placed the bell made by Octave Winter from Broumov. The tower is ended with a copper onion dome with lantern.
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Twin Falls, Idaho: Sawtooth National Forest, United States Forest Service, 1998. Rock Lake is northeast of Merriam Peak and upstream of Baker Lake, Cornice, Emerald, Quiet, and Noisy lakes.
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Two bay windows have paneled aprons, round-corner windows, and bracketed cornices. The house has a low pitch hip roof with paneled soffit windows and paired-bracket cornice supports.
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The Ionic order of entablature adds the fascia in the architrave, which are flat horizontal protrusions, and the dentils under the cornice, which are tooth-like rectangular block moldings.
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It has a stepped red and blue brick cornice with overhanding eaves. The building was listed for "historic reasons as an unusually grand and architecturally pretentious friendly society hall".
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On the upper floor, where the lords lived, there is a cornice with battlements and a path for guards. The castle is a good example of military gothic style.
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It is a kiosk covered with a barrel vault. The walls are open and marked by pillars, with a cornice running outside and an arched pediment, all finely decorated.
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Pilasters through the upper floors, cornice and parapet. The garden front (south-west) of 5 bays with a central canted bay of 2 storeys. Mid C19. 12-pane sashes.
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Its main entrance, set on one of the short ends, is sheltered by a rectangular flat-roof portico, which has fluted Corinthian columns supporting a full entablature with cornice.
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Fluted Ionic half-columns divide the window bays. All four support pedimented Roman arches. Oversized brackets support the metal cornice. Decorative panels are placed between all three upper stories.
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No 32 Park Place (c. 1865) is a 2-story, brick dwelling with a mansard roof. It features an Italianate style cornice. The Hamilton Park Cottage (105 Franklin Ave.
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Brick was used decoratively on the façade, and cast iron crowns over the windows and column capitals accented the elevation. The original cast iron cornice was removed in 1942.
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The east and south elevations have hard, face brick in two shades of red given the two construction dates. The north and west elevations have common brick. Each series of arched windows on the third floor is accented with corbeled bands of brick and capped with a dentate cornice. There is also dentate cornice and parapet wall at the top of the east and south elevations, and a flat roof that caps the building.
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The Shelden-Dee block is a three-story Classical Revival commercial building, constructed from smooth-cut Portage Entry sandstone on the streetside facades and brick on the rear facades. The facade is symmetrical, with Ionic order pilasters separating second- and third- floors windows. Stone balconies are set into the third floor, and the arches above doorways feature highly detailed carving. A sandstone cornice topped with a second copper cornice surmounts the structure.
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The designs for the buildings' facades called for Indiana limestone cladding below the fifth-floor cornice, and brick and terracotta above. The original proposal included rows of triple-height Doric columns supporting the roof cornice. As built, the lowest four stories of each building were made of polished granite and limestone; each ground level bay was filled with glass. The top six stories of each building contained light-toned terracotta, as in the original plan.
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Chicago architects Patton & Miller designed the library in the Classical Revival style. Two-story columns flank the front entrance, which is topped by a pediment. A terra cotta cornice and frieze encircle the building; the cornice includes modillions and a fretwork pattern, while the frieze consists of flat panels. A brick parapet with an elaborate terra cotta panel at the front rises above the roof line, and a dome tops the roof.
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Plaque honoring Mayor Cordero Santiago for the restoration of Casino de Ponce, under the project "Ponce en Marcha". The entire composition is crowned by a cornice which follows the modulation of the facade. A balustered parapet above the cornice completes the composition. In addition, broken-scroll pediments above the parapet accentuate the composition's rhythm at the central bay of the west facade, the extreme bays of both facades, and the corner chamfer.
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Sash windows were installed surrounded by eared and shouldered stone architraves. The window heads were of plain stone pediments with cornice. The main entrance was on the north elevation of the house was flanked either side with Tuscan columns and headed with a plain stone cornice and pediment and was accessed by means of an exterior staircase (Removed in the 19th century). This entrance is now a window following alterations made in the 19th century.
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The Pearl Street facade is divided into three bays; the central bay is three windows wide and the two narrower bays on each side have one window each. The facade is topped by a large cornice bearing the year of construction, 1873. The cornice was originally made of iron, but it deteriorated and the last part was removed by the late 1970s; it was replaced with a replica made of painted wood.
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Removed were a cast-iron widow's walk along the roof ridge and a large gable dormer, decorated in the same manner as the cornice decorating the roof trim. The present dormer replaced the larger one and is more of a low-shed type. The roof itself is a low gable and dominated by single stack, straddle ridge chimneys at its east and west ends. The boxed roof trim is a decorated cornice.
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Both have since been modified but retain their original metal cornices and segmental- arched lintels. Further east, another Renaissance Revival building, 127 Main Street, was completed in 1885. Its elaborate detail includes two-story brick pilasters supporting a metal roof cornice, and an intermediate cornice supported by cast iron pillars. That same year the Methodists, who had previously held services in a building on Spring Street, outside the district, finished their new church.
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A single-leaf entry door topped by a graceful fanlight is located in the central bay of the first floor, and the single-pile, side-gable building is flanked by a pair of single-shouldered corbeled chimneys (the corbeling is a recent addition or reconstruction). While the majority of Lynchburg's buildings of this period feature a wooden box cornice, the Kentucky Hotel (along with other Fifth Street buildings) has a cornice of corbeled brick.
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The burial chamber is also barrel-vaulted, but is much smaller, measuring 4.8 m wide, 4.72 m long, and 5.26 m high. The walls are covered in stucco. A white podium with a cornice runs around the base of the wall, supporting white stucco pilasters in low relief, which themselves support an architrave, topped by a cornice. The wall between the pilasters is painted red, and the faux architectural members are decorated with painted rosettes.
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At the roofline is a broad overhanging cornice with dentils and voluted brackets. Above the cornice on the south facade bay window is a balcony with wooden balustrade, echoed on the tower. The front porch has a hipped roof supported by two turned wooden columns with balustrades between themselves and the front wall. The main hall features carved ebony columns in the Eastlake style with a floor of alternating majolica and encaustic tiles.
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The Level 6 cornice spans the middle vertical bay and is bounded by extensions of the side bays which finish as pediments. The cornice is fabricated from high quality pressed copper sheet and projects forward the face of the facade by approximately 1000mm. It is supported by double brackets in mid span and single brackets at the ends. The brackets are copper clad and are decorated with classical motifs such as garlands and female heads.
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The Convent of St. Anne was built 1922-24, and is a three-story brick Georgian Revival structure. It has a hip roof above an elaborately detailed Classical cornice, and its entrance is sheltered by a barrel-roofed portico. The rectory was also begun in 1922, and completed in 1928. It is a two-story brick building also in Georgian Revival styling, with a Classical frieze and cornice, and porches sporting Ionic columns.
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The Delta Hotel is a five-story, high Classical Revival structure. The main facades have a rusticated exterior at the first floor level, and a decorative belt resembling a cornice below the fifth-floor windows. There is paneled brickwork between the windows on the fifth floor level, and a parapet across the top that was added when the original main cornice was removed. It originally had 75 hotel rooms, and now has 32 apartments.
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The building is a tall two-story building, on a raised basement and with a high parapet with a pressed metal cornice. Its walls are of pressed red brick, and it has rusticated piers made of buff-colored brick. The Mesker Bros. Iron Co. of St. Louis provided the building's hollow section steel window sashes and its cast iron stairs, and it may also have provided the building's entrance canopy and the cornice.
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The first floor and basement are finished in granite, with retail storefronts. The second and third floors are identical, with sash windows set between stone sills and lintels, with projecting brick piers at the corners and ends of the section. A broad bracketed cornice tops the structure. The four-story section continues the same styling, the only notable difference being a second-floor loading bay facing Church Street, set under a projecting cornice.
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The Village Hobby Shop is a thoroughly brick building; its walls, its foundation, and its decorative elements are all brick masonry., Ohio Historical Society, 2007. Accessed 2013-02-21. Numerous architectural elements combine to make it a clear example of the Italianate style of architecture, including the massive arches over the large display windows, a small cornice over the entrance and windows, and the imitation arcade situated underneath the bracketed upper cornice.
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The entrance porch is flanked by pilasters and has a cornice and parapet with a tympanum. Below the roofline, a set of three sash windows are topped with slightly recessed arches which extend above the level of the cornice; the centre arch is higher. Above these is a pediment with a circular recess surrounded by four keystones. At the rear (facing Tackleway), some of the original red-brick wall remains, although it has been altered.
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Four timber clad panels divide the verandah into bays and a plain timber moulded cornice runs around the verandah. The cornice is supported by small timber console brackets to the two mid panels. The front verandah is lined with vertical tongue-and-groove boarding and post and rail framing is exposed to the verandah. The verandah has plain, vertical, timber slat balustrading and blank frieze panels with bottom rails supported by decorative end corbels.
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The corner portion of the Weinmann Block is three bays wide along the front section and five bays wide along the side. Vertical brick piers separate the bays. A bracketed, wooden cornice runs across the top; this was installed in 1982 to duplicates the original cornice removed in the 1950s. The windows are square-head, double-hung, sash units set in rounded-arch openings in front and segmental-arch openings in the side.
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A brick chimney with cornice banding rises through the roof on the western side of the building. The temple front comprises moulded square columns in an implied Doric order forming a timber floored entrance colonnade running across the front elevation. The columns support a plain entablature with a heavy moulded cornice. The projecting central entrance is flanked by twinned round and square columns supporting a plain entablature and crowned with a plain pediment.
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It boasts an ornate pressed metal cornice with a pediment reading "1868 REBUILT 1884". At the north end of this row is 425 River Street, a narrower 1892 five-story building showing later influences, with a corbeled brick cornice and molded pediment. The top floor windows are arched; a brick pilaster comes up from beneath to create a rounded arcade. A decorative brick course as well as molded string runs around the building.
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Each bay consists of a series of four Corinthian columns upon pedestals, arranged around a 3/4-circle plan. Decorative wrought-iron railings in curvilinear Art Nouveau designs span between each of the pedestals. Each series of columns supports a cornice with a festooned frieze and a parapet above, decorated with circular-wreath balusters. The cornice wraps around the two porches, connecting the two in a curved pediment motif above the central entrance.
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The center bays on the west and south facades contain projecting windowsills on the fourth through fourteenth floors. Above the 15th and 17th stories are stone cornices. The 16th story also used to have a cornice above it, but the cornice was replaced around 1940 with a fascia of sheet metal. The 16th floor contains panels depicting torches and shields in the spaces between each bay, while the 17th floor facade is unadorned.
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To the east the single rectangular bay is also on a projecting section. It has a rectangular picture window with decorative muntins along the sides. Above a molded cornice continues from the porch roofline to the east side of the projection. A similar, plainer cornice marks the bottom of the flaring on the second story, where the projection narrows to not much wider than the single one-over-one double-hung sash on that floor.
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The scene's chief figure is known from the Dresden Codex as god L, a deity of trade, shamanism, and warfare. The old, toothless man sits on a throne within a conventional depiction of a palace, with a pier behind him and what is likely a cornice above. The cornice is decorated with two jawless jaguars flanking the forward-facing face of a shark. Curtains have been furled to reveal the seated lord.
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Although some details of its decoration have changed throughout the centuries, "the victim of later, more elaborate and flamboyant tastes," the architectural plan and basic structure remain the same today. A notable later addition is the highly ornate carved wooden organ loft, the work of Sebastiano Moroni in 1735. The church is vaulted, and lighted by four windows above a large cornice. That cornice, in turn, is supported by twelve pilasters, six on a side.
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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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Unusually, this originally brought the congregation in at the sides of the altar, which was also at this end. From the projecting central front bay, the multi-staged tower rises, interrupted only by the bracketed cornice on the front roofline. It continues to a narrow frieze with cornice and modillions. All four sides have a window, a small roundel on the front and sides and a small rectangle on the rear, overlooking the roof.
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These include the carpeted retail and office areas, and the sheet-vinyl-floored mail rooms and staff facilities. There is modern tiling in the male bathroom. The ceilings of the ground floor are a combination of set plaster in the stairwell, plasterboard with a coved cornice in the lunchroom and plaster with a moulded cornice in the mail rooms, hall entry and retail area. Most of the painted ceilings have severe peeling.
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The chapel building, built a quarter-century later, is similar to the church, on a smaller scale. It is a one-story clapboard building on a stone block foundation with a shallow gabled roof and smaller belltower with tent roof. Its facade shows some Italianate influence such as an overhanging cornice with full entablature. The chapel's double-doored entrance is itself topped by a projecting cornice with scroll-sawn brackets and drop pendants.
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The E. Brown House is an historic house located at 7 Sutton Street, in Uxbridge, Massachusetts. It is a 2-1/2 story wood frame structure, five bays wide, with a side gable roof, central chimney, and clapboard siding. Despite its otherwise vernacular construction, it has fine quality Federal styling, with corner pilasters and cornice. The cornice and the door surround appear to be carved based on published drawings of Asher Benjamin.
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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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The pantry and rear entry porch have a boarded ceiling, the mail room and north western store room have plaster ceilings with a wide moulded cornice and the kitchen has a plasterboard ceiling. The residence stair hall retains a plaster ceiling with an ornate moulded cornice. The ground floor has suspended and attached fluorescent lighting and some ceiling fans. The architraves of the ground floor appear to be original or early with some modifications.
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Vertical division of the front facade emphasizes the extreme vanes, large windows on the first floor and two-tiered windows of the operating room. These windows are divided by four piers with high relief masks, which support the bank's logo sign. The facade is completed by a large overhanging cornice, above which there is a parapet with curbstones. Rustication of the first floor, cornice and arched entrance are elements borrowed from Classical architecture.
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Standard Printing Company, also known as the Hayward Grocery Company, is a historic commercial building located at Hannibal, Marion County, Missouri. It was built in 1879, and is a three-story, nine bay by ten bay, Italianate style brick structure. It features segmental arched windows, a lavish bracketed and modillioned cornice, and a storefront with intact cornice and iron pilasters. and Site map It was added to the National Register of Historic Places in 1986.
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Each clock face has a small pyramidal finial. The roof is clad in slate tile with galvanised iron ridge capping, and supported by a weighty bracketed timber cornice above tuckpointed salmon- coloured face brick walls. The east elevation, facing Franklin Street, is marked by a breakfront with a finialled pediment above it. The tympanum is vigorously ornamented in a floral pattern with a central circular vent and surmounted by a continuing line of cornice brackets.
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The cornice has gargoyle-like sculptures at each corner. The upper section has an arcade beneath, the clock. It is made of dressed, course ashlar and has a hipped roof.
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White marble was used in the lintels, the arches, the inscription plaques, and the cornice of the dome. The tomb is most known for its elaborate vegetal and zoomorphic carvings.
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The second story contains a shingled bandcourse, clapboard siding, and a bracketed cornice line. The gable ends above contain half-timbering, carved bargeboards, and small gable windows with stained glass.
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White marble was used in the lintels, the arches, the inscription plaques, and the cornice of the dome. The tomb is most known for its elaborate vegetal and zoomorphic carvings.
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Along the cornice appears a portrait of George Washington and the Latin quotation: senatoris est civitatis libertatem tueri ("It is a senator's duty to protect the liberty of the people").
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An ornate metal cornice lines the top of the building. A 1920s era sign made of metal and neon advertising the Lindell Chocolate Shoppe hangs in front of the building.
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Its cornice is bracketed only on the south side, the side visible from Maple Street. A one- story concrete block addition with gabled roof extends further west from that side.
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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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Wooden stairs are used with iron joists. Material: Bricks are used as the main building material. They are varied in size and shape. Brick tiles are used in the cornice.
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The gable ends have fishtail shingles, and the cornice is ornamented with carved brackets with finials. Carved crowns appear above both the windows and the ventilators in the gable ends.
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It is also notable for the round, porthole-like windows along the cornice. The center of the building features a lightwell, which was covered with a skylight in the 1980s.
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The library also includes a gable roof and a cornice with ornamental corbels and brackets. The library was added to the National Register of Historic Places on November 21, 1976.
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Both of its facades project slightly. It has a low-pitched gable roof and a modillioned cornice. There are two outbuildings. The rowhouses across the street are in three blocks.
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Special attention draw details of exterior design e.g. wide cornice with fragment made of majolica, solomonic columns with decorative towers, sculpture of griffins (guardians of gold mines in antique mythology).
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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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Architectural details include the oriel window, a replica of the original which was removed along with the balcony in 1912, a large quartzite arch, the corner door, and a crenelated cornice.
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At the top of the building, a cornice and a plain frieze crown the walls, while a finial and pagoda-shaped roof sit at the peak of the fifty-foot tower.
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It features large stone arched surrounds, double stone cornice, projecting entrance pavilion, and a brick parapet. Note: This includes It was added to the National Register of Historic Places in 1988.
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It features a cornice, hipped roof, and a widow's walk. The original front porch was removed in the 1920s. It was listed on the National Register of Historic Places in 1999.
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The roof's eaves have a boxed cornice and plain frieze. On the front is a flat-roofed porch supported by octagonal columns. The first floor has the original Federal style mantels.
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The first floor has a red brick exterior; a white water table separates it from the light brick upper floors. The courthouse's roof line features a copper entablature and projecting cornice. .
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A grand list of 18th-century revival classical architecture follows in its listing such as detailing its tympanum, entablature, pediment, quoins, rustication, string course by cornice and rounded window within intercolumniation.
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There are castings of shells that decorate the cornice on the upper levels as well as shell designs in the lobby floor and decorative grill at the front of the building.
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Egg-and- dart molding is located below the cornice, and a Palladian window is located in the south gable. A porte-cochere is located on the southwest corner of the house.
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The building featured a brick cornice along its roofline and parapet end walls on its sides. According to HABS documentation, the building's bricks measured 2 ¼ x 4 ¼ x 8 ½ in size.
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The cornice originally contained copper cresting, although that was removed after 1940. The roof has a gravel surface, and contains a skylight and some heating, ventilation, and air conditioning (HVAC) equipment.
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Summerson, 132, 125 Only a minor element of decoration in classical architecture, the prominent cavetto cornice is a common feature of the ancient architecture of Egypt and the Ancient Near East.
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A second cornice is situated above these doors, separated from the first by small extensions of the pilasters, and decorated by a pinnacle on either extreme, where a window is placed.
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The frames of the interior sections, the triumphal arch, the pulpit and cornice are painted to imitate granite. The nav and presbytery have wooden ceilings painted to simulate a vaulted ceiling.
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The facade is marked by ionic pillars that support the triangular tympanum on a cornice bearing an attic; furthermore, the chapel is crowned by a circular tambour and a hemispherical dome.
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The minaret is a rectangular shaft with a second receding story. On this, there is a dome similar to the one above the mihrab. The Minaret is embellished with muqarnas cornice.
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The two-story bell-tower (on the west) is separated by frieze, with the first register marked by a small square window and the second by arches over pilasters (housing the bells), topped by a white pyramidal roof. Its bells long since removed, the belfry includes arched windows in the cardinal points towards Angra, Monte Brasil, Santa Bárbara volcano and the civil parish of São Mateus. The principal facade is oriented toward the south, circled by a cornice and terminated by frontispiece topped by acroterion, and straight framed-portal surmounted by frieze and cornice line, superimposed by two pinnacles and two fins, framing a circular sundial. Over the portico is a rectangular framed window, interrupted by the frontispiece's cornice, and laterally by windows.
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O'Malley, pp. 104–105, 160–161 Above the cornice and to either side of the smaller scenes are an array of medallions, or round shields. They are framed by a total of 20 more figures, the so-called ignudi, which are not part of the architecture but sit on plinths, their feet planted convincingly on the fictive cornice. Pictorially, the ignudi appear to occupy a space between the narrative spaces and the space of the chapel itself.
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The William Fitzgerald Block stands in Burlingtons' Old North End neighborhood, at the northwest corner of North Champlain Street and Sherman Street. It faces North Champlain Street, a major north-bound thoroughfare through the neighborhood. It is a two-story wood frame structure, with a flat roof and clapboarded exterior. Its Italianate features include a projecting cornice decorated with elaborate paired brackets, a simpler bracketed cornice over the first-floor storefronts, and peaked sills above the second-story windows.
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The facade of this part of the building is plain with a simple cornice that forms a parapet to the flat roof over. Adjoining this area is Corones Hall. The Hall is set back from Galatea Street and is entered from a centrally positioned set of heavy wooden doors. The facade is rendered to the height of the adjoining ballroom roof and has piers supporting a dentilled cornice which rises over the entrance in a semicircular pediment.
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The grey and cream second-floor cornice is further embellished with dentils, rope molding, and acanthus leaf molding. The tan and dark brown eleventh-floor corniceline has green highlights, and breaks at terra cotta balconets beneath the twelfth-floor windows. The tan twelfth floor cornice is molded into the form of a series of arches and acanthus leaf brackets, topped with an acanthus leaf molding. A gabled single story entry foyer echoes the form of the twelfth floor gables.
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The Sunfield G. A. R. Hall is a rectangular, single story, front-gable, clapboarded building, with a false front topped by a pressed metal cornice. Atop the cornice is a plaque with the building's construction date, 1899, and the initials G. A. R. The building has a metal roof and fieldstone foundation. The front and side walls of the hall contain two-over-two windows in plain board frames. Two cannon sit in front of the building.
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Also projecting from the plinth at the four corners are free standing columns of red granite with Ionic order bases and capitals. These support a large cornice surmounted by marble urns at each corner with a simple curved pediment between. Above the cornice is a column of red granite with an Ionic capital of marble. This is surmounted by a marble digger statue, smaller than life-sized standing at ease with arms reversed and supported by a tree stump.
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A wooden pedimented entrance portico projects from the north (front) elevation, and two additions are located to the southwest. One is a small one-story cinder block connector to the other, a large L-shaped timber frame wing with about between it and the main block. Four round stone columns support the pediment, where a denticulated cornice frames an entablature faced in clapboard. Below the cornice are black letters spelling out "Holland Land Office Museum" on the plain frieze.
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East Hall is a modest three-story rectangular block brick structure, topped by a low-pitched roof and pierced by several brick chimneys. The main facade poses a slight projection capped by a triangular pediment. Similar to Ballou, the building possesses an array of Italianate elements such as arched window headings, dentiled cornice moldings, and thick brownstone keystones. During the 20th century, window sashes, frames, windowsills, and the cornice were painted white to enhance the aesthetic character.
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The ground floor of the Main wing consists of three living rooms and a later kitchen fitout to the rear room on the eastern side. Entry from the original front door leads directly into the main front room with no entry hall or vestibule. The eastern front room at ground floor retains its original timber cornice and ceiling rose. These features (the front door case, cornice and ceiling rose) all dating from 1832–33, are considered to be rare.
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The ranking cornices were surmounted by a painted sima (palmettes and golden lotus flowers). Thus was delimited a long space of 28.35 m and high (in its center) of 3.428 m or 3.47 m to a depth of 0.90 m. All the statues were installed on the horizontal cornice which exceeded in overhanging of 70 cm, placed either on a plinth or on a laying bed. To install the statue is G, the cornice had to be dug out.
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The cornice contains brackets, dentils, and a decorated frieze. There are belt courses of cast ornamental concrete over raised brick occurring at four levels: on the first floor under the window sills a wide band above the first floor windows; on the second floor as a continuous band window sill and just below the metal frieze of the cornice. This cast concrete is used throughout the exterior to imitate stone. There are several types of window treatment.
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The main house is a two-story, five-bay frame building on a raised fieldstone foundation. The gabled metallic roof has cornice returns and is pierced by four chimneys at the corners. The eastern (front) facade has a full-length flat-roofed veranda with cornice bracketry and scroll-sawn segmentally-arched knee braces. Small Palladian windows are located in the gable apexes on the north and south, with two quarter-round attic windows on either side.
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The White, Munger and Company Store is a historic building located in Winterset, Iowa, United States. Built in 1861 by Evan V. Evans who owned the property the building sits on, it is an early example of a vernacular limestone commercial building. with The two-story structure is composed of locally quarried ashlar and rubble stone. It features a false front that hides the gable roof, a parapet with a bracketed stone cornice and cornice return.
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Another cornice sets off the third stage, which has a four-part window topped by a small rosette-shaped window under an arch that becomes stone at the springline. The rosette becomes a semicircle on the sides, just above the gable apex. Above the third stage a frieze of rusticated stone blocks and another cornice sets off the fourth stage. On all sides here stone- topped arches, rising from foliate stonecarvings at the springline, open into the belfry.
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All have segmental arches; the central window of the center pavilion, and the windows on the flanking ones, are combined under one larger arch with their transoms divided by the brick. Above them is a wide plain wooden frieze topped by a dentilled cornice at the roofline. A pediment with doubled semicircular window and the same cornice treatment tops the middle three bays. Atop the other projecting sections are small solid wooden parapets with recessed panels alternating with fluting.
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The Great Hall on the third floor of the courthouse. Originally, the building was a three-story structure with a fourth story, or attic level, set back from the facade and partially hidden behind the cornice and balustrade. This main block of the building was U-shaped with an interior courtyard. The courtyard was ornamented with geometric patterns of red, white, and blue glazed brick walls and one hundred pink-tongued lion heads along the cornice.
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The cars could serve the needs of the hotels' guests, and it provided an automobile rental service as well as automobile sales. with It was a single-story brick structure that featured a tri-partite design. The central garage door was flanked by two display windows that showed off the new cars. The decorative elements were reserved to the top of the building, and included a broad brick paneled frieze, brick corbelled cornice, and a metal cornice.
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On the floor is a limited cornice, on which stand two cylindrical, monolithic landmarks, designated amount Padrão dos Povos, that celebrates the construction of the bridge. Between the fourth and fifth arches, instead of a talhamare, there is another semicircular pillar composed of two staggered bodies, both finished in cornice. Meanwhile, in the sixth talhamare is another pillar of the same size. The bridge flattop is covered in parallel slabs of granite, with lateral laneways in cement.
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The roof eave is adorned with modillion blocks. The main facade is three bays wide, with sash windows arranged around the center entrance. The ground floor windows are flanked by slender pilasters and have bracketed sills and a gabled and bracketed lintel; the second floor windows are more simply framed, with a projecting sill and projecting bracketed cornice. The entrance is sheltered by a portico with round-arch openings and a roof with modillioned cornice and balustrade.
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Flanley's Block is located on the west side of Main Street, near the northern end of the business district and just south of the town's major civic buildings. It is a three-story brick structure with Italianate styling, including a flat roof with an extended modillioned cornice. The main facade, facing east, has storefronts on the ground floor, with plate glass windows and recessed entrances. It retains significant Italianate features, including an extended cornice and smaller round-arch windows.
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The wraparound front porch is supported by Tuscan columns. The house's low hip roof features a plain frieze and cornice at the roof line and is topped by a lantern with a cornice and pediment. The house's interior features decorative Greek Revival woodwork, including carved door and window moldings, ornamental panels by the windows, and a fireplace mantel supported by pilasters. The house was added to the National Register of Historic Places on May 20, 1999.
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Boxley Building is a historic commercial building located at Roanoke, Virginia. It was built in 1922, and is an eight-story, granite and beige brick building. It consists of a granite base on the first story, a six-story brick shaft and an unusually fine top-story ornamented cornice with terra cotta panels and finely detailed copper cornice. It was built by William Wise Boxley (1861-1940), builder, developer, quarry owner, railroad contractor, and mayor of Roanoke.
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The assembly hall is the most elaborate room in the house, featuring a double-paneled wainscot and a molded chair rail. Additionally, the assembly hall is framed by a dentiled cornice that runs the perimeter of the room. The dining room and the parlor also contain similar, elaborate patterns with dentil cornice running the perimeter of the rooms and a Federal-style mantel ornamenting the fireplace. The doors and windows of the lower floor are framed by molded architraves.
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Above the arches is a continuous decorative label mould of floral motifs, with floral label stops. The cornice is made prominent by a row of dentils, and four sets of elaborate paired brackets. Above the cornice is an ornate parapet with a central triangular pediment containing three arched recesses echoing the window openings below. The rest of the parapet has a balustrade of small arched balusters, and at each end of the parapet is a pedestal supporting a vase.
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However, the double doors have been replaced by a single glass door with full-length windows on either side. The entrance is flanked by two large display windows, each with four window panes. On the second floor, there are two separate double-hung casement windows overlooking the street. The façade was originally capped with a wooden cornice that extends 20 inches out from the building's face, but it was eventually replaced by a molded stucco cornice.
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A star and zig-zag motif was used on the soffit of the arch, ball flowers on the cornice brackets and a zig-zag on the cornice. The original roof covering was slate, with a pattern of half round and diamond slates being employed at the ridge and above the eaves. The octagonal porte-cochère terminates in a bell-cote, whose detail is a miniature of the main trefoil arch and medallion motif. The bellcote was roofed with lead.
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Above them a cornice forms the base for fluted pilasters with Tower of the Winds capitals that divide the windows on the upper two stories. The second story windows are also sash, set in rectangular openings with sills and cornice caps on consoles topped with rosettes or oval patera. The middle bays of the wings are six-over-six in a slightly recessed arch with pedimented lintel on consoles. They have a small balcony with iron guardrails.
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Above the entrance extending out toward the street is a vertical marquee announcing the name of the hotel. The sign rises above the rounded cornice that tops the third floor above the hotel entrance. It is from the sidewalk in front of the entrance to the top of the cornice, making the hotel the tallest building in Redmond.McDonald, Jeff, “Redmond will get a preview of downtown at 100 feet tall”, The Bulletin, Bend Oregon, 2 June 2008.
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The central bay features a double doorway framed by brick pilaster strips and dentillated wood cornice. The main door is flanked by large two part windows with stone sills and headers. A large stone bearing the words "CITY HALL" separates the door from three rectilinear windows in the second story bay; these are flanked by small oval windows. The open bell tower shelters a bell and features a dentillated cornice and domed roof capped by a flagpole.
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These include the carpeted large front retail area, central mail room and offices and post box areas. Ceilings to this floor are plasterboard to the post boxes areas and retail area with a coved cornice. There is board and batten to the rear section of the retail area and plaster to the front entry with a wide moulded cornice. Extensive air conditioning ducting on the ground-floor and first-floor is suspended, with modern pendant and fluoro lights.
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The ground floor Australia Post retail area to the western end fronting Fitzroy Street has the standard Australia Post fitout of display wall panelling, laminated counters and carpet in the grey colour scheme. Ceilings to the ground floor are predominantly false without a cornice and set back from the outer wall fabric, or plasterboard with a coved cornice. Air conditioning vents and ducting are located throughout. Lighting consists of fluorescent tubes and large pendant lights to the verandahs.
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This entrance area is flanked by four partly fluted decorative pilasters, which incorporate neo-classical details and small Ionic capitals and is capped by a modest concrete cornice. The pattern of decorative pilasters extends upwards to the cornice and capped by ionic capitals. It does not extend to the top of the parapet. On either side of the main Sturt Street entrance more modest pilasters extend from the plinth level through to the parapet giving a uniform visual effect.
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The storefronts have been replaced since the original construction (although they still consist mainly of glass), and some of the upper-story windows have been filled in. The facade is topped by a pressed metal cornice with brackets designed to look like dentils. Although a sign inscribed with the building's name originally embellished the top of the structure, it has since been removed, along with other cornice embellishments. There is a basement entrance on the building's south side.
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Another example of this type of development is the former Ridgway Hotel (401 Michigan), which was constructed in 1863. Its boxy mass is relieved with the use of window hoods, an elaborate cornice, and oriel windows. The structures along the 800 block of Lincolnway (810-20 Lincolnway) and those of the 700 block of Lincolnway follow this same design—consistent cornice lines, sparse Italianate detailing with window hoods, and boxy massing. This was the norm throughout the 1870s.
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The building's design features limestone detailing, protruding bays, and a cornice and parapet at the roof line. The building was added to the National Register of Historic Places on March 15, 1984.
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It features a cast iron and glass enclosed entrance porch. Much of the cornice and all four front columns collapsed in the San Francisco earthquake of 1906, but were replaced soon thereafter.
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Windows are topped by granite lintels, and the cornice has a line of brick dentil work. The building was listed on the National Register of Historic Places in 1982, misspelled as "Waitt".
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The decoration of NVCC vessels is quite distinctive. The most common forms are beakers; both cornice-rimmed and bag- beakers.Monaghan, G. 1997.Roman Pottery from York (Archaeology of York Series 16/8).
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It features a symmetrical facade, side gable roof, limestone lintels and window sills, and cornice returns on the front. The house was listed on the National Register of Historic Places in 1975.
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The second floor window sills are integral with the belt. Windows on the ninth floor have surrounds of limestone with arches above them. The south elevation has a continuous cornice of limestone.
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It sits on a rubble stone basement and features pilasters, brownstone keystones, and a pressed metal cornice. Note: This includes It was listed on the National Register of Historic Places in 1985.
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Rupersburg, Nicole. Source: Helen Stojic, Director of Blue Cross Blue Shield Michigan. "Blue Cross Blue Shield in talks to purchase Detroit Cornice and Slate Building." (Archive) Model D. Tuesday July 16, 2013.
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At the roofline is a lightly dentilled cornice with broad overhanging eaves. The roof itself is flat. Inside, the ground level consists of storefronts and offices. The upstairs level is a residence.
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Under the portico are two vertically elongated sash windows, and a front entrance framed by pilasters decorated with carved acanthus leaves. A dentiled cornice runs across the main portion of the house.
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Its buildings are flat-roofed and have wood- trimmed windows. Connected to it at its south end is the 18-bay south block, with gabled roofs, seven chimneys and a corbeled cornice.
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He has seemingly created three orders out of the three defined rusticated levels, the whole being surmounted by an enormous Roman-style cornice which juts out over the street by 2.5 meters.
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The Paddington Zone substation is constructed using tuck pointed face brick work and features a bold rendered cornice below the parapet. External materials include face brick, cement render, and steel roller shutter.
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In the middle part of the roof there is a large dormer window. The windows, door frames, balconies, corbels, balusters, cornice, quatrefoils, and the relief of the camel are made of Istrian stone.
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A six-story brick building with a decorated and corbelled brick cornice and arched window openings still stands. Adjoining the east side of the mill on the corner sits a one-story warehouse.
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The rear of the house features a screened-in porch with a flat roof and a simple wooden cornice. A small terrace fits between the porch and the western wing of the house.
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The building is topped by a side-gable roof with a wooden cornice, with a louvered belfry topping the roof. The building was listed on the National Register of Historic Places in 1986.
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Twin Falls, Idaho: Sawtooth National Forest, United States Forest Service, 1998. Quiet Lake is northeast of Merriam Peak, upstream of Baker and Noisy Lakes, and downstream of Cornice, Emerald, Glacier, and Rock Lakes.
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Commercial storefronts ring the remainder of the base. The upper floors contain identical, six-over-six, double-hung windows with limestone sills. The building is topped with a brick and limestone cornice/parapet.
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A set of eight massive Tuscan columns support a wide projecting cornice at roof level. Two rows of multifoliate arches at the northern end provide access to the nabaratna temple at the rear.
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It features an arched entryway with terra cotta trim and pilasters, a terra cotta cornice, and brick parapet. Note: This includes It was added to the National Register of Historic Places in 1988.
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There is a simple cornice on each side of the arch, beneath its spring. A drawing of the 15th century shows small side arches. These pedestrian arches were demolished during the 15th century.
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The National Building is a historic warehouse building in downtown Seattle, Washington, located on the east side of Western Avenue between Spring and Madison Streets in what was historically Seattle's commission district. It is now home to the Seattle Weekly. It is a six-story plus basement brick building that covers the entire half-block. The dark red brick facade is simply decorated with piers capped with small Ionic capitals and a small cornice, which is a reproduction of the original cornice.
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Especially the indirect lighting in the choir area is very well done: hidden behind the cornice window the Trinity figures are illuminated effective from behind. The cornice itself seems to swing up and down on its curved construction. Main door panel The interior is divided vertically into three sections, which increase in brightness from the bottom upwards. The lowermost portion of the benches for the church visitors is kept relatively dark and in the design symbolizes the suffering of the world.
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Oxide jacking damaged the terra cotta cornice on the Land Title Building in Philadelphia, designed in 1897 and expanded in 1902 by pioneer skyscraper architect Daniel Burnham. The Land Title complex, with its two interconnected towers, is on the National Register of Historic Places. By 1922, experts on architectural terra cotta were warning that the rusting of embedded iron fasteners could cause decorative building components to fail. This 1902 cornice is nearly high, projects from the facade of the building and is long.
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The cornice was stabilized, steel anchors subject to rusting were replaced with new stainless steel anchors, and the cornice was completely renovated. The project was completed in 1991. Flooding in 2007 damaged the modernist Farnsworth House in Plano, Illinois, designed in 1945 by Ludwig Mies van der Rohe, and now owned by the National Trust for Historic Preservation. Among the damage discovered by an architect inspecting the house in 2007 was oxide jacking at the corners of the house's steel framework.
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The Grand Rapids Savings Bank Building is a 13-story steel frame commercial tower with a mix of Classical Revival and Beaux Arts styling. The exterior is clad with pale grey granite at the first floor and mezzanine levels, topped with a cornice, and buff colored brick on the upper stories. A large terra cotta cornice caps the building. The main elevation is five bay wide, with the three central bays containing a two-story recessed entrance framed by four Doric granite columns.
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At this time, the wainscoting was almost complete, one-third of the floor was laid, a three-manual organ had been purchased, and final preparations were beginning for the dedication ceremony scheduled or June 1903. The architect and contractors had not fully completed their contract by the dedication ceremony, however. On July 25, 1903 a piece of copper work in the alley side cornice had come loose. On July 28 the copper cornice was repaired and the building finally completed.
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The main block of the building is terminated by a continuous carved cornice. Above the cornice line is another floor set back from the face of the building.General Services Administration page on the Robert A. Grant Federal Building and U.S. Courthouse, South Bend, IN. The exterior walls are constructed with brick masonry faced with Indiana limestone and Vermont granite veneer, except for the third floor interior lightwells which have brick cladding. The primary elevations feature decorative elements of cast bronze.
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The Dunlap Square Building is a historic commercial block in Marinette, Wisconsin, United States, and is registered on the U.S. National Register of Historic Places. The building is a 2-story commercial block designed in Queen Anne style, with a granite foundation, walls of rustic red brick, a brick cornice on some walls, a pressed metal cornice on other walls. Some corners sport brick oriels - one topped with an onion dome. The floor plan is triangular, filling a block of the same shape.
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The Eddystone Hotel is a thirteen-story, rectangular, Renaissance Revival steel frame building, clad with brick, limestone, and terra cotta. The first and second stories are clad with limestone, and the upper floors are clad with yellow brick. A denticulated cornice separates the second and third floors, and another terra cotta beltcourse separates the eleventh and twelfth floors. Decorative terra cotta elements are used around the windows on the third, fourth, and twelfth floors, and a terra cotta cornice caps the building.
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At the roofline the cornice is machicolated between a corbeled string course. The two-story southwest tower has narrow windows with stone sills, flared brick lintels and a conical roof. The taller northwest tower has similar windows that get much shorter on the third and attic stories, topped by a crenelated parapet and machicolated cornice. On the north and south facades of the drill shed, brick pilasters separate the windows, given a similar treatment to those on the first story.
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The base is articulated by a screen of giant order trachyte columns. Flanking both sides of this screen are bays of smooth rusticated stonework which extends vertically to level seven. The shaft springs from the level two cornice and terminates at the metal cornice between Level 6 and 7. The shaft's plain appearance is modulated by the presence of a string course at the Level 2 ceiling height and flanking the east and west bays of smooth faced rusticated stonework.
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The first floor windows, two-sash and divided vertically with the fanlight transom, are enhanced by the brickwork to give the appearance of including mezzanine windows. The second-story windows are single-light sash with flat radiating bricks above. Atop the second-story windows is a narrow frieze with square vents topped by a decorated boxed cornice capped by a high plain cornice. The rear of the building includes an enclosed elevator, added later, and a second-story, iron-railed walkway.
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The next four floors are of a very simple design, consisting of four rows of unadorned rectangular windows surmounted by a plain cornice. The final two floors consist of two more rows of windows, spaced by a series of six Ionic columns rising to an entablature and, at the top of the building, a heavy stone cornice. The structure as a whole has been characterized as "a fine, stately office building demonstrating Freeman's infinite versatility."Morrone and Iska, p. 141.
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A flat semicircular roof covers the main entrance portico on Franklin. Its wide overhanging eave, with another red cornice at the roofline, is supported by several dual steel flat-plate brackets extending to the ground. The entrance doors are aluminum and glass, set in a wall of square glass panels. The rear entrance is a smaller portico faced in rusticated stone with a red cornice, flat roof, and single door in a similar glass treatment with light fixtures flanking its upper corners.
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Harvester House, Peter Street, Manchester; warehouse, by Clegg & Knowles, c. 1868A warehouse in the style of an Italian palazzo, it is in sandstone on a vermiculated plinth, with a rusticated ground floor and a cornice, rusticated quoins, a frieze, a modillioned cornice, and a balustraded parapet. The building has a square plan, five storeys and a basement, and fronts of eight bays. In the ground floor are a round-headed doorway, round-headed windows with stepped voussoirs, and an inserted garage door.
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Above the roofline, marked by a molded cornice and denticulated cornice, is a steeply pitched hipped roof pierced by a gabled dormer window on the west (front) elevation. The front facade has a wooden porch on its north section and a projecting bay on its southern third. Broad Doric columns support the porch's shed roof and plain entablature. An offset pedimented gable surmounts the main steps, with laurel and garland in the tympanum, echoed between the two windows above and the dormer gable.
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The Commonwealth Government building, situated in Adelaide Street adjacent to Anzac Square, is a seven storeyed masonry building. It has a concrete encased steel frame with a polished granite base, sandstone cladding with banded rusticated coursing to second floor level, and upper levels of rendered brick imitating the stonework below. The top storey is visually separated by balconies across its openings and a large projecting cornice incorporating dentil blocks. Antifixae are regularly spaced along the upper surface of the cornice.
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It features a tin roof, wooden cornice with decorative ornaments, and molded brick below the cornice, windows, and on the tower. The alternately projecting bays also feature molded brick. The ribbed tin dome features eight facets, cartouche windows, and is topped with a spire. The corner building might be one that was advertised in the Evening Star from November 1880 to February 1881: The corner house, listed at 1756 M Street NW, was owned by William Warrington Evans from 1882 to 1901.
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The lowest is the octagonal plinth which was extended to the north in the 1960s when toilets were installed. The short second stage is circular; its upper boundary is defined by a cornice. The columns extend all the way up the third stage; at the top of this section, between each column, is a small window. An entablature and cornice rest on top of the column and marks the division with the uppermost stage, which has 11 pilasters directly above the columns.
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The upper band of the entablature is called the cornice, which is generally ornately decorated on its lower edge. The cornice retains the shape of the beams that would once have supported the wooden roof at each end of the building. At the front and rear of each temple, the entablature supports a triangular structure called the pediment. This triangular space framed by the cornices is the location of the most significant sculptural decoration on the exterior of the building.
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The Holland–Drew House is located at the southeast corner of Main and Holland Streets, northeast of Lewiston's central business district. It is a two-story brick structure, with a low-pitch hip roof that has a denticulated cornice. The front (west-facing) facade is three bays wide, with the center entrance sheltered by a portico supported by round columns in front and pilasters in back. The portico has a bracketed and dentillated cornice, details repeated on flanking single-story bay windows.
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All the bays save for the centrally located main entrance have 12-over-12 double-hung sash windows. At the roofline is an architrave of three narrow bands topped by a plain wide frieze below the projecting cornice. The lower tier of the cupola has clapboard siding with corner pilasters and a frieze and projecting molded cornice of its own. Atop that is a balustrade surrounding the top tier, where each face has two Doric pilasters flanking a louvered vent.
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The entry to each pedestrian footway was defined with a rusticated arch of sawn stone which combines both Classical and Egyptian vocabularies. The pylons supporting the arch are tapered towards the base of the arch from which they continue as attached pilasters with parallel sides. The arch springs from a cornice at the top of the tapered portion of the supporting pylons. Above the arch a cornice defines the base of a Doric frieze which continues around the tops of the attached pilasters.
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Below the central cornice section there remains indications of the lettering of the bank signage incompletely chiselled off. Over the cornice is a panelled parapet forming a low simple pediment centrally with a tapered flagpole fixed behind. Behind the street frontages the first floor of the building is set back from the northern boundary to gain natural light. The two-storeyed rear elevation to Ogden Street is plain and utilitarian without the decorative expression and composition of the front elevation.
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To soften the cornice line of the room, Boudin chose a blue silk taffeta with black and gold trim in a Baroque Revival design which he formed into a continuous valance hung just below the cornice molding. For the drapes in the room, Boudin chose straight panels of blue silk taffeta. He then replaced Parish's gold cloth on the table with a blue velvet covering with long gold fringe. The fabrics for the walls, valance, drapes, and tablecloth were all produced by Scalamandré.
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The former Bridgewater Town Hall is a two-story wood frame structure, three bays in width, with a hip roof and weatherboard siding. The main (west-facing) facade has a central entrance topped by a relatively large transom window, and framed by pilasters and an entablature with cornice. The entablature and cornice are repeated at smaller scale above the sash windows that fill the remaining bays. The building's corners are decorated with pilasters, and an entablature encircles the building below broad eaves.
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The Peoples National Bank Building is a narrow, nine-story Neoclassical commercial and office building. It has a two-story based clad with golden cream colored Mankato stone, above which is a gray brick upper portion with terra cotta trim. It is located at the corner of Michigan and Mechanic, and runs for three bays along Michigan and nine along Mechanic. An entablature with cornice runs above the eighth floor, and a broadly projecting metal cornice runs along the front and side roofline.
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I could see no way of turning it on the steep rock bluff on the west, but fortunately another possibility of tackling it still remained. On its east side was another great cornice, and running up the full forty feet of the step was a narrow crack between the cornice and the rock. Leaving Tenzing to belay me as best he could, I jammed my way into this crack, then kicking backwards with my crampons I sank their spikes deep into the frozen snow behind me and levered myself off the ground. Taking advantage of every little rock hold and all the force of knee, shoulder and arms I could muster, I literally cramponed backwards up the crack, with a fervent prayer that the cornice would remain attached to the rock.
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"Mailing Address Detroit Media Partnership 615 W. Lafayette Blvd. Detroit, MI 48226" The Metro Times was previously headquartered in the Detroit Cornice and Slate Company Building in Downtown."FAQs." Metrto Times. March 19, 2011.
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Corners are decorated with flower designs. The cornices are also seen with kudus carved with human faces inside. In the floor above the cornice, lion motifs are carved. A square supports the domed roof.
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The arches are made as an ornamental band; the same band passes between the arches and the cornice. The arcature is harmoniously proportionate to the dome and to the overall volume of the church.
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In: Archäologischer Anzeiger, vol. 2015/1, p. 112-119. For architrave, frieze and cornice are derived from a wider temple than the naiskos. Further they match perfectly to the construction drawing in the sekos.
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Robinson, pp. 16, 61. The salon has a deep cornice with foliage decoration, and foliage and scrolls ornament the ceiling. The Meissen corner fireplace in the salon is in marble and dates from 1880.
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A dentilled cornice runs around the perimeter above; on the west the name "Richmond" is carved just above it in the entablature. At the very top of the west facade is a stone cross.
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It has a carved, stone architrave wrapping around the building, beneath a brick frieze and denticulated cornice. With . Its interior includes a mural painted in 1984 by Rosemary Roth showing scenes from Delavan's history.
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The central seven bays form a recessed entrance behind six unfluted Ionic columns. Elsewhere the bays are divided by pilasters. The windows are sash windows. Along the top of the building is a cornice.
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The roof of the chancel is some lower than that of the nave. The tower has a pairs of semicircular-headed belfry windows on each face, a stone cornice and six sugar loaf pinnacles.
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There is a prominent projecting cornice at the fifth floor, with a double level mansard roof above. Flat areas of wall are in red brick, while all other details are in painted cement render.
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These ranges were added in the early 18th century. Each elevation is a symmetrical composition. Although differing in length, each facade is divided into three parts by giant pilasters reaching from plinth to parapet cornice.
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The three main panels and the cornice were returned in 1815 after Napoleon's final defeat, but the predella remained in France. A modern copy of the predella is now on show under the main panels.
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The top floor is set off from the lower floors by a band of corbelling, and is topped by a dentillated cornice. The building was listed on the National Register of Historic Places in 1979.
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Each bay of the cornice is divided by terra cotta decorated with Gothic shapes and medallions on panels of brick. See also: The building was listed on the National Register of Historic Places in 1980.
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The house consists of 5 buildings from different time periods and a courtyard enclosed within. The front house has a low ridged roof with a series of prominent dormer windows and a brick cornice below.
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Twin Falls, Idaho: Sawtooth National Forest, United States Forest Service, 1998. Noisy Lake is northeast of Merriam Peak, upstream of Baker Lake, and downstream of several other lakes including Cornice, Emerald, Glacier, and Rock Lakes.
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Carved floral swags are over the first floor windows, and there are turned details on the first and second story porches. The tower has squared shingles and cornice line brackets at the top floor level.
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The cornice features a plain molded architrave below a wide frieze into which are set small Adamesque oval windows. The building features the "formalism, sharp lines and studied elegance" that is found in Federalist architecture.
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The wing has a flat roof. A cornice, modillioned above the central main facade, marks the roofline. Above it is a parapet wall. The roof is surfaced in slate sections broken by banks of skylights.
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Two large brick piers run on each side of the building from the ceiling level of the first floor to the corniceline. At the top, a simple cornice and plain brick parapet cap the building.
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Corinthian column piers front the eleventh and twelfth stories, and the original building cornice is still in place. The original tenants of the first floor were the Detroit Savings Bank and the Detroit Trust Company.
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The Col. Young Block is the first building on the left in this 1880 photograph. Note the cornice that was later removed. The building was constructed by Colonel Joseph Young, a land speculator, in 1857.
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The brick building features extensive terra cotta detailing, including an elaborate cornice and stringcourse above and below the fourth floor. The building was added to the National Register of Historic Places on May 8, 2017.
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At the east end there is also a pedimented entrance on both sides, above which is a rectangular window with an architrave, a frieze, and a cornice. In the apse are three round-headed windows.
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It features a corner tower with a conical roof, a full height polygonal bay and gabled pavilions with short cornice returns. with The residence was listed on the National Register of Historic Places in 1983.
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The 1939 addition features Art Deco style pilaster capitals and cornice. The building ceased use as a school in 1983. Note: This includes It was added to the National Register of Historic Places in 1990.
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Inscribed on the cornice are the words "They counted not their lives dear unto themselves."Bucks Free Press, 16 May 1919. The school in 2008, before the addition of the sixth form block in 2013.
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An elaborate terra cotta surround frames the main entrance. Above the door is a plaque with "A.F.D., 1910" in raised lettering topped with a dentilled cornice. The pillars on the side have alternating raised bands.
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In 1887, Robert Kellerstrass, secretary of the Tin and Cornice Makers Association of Peoria, Illinois—a local sheet metal workers' union—began agitating for the formation of a national sheet metal workers' union. Contacting as many tinsmiths' locals as he could, Kellerstrass arranged for a founding convention to be held in January 1888. Eleven delegates from Illinois, Missouri, Nebraska, Ohio, and Tennessee met for four days. The union was founded on January 25, 1888 in Toledo, Ohio, as the Tin, Sheet Iron and Cornice Workers' International Association.
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Main facade facing east, of five panels, those at the extreme ends indented, at the level of the upper register. Its centre is marked, by panel stone, with three arched doors, surmounted by balcony topped by lintel, on large corbels, with wrought iron guard. Three doors open at the level of the balcony, each between Ionic columns with wreaths, supporting a cornice, limited by two figureheads with frieze decorated with phytomorphic elements. In turn, the friezes crown a cornice topped sculpted urns, limited by step pyramids.
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The building has a heavy cornice, feature panels of rough render and a base which is scribed to suggest large size stone blocks. The building has large sash windows with mottled glass panes with a panel of galvanised iron louvres to either side of each window. There are also ventilation panels in the base and below the cornice. A set of large timber doors is located on the north, which has been painted bright colours, and a section of the base has also been painted.
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The curvilinear frontispiece of the church, includes sculpted stone, crowned by a Latin cross surmounting an acroterion and small urns, over parallel plinths above the corners. This facade is broken by main portico, surmounted by friezes and flanked by rounded elements with three windows. The bell-tower has two registers, the first with portico surmounted by frieze and cornice, over a square window with decorative elements. The second register has two belfries with rounded openings and pillars, terminated by cornice, balustrades and acroterions on the corners.
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The second story of the pavilion has a wide molded sill beneath double-arched 1/1 windows with a projecting flat cornice on the facade and a segmentally arched 1/1 window on both the east and the west sides of the projection. The gable dormer above has a segmentally arched window The east elevation has a three-sided flat-roofed projection on the first story. The three sides are at 45-degree angles to one another. Each corner has two pairs of brackets beneath the cornice.
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The following ten floors, between the fourth and the thirteenth stories, consist of square-headed, copper-framed windows set back slightly between limestone piers. The fourteenth floor, another "transitional" story, sits atop a small cornice, and the windows are flanked by brackets supporting a much larger cornice. The fifteenth floor is designed as an attic with dormers. Heavy pediments atop the ends of both towers contain bee motifs evocative of the Barberini mercantile family, as well as large stone carvings of eagles and urns.
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The support-framing was seldom used, the combined framing was changed so that the frames were no longer laid one by the other, but one over the other, only a small part of the under one being visible on the two sides. The part of the frame above the window received a rich development; it was generally either a horizontal cornice or a gable cornice; where the windows were arched it also followed the curved line, with the result of an unlimited variety of artistic forms.
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Three rectangular windows topped by brick hoodmolds and keystones are in each of the west two bays, while two rectangular windows topped by brick hoodmolds without keystones are in each of the east four bays. Dentillated brickwork and an ornamental bracketed cornice top the structure; the original secondary cornice has been removed. The western facade, along Ann Arbor Street, contains a fire escape, more windows, and entrances on both stories. In the rear is a two-story wooden porch running along the length of the building.
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The main facade has modern storefronts on the ground floor, with a framing of granite pilasters and lintels. Windows on the upper floors have granite sills and lintels, and there are a series of brick stringcourses (part of the original building cornice) between the third and fourth floors. The current cornice has brick dentil relief and a projecting wooden overhang. The block was built in 1848 by Byron Greenough, who made his wealth in hatting and clothier, and ran his business here until 1856.
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The iron bridge has two decks, of differing heights and widths, between which develop a large diameter, central arch supporting these upper and lower decks. Both decks are moored to the riverbanks by means of masonry piers. Those in the upper deck, are rectangular with a trimmed cornice finish, consisting of two staggered registers separated by cornice and interlacing struts. The lower deck is based on large foundations supporting molded cornices and wedges linked together by a felled arch, and framed by interlacing beams.
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A molded cornice on the wall marks the plaster ceiling where modern fluorescent lights have replaced the original fixtures. There is also an original wooden cornice over the teller windows, which have been widened and surrounded with blue Formica. Above the door to the postmaster's office in the northeastern corner of the building is a mural, Waiting for the Mail, by Stephen Etnier. Its three panels depict the wing of an airplane, a man waiting against a fence, and the bow of a ship.
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The wings have single ground and first floor sash windows, with continuations of the ground floor plinth and first floor platbands, and their own modillion eaves cornice, and hipped roofs. Each side elevation has a three-bay return with windows on the ground and first floor, stone platbands, and eaves cornice. The northern return has an extra fourth window inserted at the eastern end. Nowadays, the main reception rooms are on the ground floor, in a series of enfilades, with the large saloon on the first floor.
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Its cross-gabled roof, shingled in asphalt, is trimmed with a plain molded cornice with plain frieze and ornate carved vergeboards in the gables, framing a pointed-arch window with hood molding on the more-visible southern and eastern faces. A brick chimney rises from the north end. A small wooden front entrance porch has a flat roof, bracketed cornice, piers with similar capitals and a cutout railing in between, and a plain frieze. The wing and west (rear) face have similar porches without the cutouts.
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The building is topped by a cornice made of corbelled arches and split by four vertical projections, exhibiting the Romanesque influence on the design. Zinc floral ornaments are located on the projections of the cornice and at various places on the bays. The building was built by farmer John Tretheway and originally housed a hardware store on its first floor and lodging on its upper floors. In 1925, the building became a hotel called the Hotel Argonaut; it remained a hotel until the 1970s.
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David J. McCutchion says that the lower structure of the pinnacled or ratna design is a rectangular box with a curved cornice. The roof follows the curvature of the cornice, and “is surmounted by one or more towers or pinnacles called ratna (jewel). The simplest form has a single central tower (eka-ratna), to which may be added four more at the corners (pancha-ratna)”. By increasing the towers or pinnacles to nine (nava-ratna}, thirteen, seventeen and twentyone up to a maximum of twentyfive.
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The principal facade, oriented to the west, include two-storeys separated by granite friese, mezzanine and tile, that encircles by staggered granite base and topped by cornice, overlaid with frieze and protruding eaves. The first register includes 17 guilhotine-style windows with arched lintel, framed in granite centered by principal door with granite arch. The second floor has 8 rectangular windows, dual-door and flag, that includes framing surmounted by frieze and cornice, protected by ironwork. Over the windows are smaller two-leaf windows, framed with granite.
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The Albert is a four-story building constructed of yellow brick with red brick dressings and stucco trim. It is three windows wide facing Victoria Street, and five window deep with a two-storey, three-window extension. The original canted ground floor frontage is central paneled with glazed doors and flanking windows framed by granite pilasters carrying fascia, cornice, and baluster with ball finials. The return features coupled pilasters with small pediments over the cornice than runs across the full extent of the ground floor.
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The property is three-storeys, built of yellow brick and has full height pilasters at each corner with a dentilled cornice. There are four sash windows at each floor on The Avenue elevation and three on the Rockstone Place elevation. The ground floor windows are round-headed with arched recessed heads, and shell tympana decoration. The main door is at the centre of the Rockstone Place elevation; the stone doorcase has a shallow moulded cornice hood on brackets and pilasters over a round-headed keyed door opening.
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The Bloomfield Academy is a two-story brick structure with a gable roof, granite trim, and a granite foundation. It is topped by a two- stage tower, whose first stage is a plain clapboarded square with a simple cornice, and whose second stage has arched louvered openings flanked by pilasters, with an entablature and cornice above. The main (east-facing) facade is three bays wide, with brick piers dividing them. There is a double- door entry in the center, sheltered by an extended hip-roofed hood.
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Its facets have narrow recessed segmental arches with narrower versions of the four-over-eight windows divided by pilasters of alternating brick and terra cotta ending with a molded cornice of the latter at the arch springline. Around the base is another terra cotta feature, a water table. A wooden cornice with small wooden brackets marks the roofline, similar to the other towers and side elevations. A continuous terra cotta course forms the sill of the three second-story windows, all recessed double four-over-eight sash.
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The building's design features limestone banding, arched entrances, wood mullions on the windows, and a hipped roof with a bracketed cornice. The building was added to the National Register of Historic Places on March 15, 1984.
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All other roofs are flat. Narrow stone coping runs around the entire building at the roofline. A four- bay rear projection contains the loading dock, with wood fascia and cornice. The central pavilion has angled corners.
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Open sky is depicted above and around the cornice a circumferential horizon of activity. Originally, the room was pierced by a hole in the ceiling, now sealed, originally located near the trunk of the frescoed tree.
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The extension to the east is flat-roofed, and is terminated by a defined cornice. The majority of the wall surface contains windows that are either square or rectangular in shape. They contain metal casement windows.
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The building is divided horizontally, with rusticated sandstone forming the outer walls up through the second story, and yellow brick above. A broad cornice and wide panelled brick frieze, pierced with ventilation holes, tops the building.
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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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The ducal palace is an irregular rectangular layout, divided into two sectors by cornice. The interior Opsite a garden with well. The control tower stands between the castle and the parish church, with beccatell on top.
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The facade is decorated with Corinthian pilasters. A cornice above small corbels crowns the top of the station building. The station had renovated in 2014. The station building partly has lost the exterior decor after that.
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The front facade features a one-story pedimented porch with a dentil cornice and full entablature supported on Tuscan order columns. and Accompanying photo It was listed on the National Register of Historic Places in 1979.
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It features an arched entrance and decorative cornice above the second story. It was used as a telephone exchange until 1928. Note: This includes It was added to the National Register of Historic Places in 2002.
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A smaller two-over- two is set in the apex of both gables at the attic level. On the south, scrolled brackets against the clapboard section support a molded cornice similar to that on the porch.
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Immagine in Cornice, Italian for "picture in a frame", is a live concert film documenting the 2006 five-concert tour of Italy by the American alternative rock band Pearl Jam. It was released on September 25, 2007.
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Pointers in Person. April 22, 2003. Retrieved on October 24, 2009. The school building, noted for its intricate brick and stonework and copper cornice, was designed in the Beaux-Arts style by architect Frederick Foltz (1843-1916).
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The cornice of the flat roof is decorated with brick dentil moulding and modillions. The building was listed on the National Register of Historic Places in 1983, and included in the Murphy-Hill Historic District in 2007.
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These windows have stone lug sills. The standing seam metal roof is set off by a narrow cornice with diminutive returns. Original pews, window surrounds and decorative stencilling on the plaster walls are found in the interior.
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Finally, the façade terminates with a thin dentilled cornice and stringcourse. The palazzo interiors are of notable artistic value, decorated with artworks made between the 18th and 19th centuries by Giuseppe Castelli, Giuseppe Borsato, and Giambattista Canal.
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The carriage house is a two-story, three bay brick building. It has a hipped roof with cupola and a bracketed cornice. Note: This includes It was listed on the National Register of Historic Places in 1984.
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The sheriff's residence is a two-story red brick house with a low roof. The main entrance is sheltered by a portico and flanked by paired, four-over-four, sash windows. a brick cornice tops the building.
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The cupola, tower end and street facades of the building are intact. The eastern facade, which now contains the main entrance, incorporates classical detail. The date "1988" appears below the cornice. The building has been refurbished internally.
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Most industrial buildings are also two to four stories high and of the same masonry construction with many windows, some wood and some metal. Several industrial structures have brackets or decorative brickwork, reflections of Italianate cornice detail.
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The sunburst stencil painted motif over a second-floor fireplace mantle was also retained and installed in the re-erected house. Museum workers added dentil molding, copied from a house in Alburg, Vermont, to the structure's cornice.
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The former Bank of Australasia is single- storey load-bearing brick building. Internally, the remains of the strong room are identifiable and there are modern partitions. Some apparently original sections of cornice remain at the northern end.
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To the left of the hearse house is a former mortuary. This is also in sandstone, dates from the early 19th century, and, again, only the façade remains. It has a pediment with a cornice and acroteria.
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The brick building features extensive terra cotta ornamentation, including entrance and window surrounds, pilasters, and a molded cornice above the first floor. The building was added to the National Register of Historic Places on January 24, 2017.
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Classical pilasters support pediments. The same round-arch motif is repeated on two small copper-clad dormers. Double-hung, wood windows are found throughout the building. A parapet with balustrades tops the facade above a dentilled cornice.
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The Ronvijoypur Mosque has the largest dome in Bangladesh. It is of width supported by arches and pendentives. The corners have tapering circular turrets while the external cornice has a slight curve. The mosque's interior is plain.
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All living areas have been renovated in the last 20 years, with new plaster ceilings, cove cornice, plastered and painted walls and painted skirting boards. Living and bed rooms have timber floors, with permanent or occasional carpets.
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The three-storey, three-bay limestone front of the building is topped with a cornice and a baluster parapet. The rococo plaster of the staircase was added by William Stocking. There is extensive plasterwork throughout the house.
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The line of each pilaster is carried through to roof level by a projected section of cornice topped by a block in the parapet and a pedestal and ball above the parapet line. Each bay contains three window openings flanked by small pilasters with acanthus leaf capitals. A broad string course decorated with a row of rosettes separates the square-headed windows of the first floor from those on the upper level. These are arched and their keystones extend to a cornice embellished with brackets and a row of dentils.
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Mid-17th century façade with cornice The current façade was built in the mid-1650s by both Cigoli and Paolo Maruccelli. The latter added the ornate cornice and whimsical decorative urns on the roof. After the extinction of the Medici in 1743, the palace was handed over to the House of Lorraine and, later, to Pope Benedict XIV, who made it the seat of the Papal Government. In 1849, Pius IX moved here the Ministries of Finances and of the Public Debt, as well as the Papal Post Offices.
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The 2-1/2 story wood frame house was built in 1868, and is one of the only bracketed Italianate houses to survive in East Cambridge. It has a front-facing gable whose cornice includes dentil moulding and brackets, and whose fully pedimented gable end has a round-arch window in the tympanum area. The main roof cornice also has dentil moulding and paired brackets, and the front windows have slightly projecting lintel caps. The house was listed on the National Register of Historic Places on April 13, 1982.
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Zahner Headquarters in Kansas City. Zahner was founded in 1897 by Andrew Zahner as Eagle Cornice Works, serving the region with decorative cornice works and repair. In 1913, the company became A. Zahner Sheet Metal Company, and over the course of the century would produce metal-work from industrial kitchen tables to metal work on buildings. In 1989, Andrew Zahner's great-grandson, L. William Zahner III became company president, and is credited with transforming the company from a regional sheet-metal contractor into a national architectural metals and facades producer.
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The building's Clinch Avenue facade contains a row of Ionic pilasters which support an entablature adorned with triglyphs and metopes. The roof of the building is surrounded by an overhanging heavy metal cornice, which was part of the building's 1913 design, and was raised to its present position in 1928 when the thirteenth and fourteenth stories were added. The edges of the cornice were originally decorated with acroterions, but these were later removed. A sculptured frieze spans the building's Gay Street and Clinch Avenue facades between the eleventh and twelfth floors.
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The memorial was designed by Arthur Peck for no fee and Mitcham Tesselated Tile Co. won the tender to construct. The memorial is built in brick covered by faience work. The supporting angles are formed to represent the trunks of gum-trees, branching out into leaves and cones under the main cornice, and the roots are shown on a bold projection above the base. Above the main cornice is a cross of a deep golden colour, which stands out clearly from the green tone of the general mass of work.
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Scott House, also known as The Magnolia House, is a historic home located at Hampton, Virginia. It was built in 1889, and is a two-story, five-bay, stuccoed wood-frame Queen Anne style dwelling. It has a steeply pitched cross- gable roof and features cornice dentils, a bracketed cornice, elaborate gable ornamentation, an art glass transom over the raised panel double door, and 14 fluted Doric order columns that support a wrap-around porch. and Accompanying photo It was listed on the National Register of Historic Places in 1999.
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Classical detailing appears in the cornice and in the porch. The boxed cornice has brackets and a frieze decorated by dentils. A pediment with Classical Revival decoration on its tympanum and dentils on its frieze is located above the steps leading to the main entrance. Of particular note in the fenestration are the second story windows which have a triangular top above which the brickwork is in the configuration of a four-center ogee and a key-hole, and an oval stained glass window on the south wall of the first floor.
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A terracotta cornice resembling an arcade runs above the eighth story, while a smaller terracotta cornice runs above the ninth story. The decorations of the Corbin Building resemble those used on other nearby structures like the Potter Building and Temple Court Building. An identical fenestration pattern is used on the Broadway facade and on either of the outermost bays on John Street, collectively known as the end bays. These bays form the facades of the "end pavilions", the only parts of the building that are nine stories high.
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The McCanna–Hubbell Building, also known as the AG&E; Building, is a historic commercial building in downtown Albuquerque, New Mexico. Built in 1915, it is a two-story brick structure with a prominent cornice. From 1917 to the mid-1960s the building was the headquarters of the Albuquerque Gas & Electric Company, which later became the Public Service Company of New Mexico (PNM). During this period the piers and cornice of the building were decorated with hundreds of electric light bulbs, the sockets for which are still in place.
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The eaves cornice is decorated with mutules that span the length of the gable ends and combines with the roof cornice to make a pediment that encloses an elliptical window in the center. The window is of the "rising sun pattern" with glass panes radiating out through two rings. The entrance on the left of the facade has a paneled door, stated to be original, that is enclosed in a rectangular frame, supported by Ionic columns and framed by fluted moldings. The frames of the 6-over-6 windows project slightly from the clapboard exterior.
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The tower is tall, starting as a square structure, which rises to a cornice with shallow center gables on each cornice, and an octagonal cupola topped by a green onion dome, which is capped by an Orthodox cross. The tower is connected to the nave of the church by a gable-roofed narthex. The nave is rectangular, with a hip roof capped by a cupola similar to, but smaller than, that on the tower. Hip-roofed wings containing chapels extend north and south from the near the eastern end of the nave.
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The Johnson House is a historic house at 8 Ditson Place in Methuen, Massachusetts. It is a 2-1/2 story wood frame house, five bays wide, with a hip roof and end chimneys. The two bays to the right of the entrance have been replaced by a projecting bay window with Italianate paired brackets at its cornice, and the windows left of the entrance have a curved cornice from the same period. The main entrance portico is also an Italianate addition, with jigsawn entablature and an elaborate door surround with diamond-light sidelight windows.
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The Linden Flats was a three-story, brick building that was built on a stone foundation. The façade combined elements of the Victorian and Federal styles. The Federal style was found in the simple box structure, the unadorned windows, the stone columns and lintels over the doorways, and the symmetry of the building's composition. The Victorian elements were found in the building's decorative embellishments, which included the two window bays that rose and became part of the cornice, the two-toned brick pattern work and the bracketing, and the garland swags on the cornice.
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The Perpetual Trustee Company Building comprises one ground level, seven upper levels and a basement. With the exception of lightwells to the sides, covers the complete area of the site. The overall style of the building is Edwardian "Grand Manner" which is characterised in the building by Baroque inspired columns, mansard roof form embellished with dormer windows and dominant overhanging cornice supported on brackets. The base is bounded at the top by a large cornice at the level two window sill and at the bottom by courses of rusticated trachyte.
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The post office ceilings are varied. The ceilings of the ground-floor residence are predominantly board and batten with an ovolo cornice fluorescent tube lighting and a beaded board ceiling in the entry at the base of the stair. The retail area has a board and batten ceiling with exposed beams, braced corners and plain moulded cornice, as do the mail room, kitchens and toilets, but without braced corners. There is a lower section of suspended ceiling with ducted air conditioning behind the counter, in the office and post boxes area.
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The southern wing has a coloured glass door leading to a verandah, onto which open several glazed French doors to further bedrooms. The lounge also features a pressed metal ceiling with borders, roses and cornice, also a picture rail and tall timber cornice. Opening from here and other rooms onto the balcony are panelled and glazed French doors with tilting fanlights. The facade treatment here is face brickwork with flat brick arch lintels, simple pilasters continuing from ground level to the parapet, and double-hung windows with moulded plaster sills.
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"Streetscapes/Readers' Questions; Row House on W. 86th, Horse Auctioneers on E. 12th". New York Times (April 6, 2003) The twelve-story brick and stone building is noted for its elaborate balcony and window detail, and the "spectacular" design of its "extraordinary" ornate Art Nouveau cornice, which the AIA Guide to New York City called "a terra-cotta diadem."Horsley, Carter B. "The Cornwall" City Review p. 351 In 1991, the building's owner-occupants paid $600,000 to have the cornice and ornamented balconies replaced with terra cotta replicas of the originals.
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The main entrance is in the base of the projecting steeple, in the form of a Gothic arch with a stained-glass transom window above paneled wood double doors. The second level of the tower features a stained-glass lancet window and is topped by a cornice. Above the cornice, a hipped roof narrows the tower to an octagonal Carpenter Gothic cupola and belfry, topped by a conical roof terminating in a cross-shaped finial. The north and south faces of the building each display five parallel stained-glass lancet windows separated by brick buttresses.
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The bank wing is rectangular in plan and accommodates the banking chamber, accountant/clerks' office, strong room, manager's office and stationery room. Entered from the main entrance on Channon Street, the banking chamber is distinguished by a decorative pressed metal ceiling and cornice. Two flattened archways with prominent decorative keystones to the southwest mark the extent of the 1876 chamber beyond which is the accountant and clerks area also defined by a pressed metal ceiling and cornice matching that in the main banking chamber. A strong room stands to the southern corner of this space.
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Roman amphorae are located above the parapet, one at the location of each column. A second-floor "mirador" or "belvedere" projects upward above the first bay in a baroque manner. The volume is generally cubical in proportions, capped with an upwardly-curving cornice on each of its four sides, thus creating a groin-vault roof and ceiling. A small masonry pinnacle is located above the cornice at each of the four corners of the mirador and a circular oculus with stained glass panels occupies each of the four sides.
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Original Greek Revival style elements include the front gable entrance facade, crown molded returned cornice, porch detail, interior stair detail, door and window surrounds, and the parlor mantel. Italianate elements include the heavy bracketing of the exterior cornice and the tripartite window in the north gable end. The old rectory served St. Paul's Parish (Episcopal) through 1977, when it was sold as a private residence. Rehabilitated by its present owners, the rectory contains a significant amount of original fabric and is little changed from its mid-19th-century appearance.
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However, house eaves may also be called "cornices" if they are finished with decorative molding. In this sense, while most cornices are also eaves (in that they overhang the sides of the building), not all eaves are usually considered cornices – eaves are primarily functional and not necessarily decorative, and a cornice has a decorative aspect to it. The projecting cornice of a building may appear to be heavy and hence in danger of falling, particularly on commercial buildings, but often it may be very light, made of pressed metal.
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The north side of the building Kampmann's courthouse is designed in the Neoclassical under influence from Carl Petersen, who had generated renewed interest in Christian Frederiksen's architecture. It is a two-storey, rectangular building surrounding a courtyard with a sculpture of Justitia designed by Einar Utzon- Frank. The building is constructed in red brick while the plinth, a dominant cornice just below the roof and the framing around the windows is of Faxe limestone. The drain pipes and detailing on the cornice and at the windows are in copper.
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On the second floor, the two exterior bays contain double-hung windows similar to those on the ground floor. The middle bay, located slightly south of center, originally contained a window, but was converted into a doorway in the 1880s to provide access to the porch roof deck. A raking cornice and frieze with returns decorates the gable area, and a triangular attic vent is located just below the gable peak. Window and cornice detailing throughout the rest of the house is similar to that employed on the main facade.
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The cornice is a narrow jutting band of complex molding, which overhangs and protects the ornamented frieze, like the edge of an overhanging wooden-framed roof. It is decorated on the underside with projecting blocks, mutules, further suggesting the wooden nature of the prototype. At either end of the building the pediment rises from the cornice, framed by moulding of similar form. The pediment is decorated with figures that are in relief in the earlier examples, though almost free-standing by the time of the sculpture on the Parthenon.
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Brown's Warehouse is a two-storeyed brick building with a parapeted, corrugated iron gable roof and a rendered facade to Wharf Street. This symmetrical facade consists of a central, arched recessed entry and flight of steps with iron gates and an arched sash window to either side. The first floor has a central sash window with J.E. BROWN ESTAB 1857 in relief above, with twin arched sash windows to either side. Render mouldings include a cornice and brackets following the gable with finials to the centre and corners, and window surrounds with horizontal cornice banding.
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The prostyle portico is flanked by lower corner sections which have a centrally located arched sash window to the first floor and a paired timber door to the ground floor. A shallow skillion roof is concealed behind a parapet which surmounts a deep cornice. The rear section of the front wing, which contains the main Court room, has two-storeyed enclosed arcades on either side. The ground floor has arched openings, and the first floor has taller openings framed with pilasters supporting a deep cornice, infilled with metal framed window units and rendered masonry.
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All the windows on the first floor have round segmental arches, sandstone voussoirs and awnings. Above them a small continuous cornice sets off a plain frieze with the word "Bank" in relief above the door on the corner facade. Another, larger continuous cornice atop the frieze sets off the second story. Its windows are all trabeated single-pane double-hung sash with granite lintels and a broad plain surround; all except the center bays on the south are set in slight recesses that rise to an arched top on the third story.
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Three windows on the third floor, two above the bay window and one above the door side, each have a decorative stone arch above a single lintel. The stone cornice has large dentils; the same design is carried down the Eustis side of the building on a pressed metal cornice. The side is faced with stuccoed brick and divided into five bays by protruding pilasters. Each bay has a one-over-one sash window on each floor, with the final bay containing a door surrounded by a stone arch.
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The Main Street facades have retail office spaces on the ground floor, with a cornice line separating that floor from the upper floors. The roofline of the Mohawk Chambers features a projecting cornice facing Main Street, which extends a short distance along the secondary Wells Street facade. Both buildings were built by Thomas J. Gass, and originally housed commercial businesses on the first floor and residential apartments and rooming house space above. Gass was a noted local builder who also participated in the restoration of nearby Historic Deerfield.
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Casselton Commercial Historic District is a historic district in Casselton, North Dakota that was listed on the National Register of Historic Places in 1982. The listing included 16 contributing buildings which historically included a department store, a financial institution, a Masonic meeting hall and other businesses. and The Masonic Block, at 31 Sixth Avenue North was built in 1887 in two parts, the first being a part with four brick pilasters and a pressed metal cornice. The center of the cornice contains the words "MASONIC BLOCK", the date "1887" and a Masonic emblem.
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Loos was very adamant about the pure form of the cube above all and decoration is kept to a bare minimum. The walls are a stark white and the windows frames contain the least amount of structure. This, however, is balanced by the frieze and cornice that runs along the top of the building, and a replica of some portions of the Parthenon frieze positioned on the street side low enough for viewing. The frieze and cornice tie together the entire building while still contributing to the austere nature and seeming almost invisible.
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Randolph Columbus Barrett House is a historic home located at Doniphan, Ripley County, Missouri. It was built in 1881, and is a two-story, three bay, "T"-plan, frame dwelling with Classical Revival style design influences. It has a two-story front portico with rails at both levels, bracketed cornice and coupled posts, a semi-octagonal bay with bracketed cornice, and a two-story side gallery porch on the side of the rear wing. (includes 4 photographs from 1975) It was added to the National Register of Historic Places in 1976.
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On the ground floor, each section has a doorway, that corresponds to the three naves of the church. Framing the doorways are double lintels and cornices, with the doors flanked by large columns on pronounced pedestals. The capitals of the columns integrate into the cornice of the door, with the lateral columns topped by Ionic columns, while the central portico is topped by Corinthian columns. On the first lintel of each door is a rosette in relief, while above each capital is a bulky element that unites the cornice from the other levels.
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As a whole, the façade is a symmetrical composition with classically inspired detailing. Despite the volumetric effects of the projecting marquee, recessed theatre and shop entrances, and bracketed cornice, the image is predominantly two-dimensional. However, the use of decorative patterns in the brickwork, contrasting color and texture of materials, and architecture ornamentation contribute to a masterful composition. Horizontal emphasis is provided by simple, bold lintels about the store fronts, a belt course at the base of the third story windows, a projecting cornice, and caps which line the top of the parapet wall.
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Asymmetrical, the right part of the facade is surmounted by a pinnacle. The rectangular bell tower, on the left part of the church is divided into two levels (both limited by stonework) by the continuation of the cornice from along the facade. The taller lower leve has a window that illuminated the baptistery, while the upper register is decorated with cornice and topped by the archways of the belfry. The tower is surmounted by an octagonal cupola (with cornices and decorative elements) in four sections decorated with pinnacle.
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Sangallo had begun the design for the Palazzo Farnese in 1513; when Cardinal Alessandro Farnese became Pope Paul III in 1534, the design was expanded into its current size. According to Sir Banister Fletcher, it is "the most imposing Italian palace of the 16th Century."D. Cruikshank, ed, "Sir Banister Fletcher's A History of Architecture, 20th edition", New York:Princeton Architectural Press, 1996, page 873. In 1546, during the construction, Paul III became dissatisfied with the design for the cornice, and held a competition for a new cornice design.
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Brick foundation piers support the porch. The wood shingle roofs cover both the porch and building. The wood shingle roof on the main building is supported by a corbelled brick cornice. The gable ends have rakes with dentils.
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The whole is topped by a cornice with pinnacles. Unfortunately, the cloisters are not part of the visitable route, although as the headquarters of the Social Work School, it may be possible to visit during the academic period.
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A boxed cornice marks the roofline. The windows have brick lintels and thin stone sills. The main entrance has a wood surround with two plain pilasters. A limestone cornerstone with "Hawthorne" on it is in the southwest corner.
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Hale's design added decorative stone features to the concrete exterior, including balustrades on the porch and balcony and a cornice below the balcony. The house was added to the National Register of Historic Places on February 9, 2006.
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The 8 painted escutcheons on the cornice depict the arms of 5 of his 8 sons-in-law, each impaling Bampfield, and the 3 sons-in-law of his son and heir Sir Amias Bampfylde, each impaling Bampfield.
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The arch was crowned with an attic, which might have held a dedicatory inscription. The lower part of the attic was decorated with a frieze of acanthus leaves and the central part was crowned with a triangular cornice.
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The Delabole slate roofs have gable ends. The rood stair projection leads to the south wall. The tower and the south aisle are granite ashlar. The unbuttressed west tower is embattled and includes crocket pinnacles over the cornice.
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Rossiter designed the house and moved in in 1860, when it was completed. After his death in 1871 a new owner, Chalmers Dale, added the wings and upper cornice. There have not been any significant modifications since then.
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The upper section of two floors contains half-round engaged columns along the front facade, modified into pilasters on the sides. Across the top is a classic cornice with small pediments at each end of the front facade.
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Lehmann 1968, p.46. Platform A5 closes the north side of the Group A plaza. The platform has two levels upon a base and a cornice terminating the walls. The platform faces south towards the plaza and ballcourt.
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There are three pedimented dormers along the north and one on the west. The brick walls are covered with stucco; the cornice is also stucco. First floor windows have exterior paneled shutters and second story shutters are louvered.
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The limestone surround is topped with a keystone. Limestone is also used for the corner bases and courses at ground level and continuing the cornice line at that level. Similarly appointed but smaller doors flank the main entrance.
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The second stage also consists of a 12 arch arcade with each arch having an impost band and keystone and a top bracketed cornice. The final stage is recessed and contains the water tank with iron supporting brackets.
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The pedestal stands on four octagonal steps. It is square with four angular fluted pilasters. On each side are inscribed panels; the inscriptions are weathered and illegible. Above the panels is a cornice with egg and dart moulding.
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A new cornice and spire were required. The new roof was covered with black glazed tiles. New dormer windows were inserted but only in one row. The interior bases and capitals of the columns and arches were repaired.
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The exterior walls are covered with three layers of red brick, totaling thickness. The building has a decorative metal cornice that is high and has a overhang."National Register Properties in Oklahoma: Severs Hotel." Accessed February 9, 2017.
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The porches have fluted posts with entablature. A bracketed cornice is just below the roofline. It also features a single molding strip at the base of the frieze that was a popular detail in mid-19th century Davenport.
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The building's design features a brick exterior with decorative limestone, quoins around the front entrances, and a cornice below a recessed mansard roof. The building was added to the National Register of Historic Places on August 8, 2001.
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It features an expanse of multi-light steel windows, a metal cornice, and sawtooth monitors. It encompasses almost an entire city block and over of interior space. It served as a clothing factory for L. Greif & Bro., Inc.
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The facade is symmetrical, and five bays wide. The entrance is through a centrally placed door, flanked with paneled pilasters and topped with an entablature. The house is topped with a wide frieze and a cornice with returns.
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The structure is simply decorated except for the cornice moldings and accentuation of the arches in the main area. From the exterior, the building is rectangular with two wall niches and windows on the north, east, and south.
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A small Greek temple portico with two Ionic columns and two outer Ionic pillars; it is pedimented with a cornice and key pattern frieze. It was built in 1758 by Sir William Chambers. It is Grade II listed.
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The Frederick Youngman House was a historic home located in Kokomo, Indiana. It was built in 1876, and was a two-story, Italianate style brick dwelling. It featured a wide, bracketed wood cornice. Note: This includes and Accompanying photographs.
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A plaster cornice with decorative moulding is also visible inside. The pulpit, also with decorative mouldings, was installed in the early 19th century. Memorials include monuments in the graveyard commemorating Henry Booker (d. 1799) and his wife Sarah (d.
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It features a central projecting entrance pavilion, stone arched surrounds, and stone cornice and brick parapet. Note: This includes The school is named after Hamilton Disston. The building was added to the National Register of Historic Places in 1988.
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It is in plan. Its cornice and pediment are supported by decorative brackets. With It is unusual for a Classical Revival building to have been front-gabled, but that configuration can work well in a narrow lot as here.
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The final version extended further to the west and further to the north. It had two levels, each terminating in a cornice. On the north side a wide bench extends along the base of the wall.Lehmann 1968, p.48.
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In architecture, brattishing or brandishing is a decorative cresting which is found at the top of a cornice or screen, panel or parapet. The design often includes leaves or flowers, and the term is particularly associated with Tudor architecture.
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The two-story brick building features a metal cornice and two storefronts listed at different addressed. The first store front, at 124 Main Street is 3 bays wide and the second, at 122 Main Street, is 4 bays wide.
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The cornice of the tower and of the main house are both studded with brackets, as are the skirted roof lines above the building's projecting bays. The house was listed on the National Register of Historic Places in 1989.
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It included two wide traffic lanes, a center lane with streetcar tracks, and two wide sidewalks. A horizontal, decorative molding ran along the outer edge of the bridge. It projected outward by . Atop this cornice was a paneled parapet.
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The portico's cornice is modillioned with scrolled brackets, and has a band of dentil molding. When built, the house was on the outskirts of Hot Springs. The house was listed on the National Register of Historic Places in 1986.
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Later granite centre entrance. Very rich interior, with 4 Corinthian columns in hall with rich capitals, and pilasters. Ceiling in coffered panels with egg and dart mouldings, and richly ornamented centre and side panels; very rich frieze and cornice.
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Festoons are located between the columns and the second- and third-floor windows. A projecting cornice runs below the roofline. The building is capped with a flat roof. The interior features a variety of materials and extensive decorative detail.
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Brick Tuscan pilasters flank the doors. The windows are set in groupings of three double hung multi-light sash-type units, separated by wooden mullions. An iron cornice circles the building save for the center of the front facade.
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Panelled ceilings with splayed cornice an exposed concrete beams to ground floor. Painted plaster walls with rendered skirtings and timber picture rails. Fireplaces in face brick with painted timber mantel. It now houses the St John's College manager's residence.
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Above the fourth story "S KAYTON & CO." is inscribed on a corbelled name panel in the middle of a round-arched cornice. Many of the windows are set in arches themselves., New York City Landmarks Preservation Commission; May 13, 1980.
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Old Bittermann Building is a historic commercial building located in downtown Evansville, Indiana. It was built in 1885, and is a three-story, rectangular Italianate style brick building. It features a bracketed metal cornice. The building adjoins the Bitterman Building.
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The roof cornice exhibits shallow brick corbelling. The "best" rooms of the interior feature delicate Federal period wainscoting, and have mantelpieces supported by six engaged columns. The house was built c. 1815 by Captain Reuben Shapley, a ship's captain and merchant.
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Later Foursquares often had the same type of interiors as bungalows with open floor plans, many built-ins, and fireplaces. Many examples are trimmed with tiled roofs, cornice-line brackets, or other details drawn from Craftsman, Italian Renaissance, or Mission architecture.
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The interior dimensions are . Its present appearance dates from a reordering in 1877. Across the east end is a panelled timber gallery and a cornice with decorative moulding. There was originally a baptistery (no longer extant) on the south side.
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It features large stone arch surrounds on the first level, a projecting entrance pavilion, a double stone cornice, and brick parapet topped by stone coping. Note: This includes It was added to the National Register of Historic Places in 1988.
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It features large stone arch surrounds on the first level, a projecting entrance pavilion, a double stone cornice, and brick parapet topped by stone coping. Note: This includes The building was added to the National Register of Historic Places in 1988.
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A three-panel window decorates the area above the door. The door is a modern six-panel wood door. A simple cornice adorns the soffits on the north and south eaves. Simple pilasters are found at the main building's corners.
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The structure consists of two variable depth continuous girders. The visible spandrel braced arches are not primary structural members. There is a decorative cast-iron cornice and parapet, and towers and half turrets in red sandstone. The work cost £67,970.
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The remaining stories are composed of six pairs of windows, one on each level. The ground-level arcade and attic loggia do not stretch around to this annex. The top of the facade contains a parapet below the original cornice.
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The Willoughby pew, bearing its original brass name plate on the south wall of the chapel has been preserved and is noted for its large ornate canopy with panelled reredos and a moulded and carved cornice in the classical style.
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There are stone bands at the first and second sill levels and at the top is a stone cornice with a brick parapet. The roof is hipped. The authors of the Buildings of England series describe the house as being "imposing".
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The corners of the building are subtly chamfered in at the bottom and rise toward a flaring cornice at the top, echoing John Wellborn Root's design of the Monadnock Building in Chicago. The building has now been converted to loft apartments.
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The cornice has corbelled brickwork, and is topped in a few places by stone caps. The building is Siloam Springs' only significant example of Romanesque Revival architecture. The building was listed on the National Register of Historic Places in 1988.
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It features gable ends finished with tapered rake boards with decorative sawn ends, and a box cornice detailed with a simple flat, stepped, or corbeled form. and Accompanying photo It was listed on the National Register of Historic Places in 1989.
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Ornamentation on the building is minimal. At the roofline there is a simple cornice and returns. The windows have simple wooden sills and lintels. At the center of the first story, the main entrance is a double door with glass transom.
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The base slab, or pylon, of the tomb monument rests on a high plinth, separated by a cornice and concave mouldings. The pylon is high and wide, decorated with a frieze of winged angel heads (perhaps seraphim) and garlands and ribbons.
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A row of shrubs in front provides further shielding. All five bays of the second floor are set with lunette windows with simple tracery. They have plain molded surrounds. Above them is a shallow molded cornice and copper rain gutter.
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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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Its front doorway has a simple architrave divided in three parts. It has dentils detailing its cornice and fascia. There is a small second-story porch within the portico. The "Park Front" name derived from its location across from Paradise Park.
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The architecture also features a series of beautifully designed projecting corbels and a projecting cornice, and is decorated with geometric motifsm both inside and outside at the platform level. The main prayer hall rises two storeys and has a balcony.
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The remainder of the building has a brick exterior, though it includes terra cotta medallions and a cornice. Lindemann and Hoverson occupied the building until 1941. The building was added to the National Register of Historic Places on November 26, 2008.
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Above these is a deep cornice. The lower levels of the Saginaw Street façade appear to have been remodeled in an Art Modern style, inconsistent with the Kearsley Street façade. The addition of a rooftop deck is planned during renovation.
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The eastern end of the church features a number of single round arched openings glazed with stained glass panels. The repeated arch moulding is used as a cornice moulding on the octagonal chancel and raked on the two parapeted gables.
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The house's windows are tall and narrow with bracketed hoods. The hip roof atop the house features wide eaves and paired brackets along the cornice. The house was added to the National Register of Historic Places on August 19, 1993.
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The hall is at right angles to the church. The tower has angle buttresses, and pairs of louvred bell openings. At the top is a cornice carved with foliage and beasts, and a panelled and embattled parapet. The tower is high.
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Each of the rooms was ornamented with a handsome cornice. The Bath House was supplied with water from the Parramatta River by way of a forcing pump. The pump was sunk through rock 5 feet deep and lined in brickwork.
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It is topped by a gabled roof shingled in asphalt with a plain cornice. A small kitchen wing extends from the east. All the windows are flanked by louvered shutters. The main entrance is located within a small enclosed porch.
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The building was designed in the Chicago school. Typical of the style, the three-story building features steel framing. There are also Prairie School elements in the building with banded windows emphasizing the horizontal aspects. The cornice is likewise banded.
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The toothed cornice is decorated a saw-toothed trimming which runs along pilasters to the chancel gabel. The nave walls are similarly decorated with cornices and pilasters. The chancel windows resemble those of the apse but they have been extended downwards.
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The building had a hipped roof with gables over the central pavilions and pyramidal roofs over corner pavilions. The exterior windows were arched and a cornice ran across the top. The interior had rich Gothic detail with a tiled floor.
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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 structure consists of two variable depth continuous girders. The visible spandrel braced arches are not primary structural members. There is a decorative cast-iron cornice and parapet, and towers and half turrets in red sandstone. The work cost £67,970.
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What was originally the east side elevation has a cantilevered bay with a bracketed cornice on the first floor and a paired sash window on the second. The windows of the rear section are double-hung in simple wood frames.
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The cupola has five narrow, round- arch windows on each side. The two show fronts are five bays wide. The garden front on the south has a pedimented tetrastyle portico. The wall brackets on the cornice continue onto the portico.
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The building has distinct Colonial Revival architecture details such as the large front porch, dentil course along the cornice line, and a pediment over the front entrance. The chapter house also includes a suspended roof supported by four Roman doric columns.
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Its Neo-Classical and/or Colonial Revival features including a stamped metal cornice with block modillions, classical porticoes at the entrances, bay windows, and horizontal brick banding on the first floor which is asserted to create a quoin-like effect.
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The house is an L-shaped structure with simple detailing, including corner boards and a wide frieze below a boxed cornice. The front porch shows Queen Anne style detailing such as shingling on the gable, scalloped bargeboards, and decorative turned brackets.
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The floor above the doorway has a blind pointed first floor window. The roof is of slate behind embattled parapets. The wall connecting the folly to the house faces south- west and has an embattled parapet above a moulded cornice.
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Each house is separated from its neighbour by pilasters running the full height of the building to a cornice. The bottom part of each pilaster is rusticated. The entrance and windows have decorative mouldings to their archivolt and architraves respectively.
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It has a pressed metal cornice and a cast iron facade first floor produced by the George Mesker Ironworks. With . Photo of Jackson Fire Department building on site, from June 2014 The building appears to have been moved or destroyed.
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There are two decorative belt courses spanning the perimeter of the building. One belt course is just above the second floor level windows. It consists of a series of palmiform designs. The second belt course is at the cornice level.
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It features an arched entryway with terra cotta trim and pilasters, a terra cotta cornice, and brick parapet. Note: This includes The school is named for Francis Hopkinson. The building was added to the National Register of Historic Places in 1988.
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It features a projecting center entrance pavilion with arched openings, stone cornice, and balustraded parapet. Note: This includes The school was named for President Warren G. Harding. The building was added to the National Register of Historic Places in 1988.
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Detached five-bay three-storey over basement with attic storey former country house, built c.1750, no longer in use. Pitched slate roof with stone chimneystacks and cast-iron rainwater goods. Roughcast-rendered walls with limestone quoins and tooled limestone cornice.
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The porticos are covered with El Haouaria stones. Each portico has three arches carved from the same stone. A glazed tile cornice surrounds the upper walls of the patio. Twelve rooms of different dimensions surround the patio on three sides.
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The Chapel's cornice, running around the room below the lunettes at the springing of the window arches themselves, supported the structure's oblique beams, while the carrying beams were set into the wall above the cornice using putlog holes. This open structure supported catwalks and the movable working platform itself, whose likely stepped design followed the contour of the vault. Beneath was a false-ceiling that protected the Chapel. Though some sun light would have entered the work space between the ceiling and the scaffolding, artificial light would have been required for painting, candlelight possibly influencing the appearance of the vivid colours used.
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There is a small covered front porch on the wing section, supported by two square columns, sheltering the entry door which is symmetrically flanked by two windows. The house is clad with clapboard, now covered with vinyl siding. Greek Revival detailing includes the low-pitched roofs, cornice returns, symmetrical placement of the windows, and the wide band of divided trim along the cornice line of the upright. Outbuildings in the complex near the house include: an 1852 gable- roof wellhouse, a 1920 concrete block ash house, a 1920 garage, a 1942 hog cot, and a 1910 hog barn with a gambrel roof.
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The first floor of Paddington Post Office contains the mail sorting and contractors spaces, lunchroom and staff facilities. The flooring is mainly sheet vinyl, however some carpeting is present in the large southern mail room and there is tiling to the modern bathrooms. The first-floor ceilings are mainly mini-orb, painted cream, with large circular perforated vents and an ovolo mould cornice. This is excepting the plasterboard ceilings with a coved cornice to the modern bathrooms and hall, flush plaster to the main stairwell and the small areas of pressed metal to the two small eastern storerooms with narrow coved cornices.
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A cornice, composed of a modified Doric order entablature with guttae details sits atop the two-story pilasters and contains the incised letters "UNITED STATES OF AMERICA" on the west elevation. The third floor of the building sits back slightly from the west and north faces of the building, and are divided into twelve bays of fenestration with the same replacement aluminum triple casement sash with trisected transoms. A simplified cornice with abstract carvings top the elevation. Bronze letters reading "ROBERT A. GRANT FEDERAL BUILDING AND UNITED STATES COURTHOUSE" are attached to the limestone adjacent to each entrance.
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The William H. Welch House is located on the northeast side of Baltimore's Mount Vernon neighborhood, on the east side of St. Paul Street just south of its junction with East Eager Street. It is the right side of a pair of mirror-image three- story brick rowhouses, which share a cornice with the corner building immediately on their left. The main entrance is in the leftmost of three bays, framed by an elaborate surround that has paneled pilasters, a half-round transom, and a bracketed cornice. Windows are set in rectangular openings, with slightly corniced lintels.
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The main body of the church is constructed of ragstone with tufa inclusions and has clay-tiled roofs. The nave is flanked by aisles on the north and south sides and the chancel has chapels on both of these sides. On the north side, the aisle is 12th-century with a cornice and parapet, three buttresses and two large two-lighted quatrefoiled windows. The northern chapel is 15th-century with the cornice and parapet continued from the aisle and a three-lighted window. The south aisle was possibly built in the 12th century, but is mostly 14th-century with later modifications.
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The building features limestone with iron ornaments on its first two stories; a cornice with a terra cotta fretwork pattern at the top separates the second and third floors. The top of the building features a terra cotta frieze and a cornice with decorative patterns. The Coca-Cola Company operated out of the building from 1904 until 1928; the building was the company's second office outside of Atlanta. The building was the only Coca-Cola syrup manufacturing plant in the Midwest until 1915; it is now the only surviving Coca-Cola plant from before World War II outside of Atlanta.
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First, from the cornice to the ceiling, the Apostles' Creed is represented in fourteen scenes in the manner of the dial of a clock. At the lower part beneath the cornice is a painting of the Final Judgement and scenes of the Lives of the Saints. The authorship of the works is not clear, even though it remains attributed without a doubt to Florentine painters, among whom are mentioned as very probably the artists: Gherardo Starnina and Nicolás de Antonio. Deterioration caused by excessive humidity and some badly done restorations have damaged the paintings closest to the floor, in some cases irremediably.
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When a cornice collapses, it breaks in from the cornice to the top of the peak; even being on the snow on top of rock exposes the alpinist to hazard in this situation. The best practice in mountaineering is to stay far enough back from the edge Interview und Bilder zum Unglück so as not to be able to see the drop, as an approximate metric of exposure. In avalanche safety, cornices are a high avalanche danger as they often break and trigger larger avalanches that permeate several snow layers. Cornices are particularly vulnerable to collapse during periods of solar warming.
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Most of the storefronts have recessed entries and display windows, with a band of tall transom-like windows above. The facade sections are articulated on the upper levels by slightly projecting stone piers with colored terra cotta detailing, with additional terra cotta bands in between the second and third floors, and between the third floor and cornice. The cornice has rounded elements above the building entrance bays and the center storefront bay, with keystones and more colored terra cotta. Trinity Church The Trinity Methodist Episcopal Church, established in 1844 as the Union Street Methodist Church, was built on this site in 1869.
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The second through fourth floors are eight bays wide, with a cornice band separating the fourth and fifth floors. The outer bays in this section have paired sash windows set in openings with limestone quoins, while the central four bays are articulated by stone pilasters, and have three-part windows which are rounded on the fourth floor. The fifth floor has paired sash windows in each bay, and the building is crowned by an elaborate projecting cornice. Set to the left of the main building at a recess, and connected to it by bridges, is a more utilitarian three-story brick building.
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View from across the street The building's façade was constructed in the Baroque manner of the day, which Doxat wanted to apply in the entire German section of Belgrade and is a typical example of a residential-business urban house, common in the area of the Habsburg monarchy in the Danube region in the 18th century. The house has a cellar, ground floor and upper floor. Its original façade was divided by a simple horizontal cornice above the ground floor, by side pilasters on the corners and, probably, a profiled roof cornice. The portals were framed in profiled stone frames.
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Despite the application of siding, it retains a number of well-preserved Colonial Revival features, including pillared supports and turned balusters on its two-level porch, flanking projecting bays on both sides of the porch, and an extended cornice; modillions once found on the cornice have been removed. The two entrances are identical, with doors that have oval windows framed by sidelight windows. The house was built in 1913 for Henry Milesky, a resident elsewhere on Charles Street, and has historically been a rental property. Most of its documented occupants have been in working-class professions.
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A small, single-room, rectangular, gable-roofed annexe extends from the centre of the east verandah. Clad externally with weatherboards, the annexe has two casement windows to the north and east elevations and the ceiling and interior walls are lined with tongue-and-groove boarding with coved mouldings to the corners and cornice. The east verandah is enclosed and lined internally with tongue-and- groove boarding and coved mouldings to the corners and cornice. There is a bank of clerestorey louvres to the south of the annexe and three sets of clerestorey and six sets of half height louvres to the north.
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The base of the building is constructed of channelled, rusticated limestone, while the stories above are of a light-colored brick, with terra cotta ornaments. The rusticated ground floor is capped with a prominent cornice which forms a continuous line with a series of balustraded balconies below the pedimented windows. Arising directly from the segmental arches of these window pediments is the third level of windows, an unusual arrangement which serves to enhance the overall illusion of decreased height. Above this level is a second cornice with more balustraded balconies, from which the final level of double-height windows arises.
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The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by Joseph Rose, Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end. The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace.
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Murphys Grammar School is a historic school building in Murphys, California. Built in 1860, the school was the first public school in Murphys. The school was designed in a vernacular Greek Revival style, which was popular at the time of its construction; its design includes a cornice held up by square pilasters, a pedimented gable, and a cupola over the entrance with its own cornice and square pilasters. The school operated continuously from its opening until it closed in 1973; at the time of its closing, it was the longest continuously running school west of the Mississippi River.
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Rustication, carving and a balcony emphasize the central segmental- arch entrance. The first floor has square-headed windows with splayed keystones; cornice between first and second floors; stone balcony on monumental brackets in front of central window of second floor; round-arched second floor windows set within concave round-arched recesses with unusual foliate keystones; square-headed windows of third floor have keystones with smooth enframement and stylized sill corbels; stone band at impost level; modillioned roof cornice with handsome balustrades; two-story slate mansard roof pierced by segmental dormers above which are bulls-eye dormers.
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The floor plan of the U.S. Custom House is arranged around an impressive Greek Revival room known as the Marble Hall, one of the first such rooms in the country. This room is ornamented with Corinthian columns that depict the heads of the mythological god Mercury, guardian of boundaries, commerce, and roads, and the goddess Luna, whose crescent moon-shaped brow symbolizes the city's location at the crescent bend of the Mississippi River. The columns support a full classical entablature with an ornamented cornice and floral cresting. A deep cove above the cornice supports a sophisticated geometrically-composed skylight.
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Earle House is a house in Canehill, Arkansas on Highway 45 built in 1859 to house Dr. Fountain R. Earle, the president of Cane Hill College. The property was added to the National Register of Historic Places along with many other Canehill properties in November 1982. The house, set well back from the highway, is a single-story wood frame structure, with a side gable roof and a projecting gable-roof section on the front (western) facade. This projection has box columns supporting a delicate frieze and box cornice, with a raking cornice joining it to form a pediment.
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The distance from the apex of the dome to the base of the cellar is , making the whole pile fit within a perfect, invisible cube. However, the decorative cornice at Chiswick was derived from a contemporary source, that of James Gibbs's cornice at the Church of St Martin-in-the-Fields, London. On the portico leading to the Domed Hall is positioned a bust of the Roman Emperor Augustus. Augustus was regarded by many of the early 18th-century English aristocracy as the greatest of all the Roman Emperors (the early Georgian era was known as the Augustan Age).
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The windows of the lower story are smaller than those of the side walls and are deeply recessed, a visual indication of the thickness of the wall. The paired pilasters at each corner project boldly. Above the main cornice, which unites the towers with the portico and the outer walls, the details are boldly scaled, in order to read well from the street below and from a distance. The towers rise above the cornice from a square block plinth which is plain apart from large oculi, that on the south being filled by the clock, while that on the north is void.
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The first and second tiers (which were of equal width) are cubic in shape, with large, Georgian-style painted shutters covering a false window opening. The third stage is octagonal, with Palladian-shaped, closed, Georgian-style painted shutters covering false openings. At the bottom of the cupola, the guilloche-patterned cornice molding was repeated with the octagonal bell cupola surmounted by a lightning-rod spire with a large, copper ball finial. Further Georgian influence can be detected in the original design's twin chimneys, which featured cornice-like molding that matched the dentils elsewhere on the structure.
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The tomb is a cylindrical tower in the inside and a thirty-two right-angled triangular flanges or columns on the outside. Made of high-quality baked bricks assembled in a hazarbaf (decorative brickwork, literally meaning "thousand weaving") decorative pattern, the flanges ascend from the plinth until they meet the cornice that supports the canonical roof with corbelled groin arches. Between the upper end of the flanges and the small groin arches above them runs an inscription band paralleling the zigzag shape of the flanges. The cornice displays fine tile work alternating between unglazed and glazed terracotta in light blue.
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Interior looking east along the nave towards the choir The decoration of this area contrasts slightly with the rest of the church, being more sober and thus more in keeping with the Carthusian spirit. It was finished in the 18th century. Its ceiling is decorated with arched vaults and the transition between the walls and ceiling is via a dentellated cornice around the whole church (it was extended round the choir in the 18th century). Under this cornice is a frieze whose metopes alternate between a rose and a dove (the latter symbolising the Holy Spirit and thus the Carthusians).
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The James O'Connor-John Trybowski Three-Decker is a historic triple decker at 21 Canton Street in Worcester, Massachusetts. When the building was listed on the National Register of Historic Places in 1990, it was recognized for its well preserved Colonial Revival styling, including porches supported by heavy square columns, and decorative brackets on the cornice. It was built about 1914, and its first owner, James O'Connor, was a gasfitter, and its early tenants were Irish immigrants. Since its listing, the house's exterior has been resided, removing the cornice decorations and enclosing the porches (see photo).
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The main entrance is in the base of the tower, framed by pilasters and a cornice. A small trinity window is set above the entrance. The interior space, although now missing some of its religious trapping due to its deconsecration, retains a number distinctive 19th-century features, including stencilwork on the walls and cornice, an 1840s pipe organ, and kerosene light fixtures. with The church was built in 1836, and was probably based on plans supplied by John Henry Hopkins, the first bishop of the Episcopal Diocese of Vermont and an early proponent of the Gothic Revival style.
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These doorways are framed by stonework and double lintel, surmounted by cornice. On the ground floor, on the epistole side, is a door that connects it to the interior of the tower, with staircase to the choir. On each of the pillars in the first part of the nave are holy water fonts in the form of conche shells. On the opposite side, is a section with rounded archway over pillars to the baptistry, located at the base of the left bell tower, and covered in vaulted ceiling and decorated in corner stonework, topped by cornice and its walls in polychromatic azulejo tile.
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On the first floor two windows with slight lintels, shaped imposts and small corbels at the corners; a third one without shapes. These windows are leaning on a gothic small cornice which runs all over the façade and that protrudes over small corbels, having the shape of an octagonal overturned pyramid under the settings of the three windows above. The top floor is enlightened by a gallery with small windows and circular arches made with bricks. Except for these, the imposts and the small cornice realized with cut stone, all the other things are of uncertain work.
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There is modern tiling in the male and female bathrooms and cleaner's room. The ceilings to the ground floor comprise smooth plaster with a deep, moulded cornice, with exposed beams between columns and masonry walls of the retail area and mailroom. There is a square set plaster ceiling to the postal manager's office, a lower plasterboard ceiling to the windowless room south of the office with a simple coved cornice, and asbestos-cement sheet to the kitchenette area and rear staff facilities with simple timber strip cornices. Lighting throughout the ground floor is generally suspended fluorescent tubing from the modern Australia Post fitout.
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The building consists of three storeys over a high cellar and is four bays wide. The facade is rendered in a pale orange colour with white painted windows and decorative details, A cornice supported by corbels line the top of the building and a second cornice is located between the ground floor and first floor. A central, slightly recessed frieze with three festoons is located between the first and second floor. The green painted entrance door is located in the left-hand side of the building while an inclined hatch farthest to the right affords access to the basement.
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There is an indistinct stucco decoration on the vault and wall of the presbytery and the semicircular triumphal arch. The walls of the nave are divided by cornice pilasters with stucco decoration. There are stucco cut fields on the ceiling of the ship.
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This side features brick piers with stylized terra-cotta capitals, a decorative wrought-iron fire escape and a bracketed galvanized iron cornice. The Crosby Street side offers cast-iron columns supporting decorative lintels at ground level, with concrete block infill and metal doors.
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There are three apses with a cornice of false arches and mullioned windows. The three naves are divided by rectangular pilasters. The interior has early medieval frescoes discovered first in 1897. Over the next century, a restoration brought to light more frescoes.
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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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A subsidiary entrance is located nearby on the southern side; it features a wooden cornice with Neoclassical ornamental urns, which together separate the transom from the fanlight. The building's exceptional Neoclassical styling is reinforced by the interior, which includes carefully worked oak wood.
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It was designed by the Hartford firm of Zunner and Sellew. It has lost a number of its exterior architectural features, particularly around the equipment bay openings, which have been enlarged, and the roof, which used to have a more elaborate cornice.
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Breaker Mountain is a mountain located on the border of Alberta and British Columbia. It is part of the Waputik Range. It was named in 1917 by Arthur O. Wheeler for the resemblance of a cornice on its summit to a breaking wave.
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The stone building has stone slate roofs. The original two-storey block has attic rooms beneath the cornice. The interior includes rooms with oak panels, moulded plaster ceilings and stone fireplaces. The house includes nine bedrooms a gym and indoor swimming pool.
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A wooden, bracketed cornice supports the eaves. The front has a wide shed-roof porch, which wraps around to access a side entrance. The porch has a front gable decorated with fishscale shingles above the front steps. Smaller porches are on other elevations.
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Chapel corners are broken niches that culminates conches and pilasters frame. Pilasters carry peripheral cornice chapel. Above the niches in the corners are a motif stucco, crossed, laurel branches. The north nave and chapels are connected through high semicircular culminating in the arcade.
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It features a projecting stone entryway with Tudor arch, stone beltcourse and cornice, and a crenellated parapet. Note: This includes It was added to the National Register of Historic Places in 1988. The school's hierarchy structure is led with Principal Mrs. Susan Rozanski.
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The Robert Milne house stands two stories tall and is built with locally quarried limestone. It is generally Greek Revival in design. The main section is rectangular and has cut stone facades and a stone cornice. There are two interior brick chimneys.
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Its design includes a two- story porch with balustrades on each floor, tall windows with limestone lintels and keystones, and a cornice with ornamental brackets and moldings. The building was added to the National Register of Historic Places on January 21, 1988.
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The building was acquired in 1899 by John Delehanty, who owned a furniture store that had expanded to occupy the entire building. Except for some minor alterations to the cornice and parapet, the exterior of the building is unaltered from its initial construction.
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The house follows an asymmetrical plan and includes typical Italianate features such as its window and door treatments, the heavy cornice, and the double brackets under the eaves. with It was listed on the National Register of Historic Places on October 7, 1994.
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Inside, the two strings of vaulted rooms enfilade system. Outside windows arched with the profiled frames with tracery. Crowning cornice with lancet arches, a wall above them originally decorated with panels. The walls in the lowest level are rusticated, dismembered deep lancet arches.
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Significant works from structures by Sullivan, Root, Burnham, and many others are included in, often, large scale pieces. The most significant object is the only remaining portion, 22 feet, of the terra-cotta cornice from Louis Sullivan's Chicago Stock Exchange, demolished in 1965.
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Its fenestration is haphazard. Its facade exemplifies Beaux Arts architecture, yet it lacks the elaborate cornice it originally had. It was lost many years ago. Architect J.C. Calderon has redesigned the parapet in red brick with stone put down in alternating stripes.
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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 whole facade is finished by a crown cornice. The roofing is gambrel covered with tar. The towers: towers are flanking the façade and in the horizontal plan they are square. They are placed slightly forward from the face of the facility (risalit).
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The nave and chancel windows are round headed. Above these is a cornice and a solid red brick parapet, interrupted by ball-topped pilasters over each window on the south side. Externally on the east wall is a 17th-century slate armorial memorial.
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Egg-and-dart and denticular moldings are found on the house's main cornice. The columns on the main porch follow the Doric order. To the right of the porch is an irregularly shaped solar that has stained glass transom panels over tall windows.
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Where the arcade meets the facade, it forms a "narthex" or wide portico of five arches, stretching across the front of the church. The arcade has a decorative cornice and circular moulding on the spandrels echoes the occular window in the facade.
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In the frieze of the cornice are small rectangular windows in groups of three at the front. It is capped with a hipped roof and ornate iron cresting. The interior features to high wood parlor doors, eight fireplaces, and a three-story staircase.
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Round arch windows are found in the roof dormers below a pediment. Both the wall and the roof dormers have gable roofs that are flared at the eaves. The cornice is broad and it is decorated with large fan- shaped wooden brackets.
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The windows on the south or primary facade resemble arches supported by piers with a capital and base. The walls are topped by a plain frieze-like cornice. The steeple has three, incrementally smaller, tiers. Each section has a shingle covered hip roof.
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They were placed between the trusses of the protruding cornice. Beautiful frames of the windows have the gothic slenderness and are made of a stone. The unique organization of the temple relates to the Italian churches from the 15th and 16th centuries.
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Live performances of "Life Wasted" can be found on various official bootlegs, the Live at the Gorge 05/06 box set, and the live album Live at Lollapalooza 2007. A performance of the song is also included on the DVD Immagine in Cornice.
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Tusk tenon joints to the framing of the windows and doors. The main room has a coved ceiling lined with tongue-and-groove boarding with coved corner mouldings and cornice and exposed timber truss bases. There are winding mechanisms for the tilting fanlights.
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The projecting cornice was strongly articulated. The organ loft above the western narthex opened to the nave by a large triumphal arch. A similar arch on the sanctuary side framed the iconostasis which dominated the view of the interior.Budapest műemlékei I, ed.
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Its south wall contains a three-light window, and under the eaves is a cornice decorated with ball flowers. The porch has a pilastered doorway and two-light windows on each side. The south doorway into the church dates from the 14th century.
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The tympanum of the southern entrance contains relief of the Christ with presumably the donator. Above them, depictions of equestrians and women. The northern facade has a relief with lions. Numerous reliefs with animals and angels can also be found on the cornice.
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The front side of the building also includes a lintel above the doorway, moldings with decorative capitals around the entrance, and a cornice with the inscription "Sioux County Court House". The courthouse was listed on the National Register of Historic Places in 1990.
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The elegant white Georgian mansion was originally large and rectangular, three storeys over a basement. It was two rooms deep split by a large central hall. A shallow hipped roof was hidden behind a cornice. There was a blocking course that included chimneystacks.
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The topmost is the major cornice called chhajli. This is followed by shikhara which no longer exist. The Vimana had horizontal geometrical and figurative bands which rising to create the Mount Meru-like shikhara. The central spire had Urushringa, the miniature shrines.
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Chimneys are placed on both ends of the house, with a four-over-four pedimented dormer window in the middle. Much of the exterior is topped by a prominent cornice, and the entire property is framed by a large wrought iron fence.
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The house's new features included a new porch, a bay window with Classical columns, a dormer projecting from the front of the roof, and a frieze and cornice. The house was added to the National Register of Historic Places on November 5, 1992.
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A large, partly recessed storefront dominates the first floor. The second level features four heavily arched windows. A small gable with two small arched windows is centered on the cornice, lighting a low attic. "DEY BUILDING" and "1892" are carved on the gable.
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Above the oculus there has traditionally been a painted clock face, set at 11:07. The belfry above is octagonal and ornate. Tuscan columns frame panels that are alternately louvered and plain. These support a similar frieze and cornice as the one below.
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The cornice level is at the same level with the neighboring building at 314 Main Street as the Chapple and Young Block was designed to be compatible with the older building. It was listed on the National Register of Historic Places in 2002.
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Among these details were the pointed arched doorways, a cornice with extensive bracketing, and elaborately shaped dormer windows; the building's overall plan was an unexceptional rectangle. The identity of its designer is unknown.Owen, Lorrie K., ed. Dictionary of Ohio Historic Places. Vol. 2.
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The other windows in the building are similar. At each end of the building, the classroom wings project forward. Each contains two windows near the corners. The gable ends above are white-painted wood clapboard are with cornice returns and circular roof vents.
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The cornice was made of Caen stone and Philadelphia brick. The building had seventeen arched, stained glass windows with the tracery made of Caen stone. Located at the north-west corner of the church was a tower that measured forty-one feet.
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A projecting belt course separates the sixth and seventh floors, and the building is capped by a flat roof with a projecting cornice. The building was erected in 1914. It was designed by Hutchins & French of Boston,Bankers Magazine Nov. 1916: 450.
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A large cornice encircled the 27th floor and was removed during an earlier renovation. Limestone quoins accent three corners of the building which are capped with copper-clad ziggurats. The north and south sides have penthouse towers that extend to the 31st floor.
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On either side of the door are two original lamps and two windows with limestone sills and lintels. A wooden dentiled cornice runs around the roofline. Above it is a slate gabled roof. The side elevations have a pair of windows each.
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The southern nave is vaulted by Gothic rib vault with wedge-shaped ribs. Then it continues to bays corners onto cornice capitals, finished with prismatic console. Round keystones are plain and unadorned. On the southern nave there are original Gothic windows without tracery.
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The third story has the same nine-over-nine double-hung sash. Above it is a smaller cornice and parapet. In the middle of the roof is the dome, clad in stainless steel, with an oculus and gold leaf finial at the top.
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The design includes a verandah supported by Doric columns along the front facade, two projecting three-bay windows, brick quoins, and a dentillated cornice with a pediment. The building was added to the National Register of Historic Places on February 1, 2006.
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The Fayette County Courthouse in Fayetteville, Georgia was built in 1825. It was listed on the National Register of Historic Places in 1980. It is a brick building but was covered with gray stucco. It has a hipped roof with a bracketed cornice.
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An 1894 fire destroyed its western section and south and west walls; those were rebuilt under the plan of architect John M. Van Osdel while retaining the original facade. It originally had a cornice, which was lost by 2011 but restored by 2014.
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The arches have smooth finishes. Another cornice above a plain frieze serves as the arches' springline. From it in the center of the south story rise three smaller round-arched windows, triple-hung with the lower panes blind. Their surrounds have keystones.
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Its brick walls rest on a stone foundation and are covered with a tin roof., Ohio Historical Society, 2007. Accessed 2010-09-16. Among its most distinctive architectural elements are two spiral staircases, an ornate cornice with distinctive brackets, and a prominent entryway.
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Along the cornice line are large cast panels of foliate ornament. Above the center arch, in the copper downspout header boxes, the year "1892" is impressed. It also features high pitched roofs and steep dormers. Since its construction, the building has been remodeled.
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The house has a Colonial Revival design in keeping with the revivalist styles used in the development; its design features two stone-faced gables and a developed cornice. The house was added to the National Register of Historic Places on May 12, 2006.
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The main altarpiece depicts Saints and Souls in Purgatory by Francesco Manno. The cornice has depictions of earthly glory interspersed with skulls as a Memento mori.Comune of Ragusa, entry on church quoting Francesco Blancato, Stefano Blancato. I Monumenti del Tardo Barocco di Ragusa.
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The Pabst Theater has the names of 15 notable artists inscribed about the cornice of the drum-shaped auditorium: Ibsen, Wagner, Molière, Aristotle, Michelangelo, Dante, Aeschylus, Thespis, Homer, Raphael, Shakespeare, Garrick, Beethoven, Goethe, and renovator Bernard O. Gruenke of Conrad Schmitt Studios.
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The curved cornice, characteristic of Sultanate architecture, is an indigenous form derived from village huts. The mosque is between square.Naqi states that it is square, Alamgir writes square, and Banglapedia says, inclusive of the corner towers, square. It has a single hemispherical dome.
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While its terra cotta clad storefronts and metal cornice are typical of the former style, its use of decorative brickwork and stone is inspired by the latter. The building was added to the National Register of Historic Places on November 13, 1984.
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The minaret's shaft, which protruded out of the flat roof of one of the halls,ed. Houtsma, 1987, p. 236. consisted of five levels with a crowning top encircled with a veranda. A muqarnas-style cornice divided the veranda top from the shaft.
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It was originally an open verandah facing the south driveway, and has remnant external wall finishes. The room has two modern fixed glass windows, and a plasterboard ceiling with scotia cornice. The flooring is carpet over concrete. There is also a unisex toilet.
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In the 20th century, the house and property passed to other owners. One of them removed the box cornice and replaced Yankee gutters with standard gutters; the seam-metal roof was also shingled. The current owner put the shakes over the original clapboard.
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The fourth building was constructed in 1905, at the time Paterson transited from manufacturing carts and buggies to manufacturing automobiles. This building was a five-story structure clad with paving brick. It had a balanced window placement and a stepped brick cornice-line.
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The main facade includes a protruding, full height central gable, its pediment featuring an Adamesque lunette window, fishscale slates, and a heavy wood cornice. The school closed in 1989. See also: It was listed on the National Register of Historic Places in 1996.
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The attic story contains half- windows framed between the cornice brackets, while the windows on the first two stories are double-hung sash units with white stone lintels. A wide veranda supported by columns runs around the front and side of the house.
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On its south is a two-pane horizontal casement window with a plain stone sill. Above both second-story windows is a molded frieze. The roofline treatment is different. Topping the frieze on the south side is a dentilled cornice below a paneled metal parapet.
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It has a projecting cornice with a plain parapet. It was designed by Maurice Jayne and was built by the Krioke-Shafer Construction Co. The listing included two contributing buildings and a contributing structure. An old jail, from c.1900, and a vault, from c.
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A bakery occupied the building for several decades. The two-story brick structure features a corner cock tower, pilasters that divide the slightly inset bays, and a cornice of corbelled bricks. The building was listed on the National Register of Historic Places in 2004.
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LaSalle Hotel is a historic hotel building located at South Bend, St. Joseph County, Indiana. It was built in 1921, and is a nine-story, Commercial style brick building with terra cotta trim. It features a wide overhanging cornice. It originally housed 223 hotel rooms.
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The tower is tall. It has nine windows: six angle-headed and three lintelled. Four of the angle-headed windows are on the top storey facing the four cardinal directions. The tower is complete to the cornice but only part of the cap remains.
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The middle two windows on the top floor each have a small window located above. Across the top of the structure there is a plain cornice that is enhanced by modillion blocks. The building was listed on the National Register of Historic Places in 1984.
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Its lower stage is "extremely tall". The upper stage contains two-lancet bell openings. Above these is a cornice supported on a corbel table, and an octagonal broach spire. On the spire are two tiers of lucarnes and a finial with a wrought iron cross.
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This two-story brick Italianate style building was one of the new buildings constructed in 1874. It features evenly spaced arched windows with cast metal hoods, and a prominent metal cornice. The building was listed on the National Register of Historic Places in 1998.
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The lateral walls included doors with double archivolts over simple tympanum, although the northern facade also has a door with smooth archway. Circling the entire building is a squared-off cornice, consisting of undulating or flat diamond-shaped forms decorated with zoomorphic or geometric motifs.
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To the south of the courtyard are two-storey stone-built coachman's cottages from the 18th century with brick dressings and a brick eaves cornice. The house, the stables and the mounting block are Grade I listed buildings. The coachman's cottages are listed Grade II.
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It features a central projecting entrance pavilion of stone, brick pilasters, and stone cornice and brick parapet. Note: This includes It was named for Naval hero John Paul Jones (1747–1792). The building was added to the National Register of Historic Places in 1988.
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147-148 Alterations in 1770 and 1820 added small flood arches and a rebuilt parapet with a decorative dentil cornice. The bridge carried the main A698 road from Hawick to Berwick-upon-Tweed until 1983, when a modern bridge was completed immediately to the south.
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The building underwent renovations in the 1980s, which included the installation of a wooden replica cornice and an addition that filled in the angle of the building's original "L" shape. The building was added to the National Register of Historic Places on March 4, 1988.
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The building is a two-storey ashlar house. The slate roof is hipped and features several corniced chimneys. The façade has three bays, each with sash windows. The porch is positioned centrally and is of Doric order; its original triglyphs and cornice are missing.
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A dentillated cornice and a brick parapet encircle the building at its roof line. . Although the NRHP application did not list a particular style of architecture, another source claims that the building blends Neo-Classical and Second Renaissance Revival styles."Beckham County Courthouse." BlogOklahoma.us.
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Triangular projecting sculptured panels and niches that hold wrought iron deco railings interrupt a peculiar cornice treatment, and additional light and air for most of the apartments are provided by the encirclement of two dozen projecting bays. The building represents an exceptional double-U design.
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The eastern bay has a two-storey height faceted bay window. The loggia has round columns and cement extrados. The building is encircled with a deep cornice with scrolled brackets and dentils, surmounted by a parapet with circular motifs. The parapet supports five pediments.
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Sandstone segments form the arched entrance of the tunnel. The exit portal deck and cornice is stepped. Internally, the arched ceiling of the tunnel is lined with smooth-faced stone. From mid-height a coarsely dressed stone wall extends to the base of the tunnel.
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289 This face also has a stone string course and cornice. The wide central entrance is reached by a flight of steps; it has decorative stone inserts, a semi-circular brick arch above and a fanlight. The windows have undecorated stone lintels and sills.
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Each window features a segmentally arched header and a stone sill. The cornice is composed of patterned brickwork. The stone structure in the back is a rectangular vernacular structure that features a hipped roof. The double-hung windows are the dominant feature of the structure.
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The center entrance is flanked by pilasters and topped by a fanlight window and a cornice. The house is a comparatively ambitious and sophisticated Federal style house for a rural area. The house was listed on the National Register of Historic Places in 1982.
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At the cave entrance there is a raised cornice. Cave is divided into two parts. The main part is rather extensive with numerous karst formations, some looks like footprints. The other part is a narrow tunnel, which can be accessed only with special equipment.
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Two set-offs to east gable wall, remains of one C12 lancet and C17 attic window. North elevation with 12th-century string course at first floor, flat central buttress and remains of annulated engaged column to right. Three inserted casements and door. Dentil eaves cornice.
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In many ways, it rhythmically mirrors the Dharmaraja ratha. For example, the decoration and structure of cornice, kudus and the haras are similar. The shikhara of the Arjuna ratha, however, is octagonal. The walls of the ratha are carved into panels with fourteen sculptures.
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The carriage house is built with locally quarried limestone. The roof features a cupola with a weather vane, placed at the crossing of the two gables. The building is largely undecorated except for a wide bracketed cornice. The interior retains its rough cut roof trusses.
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The Genesee County Courthouse is a five-story, rectangular, Classical Revival, reinforced concrete-frame building. It is faced in Indiana limestone. The main facade is divided visually into three horizontal bands. The two-story base is finished in stone and capped with a classical cornice.
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The Palmer arms are represented in stained glass on the half-landing of the staircase. Nikolaus Pevsner called it the "best house in town". It has also been described as "a most interesting example of brickwork subordinated to a Palladian treatment of pilasters and cornice".
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Then comes an upper tier of windows with Ionic pilasters and at the top a cornice and a plain parapet. In the east wall is a Palladian window. The tower is in cast iron and has octagonal and square stages with a slim ogee-cap.
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The wing has a baroque pediment above its cornice. The faces of the stone voussoirs of the arches are projected outward. The facade is decorated with terra cotta grotesques. One figure in particular is Athena, the building's namesake, who is placed in the top arch.
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The Thompson House also has a dentilled and bracketed cornice. There are some other isolated outbuildings elsewhere, mostly modern, such as the visitors' center. A cement power station is at the creek mouth, with dams. Some small 20th century cottages are scattered in the orchards.
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The porches at the front and rear entrances have Victorian designs with post arches and brackets. The house's design includes tall round-headed windows and scrolled brackets along the cornice. The house was added to the National Register of Historic Places on July 28, 1983.
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The cornices are shallower. The west wing has an entrance with paneled reveal and transom light. A larger, later wing extends from the north, of brick in common bond with a gambrel roof and cornice echoing the main roof. It ends in a loading platform.
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The main entrance, on the west end, has sidelights and a transom surrounded by flat pilasters supporting the cornice above it. A single raised panel is above both front windows. All windows have louvered shutters. On the sides are two gabled one- story wings.
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The administrative building features Tudor inspired features such as a stone watertable and a brick parapet with a stone cornice and stone coping encircling the building. Note: This includes and Accompanying eight photographs It was listed on the National Register of Historic Places in 1995.
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The centrally located main entrance has a molded surround and Greek Revival cornice. There are windows next to it but not at the corners. A Palladian window, with two regular sash windows on either side, is above it. There is also a wheelchair ramp.
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The Henry Franks House is a two-story frame Greek Revival upright and wing house with clapboard siding. It has a wide, continuous band beneath the cornice and corner pilasters rising to meet it. Porches with square columns are constructed in a similar style.
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It is a four-story yellow brick Italianate block, running 177 feet long along Ottawa Avenue and 99 feet along Pearl Street. The building has Ionia sandstone belt courses and window surrounds. Masonry piers separate the windows. A galvanized iron cornice runs across the top.
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Terra cotta medallions top each pier, and scrolled shields on the piers mark the top of the first floor. The windows on each floor feature terra cotta sills and lintels. The building's original terra cotta cornice has been replaced by a white brick pediment.
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The second story has tall window openings flanked by sets of pilasters. Paired griffins face each other between the pilasters above the windows. An entablature rests upon the pilasters and encircles the entire building. On Commerce Ave, the entablature appears as an intermediate cornice.
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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 roof is gabled with returns; the projecting eaves are likewise bracketed. All sides have rounded stained-glass windows and corner pilasters. A later addition, on the rear, has a lower but similar roof and dentilled cornice. Two other additions are of similarly sympathetic styling.
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Original wood and leather doors are in place. Paneled wood wainscot covers the walls and a painted wood cornice tops the room. Three two-story arched windows are symmetrically placed on the north wall of the courtroom. The molded wood surrounds and mullions are original.
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The courthouse for this sparsely populated remote county is remarkable in its formality...These include the giant Doric columns with fillets and bases, a pediment forming a projecting portico, a modillioned cornice, and pedimented side dormers.” (p. 481) The courthouse still preserves its original appearance.
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Inside, the lobby has green marble baseboards, white marble wainscoting and a white marble stair with iron railing. The high plaster ceiling's molded cornice has dentils and modillions, with an eagle on each pilaster. Bronze mailboxes and oak woodwork round out the interior decoration.
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The house is a two-story Italianate residence built from brick and sandstone. The hip roof of the house features a cornice with cavetto moldings and Tudor arched brackets. The house was added to the National Register of Historic Places on February 11, 1982.
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It is a "boxy mass" designed in the mode of an Italian palazzo. The first two floors of the exterior facade are of rusticated limestone, with tan or gray brick above and a crowning story of foliate terra cotta capped by a copper cornice.
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Designed by John William Livock, the new station was constructed in a doric style with cornice moulding and pediment. A new road named "Station Road" was laid from Chandos Road to connect with Gawcott Road to allow passengers to reach the new booking office.
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St. Clair Shores: Somerset, 1999, 657. Built of brick with sandstone and iron elements,, Ohio History Connection, 2015. Accessed 2015-12-27. it includes features such as an ornate cornice, stone window trim, lug sills with brackets, and rare details such as crafted acorns.
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Worlaby Hospital Built for John, Lord Bellasis, the Governor of Hull. The front is of five bays and two storeys, divided by giant Doric pilasters. Flat projecting surrounds and strange hoods to the doors and to the ground-floor windows. Big fat studded cornice.
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On its exterior, the Chapel's base is emphasised by multiple horizontal moulded courses, from which rise gableted buttresses; the buttresses terminate at the cornice of the castellated parapet. The parapet conceals the flat, asphalt- covered concrete roof.Boreham in Blair et al. 2009, p. 22.
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The firehouse features a two-story portico in front and a Greek Revival cornice. . The firehouse was added to the National Register of Historic Places on May 3, 1974. It is now operated by the Nevada County Historical Society as a museum of local history.
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A dentilled cornice runs just below the roofline. The tower, and all but the east roofline, are crenelated at the top. Additionally machicolation supports the flared top of the tower. Diapered brick spells out "1881", the year of construction, in one of the entablatures.
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The one story structure is built in an English motif and served mostly as a waiting shelter. Doors and windows are made of wood with steel lintels. The tile roof has galvanized iron gutters and a brick chimney. The building features a wood cornice.
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The rear has cornice returns and a single double-hung sash window in the gable. A brick chimney rises from the south side of the roof. Inside, the vestibule is flanked by small rooms. In the nave, oak pews become curved toward the chancel.
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Architects Thielbar & Fugard designed the building to imitate an Italian Renaissance villa. The building's design includes a colonnade concealing its courtyard from the street, arched entrances, and a bracketed cornice. The building was added to the National Register of Historic Places on March 15, 1984.
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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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A projecting cornice runs below the roofline. Above the main entrance is a large round-arch window flanked by Ionic columns. A square stone tower with clock and four small parapets rises from the center of the building. Its original spire has been removed.
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The building's design includes a large central gable, enclosed porches supported by arches on the corner units, porches with shed roofs on the central units, and a bracketed wooden cornice. The building was added to the National Register of Historic Places on March 15, 1984.
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It has marble floors, wainscoting, door and window surrounds and pilasters but the walls themselves are plaster. The pilasters are topped with Roman Doric capitals that support a decorated frieze and dentilled cornice. In the metopes are painted vases and medallions. The ceilings are plain.
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The building's mansard roof includes several dormers and is surrounded by a dentillated cornice. Decorative stone elements such as moldings, belt courses, and quoins are used throughout the building. The courthouse was added to the National Register of Historic Places on August 20, 2004.
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It is a 2-1/2 story wood-framed structure, with a front-facing gable roof and clapboard siding. The building corners are pilastered, and it has a wide cornice. The front entry is flanked by sidelight windows and pilasters. The house was built c.
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The two-story building on a raised basement was built with dark brown brick. The roof is red tile, decorated with a brown terra cotta cornice. Large pilasters decorate the corners with terra cotta capitals and bases. The main entrance is on the west elevation.
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It features a bracketed cornice and corner pilasters. The house is capped with a low hipped roof. Built onto the back of the house is a single story addition with a gable roof that served as a kitchen. Beyond that is a smaller frame addition.
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The floors are concrete throughout. Portions of a timber scotia cornice survive in Room 1. There is no evidence of a skirting nor window or door architraves in any room. An early doublehung, six-pane window and its frame survive in situ in Room 1.
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St Peter's church (Spanish: Iglesia de San Pedro) is a Romanesque-style, Roman Catholic church located in Caracena, Spain. The 12th-century church is most notable for the carvings on the capitals on the columns of the atrium, and in pedestals on the cornice.
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The house has a low hipped roof with a wide overhang and a deep wooden cornice and features a full-width front porch and wide formal entranceways. (includes 12 photographs from 2007) It was listed on the National Register of Historic Places in 2008.
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Across the top of the building is an elaborate detailed cornice. The details on the western portion of the building are more restrained, which is in keeping with its later construction date. The building was listed on the National Register of Historic Places in 2014.
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The house at Dolenja Dobrava no. 2 is registered as cultural heritage. The building stands along the road from Gorneja Vas to Dolenja Dobrava. It is a two-story structure with a decorated facade, including quoined corners, carved window frames, and a gable cornice.
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The mansard roof is pierced by numerous gabled and pedimented dormers, the cornice is lined with dentil molding and studded with brackets, and the house corners have quoins designed to resemble stonework. The house was listed on the National Register of Historic Places in 1989.
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The transition from the rusticated masonry of the ground floor to the more delicately refined stonework of the third floor makes the building seem lighter and taller as the eye moves upward to the massive cornice that caps and clearly defines the building's outline. Michelozzo was influenced in his design of the palace by both classical Roman and Brunelleschian principles. During the Renaissance revival of classical culture, ancient Roman elements were often replicated in architecture, both built and imagined in paintings. In the Palazzo Medici Riccardi, the rusticated masonry and the cornice had precedents in Roman practice, yet in totality it looks distinctly Florentine, unlike any known Roman building.
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Dado meaning the middle section or main body of a pedestal The name was first used in English as an architectural term for the part of a pedestal between the base and the cornice. As with many other architectural terms, the word is Italian in origin. The dado in a pedestal is roughly cubical in shape, and the word in Italian means "dice" or "cube" (ultimately Latin datum, meaning "something given", hence also a die for casting lots). By extension, the dado becomes the lower part of a wall when the pedestal is treated as being continuous along the wall, with the cornice becoming the dado rail.
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Grazing deer before Chilston Park, Kent by Frederick Richard Lee, a 19th-century view of the house across the larger of the two lakes The modillioned cornice continues on the east façade, which is generally symmetrical about a central doorway apart a projecting bay on the north end. The south façade features gabled stone-built bays at each end with brick surrounds to the windows on each floor. The central section is built of brick in similar style to the east façade with the cornice repeated from the north and east sides. A brick conservatory with octagonal pyramidal roof projects south from the east end of the façade.
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The reason for this alignment of the false plate allows for kick rafters, common to late 17th and early 18th century buildings, and for a boxed cornice, the latter quite unusual for country dwellings in the Chesapeake at this date. This is the earliest recorded tilted false plate in the mid-Atlantic states that includes a boxed cornice. The carpenter then covered the roof with weatherboards to act as sheathing for wooden shingles that were pegged (instead of nailed) in place. Dormers which survived until recently date to the late 18th century, reportedly replacing wider ones thought to have been part of the original construction.
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Numerous holes for scaffolding are visible in the masonry, and in the hole in the western part of the southern wall there is even a piece of wood that the builders could not remove and just saw it off. For the construction of the church powerful substructions were required. The facade decor of the church is very modest: there is a cornice made of stone tiles, plinthite stones on the drum and stone cornice above some the windows. Outside the church was covered with a thin layer of plastering (can be seen in the voids between some stone tiles), and inside it was plastered and decorated with ornaments.
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The main entrance, on the opposite south wing, is through a vestibule where the exterior Ionic order is carried inside, now suitably enriched, under an emphatic cornice that divides the height 2:3. The vestibule is separated, by a tripartite screen with an arched central opening flanked above the cornice by bull's-eye openings in which baroque vases stand, from a grand Stair Hall. The Stair Hall projects from the south block to accommodate a grand staircase that sweeps forward through a heart-shaped opening into the floor space. This divides at a landing to return in matched recurving flights to the upper floor.
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The Washington County Courthouse is located at the corner of Cooper and Court Streets in the center of Machias, between the Washington County Jail (to which it is now attached by a modern ell) and the local post office. It is a 2-1/2 story brick building, with a gabled roof and granite foundation. The roof is topped by a square tower whose second stage is an open belfry with round-arch openings and pilastered corners, with a bracketed cornice above. The front-facing gable is fully pedimented, with modillioned and dentillated eaves and cornice, and a round window at the center of the triangular pediment.
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Inside are rooms of square, square and by by . The distance from the apex of the dome to the base of the cellar is , making the whole pile fit within a perfect, invisible cube. However, the decorative cornice at Chiswick was derived from a contemporary source, that of James Gibbs's cornice at the Church of St Martin- in-the-Fields, London. On the portico leading to the Domed Hall is positioned a bust of the Roman Emperor Augustus. Augustus was regarded by many of the early 18th-century English aristocracy as the greatest of all the Roman Emperors (the early Georgian era was known as the Augustan Age).
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The house seen today is a late 18 century Georgian style construction built on a rectangular plan with a service wing running of to rear facing east forming a right angle to the body of the house. The main body of the house is built over three storeys with the front facade facing to the south. The south elevation has five bays with the centre three bays forward of the building line with stone quoins which match the same featured at the corners of the building. This facade is topped with a brick parapet set above a stone cornice with corbel or Modillion underneath supporting the cornice.
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New architectural aesthetics arrived in Estonia through Finland in the mid-1960s and Valve Pormeister is considered to be the one who introduced it. The horizontal wooden cornice, mostly strained dark was used to conceal wooden trusses as well as for purely aesthetic purposes and forms the main characteristic of this style. Although built very close to the Flower Pavilion temporally and physically, these two are expressions of two different stages of post-war Nordic modernism joined together on the principle of contrast. From Pirita Road, only two horizontal stripes are visible: the concrete handrail of the terrace and the wide cornice of the building.
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The Peck Block is a three-story brick Italianate structure, composed of three separate buildings sharing a unified facade. The buildings fill an irregular lot, with the two westernmost buildings fronting on Monroe Center having a rectangular footprint and the third building filling the triangular-shaped corner of the lot. The facade along Monroe is eleven bays wide, with a single narrow bay bay over the entry at the Monroe and Division corner.. The bays are separated by brick piers running up the upper two stories from an intermediate cornice above the first floor. A bracketed metal cornice runs across the top of the building.
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A cornice runs round the chapel at the point where the vault ends and the wall begins. Oriented roughly east to west, it was long and wide with the main entrance from the west and a second smaller one in the north wall. When the castle was remodelled in the early 13th century, the entrance was moved to the south wall. The chapel was lit by windows above the cornice, one at the west end, one on either side of the east bay, and one on the south side of the central bay, and the apse at the east end had a large window.
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The massive, square tower, which looms asymmetrically to the left of the main portal, encompasses four stories, each delineated by smooth stone stringcourses. Its open belfry, with double, arched openings on each of the four sides, is crowned by a pyramidal roof whose four chamfered corners each terminate at the cornice level in a small spire. A stringcourse just below the cornice carries (just above the chamfered corners of the belfry superstructure) four gargoyle-like, projecting blocks of stone, which may be sculptor's blocks left unfinished. The arched, tripartite window immediately above the main portal is echoed by similar window treatments in the wall dormers and another just to its left.
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Over the cornice are vertical pinnacles above the columns. The intermediary level is occupied a guillotine window per section, aligned to the doorway on the ground floor (but narrower). Each window is framed in a similar form of the doors, but with skirt between the pedestals and its columns. In each of the pedestals are inscriptions in Latin that read (from left to right): :CONCEPTIONEM, BEATÆ, VIRGINIS, MARIÆ, CUMGAUDIO and RECOLAMUS :Conception, Blessed, Virgin, Mary Above the capitals of the columns are windows, which are more elaborated then the doors, bulky elements that connect the second cornice, to the upper (similar to the ones anterior).
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The principal facade, oriented to the northeast, is proceed by two staircases on either side connecting at a landing in the central balcony, reinforced by stone balustrade and by pinnacles. On the ground floor, there is a central landing to archway framed over pilasters over gabled plinths and terminated in cornice, surmounted by ashlar. The second floor is divided into three sections, corresponding to the a doorway flanked by two picture windows framed by stone work and surmounted by frieze decorated with two diamond points and cornice. The third floor has four windows with the same framing and guarded in wrought iron, with a central royal coat-of-arms.
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A.C. Beatie House is a historic home located near Chilhowie, Smyth County, Virginia. It was built in 1891, and is a two-story, frame Queen Anne style dwelling. It features a cornice with molded gable returns and scroll-sawn profile brackets, a polygonal front bay, and a one-story, three-bay porch with intricately scroll-sawn columns, cornice brackets, and balustrade. Also on the property are the contributing poured concrete dairy, a frame smokehouse constructed above an underground root cellar, a frame shed used to store coal and wood, a shed-roofed chicken coop, a frame garden house / garage, a garage, and a frame machinery shed.
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The south and east sides have single four-paneled doors. The interior of the cabin is in good condition. The roof is made of oak shakes, square-butted, and is supported at the eaves by a box cornice. The ends are covered with scribed end boards.
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On its entrance front is a porch supported by four fluted Ionic columns. Along the top of the porch is a frieze and a cornice. On each side of the porch are two-storey canted bay windows. Between the storeys is a band of Greek keys.
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The three-story brick building features a symmetrical facade. The center bay has three round arch windows that are flanked above and below with ornamental brickwork. There is also brickwork near the cornice level of the side bays. The three bays are separated by brick pilasters.
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The facade is surmounted by a parapet with a projecting stepped up central bay housing a pediment. A rendered cornice runs the length of the parapet and stepped section. The pediment detail is embellished with dentilling and with the date "A. 1907. D" in relief lettering.
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A sizable snow cornice usually forms along the summit ridge in winter, the collapse of which has claimed the life of a number of people who stood on it. Snow remaining in the summit gullies in spring gives the appearance of feathers - hence the name "Feathertop".
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The main entrance, in the Gothic style, dates from the late 18th century. Stone steps lead to the door, which is headed by an ogee-arched moulding, with paired quatrefoil decorations above surmounted by a cornice. Nikolaus Pevsner describes the entrance as "pretty".Pevsner & Hubbard, p.
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The original building's structural system is made of masonry, while the addition is composed of a steel structure. The roof has a cornice with a masonry parapet that surrounds all four sides. The steel frame is located on top of pilings that descend into the ground.
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W. N. Bergan–J. C. Lauber Company Building is a historic manufacturing complex located at South Bend, St. Joseph County, Indiana. The original Bergan Building was built in 1882, and is a two-story, Italianate style brick industrial building. It features an ornate cornice and frieze.
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The cornice also contains images of Mercury's winged helmet, winged wheels representing advancement, scrolls of wisdom, wheels of progress, and other motifs. The 15th story of the eastern facade had a sky bridge that connected to 466 Lexington Avenue until the bridge was demolished in 1982.
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In 2013, Parry's completion of One Eagle Place, Piccadilly, was announced in the press, featuring a cornice by Turner Prize winner, artist Richard Deacon. The news was followed by Parry's completion of the neighbouring 8 St James's Square, a building that broke the UK office rent record.
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The slate roof is surrounded by a modillioned cornice. There are projecting two-story bays on the south and east, with a one-story raised balustraded porch on the east at the main entrance. Windows have decorative lintels. A corbeled brick chimney rises on the south end.
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The brick, gable-roofed building is two stories with an attic and a wide dentillated cornice. The interior staircase includes heavy turned balusters and an oak handrail. The school served as an evening school from 1866 to 1871.B. L. Savage, African American Historic Places, 1995.
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Parking is in the rear. Two and a half stories high and five bays wide, the house is faced in brick with sandstone window trim. A three-story tower is attached on the west side. At the roofline of the main block is a bracketed cornice.
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The exterior of the building can be divided into three sections visually using the principle of the classical column: a solid base, a basically unadorned shaft, and a decorative capital. The ornamentation is concentrated on the lower floors and near the top just below the cornice line.
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Dormers often break through the cornice line. Historically the term garrison means: # a group of soldiers; # a defensive structure; # the location of a group of soldiers is assigned such as garrison house or garrison town.Oxford English Dictionary Second Edition on CD-ROM (v. 4.0), Oxford University Press.
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Two are coffin shaped. Three contain at their corners, either buttresses, pilasters, or half- balusters. One has an arch-shaped headstone attached. Another, large and shaped like a sarcophagus, has rebates--continuous notch cut into an edge--at corners, a deep cornice, and a gabled top.
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It is the center of a frieze with metopes ornamented with round panels. Above it is a dentilled cornice topped by an attic. At the top of the entire portico is an anthemion set between the engraved words "A.D. MCMXI" and capped with volutes on the end.
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The Cannon Building is five stories high, 22 bays wide by five deep. It is made of load-bearing brick augmented by wooden floor joists inside. The upper story is a mansard roof with bracketed cornice and pedimented dormers. Originally, it was four stories in height.
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A masonry cornice runs around the top of the wall. A sandstone parapet wall runs along the eastern edge at the top of each abutment. The walls terminate in rectangular sandstone columns. These columns extend downwards to form pilasters on the eastern facades of the abutments.
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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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Brackets under the pediment cornice and entablature run entirely around the house. Six square pillars rise from the porch to support the pediment. These pillars also serve as the newels of the porch railing of square balusters. It has flush siding under the portico, a Wind feature.
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The upper three floor fronts are divided into five bays, each with two windows, separated by piers and topped by a decorative arch. The facade is topped by a corbelled cornice and pierced parapet. The building was listed on the National Register of Historic Places in 1983.
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It has corner buttresses. Its west (front) facade has a small enclosed porch with a similar roof and buttresses. Two lancet windows are on either side; a rose window is above. A shallow molded cornice is at the roofline; two ornamental brackets are at the peak.
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The tower is high. It has angle buttresses, a canted turret in the southeast angle, paired two-light bell openings, a cornice. gargoyles, an embattled parapet, and pinnacles. The windows along the sides of the aisles have three lights, and the west window has five lights.
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The south is similar has only one dormer in the mansard. A gable-roofed wing with a small addition, both sided in clapboard. It has a bracketed cornice, fasciae and kicked eaves at the rear. The deeply recessed entrance features paneled double doors below a rectangular transom.
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Behind the effigy is a tripartite pylon with sunk molded borders supporting the cornice and framed by two additional Corinthian pilasters. Above it rests an entablature of the Madonna and Child on a half-lunette, a typical—symbolizing intercession—motif for a tomb.McHam, 1989, p. 149, 159.
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The eighth floor is set off with a terra cotta cornice. The windows on that floor are surrounded by pilasters and window hoods decorated with wreaths and foliage. Inside, the first floor housed an elegant lobby and retail space. Above that each floor held about 30 apartments.
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The apsidal end of the church features three lancet windows located high in the walls. Brick corbeling is located at the cornice level. The only alteration to the exterior was the addition of a handicap entrance. The interior is divided in three naves, separated by columns.
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Below the roofline is a simple wooden frieze. Above it the broad overhanging eaves end in a molded cornice. The roof itself is shingled in slate and pierced in the middle by three corbelled brick chimneys with stone caps. The garage addition has a gabled roof.
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The William Gibbs House is a historic house in Waltham, Massachusetts. Built c. 1830–54, this -story wood-frame house is one Waltham's few temple-front Greek Revival houses. It has four two-story Corinthian columns supporting a fully pedimented gable with a deep, dentillated cornice.
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The walls are 10 feet thick, and standing in parts 20 feet high. A cornice runs round the interior two brackets remain on the north wall between the windows, which probably once supported the arches of the roof. The windows are very narrow, with round arches above.
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It has a mousetooth cornice, unusual pivoting windows, projecting towers and one-story porches on the south and north facade. Also on the property is the contributing Glen Burnie cemetery. and Accompanying two photos It was listed on the National Register of Historic Places in 2000.
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The two bays east of the entrance have large plate glass windows. At the roofline a molded wooden frieze sets off an overhanging cornice with returns. Blind lunettes are located in the gable fields. A screen door protects the paneled front door, set off by sidelights.
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The house is Italianate in style. It is two-and-a-half- story frame house with a shallow hipped roof. It has elaborate cornice brackets in accordance with Italianate style, and a three-story tower. Its main, front porch has heavy square columns with arched openings.
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The Union building at 65–73 Union Street was built in 1896. Georgian Revival in style, it has seven bays with storefronts on the ground level, and an entranceway recessed behind an arch flanked by brick pilasters. It also has a modillioned cornice, with dentil moulding.
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A denticulated cornice crowns the entablature around the entire structure. Exterior and interior trim conforms to published designs of Asher Benjamin and Minard Lafever, early proponents of the Greek Revival movement. The house was added to the National Register of Historic Places on January 18, 1982.
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Above the windows is a cornice formed by the repeated arch moulding. In 1971, a freestanding crucifix was erected on the southern side of the church commemorating Eric Johnstone. Also apparent on the southern elevation is the semi-basement housing the coumbarium under the southern transept.
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The walls are plastered brickwork. Within most of the bays are arched recesses above the gallery level and square ones below. The main cornice to the walls has fine moulded plaster medallions, some of the recesses are pierced by original windows (some sheeted externally). Or later windows.
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The marble font has a shallow bowl, the pulpit is square and panelled with a dentilled cornice, and the shaft of the lectern consists of a fluted Greek Doric column; all these are in Neoclassical style. The pipe organ was built in 1972 by J. W. Walker.
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The exterior-facing window and door openings contain limestone features on the facade, while the top of the building has a modillioned copper cornice. Formerly, there was also a two-story porch on the southern elevation. Multiple enclosed passageways connect the kitchen and laundry to adjacent structures.
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This wing is connected to the main house by an open timber verandah walkway extending to the later timber addition. The interior walls are generally of concrete, finished with wall-paper and featuring a reproduction cornice. The floor has been raised which has caused shallow skirting boards.
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The three-story, brick, Italianate building was designed by Watertown architect W.W. Tucker. Its decoration is limited to the north and east elevations. Noteworthy, is its metal cornice and window hoods. It opened in May 1878, and it had two other competitors in town at that time.
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It is flanked by two smaller dormers with round-arch windows. The other dormers on the house have similar windows. The porte- cochere features columns that follow the Doric order and a denticular cornice. There are also two tall, symmetrically placed, interior chimneys with corbelled caps.
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The three-story capital is ornamented with multicolored glazed terracotta tiles in green, cream, and russet hues. The windows are separated into pairs surrounded by double-story neoclassical outlines. The terracotta was originally sandblasted to reduce the glaze. The top of the building contains a terracotta cornice.
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The house's tall, rectangular windows are topped by brick arches. A bracketed and dentillated cornice runs along the house's roof line. The cross-hipped roof has an iron fence along its ridge. The house was added to the National Register of Historic Places on February 9, 2006.
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Fenestration is varied. The third-story windows have pointed arches. The central window on the story below is a projecting bay window with a castellated top and diamond-shaped lights. Above the first story is a molded stone cornice with letters spelling out "1810 NIAGARA 1909".
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Above the niches the buttresses rise to crocketed pinnacles with gargoyles. The faces between them contain tracery and above are crocketed gables. The octagonal turret is decorated with blank tracery, and at its top is a cornice with gables. The turret is surmounted by the spire.
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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 chateau does not have a whole entablature, only the cornice and an arc-shaped frieze with added blind circle windows. The main entrance used to be from the west side of the main wing. It appears like a one part triumphal arch connected to the wing.
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The cornice is pedimented and dentiled. The west side portico has massive, two-story fluted Ionic columns. There is a dramatic entry way with grouped columns that support a porch which becomes a balustraded second-story balcony. The semicircular sunroom was added by suggestion of Mrs.
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The building is four bays wide and consists of three storeys, Mansard roof and cellar. The windows are placed in slightly recessed sections. Decorative elements include emi-circular (en plein cintre) blind arches are found above the windows of the bel étage. Corbels support the main cornice.
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On the second floor are three similar arrangements, except the flanking sidelights have been bricked over. All of the windows are set in slightly recessed brick panels. Third-floor windows are small three-over-three sash, crowned by splayed stone lintels. The main cornice has classical detailing.
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The bay, main roof line, and entrance hood all have a heavy modillioned cornice. Windows on both levels are set in segmental-arch openings with soldier brick headers. The building's construction date is not known. It was home to Charlotte Forten Grimké and her husband, Rev.
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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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The middle section of the south facade has a pediment with similar cornice. Within its recessed entablature is a blind oeil-de-boeuf. The corner facade has a much smaller segmental semicircular top, and a very small pediment tops the northernmost bay on the east facade.
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Above the door is a pair of round-headed windows under a segmental arch. In the top stage are triple bell openings. The cornice at the top of the tower has corner corbels carved with winged beasts. On the tower is a broach spire with lucarnes.
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The building is rectangular with a high-pitched gable roof. On the south is a small gabled bay and entry porch. It is a brick structure with a slate roof in a Tudor Revival style. The roofline is outlined by an ogee-shaped cornice with returns.
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The building is a two-story free standing brick structure with a brick foundation. It features an overhanging bracketed metal cornice and a centralized broken pediment above. The windows on the second floor have stone lintels with keystones. The two original storefronts are indicated by iron columns.
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The tall, rectangular windows are topped with limestone hoods decorated with an incised boss. False gables rise above the roofline on both street façades. Each is pierced with an oculus windows that permits light into the attic. The cornice is highly detailed with dentils and brackets.
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The door surround was composed of limestone with an unusual carved limestone pediment supported with carved foliated consoles. The roof is flat. A bracketed cornice built of limestone marks the top of the original section.The granite stairs rise from the sidewalk level to the first floor.
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All the other bays in each storey contain a sash window. Between the ground and first floors is a stone band. Above the upper storey is a stone cornice and a brick coped parapet. There is a one-bay wing at the right end of the building.
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The Alanson Green Farm House is an L-shaped, vernacular Greek Revival house. The ell is fronted with a modest recessed porch with classically-inspired columns which shelters the main door. The house is topped with a wide frieze located below a boxed cornice with returns.
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The shop building sits behind the station building, facing Ninth Street. It features two garage door bays that are connected to the roofline by large stone panels. A zigzag motif in brick functions as a cornice. A courtyard brick wall connects the station to the shop building.
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The building's principal characteristic is its front facade, with large display windows and a formed metal cornice. The Mercantile is the oldest surviving building in Atlantic City, with the exception of Hyde's Hall. It was placed on the National Register of Historic Places on April 25, 1985.
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Its walls match those in the Great Hall. Windows open at each short end of the rectangular space. There is a large fireplace and integrated mantel on the west-facing wall made of rendered/plastered brick. The ceiling is decorated with an ornate plaster rose and cornice.
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On the south facade is the date 1778. Inside, many of the ceilings, cornice and fireplaces are examples of Wyatt's finest works. The large dining room is perhaps the finest remaining example of his work. The doors are mahogany brought back from the family estates in Jamaica.
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The front facade has a one bay wide entrance porch supported with turned posts with brackets. The window placement is balanced, with rounded arch openings, stone sills, and an arched brick lintel. The house is topped with a corbeled cornice lines and a truncated hip roof.
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The John Peirce House is also a 2-1/2 story wood frame structure, but it has a front-facing gable and three-bay facade, more firmly in the Greek Revival style. It has corner pilasters and a heavy raking cornice. It was built about 1835.
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Between the portal and the floor cornice is located the niche with the baroque statue of the Saint Bartholomew. Above the portal there is a pointed window with a neo-gothic tracery. The simple gable on the middle nave can also be included into the western frontage.
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13 and 14 were similar houses. Like the rest of the terrace, each had a projecting porch with Ionic columns. To the left of these were two windows. The first floor had a balustraded balcony and three windows over which was a cornice with a central pediment.
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It also has pointed gable ends, a bracketed cornice, and two tower at either end of the front facade. The building originally served as a courthouse for the western portion of Bradford County. It also originally housed a bank and insurance company. Court sessions ended in 1923.
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The building consists of three storeys over a high cellar and is six bays wide. The building has a black-glazed tile roof with three dormers. A small balcony is located in front of the central dormer. Under the roof runs a cornice supported by brackets.
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The stone of which the circular temple is made from is ashlar and consists of two steps leading to the inside area of the temple, which is surrounded by two pilasters, four Ionic colonnades and a round wall, all topped off by a cornice with a roof above.
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While the Fisher Building originally had a similar design, it was renovated in the Classical Revival style in 1900. Its design includes a two-story bay window, a decorative cornice, and limestone trim. The building was added to the National Register of Historic Places on April 28, 2000.
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The Lend-A-Hand Club was a three-story, brick, U-shaped building that was built over a raised basement. It was designed by Davenport architect Frederick G. Clausen in the Renaissance Revival style. It featured terracotta pilasters and cornice. Four decorative urns were located on the parapet.
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The Col. Jacob Yoes Building is a historic commercial building on Front Street in Chester, Arkansas. It is a two-story brick structure, with styling typical to its 1887 construction date. It has segmented-arch windows, a band of corbelled brickwork at the cornice, below the flat sloping roof.
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A dentillated cornice circles the building above its second floor, and pediments along the roof top each entrance. The U-shaped interior of the building features wood and marble ornamentation and terrazzo floors. The building was added to the National Register of Historic Places on November 22, 2016.
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The original brick cornice remains intact. The first floor level once held a variety of storefronts, on both the State and Maple Street sides of the building. Today the building is mostly converted for use as a real estate office. Windows have been slowly replaced or removed over time.
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In the middle and upper stages are three- light mullioned windows, and above these in the top stage is a clock face on each side. Over these is a cornice and an embattled parapet with a pinnacle at each corner. The tower is a Grade II listed building.
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Three of the gable ends feature coved cornices and decorative shingles and wood pieces. The front porch is supported by turned posts and features quarter round brackets and a spindlework cornice on its roof. The house was added to the National Register of Historic Places on February 5, 1998.
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The Byron A. Beeson House, also known as Mission Temple Academy, is a historic building located in Des Moines, Iowa, United States. Built c. 1890, the 2½-story structure features balloon frame construction, a complex roof system, and wrap-around front porch. Its flared cornice is considered unusual.
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It was consecrated as a church in 1834, and remodeled in 1867, after being gutted during the American Civil War. The remodeling added the frame chancel, bracketed cornice, and octagonal belfry and spire. and Accompanying photo It was added to the National Register of Historic Places in 1975.
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It features a large corbelled brick cornice, sandstone sills and lintels, and three large brick chimneys with corbelled caps. Note: This includes The school was named after the founder of the D. Landreth Seed Company. The building was added to the National Register of Historic Places in 1986.
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On the north and south sides are clock faces and on the west side is a bullseye window. Above these are two-light bell openings. At the top is a moulded cornice, and a crenellated parapet with crocketted pinnacles. Other than the tower, the church is in Perpendicular style.
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The bathroom was removed before the house opened as a museum in 1967. The library's plaster cornice and other architectural details have been restored based on a 1912 photograph.Brauer, pp. 8-9. In 1964 the home was donated to the city of DeKalb and converted into a museum.
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The temple was covered with roof plates, as evidence by the fact that there were no remains of roof tiles and no traces of lead roof. The cornice, which has not been preserved in its original form, was probably made of a series of roughly dressed stone stabs.
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The church building was constructed during 1857–59 for $2,800. The building is one-story, , built of Cooksville red brick, with local tan brick for approx. seven course rim and base trim, on a limestone foundation. The cornice returns and pitch of the roof are Greek Revival elements.
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The two towers each show a clearly defined tripartite façade. Neoclassical elements are found in the decorative cornice at the top. However, the simplified design and use of terra cotta show the Chicago School's influence. The two-story Putnam Center Building was also designed by Graham, Anderson, Probst & White.
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Sometime during the second quarter of the 19th century, the house was changed to a Victorian Gothic Revival style. The house has a double entrance door and cross-gable roof with box cornice and decorative brackets. and It was listed on the National Register of Historic Places in 1983.
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At its top is a cornice and crenellations. The north wall of the nave has a six-light straight-headed window in each bay. Two lights of one of these windows contains stained glass depicting a large number of little ships. Between the windows is a blocked north doorway.
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Heier's Hotel is a historic hotel building located at Indianapolis, Indiana. It was built in 1915–1916, and is a three-story, five bay, brick building. It features two tall brick piers and terra cotta cornice-like projecting elements. The building houses commercial storefronts on the first floor.
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The entry doors are set within projecting corner pavilions. The decorative door surrounds feature fluted engaged pilasters which support a classical cornice. Flanking each entry door are original bronze wall-mounted lanterns. The central pavilion of the elevation is expressed as nine bays delineated by engaged Corinthian pilasters.
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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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A frieze with hemispheres, cartouches, and an egg-and-dart molding runs above the second floor. Another frieze runs above the third floor, decorated with wreaths, garlands, bead-and- reel, and egg-and-dart motifs. Atop the third-story frieze is a large cornice supported by terracotta brackets.
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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 seven-bay north (front) facade features limestone voussoirs crowning each window. The end bays project slightly and are set off with large pilasters. The ground floor is rusticated. Limestone string courses are above the second and fourth stories, with a plain entablature and overhanging cornice at the roofline.
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The building was a three-story, brick structure in the Romanesque Revival style. It featured ornamental rows of brick, or corbelling, just below the cornice line. Round-arch windows lined the second and third floors and were capped with a keystone. The storefront had been altered in later years.
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Zacherl-Haus, located at Brandstätte 6, 1010 Vienna constructed by Jože Plečnik. Zacherl's son, Johann Evangelist Zacherl, commissioned Jože Plečnik to build the office building Zacherlhaus in Vienna's Innere Stadt from 1903 to 1905. It includes a row of atlantes along the cornice line by sculptor Franz Metzner.
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Raju Kalidos (1984), Stone Cars and Rathamaṇḍapas, East and West, Vol. 34, No. 1/3, pages 153-173 Unlike the other rathas, the temple has no inscriptions or sculptures. Its vimana is intricately carved on both sides of the roof. The cornice has seven pairs of kudus (Sanskrit: gavaksha).
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Each window has a channelled and cambered stone lintel with a larger central keystone. Above the first floor windows are recessed brick panels. At the top of this frontage, there is a stepped brick cornice. A stone plaque above the main door is carved with the words 'Assembly Rooms'.
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