803 Sentences With "fanlight" | Random Sentence Generator

The front door is set a few steps up from the street, topped by a stained-glass fanlight.

The impressive front entrance to the main house features two doors topped by a fanlight that open into a grand center hall with 3103-foot-high ceilings.

The formal front door, which retains the original fanlight and strap hinges, opens into a den with built-in shelves that is adjacent to the living room.

Size: 5033,2503 square feet Price per square foot: $2709 Indoors: Passing through a paneled door flanked by Corinthian columns and topped by a fanlight, one enters a central stair hall.

The later Georgian-era remodeling moved the entrance to the other side of the house, where a five-window, two-story stone extension with Roman Doric-style detail was added, along with a large door and eye-catching fanlight window.

INDOORS This two-story house was designed by the architect A. Hays Town, Jr. A broad front porch leads to a door with a fanlight and sidelights opening into a foyer with a wide-plank heart-pine floor, chair rail and crown molding.

The fanlight and keystone The building is seven bays wide. The facade is decorated with pilasters. The gate is topped by a fanlight and the keystone features a relief of a seashell.

This has a straight-headed fanlight and sits below a cornice.

A louvered fanlight is centered in the pediment above the portico.

The entry originally had a fanlight window above, but has been rebuilt to have two doors, and the fanlight has been blocked up. On October 7, 1983, it was added to the National Register of Historic Places.

A gate topped by a fanlight is located in the corner risalit towards Studiestræde.

Internally, the front section of the house has a central hall with the northeast main entry consisting of a panelled timber door with leadlight sidelights and fanlight. The sidelights feature Thomas Welsby's initials TW entwined, with the fanlight featuring the name AMITY. Similar door, sidelights and fanlight are located at the rear of the hall, originally opening to the rear verandah, but now opening to the rear section of the house. The hall is bisected by a timber arch with moulded pilasters, imposts, extrados and keystone.

Short lengths of the original prison wall extend from each wing. The main gate is located in the centre of a recessed bay between the two outer wings of the building. The steel gate is surmounted by large fanlight with wrought iron infill. The gate and fanlight are surrounded by cream brick moulding.

The features are also described as being Federal Style architecture, including a front entry bordered by trimmed fanlight and sidelights.

Two offices have been added to the rear of the ground level, and a rear bedroom and side bathroom, both with corrugated iron skillion roofs, have been added to level two. The office foyer has an external timber door with glass sidelights and fanlight, and an internal timber door with decorative leadlight in the door, sidelights and fanlight. The foyer to level two features decorative leadlight in the sidelights, fanlight and oval window. The internal timber stair balustrade consists of wide battens with a stylised tulip fretwork motif, and the bay has casement windows.

Later the windows were often divided into six lights; the two upper ones often being joined and forming a type of fanlight.

Among the features of the building are a fanlight and a palladian window. Postal operations have since been moved to a different location, and this building has been converted into offices. It was added to the State and the National Register of Historic Places in 1990. It is a Georgian Revival post office with fanlight and palladian window, built 1916-18.

The existing verandah floor structure abuts the external walls. All openings have brick arch lintels. There are two windows and a pair of doors with a three-paned fanlight above in the south-east (front) wall and one window in the north-west (rear) wall. A second pair of doors with three-paned fanlight above is in the north-east wall.

The house is made of brick laid primarily in Flemish bond, although some areas are laid in English bond and American bond and some have no particular pattern. The principal facade, which faces Constitution Avenue, is three bays wide. The front door features sidelights and an overhead fanlight in a "peacock" design. A molded semicircular arch with keystone surmounts the fanlight.

In front of the fanlight stands a gilded statuette of Neptune. The keystone above the gate features the names Christopher Klog and Anna Jensdatter.

Several guest rooms from the 1899 extension remain with enamel room numbers located on doors. Many original fanlight panels and ceiling roses are extant.

Small paned sash windows and a 6 panelled door with fanlight. Generous grounds and plantings. Cedar joinery. Two storied stone out-building at the rear.

Fanlight Montgomery's Inn, Ontario A fanlight is a window, often semicircular or semi-elliptical in shape, with glazing bars or tracery sets radiating out like an open fan. It is placed over another window or a doorway, and is sometimes hinged to a transom. The bars in the fixed glazed window spread out in the manner of a sunburst. It is also called a "sunburst light".

There is a fanlight in the gable front and a one-story addition to the side of the structure. The William Allan Store was built around 1859.

Shuttered windows. Front door has beautiful elliptical fanlight over it. Exceptional cedar joinery inside. At rear is sandstock brick kitchen, dairy, offices, small carriage house at rear.

Reportedly the interior contains a Station Master's office, waiting room and men's toilet. ;Out of Room (1915) Located at the southern end of Platform 2, this is a small square face brick building with a gabled corrugated steel roof, and a single door facing the platform, with a sandstone reveal around the fanlight. The fanlight is covered over. The roof ridge is parallel with the long axis of the platform.

The street elevation at ground level has three separate entries and windows. To the western end is a four-panelled door with tilting fanlight beside a small vertical sliding sashed window. To the centre is a similar door, with "Plumb's Chambers" painted to the fanlight, and a group of three windows beside. To the eastern end is a timber shopfront which angles back to the recessed entry of panelled French doors.

This house exhibits a locally distinctive combination of Federal and Greek Revival features, the latter including the wide frieze and pedimented gable, and the former the elliptical fanlight.

The main facade is five bays wide, with the entrance at the center, framed by slender pilasters and a half-round fanlight. The side gable ends each have a pair of windows, with a fanlight near the peak of the gable. These windows provide illumination to a large ballroom space occupying the attic level. The house was built in 1818 for Major Joseph Griswold, who was the son of an American Revolutionary War soldier.

A single-story porch extends across the front, with rounded projections in the side bays, and clustered columns mounted on moulded blocks for support. The main entrance is flanked by pilasters and sidelight windows, and toppedy by a decorative rounded fanlight; there are carved wooden oak leaves in the spandrels above the fanlight. The interior features relatively unaltered original woodwork and plaster. A period two-story ell extends to the rear of the main block.

The wood frame building measures and it features a three-story tower. It exhibits a combination of Italianate and Greek Revival elements. The Italianate influence is found in the round-arched windows and the paired brackets on the belfry. The Greek Revival is found in the fanlight over the main entrance; the pilastered corner boards and the fanlight motif on the upper section of the tower; and the lantern that caps the tower.

A set of French doors with fanlight opens centrally from each shop onto the verandah. At the lower level a corrugated iron street awning is supported by double timber posts.

The ground floor Patrick Street elevation displays four chamfered timber awning posts symmetrically placed framing the openings along the front face brick wall. There are two large shop front display windows with an angled bay design. These windows flank a central doorway surmounted by a rectangular fanlight, a former public entrance to the bakery service area. Another doorway, surmounted by an arched fanlight, stands at the northern end of the front elevation, a private entry to a separate room.

Walls have single-skin vertical boarding with external cross- bracing, and gable ends have weatherboard cladding and timber finials. The building is entered via central front steps and a panelled cedar front door with glass sidelights and fanlight. The rear verandah has been enclosed and provides access to the rear wing, but retains verandah fittings and features a similar central door, sidelight and fanlight assembly to the front. Each room has a two cedar sash windows to the verandahs.

The building consists of three storeys over a high cellar and is seven bays wide. The gateway features a fanlight. A lantern is mounted on the wall to the right of the gateway.

The building's front entrance is in a Roman arch; the double doors have glass panels and a fanlight. The courthouse was added to the National Register of Historic Places on August 23, 1984.

The building is two storeys in height and is built from local, red bricks capped with a Welsh slate roof. On the Queen's street frontage it has a central 6-panel door under an oblong fanlight within a pilastered doorcase with projecting cornice. This main entrance is flanked by two additional doorways, each a 4-panel door beneath an oblong fanlight. There are sashed windows with sixteen panes on the ground floor and twenty-four panes on the first floor.

It features several beautiful fireplaces and overmantles of various imported English timbers. The name Dapetto appears above the fanlight. A Coat of Arms with initials F. J. G. is above the side bay windows.

"Fanlight Fanny" is a song written in 1935 by George Formby, Harry Gifford and Fred E. Cliffe, and recorded by Formby in May that year. Another notable version was released in 1962 by Clinton Ford.

The main entrance is flanked by sidelight windows and topped by an elliptical fanlight. The interior follows a typical Federal plan, with an expansive central hallway flanked by two rooms on each side. An archway with a leaded fanlight separates the immediate entry area from the spiral staircase that provides access to the second floor. The parlor to the right of the entry is the finest chamber, decorated with original Chinese-style wallpaper and elaborate woodwork, said to be the design of John Holden Greene.

The extension to the south-west accommodates an entrance distinguished by a decorative moulded blank fanlight above a double timber door with a flat arch glazed fanlight. The adjacent bay is punctuated by two arched openings housing pairs of casement windows and glazed fanlights. The north-east elevation comprises an enclosed entrance porch flanked by the northern and eastern corner room wings with the whole crowned by a blank pediment. A modern steel awning (not of cultural heritage significance) extends from the entrance porch.

Both the main entry and the balcony door are flanked by sidelight windows, and the main entry is topped by a fanlight window. The house was listed on the National Register of Historic Places in 1976.

Simeon, House, Ohio Historical Society, 2007. Accessed 2010-12-26. the walls are built in Flemish bond. Central to the four- bay symmetrical facade is a rounded-arch main doorway with a transom and the original fanlight.

A number of timber, multi-paned casement windows and fanlights survive although many others have been replaced with aluminium framed windows in order to accommodate air conditioners. The main entrance is located to one side of the central section and has a concrete awning with recent automatic door. An ornate, arched doorway recessed into the wall is found at the western end of the Wickham Terrace facade. The door itself has five raised horizontal timber panels with an arched timber fanlight and is richly ornamented with a cartouche above the fanlight.

The main entrance to the former residence on Hubert St comprises a timber-lined barrel vault supported on delicate metal brackets, over a central door with a coloured glass arched fanlight flanked by single windows. A second entrance is provided around the corner on the south elevation, which also has an arched coloured glass fanlight and an arched brick lintel. The verandah to the south, now partially enclosed, has a timber balustrade with timber posts, and timber battens to the verandah soffit. The brickwork to the south is unrendered, revealing splayed brick lintels.

The openings of the arcades and the windows are divided by pilastered wall sections. The principal entrance of the earliest section of the south eastern, emphasised by the projecting bay is through a recent double timber door surmounted by semi-circular fanlight fitted within an early arched opening. Beyond this door is an entrance vestibule and through another panelled and moulded double timber door with semi circular fanlight and sidelights, access is given to the stair hall. The entrance vestibule has tessellated ceramic tiles on the floor and a moulded plaster ceiling.

The portico and verandah floor is finished in hexagonal concrete tiles, some sections of which have been removed. The northern and southern wings of the building have tall sash windows opening onto the verandah, with a single timber panelled door with fanlight (a converted sash window) to the southern wing. The northern wing has paired timber doors with fanlight accessing a luggage passage adjacent to the entry vestibule. An extension containing the former refreshment rooms, which opened in 1908, is attached to the northern end of the building.

There is a louvered vent above the center arch. There is a double door with fanlight transoms. There is a secondary entrance on Rosemont Street in a similar style. The school had an auditorium, four classrooms, and offices.

The first-floor windows throughout the house are set in semi-circular arched openings, and have semi-circular fanlight windows and side lights. The second- floor openings are rectangular, and most contain double-hung, six-over-six windows.

Open-string steps, whose balusters are plain, lead to the pedimented front porch. A fanlight surmounts the paneled door. Shutters are paneled on the first floor and louvered on the second. Third-story windows lack any such adornment.

Fanlight Productions page for Everyday Choices produced by Ben Achtenberg & Christine Mitchell, RN, FAAN She is an advisor to The Refugee Media Project, sponsored by The Center for Independent Documentary,The Center for Independent Documentary also of Boston.

The building entryways are gabled with large arches below. The arches contain a double window topped by a semicircular fanlight. The entrance is through a set of carved double doors. In the interior, the layout is cruciform in shape.

The Rust en Vreudg house was built as a residence for Williem Cornelis Boers of the Dutch East India Company (VOC) in 1778. A rococo fanlight at the entrance of the house has been ascribed to sculptor Anton Anreith.

Another chimney rises from its south end. Its roof is clad in metal. Another pair of fluted pilasters flanks the main doorway, which is topped by a large fanlight. It opens onto a center hall running the length of the house.

It is made with a profiled planner lining. Double, cassette door portal is counted the same year as the construction site. The secondary setting Gothic tracery window creates a fanlight portal. Casting is done in a nice breaking into older masonry.

It is topped with a fanlight. Marble piers 9 feet (3 m) high are at either corner of the front. The window on the easternmost bay is smaller than the middle three. All have splayed brick lintels, marble keystones and sills.

It is flanked by sidelight windows and topped by a semi-elliptical fanlight window. A wood frame ell extends to the building's rear. The interior has retained significant original handiwork despite its adaptation for use as professional offices. and Built c.

The Reed house is distinctive because of its brick end walls and its excellent example of a Federal style door surround, with sidelight windows and an elliptical fanlight. The district was added to the National Register of Historic Places in 1989.

The home is considered more representative of New England architecture than other contemporary Georgetown homes. The house has many architectural details including "a wide limestone stairway", "pink- painted lintels with keystones", "brick voussoirs", "Doric pilasters", and a "semi-elliptical fanlight".

The chapel is a simple, rectangular brick building covered in stucco. It has a jerkin-head roof. The south-facing facade has a double three-paneled door with a flush fanlight. There are shuttered windows on either side of this door.

A single story wraparound porch has square Ionic columns, and the front door surround is flanked by half-length sidelight windows and topped by a fanlight transom. The house was listed on the National Register of Historic Places in 1984.

Its architecture was described as having "rather eclectic design", "suggestive of a New England meetinghouse because of the temple-like central mass fronted by an extending, gabled pavilion. This pavilion has Greek returns and is pierced with a fanlight at the top, a diamond shaped window and round arched doorway which also has a fanlight. On the north elevation are five round arched windows and on the south are three round arched windows and an extending pavilion similar to the east pavilion." It has been listed on the National Register of Historic Places since June 24, 1980.

Ford donated all his royalties from this recording to the Guide Dogs for the Blind. It was the only version of the song ever to chart in the UK. His next singles were "Too Many Beautiful Girls" followed by "Fanlight Fanny" which was his most successful single, reaching 22 in the UK Singles Chart in March 1962. His album Fanlight Fanny (1962) reached number 16 in the UK Albums Chart. He toured with Kenny Ball & His Jazzmen and played at the Cavern Club in Liverpool around the time that the Beatles were starting to become popular.

A semicircular fanlight, or lunette, is located in the center of the gable of the building's main façade, providing lighting to the building's attic. Chambers described this window as the most antiquated of the building's architectural elements and may have been based on the fanlight of the county's earlier courthouse built in 1833, which was located to the building's east. Each of the main façade's first- and second-story windows and the entrance are adorned with white wooden label moldings. The main entrance is composed of a tall double wooden entrance door, with its original handle and locks.

Above the entrance is a short ogive window, while the entirety of the gable is constructed as a pediment., Ohio Historical Society, 2007. Accessed 2014-02-12. The pediment is the building's most decorative portion, due to components such as it detailed fanlight.

Constructed in 1832, it is a two-story rectangular building that sits atop an Ohio River bluff. Its floor plan is five bays wide, featuring a central entrance with a fanlight and sidelights.Owen, Lorrie K., ed. Dictionary of Ohio Historic Places. Vol. 2.

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.

These structures have since been razed. Other character defining architectural elements include a medium pitched roof, paired double end interior chimneys, six over one double hung sash windows, a six paneled door with semicircular fanlight and a pedimented entry porch with classical details.

The south-west internal wall is lined with chamferboards. Interpretative and other panels are mounted on the walls. Adjoining the waiting area is the office. The elevation to the platform has a sash window and a four-panel timber door with fanlight.

It has a slate- covered gable roof, interior end chimneys, and a front entrance with fanlight. Also on the property are a contributing hay barn, barn, and mash furnace. and It was listed on the National Register of Historic Places in 1985.

A wide moulded architrave surrounds the door and fanlight. The main hall has polished timber floors and high timber lined ceilings. The walls are lined with sheeting and are detailed with a dado. Cupboards line the walls either side of the entrance doors.

The portico's frieze is subordinated to the architrave. The mansion's front door is topped by a leaded fanlight in the shape of a segmented arch. Leaded sidelights flank both sides of the main doorway. All of the mansion's windows feature colonial-style lintels.

It has a side-gable roof, and is five bays wide with a center entry. The entry is topped by a fanlight and moulded architrave, and framed by Ionic pilasters. The house was listed on the National Register of Historic Places in 1971.

The corner boards are pilastered, and the front entry is flanked by half-length sidelight windows and topped by a pedimented lintel, above which is a round fanlight window. The house was listed on the National Register of Historic Places in 1984.

On that elevation is a double- windowed dormer without the fanlight. On the south side of the wing is a small one-story, three-bay addition with a wheelchair ramp. A shed-roofed porch is on the west side. The interior has been extensively altered.

The entrance itself is flanked by Ionic pilasters and topped by a fanlight and dentillated segmental pediment. The south and east sides each feature porches with Doric columns and balustrades. The house was listed on the National Register of Historic Places on August 18, 1992.

The John Lewis House at 25 Way #112 was built c. 1820, and has a Federal style fanlight over the main entrance. Its property includes a garage/guesthouse built c. 1924, originally to house a Model T firetruck, and an oysterhouse built 1827-28.

The building consists of four storeys over a raised cellar. The fourth storey was added in 1890. The building is give bays wide and the two outer bays are slightly projecting compared to the three central ones. The gate is topped by a fanlight.

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.

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.

The recessed main entrance is flanked by narrow sidelights and topped with a fanlight. It leads into a long central hall, flanked by a parlor and sitting room at the front. Both have fireplaces with wooden Greek Revival mantels. Arched alcoves flank the parlor fireplaces.

Nelson Lodge is constructed of ashlar sandstone and fine-pointed drafted margins. The front and back verandah floors are of sawn stone flags. The front and back doors are identical four panel doors with fanlight and sidelights. The house has elegant double-hung sash windows.

The main entry is via a large arch to the north side of centre which accesses a recessed entry porch with a tiled floor, concrete balustrade and arched timber door, sidelights and fanlight assembly. The public bar is accessed via a timber and glass door with fanlight at the south, and a separate entrance to the lounge area is located to the north. The building has sash windows with arched headers, and the street facade has rendered details including sills, main entry arch and balustrade, and a deep skirting base. The first floor bridges a driveway on the south side of the building which services the rear of the property.

The limestone "L" shaped building has stone slate roofs. It has two-storeys plus an attic. The house has been revised and remodelled many times over the centuries giving it an irregular appearance. The north front has a door in the centre with a fanlight above it.

The roofline has an overhanging eave with a continuation of the denticulation on the pediment. Smooth round pilasters frame the recessed main entrance, topped by a rounded fanlight. It opens into a central hall. There is one room on the east and two on the west.

Its main entry is flanked by pilasters and topped by a fanlight window and broken gable pediment. An ell extends to the right, joining the main house to a garage added in 1958. The house was listed on the National Register of Historic Places in 1978.

There is a semi-circular fanlight on the gable end of its roof. The main door has nine lights with a transom. The interior has a central corridor with stairs leading to a second-story landing. A second set of stairs leads to the second floor.

The recessed entry door has art nouveau leadlight fanlight, side lights and central panel with the name BUDERIM HOUSE depicted. The eastern dining room also has leadlight panels. The northeastern verandah has been screened for insects. Internally, walls are single skin, with some rooms being wallpapered.

In the second story, there are pairs of six over six lights to the left and right of the porch gable. The front door has a fanlight transom. Dormer windows and basement windows are six over six lights. The gabled ends have three six over six lights.

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.

The main entrance is flanked by sidelights and fluted pilasters and is topped by a fanlight. It was built for Elias Conwell, who operated a popular store at Napoleon. Note: This includes and Accompanying photographs. It was added to the National Register of Historic Places in 1979.

The principal entrance at the center of the portico is surmounted by a lunette fanlight. Above the entrance is a sculpted floral festoon. The roofline is hidden by a balustraded parapet. The mansion's southern façade is a combination of the Palladian and neoclassical styles of architecture.

The pediment has understated timber detailing and is supported by three verandah posts on each side. This was originally the front entrance. The cedar double paneled door has glazed sidelights and a semi-circular fanlight. The southern side of the house has now become the street frontage.

The four-panel door is framed by flat surrounds and egg-and-dart molding. On the east there are three windows on the first story and two on the second. The clapboard-filled gable field has a large fanlight. The other two elevations are dominated by their respective wings.

There is an arched entryway with a fanlight and sidelights. The windows have flat keystone lintels, and functional wood shutters. At the top of the structure is a shallow, molded and unadorned cornice. On top of the roof are narrow gable dormers with arched windows and triangular pediments.

John Losee House is a historic home located at Watertown, Jefferson County, New York. The house was built about 1828, and is a two-story, five bay, Federal style limestone dwelling. It has a two-story rear frame ell. It features an elliptical fanlight over the front door.

The façade was richly decorated with ocher color. The first level: ground floor in the middle of the body (4 axis), has a small flat roof porch with the main portal. The portal has fanlight, flanked by half-columns with smooth shafts. The capitals with cornices are decorated palmettes.

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.

Earlier glazed panels are in place above. The eastern door from hallway to verandah is of timber and glazed panels, with twin-paned fanlight of yellow patterned glass, and side lights of blue, above green bubble glass. The verandah is floored with shot edged boarding. The roof is unlined.

Internally, the walls and ceilings are predominantly lined with vertically joined tongue and groove boards with door openings incorporating decorative timber arches and fanlight panels with Federation era motifs. Much of the interior has been painted white. A modern kitchen has been installed. The bathroom has also been refitted.

It is decorated with dentate molding. The second floor has French doors with a fanlight transom that open to the railed balcony on the portico. The south facade has single nine over nine lights on either side of the doors. Each wing has four nine over nine lights.

The building is of red brick in Flemish bond dressed with ashlar sandstone and a steeply-pitched Welsh slate roof and is Jacobean in style. The Bridge Street facade has one bay and a leaved panelled door situated below a fanlight under a round-arched portal with datestone.

This addition includes recessed panels of rough cast stucco to the brickwork and is framed with a brick coping. The main entrance bay is set slightly forward of the flanking bays. The entry door has a fanlight and fixed sidelights. A concrete ramp and steps are a later addition.

A two-story wing, also mansard-roofed, projects from the west. The main entrance is elaborately decorated with an elliptical fanlight, keystone and pilasters with architrave trim and sidelights. It opens onto a wainscoted central hallway. The rooms have original mantels, two in marble and one carved in Adamesque.

Nikolaus Pevsner praises the "pretty classical doorway".Pevsner & Hubbard, p. 288 The stone doorcase, described as "good" by English Heritage in the listing, has Ionic columns; there is a semicircular fanlight with a pediment above. The sash windows to the front face all have stone lintels with decorative keystones.

His album Clinton Ford, also known as Clint Ford Sings Fanlight Fanny (1962), peaked at 16 in the UK Albums Chart. It was an ideal type of song to counteract Ford's earlier attempts at country and rock and roll, and proved a springboard for much of what followed in his recording career. He later recorded the Wally Lindsay-penned "Fanlight Fanny’s Daughter" (1963), a track also released as a single, albeit with considerably less success. In 1968, on Ford's album Clinton The Clown (re-released in 1970 on Marble Arch Records), the song's character reappeared as "Fan-Dance Fanny", a renaming and re-recording which had a small change in lyrical content.

Ornamentation was not just restricted to the roof; wood, glass and tiles were the other main modes of decoration. The influence of Art Nouveau is displayed throughout the house and can be seen in the plaster ceiling of the drawing room and entry hall. In the design of windows and doors, plants are depicted in leadlight with the vegetation, such as leaves and flowers buds, twining from the base of the design towards the top. Where a door has a fanlight and sidelight (the two main entry doors), the vegetation envelopes the door itself by twining from the base of the sidelight and making its way to the other side of the fanlight.

The central doorway has a reeded architrave and a six-panel door with a rectangular fanlight above. There is a low brick wall with Flemish bond north of the house with ashlar copings. The wall is capped with ornamental wrought-iron railings. The house has been divided into two dwellings.

The door is set below a pediment and fanlight which is obscured by a hood-moulded porch projecting forwards over the steps. The southeast-facing side has a tall 19th-century bow window. Another wing was added to the north in the mid-19th century at the request of Rev. Maberley.

Federal Hill is a historic home located at Fredericksburg, Virginia. It was built about 1794, and is a -story, brick and frame dwelling sheathed in weatherboard, with a two-story frame wing. It has a gable roof with dormers. The front facade has a central pedimented pavilion and recessed fanlight door.

The building is constructed in red brick on a stone plinth with a slate roof. Despite its date, the architectural style is Georgian. It has a rectangular plan in two bays orientated north-south. The entrance is on the south side and contains a doorcase above which is a fanlight.

Elements added during the remodeling included a broad entablature, classical cornice, and a central pediment with fanlight, as well as a square tower on the roof topped with an octagonal, domed cupola. When the fire department discontinued use of the building, the former fire entrance was refitted with double doors.

While the house features the style's typical hipped roof and jack arch lintels above the windows, it is smaller than most Federal houses and is missing characteristic decorations such as a fanlight above the front door. The house was added to the National Register of Historic Places on May 20, 1998.

Selma's central entrance is surmounted by a large semicircular fanlight with tracery and flanked by engaged fluted Roman Ionic columns. A board-and-batten smokehouse, frame garage, and frame barn with three cupolas also lie on the Selma property and appear to date from the early 20th century as well.

The courthouse is a two-story, rectangular front-gable building. Currently clad in aluminum, the building originally had white clapboard siding. The building is fronted by a projected bay topped with a hip-roofed steeple. The entrance is fronted by a pedimented portico beneath a fanlight on the second story.

The Tevis Block is a two-story, U-shaped structure constructed of imported fire brick. The front, south-facing facade has fanlight windows and terra cotta arches. Each floor is articulated differently and treated with a different order and finish. Basement windows are rectangular and bottom- hinged with a flat lintel.

The building is of brown face brick laid in English bond, with deep red voussoirs over the windows. It is symmetrically designed with centrally placed cedar entrance doors with fanlight and sidelights. These are flanked by double hung windows on either side. This arrangement is replicated on the upper level.

That front facade is dominated by its off- center entrance. The recessed door is set in a portico, with elliptical fanlight supported by small columns and sidelights. Around the portico are a marble architrave with vermiculated keystone and quoins. No similar marble houses, are found in Troy, or the vicinity.

This house has been described as a classic plan for houses on Edisto. It is an Early Republic or Federal style, -story frame house on a raised basement. It has a gabled roof with dormers. It has a double portico with pediment with a semielliptical fanlight, columns, and arched entablature.

It is a frame building in the Greek Revival style. The front gable structure features engaged columns and capitals below a fanlight that frames the main entrance. The metal lettering that identifies the building is not original. The interior features pine flooring and the original pews from the 1877 church.

The main entry exhibits Federal styling probably added by Farnum, with 3/4 length sidelight windows and a segmented fanlight above. The right-side bays on the first floor have been replaced by a 20th- century bay window. The house was listed on the National Register of Historic Places in 1974.

The building is eight bays wide and has a four-bay central projection, The gateway is topped by a fanlight and the keystone features a relief of an ancher and the inscription "HCS AMC/150/ ANNO 1777" (HCS = Hans Caspersen Smed/ AMC = Anne Marie Caspersen. 150 = matrikel 150. Anno 1777).

The gutters have acroteria, decorative rainwater heads and moulded soffit brackets. The core of the ground floor is a single room meeting hall. It has a high (about ) boarded ceiling, and awning windows with sills at eye height. The pair of entry doors are six-panelled with an arched fanlight.

The former Victoria Inn is a one and a half storey Colonial Georgian sandstock brick cottage with sandstone quoins, lintels and sills. Symmetrical front facade has central panelled door with 4 pane fanlight. Windows are 2 x 6 pane double hung sashes. The roof is hipped and has wide boxed eaves.

The double front door has narrow, 10-panel sidelights and a large fanlight above. Flanking the portico on both floors is a set of three sash windows, a nine-over-one window between two narrower six-over-one sashes. A sunroom topped with a deck extends from the east side of the house.

The fine Italianate style house is two stories, clapboard-clad, with a rectangular cupola. The hood moulds above the windows are decorated with a vine carving. The front door has an elliptical fanlight and sidelights framed by a porch with Doric columns. It was designed and built by John Mercer in 1881.

The bays on the ground and first floors are rectangular, while those on the uppermost floor are square. The exception is the tall, centre window on the first floor which is round- headed. The centrally-positioned entrance features a wood portico supported by Doric columns. A fanlight is present above the door.

Two additional rooms added at south west corner. The attic has four large rooms lit by attractive dormers having arched transoms with curved glazing bars. This pattern is repeated in the fine fanlight over the south door. The interior joinery is cedar with extensive panelled window reveals, dados and built-in cupboards.

Windows have splayed stone lintels, and the roof cornice is modillioned. The main entrance is at the center of the front facade, topped by a semicircular fanlight. The porch has Queen Anne style turned posts, decorative brackets, and latticework skirting. The interior retains many original period features, including woodwork and plaster walls.

Double stairways rise to the first floor portico. The main door has sidelights and a semielliptical fanlight. The windows on the main and second floors are nine over nine lights. The house originally had four rooms on the main floor divided by a central hall that extends to the smaller garden portico.

Entry is from the west via a quarter-turn stair with landing. The front door has decorative glass sidelights, fanlight and upper panel and opens into a foyer. A narrow study opens off the west verandah and has a gabled street elevation. This gable is repeated on the eastern elevation over the kitchen.

The final stage uses the same treatment, with all panels louvered, and the tower's cap is an octagonal dome with weathervane. All the three front bays are filled with entrances. The main entrance is a pair of doors recessed behind fluted architraves. A fanlight surmounts the doorway, their muntins making intersecting Gothic arches.

The entrances are slightly recessed in an opening with a fanlight top. Luke Fiske, the second occupant (after his father Elijah, who built the house) was prominent in Waltham civic affairs, and was the first president of the Waltham Bank. The house was listed on the National Register of Historic Places in 1989.

It has a larger round-arch transom over the entrance, with fluted pilasters and a full entablature. The third house was built by Gideon Stetson for Ebenezer Starboard, and was completed in 1823. Its entry has a fanlight transom, and is sheltered by an Italianate hood that is a later 19th-century modification.

Robert Wilson House is a historic home located in East Fallowfield Township, Chester County, Pennsylvania. It was built in 1823, and is a two-story, five bay, stuccoed stone dwelling with a gable roof. The house has small wings on both sides. It features a formal entryway with pilasters and an elliptical fanlight.

The main entrance into the church is recessed behind the tetrastyle "screen" and it is surmounted by a fanlight. The entry itself is made up of three openings and follows a Palladian motif. The central opening features a rounded arch. At the crossing in the center of the structure is a polygonal belvedere.

The entry door has a semi-circular fanlight and sidelights with thin wooden ribbing. Note: This includes The house is open as a 19th-century historic house museum and 40 acre park. It was added to the National Register of Historic Places in 1976. It is located in the Fort Hunter Historic District.

The Commercial Hotel is a three-story brick building on Wadena's main commercial street. Part of the coursed stone foundation is visible, punctuated by two small basement windows. Pilasters flank the centrally placed entrance and rise the full height of the façade. The slightly recessed entrance has five-panel sidelights and a fanlight.

Its main entrance is flanked by Doric pilasters, and topped by a dentillated cornice and fanlight. Possibly due to its country setting, Mann built it with simpler styling than houses he built in the village center around the same time. The house was listed on the National Register of Historic Places in 1986.

The central entry, which has a panelled timber door with glass sidelights and fanlight assembly with the name GRANGEHILL in the fanlight, is surrounded by vermiculated sandstone quoining and is flanked by bay windows to either side which projects from the face of the wall. These bays have tall sash windows, with the southern bay incorporating a multi-paned glass door. The first floor verandah walls are finished in scribed render, and had similar early bays which have been removed, but evidence of their form can be seen in the verandah floor boards and ceiling sheeting. The southern bay has been replaced with a sliding aluminium framed glass door, and the northern bay has been replaced with a pair of timber framed French doors.

A central entry portico, added in the 1960s, is supported by two square columns with matching pilasters against the house. The door is topped with an elliptical fanlight. A pair of two-over-two sash windows flank the portico on either side. Second floor windows are also two-over-two, but are slightly smaller.

Barker's house is a rectangular two-story structure completed in 1811. Measuring three bays wide, the facade features a central entrance with a large fanlight and sidelights flanking the doorway. All three windows on the facade's second story are placed within brick arches that are recessed into the wall of the house.Owen, Lorrie K., ed.

Wilson House, also known as Old Jail and Yorkville Jail, is a historic home located at York, York County, South Carolina. It is attributed to Robert Mills and was built in 1828. It is a three-story, brick building originally designed as a local jail. It features brick arches and a semi-circular fanlight.

The roof is laid with slates and tiles. The entrance is on the northwest face, which has seven bays. The centre three are set forward slightly and are topped by a pediment with an inset oculus and a cornice with dentil elements. The panelled wood door is 18th-century, and sits below an arched fanlight.

The building's primary entrance is aligned with this parapet and comprises timber panelled doors with a two-light arched fanlight. It has decorative sandstone surrounds and a keystone inscribed with the date "1908". A secondary entrance is located in the southern, Dee Street elevation. Further access is gained via the rear verandah and balcony.

The structure comes to a peak with its slender prismatic tower, which has Gothic core. The portal from the north is fitted with a fanlight, whose tracery was made up of a number of stylized nuns. The late- Rococo main altar (around 1770) remains the Gothic fittings. This was originally dedicated to St. Michael.

The interior is divided on both main levels using a central hall plan, with two rooms to each side. The east side features a stair-hall, with a fanlight-topped doorway connecting it to the main hall. The Federal style woodwork of the interior is refined. Of special note are the carved overdoor panels.

The two-story main entry portico is supported by two fluted Doric columns. The front door is in a Federal Style with sidelights and topped with a fanlight. The second story of the portico features a small balcony. On the face of the pediment, a panel reads "1935", the construction date of the original house.

Happy Retreat is a 2-1/2 story white-painted brick structure, with two-story flanking wings. The main facade has a prominent Doric pediment with no colonnade. An elliptical fanlight is centered in the pediment. Below, the main facade is three bays wide, with a one-story flat-roofed porch supported by Doric columns.

Two headers of brock are placed above the windows to form rowlock arches. The entrance to the house is through a 1930s style colonial revival door with a fanlight above the glass panel storm door. A gabled hood covers the front stoop. This hood replaces an earlier frame porch that was removed for structural purposes.

The wide door, with its elliptical fanlight and sidelights, is set in a deep niche. The fenestration plays a major role in determining the feeling of the facade. The windows are unusually large for the period, some measuring over square. The variety of sash types, including 16/1, add to the richness of the design.

Its roof has a large shed-roof dormer, above which there are two eyebrow windows. The roof slopes down over a porch, and is supported by large rustic concrete columns. The main entrance is traditional in appearance, with flanking sidelight windows and a fanlight above. Twin rubblestone chimneys rise from the sides of the house.

In order to preserve its authenticity, no one has ever renovated these cells. Only a small and inaccessible fanlight gives air and light to the room. Two of the four jail doors are still present. It has been confirmed that these jail cells were being used during the Second World War for war prisoners.

The openings on the ground floor are all of arched brickwork with moulded keystones. The main entrance has a pair of timber doors with a fanlight above and a prominent keystone. The division between levels is emphasised by a moulded stringcourse and cornice. This carries the wording "KURILPA LIBRARY" above the entry in bronze lettering.

The former chapel and school are built in red brick with ashlar dressings. Both have datestones recording the years of their building. The chapel has a symmetrical gabled entrance front, having a central doorway with a moulded surround and a fanlight. This is flanked by a sash window on each side, with similar windows above.

The roof of the house is to have one-fourth > pitch, the door to have Gothic top, the same as the windows. The shingles of > the roof to be painted before they are put on. There is to be a fanlight, as > you see. The windows and doors are all to have venetian blinds.

It is architecturally marked only by a plain, flat frame painted differently from the body of the building. There are plain board, double doors with a smaller pedestrian port in the right door. In the elliptical arch there is a simple fanlight window. Flanking the arched entrance are two large high windows on each side.

The northwest and southwest end walls of the wings are largely blank. An early school bell is fixed to the underside of the first floor window hood in the centre of the northeast elevation. Windows openings are regularly spaced and generally comprise three tall casement windows with square fanlights above. Arched windows have a fixed, semi-circular fanlight.

Two roof vents also exist above the toilet bays. All windows and doors are secured by metal gates and grills. An air-conditioning unit has been installed on the fanlight of the Station Master's office door. Internal: The station building appears to have maintained most of its original detailing and finishes despite the changes over the time.

One of the doorways is surmounted with a timber arch with exaggerated keystone and glass fanlight. Fireplaces exist in two rooms, and align with those found on the ground floor. Another staircase, of recent construction, is located in the northern elevation of the building. At the basement level of the Green House, is a recent plant room.

Brick chimneys are located at each end of the house. A central front door is set under an arched wooden frame with a fanlight over the door. In the 1800s, tiny brackets were installed over the earlier dentil trim and a -story addition was added to the west side. A front porch was added around 1910.

The balcony of the portico is faced with a smaller scale version of the modillion-and-fretwork cornice that encircles the house. A fanlight with wooden mullions. Above the front door, on the second floor, a door and sidelights mirror the portico's design. The house has a hip roof covered with sheet metal with interior end chimneys.

The east end is slightly polygonal. Inside the church is a tripartite screen carried on Ionic columns. The authors of the Buildings of England series comment that, apart from the niche containing the statue, it is similar to a Methodist church of the time. The presbytery also has a doorway with a semicircular head and a radial fanlight.

Tusculum is a historic plantation house located near Arcola, Warren County, North Carolina. It was built about 1835, and is a two-story, five bay, late Federal style frame dwelling. It has a gable roof, is sheathed in weatherboard, and has later shed roof porch. The front facade features a Palladian doorway with paneled pilasters and fanlight.

The Anoka Post Office exhibits features of Colonial Revival architecture such as its rectangular plan, a brick exterior, symmetrical façades, a hip roof, and a dentillated cornice. The doorway has a central pediment and is set in the middle of three arched openings topped with keystones. Another key element of the style is the fanlight over the main entrance.

The fanlight detail is echoed by semi-elliptical fan louvers above each window. The roof has a monitor section at its center, an unusual feature not normally found in New England houses of the period. The interior retains many period features, include wide floor boards. There are seven fireplaces in the house, each with distinctively carved mantel.

The ground level verandah has cast iron balustrades with timber fretwork above. A central hallway is entered from the ground floor verandah. The hall contains a timber staircase with turned timber balustrades, which leads to the upper level. The entrance to the hall features double timber doors with leadlight sidelights and a semi-circular leadlight fanlight.

Many of the houses in John's Place and Oxmantown Mall have exquisite fanlight windows of the Georgian period. The town is known for Birr Castle and gardens, home of the Parsons family, and also site of the Leviathan of Parsonstown, the largest telescope in the world for over 70 years, and a large modern radio telescope.

The version recorded by Clinton Ford in 1962 had accompaniment by the 'George Chisholm All Stars'. It also, with permission, had added new words written by Ford. "Fanlight Fanny" was Ford's third UK chart hit and his most successful single, reaching 22 in the UK Singles Chart in March 1962. It spent ten weeks in that chart.

There is a single fanlight over the southern dining room door and the adjacent external door. The Post Office basement level has a squared multi-pane window and a louvred window to the male toilet. Doors to this area are modern flush doors. The ground floor of the Post Office comprises the retail area at the front.

The house is a rectangular, -story structure with five bays. The foundation is built of coursed stone; most of the rest of the house is brick. A fanlight surmounts the six-panel door at the main entrance in the middle of the first story. The main entrance, fronted by a porch, leads into a central hallway.

Above it is a small oculus with radial muntins at the gable apex. The two side elevations are fully fenestrated with windows similar to those on the front. A fanlight below an iron lamp surmounts the recessed double doors at the centrally located main entrance. To the east of the church is a two-story wood frame manse.

A window above a door; in an exterior door the transom window is often fixed, in an interior door it can open either by hinges at top or bottom, or rotate on hinges. It provided ventilation before forced air heating and cooling. A fan-shaped transom is known as a fanlight, especially in the British Isles.

View along the verandah Seymours House is a late Georgian stuccoed brick townhouse, five bays wide, and originally covered by a bellcast iron verandah roof. It features shuttered twelve paned windows and an original central front door with elegant sidelights and fanlight. A slate hipped roof and service wing extend at right angles to the rear.

The northernmost window unit on the basement has been bricked in. The pavilion is flanked by identical entrance porticos. The entrances themselves have cast stone surrounds with Tuscan columns and open pediments with partial returns. Concrete steps with cast iron railings lead up to a pair of double glazed doors topped by a leaded glass fanlight.

The door is framed by small side windows and adorned with a semicircular fanlight window. A black ironwork fence runs along the front of the house and up each side of the flight of six steps leading up to the entrance door. The fence rises on either side of the front step to support iron gas lamps.Gifford, p. 169.

The main entrance is approached from a circular drive to a double staircase and symmetrical entrance porch. The entrance features floral motif leadlight panels in the door and fanlight. Internal walls are clad in asbestos cement with timber cover strips, the patterns of which vary from room to room. Service rooms are clad in VJ boards.

In the center of the south façade is the recessed main entryway, flanked by metal lanterns. Above the doors are a large radiating fanlight and a small hood supported by stone consoles. It is flanked by 12-over-12 double-hung wooden sash windows. At the end bays are recessed niches with small semicircular openings at the top.

At each end of the hall is a raised cornice section on pilasters surmounted by a large semi-circular fanlight fitted with timber windows. Evidence exists of the picture theatre use. Much of the damage to plasterwork appears to result from the most recent use as a second hand furniture shop. There are regular gaslight outlets around the walls.

John Hanna Farm is a historic home located in East Fallowfield Township, Chester County, Pennsylvania. It was built about 1819, and is a two-story, five bay, stone farmhouse with a gable roof in a vernacular Federal style. It features a formal main entrance with pediment, pilasters, and elliptical fanlight. Also on the property is a contributing barn.

Mansel Passmore House is a historic home located in East Fallowfield Township, Chester County, Pennsylvania. It was built about 1830, and is a two-story, four bay, stuccoed stone Federal style dwelling. It features an elliptical fanlight over the offcentered main entrance. Note: This includes It was added to the National Register of Historic Places in 1985.

They have been replicated in an exceptional manner in the stained glass windows. The elevation of the porch is overwhelmed by quoining especially by the Gibbs surround of the round-arched entrance. Above the paired wooden doors is a plain fanlight with a Hebrew inscription. The side walls are externally divided into four bays by plain pilasters.

A Palladian-style three- part window stands in the second floor above the entrance, with a half-round fanlight. The roof is pierced by hip-roof dormers. The lot is lined on its street-facing sides by an iron fence. The house was built in 1912–13, and is one of the city's finest examples of Colonial Revival architecture.

This room appears to have originally been two rooms. The design of the pressed metal detail on the walls and ceiling is different in each room. Two doorways are located along the northern wing's wall. One is a set of French doors, with ornate leadlight detail, breezeway and fanlight assembly, leading to the central section of the house.

The building consists of four storeys over a raised cellar and is topped by a Mansard roof. It is seven bays wide and his a three-bay central projection. The gateway in the left-hand side of the building is topped by a fanlight and the Keystone features a relief of an ancher and an inscription.

The main entrance is to the central bay; it has a semicircular head with a fanlight, and is flanked by a pair of small windows. The front face has seven casement windows to the ground floor. In around 1971, the central bay had two Venetian windows with a semicircular head; only the second-storey one remains.Davies, p.

The 1936 renovation also added formal entry porches on the south and east sides. Windows are typically six-over-six double-hung sashes with brick flat arches. The interior is oriented around a center hall leading to the kitchen at the rear. The hall is entered through the south porch door, which is topped by a leaded glass fanlight.

It opens into a small vestibule. Originally on the walls were marble plaques with more Lincoln quotes, including "With malice toward none, and with charity towards all ..." from his second inaugural address. At the end of the vestibule is a door with elliptical fanlight, leaded sidelights and Adamesque detailing. Off to the right is an office and waiting room.

The Benjamin Bangs House is a two-story frame rectangular Greek Revival with a gable roof and one hip-roofed side wing. The front facade contains a door framed with pilasters and topped with a fanlight-like molding and a full entablature. The gable end terminates in a wide modillioned frieze below a boxed cornice with returns.

The chapel has a central double panelled door with a fanlight. Cwmerfin lead mine is of prehistoric origin and was owned in the first half of the seventeenth century by Sir Hugh Myddelton (1560–1631) and Thomas Bushell (1593–1674). As well as lead ore the mine produced zinc, copper and silver ore. The mine closed in 1889.

The verandahs have dowel balustrade, lattice valance and timber arch brackets. The plan consists of a dining room, a smoking room and a two- roomed guest suite. These are accessed from an enclosed verandah entrance hall with entrance doors at both ends with sidelights and fanlight of etched coloured glass. All rooms have fretworked cedar ceiling roses.

Much of the original door and window furniture is retained. The house has several built-in storage cupboards with timber shelves. The opening between the foyer and the hall has an arched and battened fanlight. An early bell system survives with buttons in the main bedroom and the drawing room connected to bells in the back hall.

The two projecting wings are pedimented and have a boxed cornice with block modillions, round vents and Doric pilasters at the corners. The central section features a pedimented Doric portico sheltering a central entrance with a semicircular fanlight and sidelights. A Doric entablature extends across the central section. Fenestration is regular six over six with dentiled architraves.

The main entry is sheltered by a portico supported by paired Doric columns, with small modillions lining the fully pedimented gable. The entry is flanked by sidelight windows and pilasters, which echo pilasters at the building corners. The doorway is topped by a semi-oval fanlight window, as are the sidelights. The interior has well-preserved high-quality woodwork.

The northern facade features a single timber panelled door. The other three facades feature three-paned timber sliding windows with a three-paned fanlight. Internally the signal box retains signal equipment and the manual switch for the railway tracks. PLATFORM (1880) STATION MASTER'S RESIDENCE (1913) The SM's residence was most likely built for the night Station Master in 1913.

Windows to this front facade are round arched with label moulds and there is a fanlight over the front door. The mill and mill house were identified as places to be kept by all three community workshops organised by the AHC in Queanbeyan in 1990 to investigate social significance, local significance and a community's sense of place.

The Second Arenac County Courthouse is a rectangular symmetric two-story frame structure covered with clapboard with a hip roof. The entrance is through a porch supported with slender columns with a slightly projecting bay. An elaborate fanlight window sits above the entrance, and gable above features fishscale shingles and sunburst carving. A graceful cupola tops the structure.

Dictionary of Ohio Historic Places. Vol. 1. St. Clair Shores: Somerset, 1999, 610. Executed in brick, the design included standard Federal elements such as the chimneys atop the gabled ends of the house and a fanlight at the entrance. Additional exterior components included brick lintels for the windows and a brick archway surrounding the main entrance.

The front portico is 10 feet deep and contains five Ionic columns. The windows in the front are ten feet high and extend to the floor. The tympanum above the door contains a fanlight with wrought iron grilles and an eagle with outstretched wings. The sidelights and transoms on the entrances are also covered with wrought iron grilles.

The main entrance is the dominant element of the building's facade. It consists of a set of layered elements: a large pediment with a cornice, a cofferred arch, a flat window with pediment above, a large arched fanlight, and a flat doorway portal. The doorway is flanked by paired columns. A rear addition was built in 1922, in the same style.

The Moreton Room occupies most of the remaining floor space, and features pressed metal cornices and ceilings. Part of the ceiling has been lowered to house air conditioning ducts. A timber panelled door with fanlight assembly of recent origin opens to the verandah running along the eastern elevation. An early fireplace is located on the northern wall of the room.

Commercial storefronts, separated by a glassed-in theatre entrance, face north and west on the main floor. Other exterior features include multi-paned transoms, fanlight transoms, red tile hoods above windows, decorative molding, mock rafters, and wrought-iron balconets. With a few exceptions, the exterior looks much as it did in 1927. A lobby leads from the entrance toward the theatre's viewing areas.

Windows to the tower are of a porthole style brass framed and of vertical proportions with an arched head. The interior of the lighthouse is simple in form. The main entry door is made of cedar set with sidelights and fanlight, and leads into a foyer of tessellated tiles. The foyer still has the original desk for the visitor's book.

The rectangular red brick structure is located on a shady tree- filled plot. The front facade is three bays wide, with a central projection containing large wooden double doors. Above the doors is a fanlight to allow the morning light to penetrate the building. To either side of the door is a large rectangular stained glass window, designed and shipped from Germany.

The two story wood frame house was built c. 1790, and is a fine local example of Federal styling. It has an L shape, with intersecting hip roofs, and two interior chimneys. The main entry is centered on the five-bay front facade, and is elaborately framed with sidelight windows and a fanlight, and is sheltered by a portico with Tuscan columns.

The wooden door is topped by a semicircular fanlight set in moulded trim. The rear wood-frame addition is more utilitarian, and is clad in vinyl siding. The main entrance leads into a vestibule, and then a reading room which occupies the entire brick 1922 structure. It has a barrel-vaulted ceiling, and its walls are finished in dark-stained beaded boarding.

Trouble Brewing is a 1939 British comedy film directed by Anthony Kimmins and starring George Formby, Googie Withers and Gus McNaughton. It was made by Associated Talking Pictures,Wood p.99 and includes the songs "Fanlight Fanny" and "Hitting the Highspots Now". The film is based on a novel by Joan Butler, and the sets were designed by art director Wilfred Shingleton.

The Central Fire Station is a historic fire station at 399 Main Street in Falmouth, Massachusetts. The two storey brick building was built in 1929 to a design by Fitchburg architects Haynes & Mason. The brick is laid in Flemish bond, and there are wooden quoins at the corners. The central doorway is flanked by pilasters, and is topped by a fanlight.

On the ground floor the central bays contain three entrances, separated by pillars, which lead to a recessed porch. Over each entrance is an architrave containing a fanlight. The lateral bays contain two round-headed and one flat-headed entrance on each side, over which are three blind round windows. In the middle storey, the bays are separated by pilasters.

The church is constructed in red brick, stands on a stone plinth, and has a slate roof. The façade facing the road is in two storeys. It has a central doorway with a semicircular head and a radial fanlight, and two windows also with semicircular heads. At the top is a pediment containing a niche with a statue of the Virgin Mary.

The center bays each have an entrance on the ground floor, topped by half-round fanlight windows. The second-story windows are also topped by similar fanlights, both on the front and the sides. A multistage tower rises at the front of the building. Its first stage is square, with a belfry that has round-headed louvers framed by arched moulding.

Chapel Hill is a historic home located near Mint Spring, Augusta County, Virginia. It was built about 1834, and is a two-story, three bay, brick I-house dwelling in the Federal style. The front facade features a central pedimented pavilion with an elliptical fanlight over the doorway and another in the pediment. The interior features French scenic wallpaper, woodgraining and marbleizing.

It has two storeys. Over all the windows are wedge lintels. The two windows in the ground floor of the entrance front are sashes with glazing bars; the two windows above them are casements. Between the windows on the ground floor is a doorway containing a six-panel door with flat pilasters and an open pediment, over which is a fanlight.

The front facade features a semicircular fanlight over the main entrance and there is a two-story porch on the rear wing. and The house was built for Dr. James M. Sutton, whose family continued to live there for generations. It was added to the National Register of Historic Places in 1973. It is located in the North Saint Georges Historic District.

It features a front entry with fanlight, a rose window, two-bay side elevations, a metal sheathed gable roof, and a limestone foundation. Also on the property are a contributing 1874 manse, a cemetery established on the eve of the American Civil War, and an outbuilding. and Accompanying four photos It was added to the National Register of Historic Places in 2004.

The work involved the over-painting of stucco, removal of original chimneys to north and south sides of the building, illuminated signage, over-painting of upper portion of central fanlight window to façade; automatic sliding aluminium entrance door, concrete steps and retiled floor to entry porch, ramp to north porch, postal box enclosure to façade annexed from the original postal hall.

The main entrance is flanked by pilasters and topped by a half-round carved fanlight. Two-story ells extend to either side. The oldest portion of this house was probably built c. 1766 by John Wells Jr. or by his father; the land on which it stands was given by the father to the son, with the house standing on it, in 1768.

The Rev. Samuel Gay House is a historic house at 10 Williamsville Road in Hubbardston, Massachusetts. This 2.5 story wood frame house was built in 1817 for Reverend Samuel Gay, a controversial local minister. The house is a fine local example of Federal style architecture, particularly noted for its front door surround, which has pilasters and a semicircular fanlight topped by an entablature.

The entrance is flanked by two engaged fluted Doric pilasters and columns. They support an entablature with denticulated cornice to which a later piece of wood has been affixed with metallic letters saying "ZIP 14411". Above is a blind fanlight with an aluminum eagle. Inside the modern double doors open into a wooden vestibule articulated by narrow paneled pilasters and multi-pane sash.

Fernhill is a single storey dressed stone building with ten rooms on the ground floor, four attic rooms and a cellar under the store room. The double pitched and hipped roof has a longitudinal valley and covered stepped verandah roof to three sides. The entrance door is six panelled with diagonally glazed sidelights and fanlight. Internal doors are four panel doors.

The arched opening on the west leads to an exit that is framed with darkly stained wood and contains a fanlight. Decorative bronze medallions flank the exit. To the east, the arched opening leads to an elevator that has original bronze doors and surrounds. Although the courtroom is no longer used for judicial purposes, some original features remain since conversion into office space.

The main building is of masonry rendered and marked as stone with a gabled, corrugated iron clad roof and verandah to three sides supported on stop chamfered timber posts. It has three rendered brickwork chimneys with terracotta pots.LEP, 1991 Windows are twelve pane type with louvred shutters and doors six panel type. Simple semi-circular Georgian fanlight to the panelled (fielded) front door.

A casement window opens between the sleep-out and verandah. The front door, consisting of one side panel and a pivoting glass fanlight, also opens off the verandah. Next to the front door is fixed a timber plaque on which the name "Idavine" is painted in gold. It was in place when the current owners took possession of the property in 2001.

Hunt Downing House, also known as Arrandale, is a historic home located in West Whiteland Township, Chester County, Pennsylvania. It consists of a -story, five-bay central block built about 1810, a kitchen wing, and a one bay library addition built in 1946. The house is in the late Federal style. The main entrance features a semi-circular fanlight and column supported entablature.

The verandahs have cast iron balustrades with a timber valance and brackets. The verandah walls have single skin vertically jointed boards with French doors and sash windows. The front entrance has leadlight fanlight and sidelights, and opens to a central corridor leading to the rear of the building. A rear verandah has been enclosed and the rear subfloor space has been bricked in.

On the lower level, the double doors open into a foyer with a small storage room to the right and stairs at the left leading to the upper level. Double, glass panelled doors lead into the main hall. The Masonic compass and square symbol is etched into each of the upper panels. There is a frosted glass rectangular fanlight above the door.

The kiosk section has sliding multi-paned sash windows which can be concealed within the solid balustrade below, and multi-paned fanlight glazing above. The balustrade has fibrous cement panels with timber mouldings. The service wing and northeast addition have weatherboard cladding, with a brick base to the northeast. A tall timber framed tankstand is located to the north of the building.

The central section has the front door, sheltered by a porch that wraps around to the right side, flanked by sidelights and topped by a fanlight. Above the front door is a porch door flanked by wide windows and topped by a half-round window with Gothic style insets. The house was listed on the National Register of Historic Places in 1989.

The Joseph Rogers House (also known as "Robert Rogers House") is an historic house at 37 Touro Street, facing Washington Square in Newport, Rhode Island. It is a three-story wood frame structure with a hip roof. Its main facade is five bays wide, with a center entry framed by pilasters and topped by a fanlight. The house was built c.

The building has classical mouldings and a pedimented arched portico over the main entrance. The entrance contains black and white marble tiles and decorative sandblasted glass door surrounds and fanlight, on which is written "VERNEY". The entrance hall contains a carved timber staircase with a large sandblasted glass window at the landing level. Decorative plaster mouldings feature around archways and light fittings.

The skillion-roofed aisles also have raked clear finished timber boarded ceilings supported by exposed timber trusses. Narrow round arched windows illuminate the aisles and a set of timber doors with fanlight over open to the exterior. Shrines dedicated to Jesus and Mary are located at the southeast ends of the aisles. The sanctuary is located at the eastern end of the nave.

Internally the building retains an early ground floor layout, with several rooms featuring nineteenth century timber joinery, fireplaces and openings. The early entrance to this block is a large double timber and glazed door surmounted by a round arched fanlight and all surrounded with aligned glazed openings and although some of the glazing has been replaced, this doorway survives substantially intact.

As of 1977, the brick was painted red. It has an outset center bay, with a one-story portico of Doric columns, with a fanlight in its gable; the portico's roof-balcony has an iron balustrade. It was designed by Weiser architect H. W. Bond, and was built by contractor George Brinson. With It has also been known as the Farnsworth Hotel.

The bank was built in 1898 as the Holt Brothers Building, and in 1901 the brothers, who were farmers and businessmen, opened the First National Bank there. It was built as a two-story brick building with ashlar marble. Its front door had a stained glass fanlight, and beside the door, in marble, was carved "Chas. E. Choate - Architect and Builder".

The stair hall has a fine Neoclasical interior and domed ceiling, with stained glass inserts. There is a centrally placed entrance on the north elevation with elegant fanlight and classically detailed moulded entablature. It is constructed of rendered brick ashlar coursed single-storey verandah with timber supports and posts, corrugated iron roofed. The main roof is of galvanised iron, hidden behind the parapet.

On the front side, the central bay projects to form the base of the steeple. All three bays on the front elevation have a red paneled double wooden door surrounded by fluted pilasters with a projecting cornice on top. Above each one on the second story is a window topped with semicircular fanlight. At the attic is a decorative circular light.

Marble steps lead up to the main entrance, in the middle of the west elevation. Its ornate surround has engaged columns on marble bases topped by a plain frieze and open pediment. Inside that pediment is the entrance fanlight, with a molded surround of its own topped by a keystone. The door itself has deep panels, six horizontal ones atop two vertical.

The verandah floor is paved with tessellated tiles and edged with sandstone. The front door has fielded panels with stained glass leadlights above and in the fanlight and side light. There are five main rooms, each with fireplace surrounds, mostly marble. The door and window joinery and architraves and skirtings were reported as generally intact and in good repair in 1992.

Flat arched windows are double- sashed and contain either 6/6 or 4/4 panels and are set back from the exterior wall. A central door surrounded by a fanlight and side panels rest in the middle of the building. To either side of the door is a window and an unadorned pilaster. A double panel window lights either side of the building.

The porch is supported at ground level by timber Tuscan columns surmounted by a simple entablature bearing the name of the Lodge and a sign commemorating its centenary. The columns are mounted on pedestals. The central entrance consists of a pair of timber doors with a fanlight above and moulded architrave. The doorway is flanked by double hung timber windows on both levels.

The facade has three bays, which do not quite align within the bays created by portico columns. The main entrance is in the rightmost bay, flanked by sidelight windows and topped by a Federal style fanlight. A two-story ell and single-story shed project to the rear. The interior of the house is decorated with modest Federal period elements.

The east front is symmetrical with seven windows, the central three bays being advanced under a plain pediment. The central doorway has glazed double doors and a fanlight. The wooden sashes with twelve panes may date from 1831, but the central ones are probably from 1792. The north front has Tuscan columns and a date-stone with "1934" in the wall above.

In the front centre of the upper floor is a square tower room with round arched windows; this was the original chapel. On either side dormer windows (later additions) are set into the slate, hipped roof. Eaves are bracketed, which, with the towers, gives the house an Italianate feel. An elongated double front door is flanked by stained glass reveals and a fanlight.

Above the door and fanlight opening off the hall into this room there is a patch of flaking paint or plaster. Another patch is evident on the meeting room's ceiling. The boardroom accessed from the eastern facade of the main building is smaller and has windows in only one wall. Its ceiling features a simple, double cornice and a plaster rose.

Generally all glazing is clear with the following exceptions: front door fanlight and sidelights have colored art nouveau lead-light world; drawing room 1 exterior door fanlight has colored art nouveau lead-light work: the first floor stair hall window contains large panels of etched glass with Flannel lower, gymea lily and waratah decorations; the first floor external hall door is etched with flannel flower and waratah decorations. The main arched openings of the hallways are decorated with plaster architrave's, paneling and plaster caps whilst the first floor halls have pedestal and key stones. Verandah and balconies: The two main front verandahs and balconies are of similar detail consisting of Ionoc-derived iron ground floor posts stamped "Simpson- Makers- Morpeth" with timber panelled frieze and arched valances above. The upper floor column capitals are of corinthian design.

The Heywood House is set facing south on the north side of Maine Street, overlooking the Penobscot River. It is a 2-1/2 story brick structure, with a side gable roof, four end chimneys, and a dressed granite foundation. The main facade is five bays wide, its windows featuring splayed sills and lintels. The main entrance is flanked by sidelight windows and topped by fanlight window.

It has a fanlight with a round arch, above which is a pediment. The lateral two wings have semicircular two-storey bay windows, which are in a different style from the rest of the house. The central pane of each window is octagonal. The other windows in the lower two storeys are 12-pane sashes, and those in the top storey are 12-pane casements.

The -story mansion is situated on a polygonal corner site along a street with other imposing residences. The facades of the building are composed of Harvard brick timed in limestone and white-painted wood. The exterior features an Ionic portico, a fanlight doorway, a side loggia, a piano nobile with iron balconies and arcaded windows. The ceremonial interiors are arranged around an open stair hall.

The most notable structure in the district is the c. 1750 Freeman-Pratt House, which is one of the best-preserved Federal style farmhouses in Southbridge. The oldest portion of the house is a 1-1/2 story five section that is now an ell on a two-story main structure. The house features a fanlight over the front door, with pilasters and sidelights surrounding the door.

Its facade has a gable pediment with an oculus within the tympanum. There is a fanlight above the double doors with a sundial above and a commemorative plaque above that. Nikolaus Pevsner considers the chapel "has the best-preserved C18 ecclesiastical interior in South Lancashire". The original box pews are in place upstairs and down, there is a three tier pulpit on the north wall.

The Islesford Historical Museum is a 1½ story fireproof brick structure built in 1927 in the Georgian Colonial Revival style. The building is arranged with a by main block and a by subsidiary block, both with hipped roofs. The main block has two prominent interior chimneys and a formal entrance with a semicircular dormer-fanlight. The museum rests on a quarry-faced random ashlar stone base.

Bank Building, also known as Old Mercantile Building and Eastern Shore Chamber of Commerce, is a historical commercial building located at Accomac, Virginia, Accomack County, Virginia. It was built about 1820, and it is a two-story, rectangular brick structure in the Federal style. The front facade and watertable are stuccoed. It has a gable roof and features a fanlight window above the second story door.

French doors with fanlights open onto the verandahs. The foyer has a single panelled door with sidelights and fanlight and a carved timber staircase with turned balustrade. An arch leads to a central hallway with dining rooms and a lounge to either side. The lounge has an elaborate marble and carved timber fireplace, a timber bar has been installed and the walls have been papered.

The two-story brick structure features exterior walls that are thick, laid in Flemish bond. The front (east) elevation of the house is dominated by a monumental Tuscan hexastyle portico that spans the entire five-bay, wide front facade. The floor of the stylobate and the columns are brick. The portico shelters the main front entrance with its delicate fanlight and sidelights in the central bay.

The hall is built in brick which was formerly stuccoed. It has a low- pitched hipped slate roof concealed by a low parapet. The two storey symmetrical frontage has a five-bay facade with an Ionic portico of unfluted columns over a wide doorway with a fanlight. The hall has four 15-paned sashed windows on the ground floor, with five 12-paned windows on the first.

Built in 1893 by Charles E. Loose, the Charles E. Loose House (383 E 200 S) "Combines the massing of the Shingle Style with a consistent program of Eastlake ornamentation. Its enveloping roof, veranda and pentagonal fanlight gable windows mark its individuality among the city's architectural sites (Historic Provo p. 24)." The Charles E. Loose House was designated a historic Provo City Landmark on April 28, 1995.

The three story brick house was built in 1809 for Thomas March Woodbridge, owner of a local tannery. Its construction has been attributed to noted Salem builder Samuel McIntire, based on its similarity to other McIntire works. It is square, with five bays on each side. The front door is centered on the main facade topped by a semi- elliptical fanlight and flanked by sidelight windows.

The fanlight panels above the doors are identical to a pattern used by Rooney's indicating that the Company made them. The facilities and ambience of the upper common room were regarded as the finest of any hotel in the north-west. It was furnished with a ping-pong table, palms and ferns in floor planters and hanging ferns. The furniture consisted of lawyer cane chairs and tables.

Thomson, 1986 The building in 1870 was painted and had a Georgian fanlight and six panelled door and glazed half sidelights with lattice style decoration. Pickets on fence had round tops with unusual turned spindle gate. Later residents included John Harris, nephew of Surgeon Dr John Harris of Harris Park. The building was later used a peanut butter factory, stationery shop and car workshop.

Wayland H. and Mamie Burt Stevens House is a historic home located at Fuquay- Varina, Wake County, North Carolina. The house was built in 1936, and is a two-story, Colonial Revival style brick dwelling with a hipped roof. It features an entry portico and a front door with fanlight and sidelights. Also on the property are the contributing garage (1936) and tool shed (1936).

The three story brick house stands over a tall basement and measures wide and deep. The thick walls are laid in Flemish bond with belt courses of rubbed brick at the second and third floor lines. The front is accented by a central three-bay wide projecting pavilion. The three-part central door with pediment, entablature, fanlight and sidelights is unusual for pre-Revolutionary times.

The Washington Times The house is of a post-Colonial, Classical Revival style, having a broad veranda across the front with Doric columns and a fanlight above. Inside is a sweeping circular stairway with mahogany rails. A crystal chandelier hangs in the middle of the hall. The rooms are spacious, and one is adorned with a white marble mantel by the sculptor Hiram Powers.

Dr. Joseph P. Dorr House is a historic home located at Hillsdale in Columbia County, New York. It was built in the early 19th century and is a red brick dwelling with a 2-story main block and -story kitchen ell. It features a fully pedimented gable with an elliptically shaped fanlight. See also: It was added to the National Register of Historic Places in 2007.

A pair of French doors, surmounted by a fanlight, open out on to this balcony. A round window decorated with festoons is directly below the balcony, followed by another small square window directly below this. A sign is located at the top of the facade, with the raised lettering "B.A.F.S Dispensary 1885-1915" The sign sits upon a short and simple entablature with prominent dentils.

Entrances at each level are located at the center, with flanking sidelight windows and pilasters, and fanlight windows above. In 1787, the state of Georgia granted George Walton 100 acres outside Augusta for his services to the state. Walton had "College Hill" built on this land in 1795, moving there from Meadow Garden. The house has been in the hands of his descendants (named Harper) since then.

Hiram Hubbard House, also known as Noadiah Hubbard House or Hubbard House, is a historic home located in Champion, Jefferson County, New York. It was built in 1820, and is a 2 1/2-story, three bay, Federal style limestone dwelling. It has a side hall plan, rear kitchen wing, full basement, and side gable roof. It features an elliptical fanlight over the front door.

Its front facade is oriented to the south, toward an open plaza at the center of The Hill. The facade is five bays wide, with slightly asymmetrical placement around a centered entrance. The entrance is the most elaborate part of the facade, with attached columns and a segmented fanlight window, above which is a modillioned gable. The interior retains original finishes, including a central circular staircase.

The house is a large three-story wood frame structure, set on a lot roughly in size, built in 1791 for Colonel Joseph Nightingale. Its main facade is five bays wide, with a central projecting section. The center entrance is framed by sidelight windows and topped by an elliptical fanlight window. This framing is one of the earliest known uses of such windows in the United States.

All facades are heavily decorated. Swags are on all four chimneys, and balustrades rim most of the roof lines. A central pier on the east above the main entrance is topped with an urn, flanked by wreathed balustrades, a cornice and frieze with triglyphs and metope-ornamented medallions. The double-doored main entrance is flanked by pilasters and topped with a fanlight and ornate keystone.

The ceiling is lined with timber boarding with central timber decorative (gas) vent. The walls are lined with plywood sheeting with timber battens. A door with fanlight over, leads from the hall out onto the rear verandah, which has been in-filled. On the west side is a small store room, while on the east side the verandah has been incorporated into a later kitchen extension.

Both sides and the original rear wall feature large round-arched windows with colored and opaque glass. The ornately paneled wooden doors, surmounted by a colored fanlight, open onto a small vestibule. The remainder of the original block is used for the sanctuary, a barrel- vaulted square room. A chandelier hangs from the intersection of two iron tie rods at the bottom of the vault.

The north-eastern addition is mostly clad in weatherboards with modern French doors opening onto the verandah. Its rear wall is clad in corrugated metal sheeting with a timber hood over a small window. The south-western addition is clad entirely in corrugated metal sheeting, with timber framed double hung sash windows. It has a timber battened door with fanlight on the south- eastern side.

The entry porch is approached via a wide flight of steps and has paired columns to the first floor supporting the pediment. French doors with fanlights and step-out sash windows open onto the verandas. The timber-panelled main entry door is set in a large arched brick opening with stained glass fanlight and sidelights. A bathroom opening off the southeast veranda has a similarly elaborate doorway.

A steel fire stair has been added to the east elevation. Internally, the ground floor has a central foyer with paired panelled timber doors in an amber glass panel sidelights and fanlight assembly. Retail tenancies are located to either side, and have been remodelled several times. Toilets and store are located behind these, and a turned cedar staircase with square newel posts accesses the first floor.

The house is recognized for its high Federal style architecture and grand scale. Five bays wide and a full three storeys high, its low roofline is nearly masked by its cornice, so that it presents a rectangle to the road. Full height pilasters mark the corners. The doorway features a half elliptical or demilune fanlight and side lights, expressing the generous width of the central hall behind.

The ground level has store- front windows with clerestories (which have since been enclosed), and a recessed entrance with a single door and fanlight for the hotel. Over the doorway is a stone inscribed "Pierce Block 1909." A stone string visually divides the first and second floors. The second story has nine arched windows, while the third story has rectangular windows that are defined by horizontal bands.

There is also a private entrance, used by the police department, facing an alley to the north. Fanlight windows are found over each entrance, though the exterior of each has been covered with a panel. The first floor has a central hall plan and is home to the police department. A jail was originally part of the police wing, but has since been converted to office use.

The topmost stage is a peaked shingled roof with imitation miniature shed dormer windows. At the entrance, stone steps rise up to a small, steeply gabled entrance projection faced in rough stone blocks. On the top is a silvery zinc statue of Lady Justice, without the blindfold common to many other depictions of her. Large wooden paneled double doors topped by an arched fanlight provide entrance.

McVitty House, also known as the Inn at Burwell Place, is a historic home located at Salem, Virginia. It was built in 1906 and expanded with a substantial addition in 1925. It is a 2 1/2-story, "L"-shaped, Colonial Revival style frame dwelling. It features a full-length wrap-around porch with Tuscan columns, elaborate dormers, stunning fanlight windows and an attached sun/sleeping porch.

At the front, and on the rear extension, the roofline is marked by overhanging eaves with a dentilled soffit. On the side elevations a parapet with the chimneys rises above the roofline. The six-over-six double-hung sash windows have just the sill and lintel. Above them, in the gable field, is a wide fanlight and "SEYMOUR PLACE" in metal lettering on the west side.

Joseph Young House is a historic home located in Newlin Township, Chester County, Pennsylvania. The house was built in 1835, and is a two-story, five bay, fieldstone dwelling in a Georgian / Federal style. It has a large, two- story stone rear kitchen and bedroom wing. It has a gable roof and features a central entrance with semi-circular fanlight and dual gable end chimneys with parapets.

After the Revolution, Norfolk was rebuilt in the Federal style, based on Roman ideals. Federal-style homes kept Georgian symmetry, though they had more refined decorations to look like New World homes. Federal homes had features such as narrow sidelights with an embracing fanlight around the doorway, giant porticoes, gable or flat roofs, and projecting bays on exterior walls. Rooms were oval, elliptical or octagonal.

At the center of the gable is a half-oval fanlight in the Federal style. There is a single main entrance, placed at the center of the front facade, with sash windows on either side. Both the windows and entrance are trimmed by narrower Federal-style moulding. The structure was built in 1844 to serve the town's municipal needs, a function it continues to serve today.

The front entrance leads into a hall with a central arch way and stairway. The walls are painted a soft green with decorative stencils lining the cornices and chair rails. The stencils have been reproduced from late 19th century styles. The front door is framed by lead-light windows, a fanlight above and rectangular panels on either side as well as two panels in the door itself.

The verandah features decorative timber brackets and posts and the walls are single-skin with exposed timber framing. The front door has timber panelling with glass sidelights and fanlight. French doors with fanlights open onto the verandah. The double hung sash windows have sunhoods with curved timber brackets and a carport has been added to the south, the roof of which cuts across a side window.

The inscription above the gateway in the courtyard The main wing consists of three storeys over a high cellar and is five bays wide. The widows on the first floor have baluster decorations. The two outer widows on the first floor are topped by triangular pediments and the three central ones are topped by a frieze. A gateway topped by a fanlight opens to a narrow courtyard.

The entrance is flanked by sidelight windows and topped by an elaborate multipart semi-oval fanlight window. The interior retains high quality woodwork, including elaborate hand- carved fireplace mantels in the parlor and dining room. The showpiece of the house is its central staircase. It stands free in the center of the hall, rising to a landing where it reverses on both sides without any visible support.

Temple Hall is an early 19th- century Federal-style mansion. It is a Flemish bond brick house with a five- bay facade and is topped by a hipped roof. A small Doric portico shelters the central entrance which is surmounted by a graceful semicircular fanlight. Temple Hall also exhibits tall six-over-six double-sash windows, a frieze encircling the building, and tall interior end chimneys.

The entrance itself is flanked by sidelight windows and topped by a half-oval fanlight window, with pilasters matching the columns where the portico joins the wall. The rounded bays have curved three-part windows, with narrow sashes flanking large picture windows. Three hip-roof dormers pierce the front roof line. The main block of the house is flanked on either side by lower wings.

The main entrance is flanked by slender Ionic columns, and is topped by a fanlight window that breaks a gabled pediment. Above the entry is a Palladian window, its windows separated by pilasters, with a gabled pediment. A small gable rises on the roof above. The gable ends at the sides of the house are fully pedimented, and have half-round windows at their centers.

Thomas Maslin House, also known as Mortimer Gamble House and Maslin-Gamble House, is a historic home located at Moorefield, Hardy County, West Virginia. It was built in 1848, and is a two-story brick dwelling with a vernacular Federal style. It features a single-bay, pedimented portico supported by paired Ionic order columns. Above the four panel entrance is a semi-elliptical fanlight.

The glazing is clear and green leaded glass and the fanlight is operable, retaining an original brass mechanism. The door opens into a small foyer with a bay window with built in timber seat. The foyer ceiling is plaster with decorative mouldings. The house layout is organised off a central hall with rooms either side; bedrooms are to the west and living rooms are to the east.

In comparison with the exterior, the interior is functionally austere. The core comprises a wide central hallway, with front parlour and dining room to the right and three bedrooms to the left. From the parlour a faceted bay window projects onto the front verandah. At either end of the hallway are mirror-imaged front and back doorways, each with a cedar fanlight and sidelights.

Two occupy the corner bays, while two occupy the center-most bays. Each door has a semi-circular fanlight and a brick arch over the door. At some point before the 1962-1963 construction of Harbour Square, the brick arch over the door to 1317 4th Street was replaced with a brick jack arch. This jack arch was removed and the facade restored to its uniform appearance.

The wooden front entry doors are original, and also surmounted by a semi-circular transom window (UK = fanlight). Brick pilasters are located at the corners of the building, and serve to accentuate the eave returns above. The building contains several brick chimneys with corbelling at the top. Character-defining elements include a wood-trimmed alcove containing coat hooks, cubby holes, and a storage closet.

The front door, with sidelights and fanlight feature leaded glass. Timber-framed windows are double-hung sash and those in the front elevation feature coloured glass and etched decoration in a star pattern. The interior of the house retains almost all of its original detailing including fine ornamental plaster ceilings with Australia flora and fauna motifs. Doors, architecture and skirtings are finished in original wood graining.

The front door is two leaved, four panelled and half glazed with a fanlight, fluted mullions and sidelights. The windows are surmounted by heavily decorated mouldings. The southern facade is less decorative and features a simple parapet, string courses and a square porch with keystone arches. The northern wing is the fully rendered former Town Hall with pediment, pilasters and the curtilage is the fenced property boundary.

Robert Elliott's Wholesale Grocery is a historic commercial building located at Hannibal, Marion County, Missouri. It was built about 1886, and is a two- story brick structure. It features semicircular arches with fanlight tops on the first floor, upper windows with segmental arches, and an applied cornice, possibly metal. and Site map It was added to the National Register of Historic Places in 1986.

The Collison House is a historic house at 260 North Main Street in Bald Knob, Arkansas. It is a 1-1/2 story brick structure, with a side gable roof. It is a traditional linear ranch house with Colonial Revival features, including its main entry, which has sidelight windows and a fanlight above. The house was designed by Estes W. Mann and built in 1950 for Mrs.

A country house in red brick with bands and a tile roof with coped gables and parapets. There are three storeys and a symmetrical front of six bays, a double-depth plan, and a rear parallel extension. In the centre is a projecting porch with Greek Doric columns and an open pediment, and above the doorway is a fanlight. The windows are sashes with gauged brick lintels.

The front door has a moulded reveal and a semi- circular fanlight, with separate sidelights. Originally, the gate of the building extended to Queen Street, however the gates have been crowded back to the head of John Street. As was the custom at the time, The Grange was built in the middle of a hundred-acre park lot. It received the name "The Grange" after a family estate in England.

In 1910 it was moved within its original lot facing Monsignor O'Brien Highway to accommodate a road widening project. It was moved to its present location in 1984. The house is distinctive in Cambridge as a rare example Federal period brick architecture, the only such example with a fanlight above the entrance. It is also one of the few residential buildings to survive from the early years of East Cambridge's development.

The Cate House is a 2-1/2 story wood frame structure, five bays wide, with a side gable roof and twin interior chimneys. Its main entry centered on the main (east- facing) facade, has sidelight windows and a semi-elliptical fanlight window. A two-story ell extends to the rear. The interior has a central hall plan, with an elegant carved stairway and a unique curved door.

The Captain Daniel Bradford House is a historic house in Duxbury, Massachusetts. The 2-1/2 story wood frame house was built in 1808 by Captaian Daniel Bradford, on land belonging to his father, Colonel Gamaliel Bradford. It is five bays wide and three deep, with a hip roof and large central chimney. The front entry is flanked by sidelight windows and pilasters, above which are a fanlight and a gable.

The J.A. Noyes House is an historic house at 1 Highland Street in Cambridge, Massachusetts. It is a three-story wood frame structure, five bays wide with a gambrel roof and clapboard siding. The second floor hangs slightly over the first floor in a reminder of the early colonial garrison style. The main entrance is flanked by short sidelight windows and topped by a narrow semi- oval fanlight.

The opening between the two center columns is extremely wide to visually show off the wide front entrance. The cornices are bracketed, and the tympana has a semi-circular fanlight with radiating tracery. There are pilasters at the junction of the portico with the house that terminate at the second-floor level. A wide porch is located on the west and on a portion of the south elevations of the clubhouse.

The house is a rare example of small-form, early 19th- century Federal architecture in the Tennessee Valley. The -story cottage is built with 13-inch (33-cm) thick brick exterior walls. On the three-bay façade, the entry door with fanlight occupies the left side, with two large six-over-six sash windows to the right. A pair of arched dormers project from the steeply pitched gable roof.

The building is entered via a flight of steps adjacent to the projecting bay with rendered balustrades supporting large urns. The main entry has paired, panelled cedar doors with sidelights and fanlight, with a bay window to the verandah adjacent. French doors with fanlights and tall sash windows open onto the verandahs. The building has a two-storeyed masonry service wing to the northwest, with a lower two-storeyed addition (1938).

The central entrance arch cuts the podium and houses intricately carved hardwood doors and a stained-glass fanlight protected by decorative wrought iron railings. Bays 1 and 3 both consist of paired arches, located above the podium and articulated in an ionic pilaster order. Each arch-window houses folding jalousie shutters. At the upper level there are four Ionic pilasters with pedestals resting on a continuous horizontal string-course.

A projecting cornice rises over the roof above the entrance with the name "Carroll" inscribed in white and the year "1885" above it. a large fanlight rests below the nameplate and allows more light to infiltrate the building. On the other sides a gable rises with bracing from projecting Tudor style chimneys. A mansard roof rises to a central tower supporting a dome and four cardinal point clock faces.

The Renick House, also known as "Paint Hill", is a historic house in western Chillicothe, Ohio, United States. Built in 1804, it is a two-story stone structure in the shape of the letter "L". Among its most prominent features are gables and large chimneys on each end, a massive central chimney, and a central front entrance with a fanlight and a porch with decorative pediment.Owen, Lorrie K., ed.

The main entrance on the west side of the building faces North 14th Avenue. The building is fronted by a concrete porch with three steps leading to louvered double doors surrounded by windows. Panels of five lights each flank the doors, and above it a seven panel fanlight frames a sign with the club's name. Gabled returns supported by pilasters and a pair of Tuscan columns show a neoclassical architectural influence.

Sunnycroft is a 2-1/2 story wood frame house, resting on a fieldstone foundation. It is located on Locust Hill, a high spot overlooking the center of Limerick, and its foundation is exposed on the east side. The southern facade has a significantly projecting gabled portico, supported by two-story fluted Doric columns. This portico has a modillioned cornice, and a fanlight window in the gable pediment.

The building comprises four sections: ladies waiting room, shelter shed, office and an electric staff instruments room. At the north-east end of the building is the ladies waiting room. This has a four-panel timber door with fanlight and a sash window to the platform. At the rear corner of the waiting room, horizontal timber louvres form a window and a small door provides access at the base.

The building retains elements of its original fabric including sash windows, doors, fanlight, elements of the stair, cellar details and chimneys. The building substantially retains its exterior fabric. The date of the building makes the bricks and flagstones extremely rare especially in a in-situ domestic urban setting. The building incorporates an unusual decorative feature on its north-east exterior wall in the form of burnt bricks in a diamond design.

The main entrance door is surmounted by a decorative fanlight. The design has been variously attributed to John Verge and Henry Cooper however no original drawings have been located. Newington House was one of the subjects of architect and writer William Hardy Wilson's romanticised drawings of colonial architecture in NSW published in the 1920s. The house is now used as an administration block of the Silverwater Corrective Centre.

There is little decoration, with plain rubbed brick flat arches over the windows. Ornament is confined to the central bay, whose door is framed by engaged Ionic columns and topped by a fanlight. Above the door the second floor window is framed with a surround and entablature. The interior presents the appearance of symmetry where it is in fact not symmetrical, using false doors where necessary to maintain the illusion.

The main entrance is its most elaborate exterior feature, with sidelights and fanlight transom window sheltered by a half-round portico supported by columns with Ionic capitals. Above the entrance is a sash window with half-round fan, framed by wooden paneling. The interior features include a fine curving staircase and carved fireplace mantels. The house was built sometime between 1810 and 1813 for Thomas Morton, a local merchant.

The Ives House is a 3-1/2 story brick structure, with a hip roof surrounded by a low balustrade. The front facade and sides are laid in Flemish bond, while the back wall is laid in American bond. The front is five bays wide, with a single-story circular porch (an 1884 addition) sheltering the centered entry. The doorway is flanked by sidelight windows and topped by an elliptical fanlight.

The doorway of number 12 isn't recessed and has a plain semi- circular fanlight. To the left of each doorway is a sash window on the ground floor, there are two sash windows to each of the upper floors. The first floor windows have decorative cast iron window guards, and all other windows have plain stone sills. The houses are generally regarded to have the original staircases and other joinery.

The wall behind the portico is faced in stucco. The main entrance's double wooden doors are recessed in a large round arch topped with a leaded fanlight and flanked by two fluted pilasters topped with a similar cornice to the pediment. Next to it are cast stone panels that top the narrow windows aside the pilasters. On either side of the portico are nine- over-nine sash windows.

Internally, the ground floor has a large front office, with a strongroom, some partitioning, false ceilings, floor vents and two steel columns. Windows onto side verandahs have been enclosed. At the rear, a timber stair with turned balustrade leads to the first floor from a rear foyer which has double timber doors with arched fanlight and sidelights. The rear wing has been refitted and extended to house staff amenities.

The first of those has a symmetric facade and a one-story half-round porch with fluted columns and an entrance with fanlight, gable returns and modillions. The second is asymmetric and has pilasters and a doorway with a broken pediment. Another Colonial Revival house is a c. 1917 Georgian house at 1108 Dinglewood Drive (photo #2); it has Doric columns on its porch and has a porte cochere.

The entrance itself is flanked by sidelights and pilasters and surmounted by an ornate fanlight and segmented arched lintel. Above it is a detailed tripartite window within an arch partially cut into the frieze and cornice above it. It is flanked by pilasters supported another segmented arch lintel. The identical east and west elevations feature fully pedimented gable fields, rising slightly above the roofline to create a parapet effect.

It is capped with a pyramidal roof and a scalloped parapet wall forms a solid balustrade allowing access to the bell chamber. Access into the end of the elevation is via timber paneled doors which open onto an octagonal- shaped and timber-lined entrance vestibule. A decorative leadlight fanlight is located above the entrance. Another pair of glazed and paneled swing doors on pivoting hinges provides access into the lower vestibule.

The asymmetrical front elevation to Channon Street reflects the 1893 extension to the southwest. The former court house comprises a central pedimented portico flanked by open verandah bays which terminate in the end wings. The bays of the verandah are defined by engaged columns and have horizontal metal tube rails. The wings are each distinguished by a central arched window housing a pair of casement windows and fanlight.

A flight of stairs leads to a verandah and portico with two Doric columns supporting an entablature with "COURT HOUSE" in raised lettering. The entrance doorway contains a two-leafed, eight-panelled door with fanlight and architrave. On the southern section of the main elevation a masonry ramp gives access to the verandah. All the windows throughout the building are timber framed with either six or twelve panes.

The house, built around a quadrangle, open at the south west corner is built of rendered brick with stone details and a slate roof. The three-storey frontage has five unequal bays with stone mullioned windows and crosswing gables. There are canted three-storey bay windows in two of the crosswings. The central three-storey porch bay has a studded oak door with Doric columns, pediment and a fanlight.

A large double door with fanlight opens into the yard from the centre of the ground level elevation, and above it is another door. The arrangement of windows on the William Street elevation is similar to that on Queens Wharf Road, however there are no bays. An arched hood supported on twin corbels shelters the double entrance doors. Inside the curve of the hood are the words "Government Stores".

The roofline has the same treatment as the flat portions of the roof. The southeast and southwest facades of the corner towers have a small arched window with fanlight flanked by two small smooth wooden Doric pilasters. Similar openings in the other sides have been shingled over in slate. Atop the towers are bell-cast roofs shingled in slate and topped by finials as well with weather vanes.

Plaque on the Naval Offices outlining its history, 2013 On the Alice Street side concrete stairs lead into a narrow side yard enclosed by a short, brick and timber fence. This yard wraps around the building along this side to meet the front porch on Edward Street. The Alice Street entrance door is timber v-jointed boards, ledged and braced, with a rectangular fanlight. The threshold is a single, large slate.

The United States Post Office Watonga, in Watonga, Oklahoma, is a Colonial Revival-style building built in 1936. It was listed on the National Register of Historic Places in 2009. It is a one-and-a-half-story brick-clad building. Its front facade has decorative detail at the front entrance, including a round arch fanlight above, and brickwork suggestive of pilasters by the sidelights of the doorway.

William Everhart House is a historic home located in West Whiteland Township, Chester County, Pennsylvania. It was built about 1810, and is a two-story, five bay, brick Federal style dwelling with a gable roof. It measures 50 feet by 21 feet, and features two entrances, one with a fanlight. It was the home of Congressman William Everhart (1785-1868), who also built the William Everhart Buildings in West Chester.

Timber balustrading, hand rails, verandah posts and lattice valances are located on the ground floor verandah and first floor balcony. A series of timber sunshading is located on the western side of the balcony. As part of the enclosing of the ground floor verandah, a series of timber casement windows are located on the western side of the building. Paired timber entrance doors are surrounded by a breezeway and fanlight assembly.

The Jonathan Weston House is the oldest of the three, built in 1810 by a prominent local lawyer. It is distinguished from the others by its entrance, which is topped by a round-arch fanlight and is framed by narrow pilasters and an entablature. This house was where John James Audubon stayed before is trip to Labrador. The Kilby House was built in 1820 by Daniel Kilby, a ship owner.

It has four chimneys rising from its exterior side walls. Its center entry is flanked by sidelight windows, topped by a fanlight window, and sheltered by a portico supported by paired Ionic columns. The window above the entry is a 1968 alteration salvaged from a house of similar vintage in Pawtucket. The interior has retained much of its original woodwork, despite the numerous uses the house has seen.

Front entrance to the Exhibition Building An exhibition building opened in Market Square on 27 December 1881. It was located to the west of the Clock Tower, and had a frontage to what became Jacobs Street. The site today is north-east of Rock O'Cashell Lane. The building had two 12-metre high corner towers, a large balcony, and a semi-circular fanlight to light the main hall.

Atop the building there is a crown with a lion seated on it, with the motto Dieu et mon Droit (God and my right) inscribed above. The entrance doors are made up of glass panes. The conference hall in the palace has an antechamber with an adjustable partition-like door while a large fanlight arching over divides the two rooms. The building has rich wooden flooring on the upper storey.

Number 116 is a large two-storey building with painted cement rendering under a tiled roof. The Hospital Street façade has two shallow projecting end wings with hip ends projecting from the main roof. The central entrance is flanked by wooden columns and has a semicircular fanlight with a pediment above. There are four casement windows to both ground and first floors, which date from the late 19th century.

The home was designed by Rock Island architect George Stauduhar in the Colonial Revival style. It also includes elements of the Prairie School style. The Colonial Revival style is found in the main façade’s symmetry, door sidelights, the elliptical fanlight above the door, and in the multiple panes of glass of the upper sashes on the windows. Many of the widows, however, are characteristic of the Prairie style.

The Floyd B. Brown House is a historic house at 1401 South Georgia Street in Pine Bluff, Arkansas. It is a single-story vernacular brick structure, with a gable roof and brick foundation. Decorative elements on the building are minimal, with scalloped trim elements at the gables and eaves, and a fanlight in the front-facing gable. The house was built in 1954 for Floyd and Lillian Brown.

The Halfway Schoolhouse is a one-story front-gabled structure with clapboard siding trimmed with cornerboards and surmounted with a frieze. The front facade is symmetrical, with a double-door entry with fanlight and an arched hoodmold, flanked by sash windows. A roundel containing the school name and date of construction is placed high above the door. A pyramid-roofed belfry with flag staff sits atop the cedar-shake roof.

The Ernest Loeb House is a historic house at 1425 Waverly Road in Highland Park, Illinois. The house was built in 1930 for Ernest Loeb. Architect Arthur Heun, who also designed a nearby home for Loeb's brother Allan, designed the house in the Georgian Revival style. The house's design includes a brick exterior, a fanlight above the front door, a pediment at the roofline above the entrance, and a hip roof.

The lower level is constructed of brick, some sections of which are painted. It is divided into two shops, each with a four-panelled entry door and tilting fanlight, and a large shopfront window (one of which has twelve panes, the other six). The rear section has a double gabled roof and central half-round gutter. To the west side is a brick chimney beside a further entry door.

Adorning the front of the house is a centrally-located one-bay entrance porch supported by two fluted pilasters, all made of wood. Turned balusters flank the porch and the several wooden steps that lead to a brick walkway surrounding the dwelling. An entrance to the basement is located underneath the porch. The chief front entrance to the Trumbull House is a single door with side lights and semi- elliptical fanlight.

The verandahs on the ground and first floors have been enclosed and the original doorway has been widened and replaced with automatic doors. A number of other paired timber doors are located along the verandahs on both the ground and first floors. The doors are panelled and have glass breezeway and fanlight assemblies. The foundation stone is located near the front entrance along the northern facade of the building.

The entrance is framed by sidelight windows and topped by a semi-oval fanlight window. An enclosed hip-roof porch extends across the right side. The house had an associated 19th-century barn into the late 20th century; a modern block of condominiums extends to the rear over its site. The house was most likely built sometime before 1792; it exhibits high- quality Federal styling despite the application of modern siding.

The west end of the aisle's north wall and the gabled west end contain a two- lighted trefoil-headed window. The north porch contains a panelled double door to the outer doorway with a leaded fanlight above. The north transept is gabled with the eaves lower than those on the north aisle and diagonal buttresses on the external corners. The north wall contains a three-lighted window with cinquefoiled heads.

The two-story brick home is in the Flemish bond pattern and has endured more than 200 years. The main section of the house has three bays with the main entrance on the far right. The large Dutch door and original wrought- iron strap hinges and iron lock box allow the door to swing open with little effort. The door is surmounted by a large fanlight inside a projecting pediment.

Social Service Building is a historic office building located in the Washington Square West neighborhood of Philadelphia, Pennsylvania. It was designed by noted Philadelphia architect Horace Trumbauer (1868-1938) and built in 1923–1924. It is a 10-story, steel frame brick clad building with limestone and terra cotta ornament in a Federal Revival style. The main entrance features an oversized door with fanlight, framed by Ionic order columns.

Above each doorway is a pivoted fanlight with waxed paper inserts. The first room to the left is the main bedroom, formerly a parlour, with a large double-hung sash window opening to the front verandah. It has a very fine pressed metal ceiling in Art Nouveau pattern. The second and third rooms on the left are currently used as bedrooms with French doors opening to the eastern side verandah.

Brentsville Courthouse and Jail is a historic courthouse and jail located at Brentsville, Prince William County, Virginia. The courthouse was built in 1822, and is a two-story, Federal style brick building. It features a fanlight over the main entrance, within a keyed, semicircular brick arch and an octagonal-roofed, frame-built cupola. The Brentsville Jail was built about 1820, and is located 30 yards from the courthouse.

Originally built in 1816 and the College Edifice, the building did not officially open until 1819 due to a fire. Manasseh Cutler Hall occupies a central position on the Ohio University Campus Green. It is a three-story brick structure, with a gabled roof topped by a wooden tower and cupola. The main facade is nine bays wide, with the main entrance at its center, topped by a semi-oval fanlight.

The front of the house faces north. There are steps up to the front door which is flanked by a pair of white columns. The architectural academic, John Gifford, writing of the house in the Fife volume of The Buildings of Scotland, describes the doorcase as being modelled on The Tower of the Winds in Athens. Above the door is a semicircular fanlight; the columns support a heavy entablature.

" According to Edward Said, La Ferla > "paid special attention to the design of the apertures and wrought iron > fittings employing motifs such as the shield-panels on doors and balconies, > as well as railings with basic spiralling, which were features of the > balcony railings and main door fanlight. These can be seen on a number of > his facades along Amery, Milner, Howard and Dingli Streets [in Sliema]. He > cleverly succeeded in striking symmetry to single-fronted houses as can be > seen in his Milner Street and Prince of Wales Road (today Manwel Dimech > Street) terraced residences. He also designed the ‘Warrior’ building in Old > College Street, built for a Maltese Royal Navy seaman who served on a ship > by that name. He also designed ‘Cactus house’ which is situated near the Old > College Street bridge crossing Prince of Wales Road up from Balluta, > adopting a rectilinear style façade with pillar and symbolic design of the > balcony railing and main door fanlight.

The first floor doors and window display a unique inter-woven design carved into their architraves. The second- floor windows are separated by stuccoed pilasters and a fanlight is centered in the pediment above. This new building was consecrated by Bishop Claggett on November 12, 1814. The 1830s, 40s, and 50s were a tumultuous period for the parish, reflecting the social and political tensions which impacted the United States in this era.

Greenfields is a historic home located at Cecilton, Cecil County, Maryland, United States. It is a -story, Georgian-style brick dwelling with a hip roof, built about 1770. The home features a central door with engaged Doric columns and a fanlight in a one-bay pedimented pavilion. It was home to Governor Thomas Ward Veazey (Governor from 1836 to 1839) and John Ward, Colonel of the Provincial Militia of Cecil County (1756).

The Blacklock House is set on the southern edge of the College of Charleston campus in central Charleston, on the north side of Bull Street. The house is a two-story brick house, set on a high brick basement. Its roof is hipped, with a gable above the center entrance. The entrance is reached by a double flight of stairs with iron railings, and is flanked by sidelight windows, with a fanlight window above.

The James Barnes House now stands in Cambridge's Wellington- Harrington neighborhood, set facing west on the north side of Hampshire Street between Columbia and Union Streets. It is a -story brick structure, with a side gable roof. It is five bays wide and two deep, with a center entrance set in an opening with a Federal style fanlight. The house was built in 1824 for an English glassmaker employed at the New England Glass Company.

The end bays of the west (main) facade are framed in pedimented pavilions, which have recessed brick panels above the impost line, and below it are bricks coursed to resemble rustication. One glazed roundel is at the middle of each tympanum. The pedimented central bay has an arched recessed entrance with a pair of oversized double wood doors beneath a fanlight. The arch is flanked with blind roundels above the impost line, with rustication below.

Old Statehouse is a historic state capitol building located on The Green at Dover, Kent County, Delaware. It was built between 1787 and 1792, and is a two-story, five bay, brick structure in a Middle Georgian style. The front facade features a fanlight over the center door and above it a Palladian window at the center of the second floor. It has a shingled side gabled roof topped with an octagonal cupola.

The Lexington, also known as Lexington Apartments, is a historic building located in Des Moines, Iowa, United States. The five-story brick structure on a raised basement was completed in 1908 as the city's first high-rise apartment building. with It was designed and built by local architect-builder Fred Weitz. The exterior features a Colonial Revival style entrance with a recessed door, arched fanlight, and engaged Doric style columns that support the pediment.

Most of the south verandah has been enclosed for bathrooms and studies, and has a weatherboard base, shuttered casement windows and panel infill. The main entrance has double timber doors with fanlight and sidelights, and shuttered arched French doors with fanlights open onto the verandahs. A gabled wing with a corrugated iron roof has been added to the west. This timber addition has casement windows, a stone base and contains bathrooms, laundry and an office.

The Prince House stands in far western Yarmouth, on the northeast side of Greely Road, just north of Maxfield Brook. It is a -story wood-frame structure, with a side-gable roof, central chimney, clapboard siding, and a granite block foundation. A long single-story ell extends to the rear. The main facade is five bays wide, with a central entrance that is framed by sidelight windows and pilasters, with an elliptical fanlight above.

He called it Ventnor, most probably after the town Ventnor on the Isle of Wight, England. Situated on what is now Avoca Street, the house faced east to take advantage of the views to the ocean. In spite of its Georgian character, the house featured Victorian detailing in its cast-iron columns and various sash windows. The main entrance, situated on the east side of the house, featured a six-paneled door and a fanlight.

The front facade, facing north to the street, is symmetrically arranged, with a center entry framed by sidelight windows and topped by a fanlight window. Above the entrance on the second level is a Palladian window; the remaining windows are rectangular sash windows, set below blind semi-oval transoms. The interior retains significant original woodwork and hardware. The house was built in 1807-09 by Theophilus Crawford, a local farmer and sawmill owner.

The kitchen was renovated as a study in the 1920s but retained an interior balcony. The main block features a projecting bay containing the recessed entry door with fanlight, pilasters and pediment, and a large Palladian window on the second story. The facade's other windows have stone sills and flat arch lintels. The rear, or garden elevation is similarly composed, but lacks the projecting bay, and the door is less elaborately detailed.

There are three entrances, two on the long sides and one on the short western side. The doors and windows are set in round-arch openings with fanlight windows above, and the bays on each side are articulated by Doric brick pilasters. The interior is divided roughly into four sections by two crossing aisles, with the pulpit located at the eastern end, in front of a small Palladian window. The ceiling is of ornamented metal.

French doors with fanlights lead from the veranda into the rooms of the homestead. The west section has been utilised for bathroom facilities and entry to the kitchen and utility section. The main entrance comprises a four-panelled clear-finished timber door with fanlight and sidelights. All glazing panels including the arched panels in the sidelights and pairs of arched panels in the door are decorated with leadlight in an Art Nouveau inspired pattern.

It is a two-storey rendered and iron commercial corner building constructed in the Federation Free Classical style of architecture. It was constructed with a bluestone base and brick walls and covered a total area of by . The rendered walls have an ashlar effect with pilasters incorporating decorative capitols. The first floor has decorative pilasters with stucco arches and a keystone above the semi circular fanlight with two matching timber casement windows located below.

St. John's Episcopal Church stands on the east side of the village green in Highgate Falls, near the southern end of the elongated green. It is a single- story brick building, with a gabled roof. The front facade is three bays wide, with Gothic-arched windows flanking a central projecting gabled entry. The double-door entrance is topped by a fanlight, and there is a Palladian window with an arched center above.

On the front, two towers flank the three-bay facade. The main entrance, located on the northernmost bay of the first story, has a large steel double door with half sidelights topped by a round fanlight with protective iron grille. The other two bays have tripartite round-arched windows. On the second story the windows are similar but paired, and a single group of three windows is in the apex of the gable.

The Witter House is located in the roughly linear village of Chaplin, on the west side of Chaplin Street a short way south of its junction with Tower Hill Road. The 2-1/2 story brick structure is a late example of Georgian architecture. It is five bays wide, with paired chimneys at the ends of the hip roof. The centered entrance is flanked by arched sidelight windows, and has a fanlight above.

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.

The front facade is five bays wide, with the three central bays fronted by a tetrastyle portico featuring four monumental Doric columns. The front doorways on both levels are trimmed with radiating brick voussoirs, with carved marble impost blocks and keystones. The openings are each filled by two sidelights with decorative muntins, and a fanlight around a central door. All of the window openings are enhanced with carved marble sills and lintels.

The bar fit-out is non-original, and toilets are located behind the bar area fronting Ann Street. An entrance foyer with reception/office is located at the southern end fronting Queen Street, with a stair accessing the upper floors. The foyer has pressed metal ceilings, and decorative leadlight doors and fanlight separate a second smaller bar at the rear. This bar has pressed metal ceilings, and timber wall panelling to door head height.

Closely spaced pairs of sash windows are found on the outer bays, with the entrance in the center bay, flanked by sidelight windows and topped by a semi-oval fanlight window. At the second level above the entrance is a sash window with flanking sidelights. Ells extend the house to the rear. The house is noted in part because it was decorated by the itinerant muralist Jonathan D. Poor, probably sometime in the 1830s.

At the top of a pair of sideways stone steps with iron railings is the main entrance, paneled wooden double doors with sidelights and a fanlight. Narrow fluted pilasters flank the doors; the whole entrance is slightly recessed. Below it is a more restrained basement entrance with paneled doors and sidelights in the stone. In front of it is a statue of Joseph Henry on a gray granite pedestal with text explaining his accomplishments.

The building is a two-story timber-frame house, with a two-story ell on the northeast. The front door is a distinctive six-panel door, flanked by sidelights and topped by a fanlight. Originally located at 1030 Main Street, it was moved in 1974 to 651 Park Avenue and converted for use as a bank. Restoration done at the time exposed Federal style details that had been covered over in the intervening years.

The house is clad in poplar siding and the gable roof was originally slate over wooden shingles, but has been replaced by asphalt shingles. Two gable-end chimneys have simple, Federal-style mantels. The façade is three bays, with a one-story portico supported by four columns, with a balcony above; it replaced a gable-roofed, two-column portico in 1978. The main entrance is flanked by sidelights and topped with a fanlight.

Red Clay Creek Presbyterian Church, also known as McKennan's Church, is a historic Presbyterian church located at Mill Creek and McKennan's Church Roads near Newark, New Castle County, Delaware. It was built in 1853, and is a two- story, stuccoed stone structure. It was originally rectangular in plan, but additions have given it an irregular cruciform shape. It features a colonnaded porch in the Greek Revival style with a fanlight and an enclosed vestibule.

The front facade features a projecting entrance with a decorative fanlight and side lights; the rest of the facade is fairly plain, so as not to detract from the entrance. The interior incorporates Colonial woodwork and features into a modern floor plan, which included a powder room for guests, a recreation room, a screened porch, and an attached garage. The house was added to the National Register of Historic Places on May 6, 1994.

That bay is sheltered by a Victorian-era porch that extends far beyond the building to the south, with turned posts and a gable with a lattice and fan motif. Windows are set in rectangular openings, with stone sills and lintels. The main gable is fully pedimented, with a Federal style fanlight at the center. A single-story brick ell extends to the rear of the building, with a gabled porch over a secondary entrance.

It was built in about 1775 by Ambrose Lincoln Jr., a farmer, shortly after his marriage. The house remained in the Lincoln family until it was sold to William Austin in 1919. The Federal Period, two-story I-house has a hipped roof with a five-bay wide façade is entered through a central doorway with a louvered fanlight set in a key-stoned, molded surround. The structure features two interior end chimneys.

It is one of a series of buildings characterized by flat fronts and stone trim. The facade is two bays wide, with the left bay narrower than the right. The left bay has the entrance on the first floor, recessed under a round arch whose exterior is faced in stone and whose interior walls are finished in wood paneling. The doorway is flanked by sidelight windows and topped by a fanlight window.

All windows have black shutters, and are topped by lintels with a keystone. The main entrance is sheltered by an elliptical portico supported by four Corinthian columns. The doorway is framed by sidelight windows and an elliptical fanlight, with pilasters rising to the base of the portico top. The house interior features lavishly-carved woodwork in the public spaces on the first floor, including fireplace mantels, cornices, internal window shutters, and the stairway balustrades.

The rectangular courthouse is constructed of locally quarried stone and rises two- stories on top of a full ground floor. The long arched windows line the facade, three on the front and nine on the sides and are separated by a pair of Doric pilasters. The main entrance is flanked by an inner Corinthian column and an outer Corinthian pilaster. The door is located inside a recessed portico and is topped by a fanlight.

The nine-window, symmetric south facade is two and a half storeys and features a five-window, slightly recessed centre section. The entrance is centrally positioned, with a pair of French doors and a plain, semicircular fanlight. The baroque surround includes a keystone and bilateral stone columns with swags and fruit. There are four windows on either side of the south entrance; each is six-paned, with the centre panes the widest.

The Porch House is a large, L-shaped house of three storeys in red brick under a slate roof, which is built around a courtyard. It is set well back from the street behind The Gateway, formerly its stable entrance, through which it is accessed. The Porch House is currently divided into two houses. The original entrance is to the left-hand wing, and has an arched fanlight with a pediment above.

Access to the tiled lower-storey verandah is gained from Burnett Street up a short flight of concrete stairs. The front door has a pivoting glass fanlight and opens onto a central hallway divided in two by an arched opening. The walls are plastered brick and a scraping has revealed a two-part colour scheme (light green atop dark, separated by a thin maroon band). Two rooms open to each side of this hallway.

The main entrance is at the center, with flanking narrow fluted pilasters, and a half-round fanlight transom above, topped by a dentillated cap. The building corners also exhibit pilasters. A single-story addition extends the building to the rear, and the property also includes a shed and garage, both from the 20th century. The house is believed to have been built about 1813 by Ichabod Bradley, a successful farmer in northeastern Southington.

The entrance has double timber doors and arched fanlight with coloured glass panels. The ground floor has a shopfront to either side of the entrance, with a glazed wide arched opening framed by pilasters and entablature. The first floor has a verandah with rendered balustrade, columns, entablature and arched spandrel panels with decorative keystones. This elevation has a rooftop balustrade, between column tops surmounted by spheres, with a central curved pediment with laurels in relief.

To the front is a reconstructed convex corrugated steel awning at the front extending to the former kerb line. To the rear is a contemporary yet sympathetic skillion addition with a corrugated steel roof and fibrous cement plank cladding. The frontage has two doors, apparently separate entrances for the shop and the residence. These doors each have flush lower panels, a glazed upper panel of six panes, and a glazed fanlight above.

The lecture hall addition on the north is similar to the main church block. It is a two-story bluestone structure with slate roof, mostly shielded from view by the church and adjacent buildings. A similar projecting gabled pavilion, with battered corners, on the Main Street side frames the main entrance. Two bluestone steps with iron railings lead up to a pair of slightly recessed paneled wooden doors topped by a fanlight with tracery.

Located within the Millers Point historic district on an elevated site with views over the harbour to both front and rear. A former Georgian town house of two stories with basement and attic probably built . It is of three bays in width with central eight panelled door above which is a fine elliptical fanlight supported either side by fluted pilasters. Internally it still retains the majority of its original joinery and other details.

The verandahs have been enclosed, with the south and east having sash and casement windows, and the remaining verandahs having flywire. The kitchen house and office buildings are clad in corrugated iron and have metal window hoods. French doors with fanlights open onto the verandahs, and the recessed main entry has a timber panelled door with leadlight glass inserts, sidelights and fanlight. An etched glass panel in the door has the inscription GREENMOUNT.

Access to the building is via wide timber steps to the southwest side verandah. The southwest (side) and front walls have exposed stud framing and are lined with narrow, vertically-jointed, tongue-and-groove timber. The side wall has four pairs of French doors opening onto the verandahs. The front elevation has a centrally positioned main set of double doors with fanlight above, which would have been accessed originally from centrally positioned front steps.

A striking feature of the building is the parapet decorated with symmetrically positioned projecting arched and trianglular pediments. The decorative parapet is crowned on the front corner of the roof line with a multi-faced turret structure. Four brick chimneys are visible from the road. The ground floor facades are lined with doors and windows with the main entrance being a double timber door with fanlight on the corner of the building.

The main entrance was framed by sidelight windows and pilasters, with a fanlight window above. This entrance assembly was sheltered by a half-round portico supported by Doric columns and topped by a low balustrade. Most of the windows were regular sash, but that above the entrance was topped by a half-round window, and had more elaborate trim. The interior retained original period woodwork and plaster finishes, as well as wide pine floors.

Although it was substantially completed earlier, as late as 1873 the school board was still hiring workers to do finishing work. The two-story, brick Italianate building features a low pitch roof, bracketed eaves, a square bell tower, and a fanlight over the main entrance. School district consolidation began in Van Buren County in 1957 and culminated two years later with the creation of three districts. The Vernon School held its last classes in 1960.

The Edward Little House stands on the west side of Main Street, south of Auburn's downtown area, at the corner of Vine Street. It is a -story wood- frame structure, five bays wide, with a center entry flanked by sidelight windows and topped by a fanlight. A two-story ell extends from the southern part of the rear. The interior is well preserved, its Federal period details including a handsome curving central staircase.

The Rookery is a large detached Georgian building of two storeys, in red brick with stone dressings under a tiled roof. The front façade faces Millstone Lane and is set well back from the street behind a brick wall. This face has two projecting end wings, with decorative stone quoins at each corner. The main central doorway is flanked by paired Roman Doric columns and has a fanlight and curved pediment above.

Another lead- light window is visible on the landing of the first flight of stairs. The hall leads off to rooms on either side and then through to an extension at the rear. The hall with archway and interior decoration is replicated on the upper floor in the same position. The door to the front verandah has a simple fanlight with textured glass and features a green shamrock at the base of the window.

The raised, porticoed entry with fanlight window above forms the central feature of the main facade. Large, rectangular multi-paned double hung windows provide ample illumination for the formally arranged floor plan, which features a central hallway flanked by the kitchen, dining room and living room. An enclosed one-story porch with a balustraded second floor balcony, a common feature on Georgian Revival homes, is attached to the south gable end of the house.

The house's central section is divided into three bays: windows fill the side bays on both stories, while the central bay is occupied by an entrance on the first floor and a larger window on the second. This section of the house rises to a gable centering on a small fanlight, while the house's brackets and cornice form a pediment at the top of the gable., Ohio Historical Society, 2007. Accessed 2013-12-11.

The building was altered in 1890, with two additions of Victorian architecture, the first being the main entrance, above the fanlight, is an arched awning with incised consoles. The other addition was the octagonal cupola on the roof over the original bell tower which dates from 1830. The exterior of the school has complementary colors. The walls are painted a cream color while the foundation, doors, window trims, and cornices are a chocolate-brown.

The building has a ground floor verandah and first floor balcony with iron balustrading and chamfered timber posts and brackets. The timber posts on the ground floor have a recent concrete base. Paired timber doors with breezeway and fanlight assembly with leadlight detail are located in the entrance to the lounge bar area. Internally, on the ground floor, the ceiling in the lounge bar area has plaster cornices with egg and dart motif decorative detail.

The façades facing the forecourt are similar, with semicircular arches in front of them, that on the left side being blocked, and the arch on the right side forming a porte-cochère. Behind the arches are seven-bay fronts, the central bay projecting slightly and containing a door with a fanlight. Above this is an oriel window on consoles over which is a shaped gable. The other windows in both storeys are sashes.

The Building at 417-419 Lee Street is a historic apartment building at 417-419 Lee Street in Evanston, Illinois. The two-story four-flat building was built in 1902. Architect Edgar O. Blake, an Evanston architect who had designed houses in the city since the 1870s, designed the building. The building's design includes a Georgian entrance with side columns, sidelights, and a fanlight, limestone banding, a wooden entablature, and a brick parapet.

Internally, the ground and first floors of St Mary's are similar in plan. The entrance is made up of an elaborate set of paired timber, panelled doors with large fanlight and breezeway assemblies which contain coloured glass and leadlighting. The front entrance of St Mary's, along the northern facade opens to an entry foyer with a pressed metal ceiling and timber panelled doorway and architraves. Rooms open on either side of the entrance foyer.

The Building at 923-925 Michigan Avenue is a historic apartment building at 923-925 Michigan Avenue in Evanston, Illinois. The three-story brick building was built in 1916. Architect Robert De Golyer, who designed several apartment buildings in Evanston and Chicago, designed the building; he also moved into the building once it was complete. The building's design features bow windows, pilasters and a fanlight around the entrance, and a dentillated cornice.

With intact and fine brickwork and red rubbed curved arches, Block B retains much of its stylistic detailing today. However, the building has undergone a number of internal modifications throughout its history. The entrance of this building is marked with a double panelled front door with an elegant semi-circular fanlight above and sidelights at each side. Above this entrance-way is an embossed sandstone plaque marked "GR 1825" with an image of a crown.

The former Walpole Academy building stands on the south side of Walpole's village center, set well back on the east side of Main Street. It is a 2-1/2 story wood frame structure, covered with gabled roof and wooden clapboards. The building has a classic Greek temple appearance, with Doric columns supporting an entablature and a triangular pediment with a fanlight detail. The building is topped by an octagonal, arcaded cupola.

These are likely to be original as evidenced by the very fine profile of the mullions. The front door seems to be original with finely detailed side lights and fanlight. Timber extensions () have pressed metal ceilings and incorporate a side entrance with barrel vaulted roof in corrugated iron. A stone entrance at the rear is of more recent date but the stone extension blocks are from demolished building(s) on the Hely property.

The entry hall was centrally placed but access to it was from the side through a glazed front door with an over-scaled, semi-circular fanlight. A central corridor ran from front to back with living rooms on the east and bedrooms on the west. The lounge and dining room were the principal interior spaces and opened onto the front piazza. The dining room had a large chimney breast with a timber mantle and surround.

The walls of the core are load-bearing red-brown brick laid in English bond. Above verandah roof height, the external walls are rendered, ornamented with a narrow ovolo moulding supporting the timber eaves brackets to the main roof. The main entrance has a low-waisted, four panel cedar door with fanlight and half- glazed side panels. Timber-framed French doors with arched lights and rectangular fanlights open on to the three verandahs.

Looking along the front verandah Oldhome is set in spacious grounds amongst mature trees including Bunya Bunya pine (Araucaria bidwillii) and Moreton Bay fig (Ficus macrophylla). Oldholme is a two-room, single story Georgian Colonial brick cottage, with verandah, with an interesting fanlight and door mouldings. Hipped iron roof extends over a verandah to three sides supported on later cast iron columns. One side of the verandah has been infilled with matching brickwork and joinery.

The gable end of the commercial section forms the street facade. The original fenestration remains, including the design of the store front, the four-over-four double hung windows with peaked cornices and a fanlight near the top of the gable. The second floor of the commercial section originally served as a meeting hall and has an exterior enclosed staircase. The residential section is divided into three bays which front on the street.

Around 1800, a two-story main block measuring by was added. The main block has a relatively plain facade, but it has a Georgian style portico to accent it. The columns holding up the portico are consistent with Georgian proportions, but the fanlight over the door is more related to Federal architecture in style and design. The interior of the 1800 section of the house is generally consistent with Federal-style architecture.

The main block is 7 bays wide, with an enclosed and pedimented entry that is flanked by sidelight windows and topped by a fanlight. To the east is a large wing, and an arcaded porch runs along the west side. The south facade faces the river, and has a bowed central section that rises to interrupt the roof's balustrade. Outbuildings on the property include a caretaker house, tea house, and service structures.

The portico is supported by six massive Tuscan columns, and features a bull's-eye window in the tympanum. On the ground level, the three western bays feature shuttered 9/9 windows, while the two eastern bays are slightly smaller with 6/9 windows. Within the portico are smaller 6/6 windows flanking the paneled entry door with sidelights and fanlight. Second-level window openings are slightly shorter, with a 6/6 sash.

Bible Grove Consolidated District #5 School, also known as Bible Grove School, is a historic school building south of Route T. at Bible Grove, Scotland County, Missouri. It was built in 1921, and is a two-story rectangular brick building with a full basement. It measures 36 feet by 48 feet, and has a bellcast roof featuring wide eaves, rows of original windows, a double-leaf entrance with a fanlight. The school closed in 1995.

By conveyance in July 1837, Mrs Templeton acquired Henry Harvey's grant. In 1837 Roseneath was described as 'dignified and unpretentious. The wide, panelled front door is surmounted by a fanlight enhanced by an arc in brickwork above it. On either side of the door are two large shuttered windows which, like it, surmounted by patterned brickwork. A 3 sided verandah was included under the main shingled roof and upheld by wooden columns.

The site for Romney's house was the stables of Cloth Hill, "a fine mansion of 1694". The house was designed by Samuel Bunce as a two-storeyed terraced house with a timber frame, weatherboarding and a slate roof. The façade is symmetrical, with three windows and a central door, with a hood and fanlight. Romney's stables were extended in the early nineteenth century when the house was converted for use as an assembly rooms.

It is a grade II listed building, just to the right of the Dispensary. The record held by the Royal Commission on the Ancient and Historical Monuments of Wales indicates that a "mid 19th century painting shows a pair of double gabled, 17th century houses" at the location. The current exterior appears to be of the 19th century, with stucco over brick. The entrance to the left features a round headed doorway with fanlight and six-panelled door.

External: A small rusticated weatherboard out-of-shed with gabled corrugated metal roof is located to the west of the signal box. It is used for flammable liquid storage and has only a timber board door with fanlight and a band window on the opposite elevation. Simple timber bargeboards and finials complete the gable ends. Internal: Timber framed structure with no internal wall and ceiling lining exposing the underside of the corrugated metal roofing and rusticated weatherboard.

External: A single-storey face brick men's lavatory building with a parapeted gable on the platform side featuring roughcast frieze between moulded string courses. The roof is of corrugated metal with exposed rafters. The other features include a four-panelled door with arched fanlight, a louvered/fixed window on the north side with segmental brick arch and decorative stone sill, and a double window on the platform elevation with louvered upper sashes, segmental arch and decorative stone sill.

On the upper level, the underside of the verandah roof is unlined and the rafters are exposed. The front door is on the eastern facade, which looks across to the road and the river beyond. The door is low waisted with four panels, and surrounded by glass and timber sidelights, and a pivoting glass fanlight. The windows opening onto the ground floor rooms of the main house are large double-hung sashes, with a single pane in each sash.

Arkwright House is built in brick, and has a partly stuccoed façade and a slate roof. It is in early Georgian style, and has an L-shaped plan consisting of a front range, a rear wing, and the 19th-century extension to the right. The house is in three storeys with an attic and cellar, and has a symmetrical five-bay front, plus a two-bay extension. The doorway has a wooden architrave with a pediment and a fanlight.

Master builders Lemuel Porter and his son Simeon worked extensively in Hudson during the early 19th century. Many of their buildings bear a distinctive detail—a truss of wheat fanlight surround. This semi-elliptical element, mimicking cut wheat being held in the middle and dropping down on the ends, is found on the façade of the Bliss House (1831) which faces the town green. The Brewster Mansion, 1853, is an unusual Moorish influenced building that also fronts the green.

The 1-1/2 story house was built in 1922 and was designed by architect Frank Gibbs. It displays characteristics of the Colonial Style in its symmetry, side facing gable roof, large brick chimney, fanlight eyebrow dormers, central arched entrance porch, massive Doric porch posts, multi-pane windows, the decorative broken pediment over the wide multi-pane entrance door, and wood shingle siding. It was listed on the National Register of Historic Places on September 5, 2001.

Ephraim Cleveland House is an American historic home in the town of Naples in Ontario County, New York. It was built in the vernacular Federal style around 1794, and was expanded in the 1840s and '50s. It is a two-story, five-bay dwelling, and possesses a distinctive Federal-style entrance, featuring a paneled door with half sidelights and a blind elliptical fanlight. See also: It has been listed on the National Register of Historic Places since 1994.

Internally, the entry hall walls are rendered, and walls elsewhere are rendered and papered, mostly to picture rail height. The principal rooms have ceilings high. Most rooms have pressed metal ceilings, with the entry hall ceiling raking down above the west entry door with the fanlight cut into the rake. The floors are timber and joinery throughout is of cedar with deep skirtings, wide architraves and sills, panelled doors, fireplace surrounds, French doors and casement windows.

The three- storey, five-bay main house is currently recorded at 12 St James Street and has railings in front of the street elevation. The listed building has a slate roof and an eighteenth or early nineteenth-century facade with band courses and quoins. The entrance features a pedimented porch with Doric columns and a transom (fanlight). The entablature of the pedimented porch has a frieze with a metope in the style of the Brothers Adam.

Built in about 1727, this 2-1/2 story, Georgian style, wood-framed house is the oldest documented house in the city. It is five bays wide and two bays deep, with a side-gable roof and a large central chimney. Its main entry is framed by pilasters, and topped by a fanlight and gabled pediment. Peter Walker purchased the land, and is said to have built the house soon afterward as a wedding present for his new bride.

The Barnabus Blossom House stands in a densely built residential area north of downtown Fall River, at the southwest corner of Grove and Walnut Streets. It is a 2-1/2 story, wood-framed structure, five bays wide, with a side gable roof, clapboard siding, and a central chimney. Its central entrance is set in a round-topped opening, with fanlight above the door. It is framed by pilasters rising to a pediment broken by the rounded opening.

The 2-1/2 story, Georgian style, wood-framed house was built in 1797 for the Reverend Pitt Clarke, who served as the town's minister for 42 years. The house's main facade is symmetrically arranged, five bays wide, with a center entry that has pilasters supporting a gabled pediment, and a fanlight above the door. The interior has well-preserved woodwork and original fireplaces. The house was listed on the National Register of Historic Places on July 13, 1976.

The Edward Street facade, divided into four bays, is treated similarly but the ground floor sashes have been altered. The rear wall, which is not rendered, is of English bond brickwork. The main entry has twin panelled timber doors, with fanlight, opening into a vestibule with glazed timber doors and a lower hardboard ceiling with timber cover strips. The ground floor has sections of pressed metal ceilings near the entrance, with hardboard ceilings throughout the rest of the space.

The red brick structure was originally laid out in a long rectangular plan, but additions on either side were built in 1883. The front of the building has a central entrance with a transom and fanlight above the large wooden double doors. Windows to either side of the door are rectangular in shape and are located within a recessed arch. Above each window and the door are rectangular windows with a lantern hung above the entrance.

It is a compact building of rectangular construction. Santa Maria de Villabuena is also built in rectangular form. It is covered with a fanlight vault in the lower part and the upper part is smooth. It was restored in 1959 but retains many of its Romanesque and Gothic features: a large window, a carved-stone baptismal font, a stone frieze under the pedestal of the Virgin and its image, and a door with a pointed arch.

There are three gables on the west side of the house with one of them perpendicular to the other two. One of the more eclectic features of the structure is the Gothic Revival front gable located above a Colonial Revival entrance. The entrance- way features engaged columns, a semi-circular fanlight, and a columned porch at the southwest corner. The house is located on a large corner lot with shaded grounds that contribute to its sense of prominence.

The Sage-Kirby House is located in a rural-suburban setting of central Cromwell, at the southwest corner of Shunpike Road (Connecticut Route 3) and Evergreen Road. It is a -story brick structure, five bays wide, with a side-gable roof and a large central chimney. Its main entry, centered on the front, has no significant decoration beyond the semi-oval fanlight window above. The interior of the house is timber- framed, with many original finishes and features.

The Cleaveland House is a two- story wood frame structure with a hip roof and a granite foundation. It is a typical connected homestead, with a rear ell connected to a carriage house via an open garage. Its main facade, facing west, is five bays wide, with a center entrance flanked by pilasters and topped by a semi-elliptical fanlight louver and entablature with cornice. A secondary entrance on the south-facing facade has a small hood.

The Peterborough Main Post Office is located in downtown Peterborough, on the north side of Grove Street. The single-story brick building was designed by Louis A. Simon and completed in 1936. Its exterior is finished in red brick laid in header bond, and it is covered by a slate hip roof with a carved wooden cornice. The main entrance is at the center of the street-facing facade, with a half-round fanlight window above.

Above the entrance is a recessed panel on a stone sill with the inscription, "1883, Memorial Hall, A monument to the Soldiers and Sailors of 1861-5." Above the dedication stone is a limestone sill and a fanlight with clear and stained glass set in a seven-course brick arch. A coved verge board outlines the edge of the jerkin-head gable, and is decorated by rosettes. On both sides of the central bay there are a single bay.

Over the door is a fanlight with spandrels that is surmounted by a moulded cornice, and above this is a plaque bearing the date 1859. On each side of the door is a round-headed window and there are three similar windows in the upper storey, over which is a pedimented gable. The chapel stretches back for four bays and contains similar windows to those in the entrance front. The school continues from the back of the chapel.

The original arched header sash windows opening to the southern side have been bricked-up. The northern side of the building is finished in painted brickwork, with sash windows with security bars and high- level fanlight panels. The rear of the building appears to consist of an early section constructed along Quay Lane, with a courtyard space between the main building which has been roofed over. An opening at the southern end has also been infilled with brickwork.

Providence Chapel is a square two-storey building of red and grey/blue brick with some Classical features such as a pediment and pilasters. The three-bay façade has two sash windows (originally blank recesses) on the ground floor and three above. The ground-floor windows flank a double doorway topped with a rounded fanlight. Above the upper windows is an open-based pediment with pilasters at each side; these are of red brick with wide grey stone quoins.

The entrance is framed by sidelight windows, with a fanlight window above. A three-part window is on the second level above the entrance, and there is a gabled dormer-like section on the roofline, which has a decorative carved fan. The roof is encircled by a low balustrade. Attached to the rear (east) of this block is a 2-1/2 story five-bay hip-roof block that is the oldest part of the house.

The main entry French doors have a clear glass 2-pane fanlight above the doorway and each door has five panels of coloured, textured glass with the top panel arched. The interior has been altered but the chamber space remains along with much original fabric including the vertical tongue- and-groove lining, post and rail framing, sheeted and battened ceiling, picture rails to the chamber, doors, casement windows and cupboard between the former office and the chamber.

The porches are supported by slender smooth round Ionic columns set on high square posts, with the adjoining posts joined at the top of the post. The entrance is set on the rightmost bay, topped by a Federal style fanlight. The gable above the projecting section is flushboarded, with a sunburst motif at the center. The house was built in 1825 for John Holbrook by Nathaniel Bliss, a local carpenter, and was apparently designed by Bliss as well.

Ground floor windows on the Ashland Street facade are topped by half round fanlight, and the upper floor windows are topped by projecting cornices. The house was built in 1853 as the Rice House. It was significantly altered according to plans by Fuller & Delano in 1897 for William Hogg. Hogg was owner of the Worcester Carpet Company, one of the largest such businesses in the city (located in what are now known as the Whittall Mills).

The verandah roof is timber-framed and the floor is lined with wide hardwood boards. Two door openings to the east verandah flank a large double-hung timber sash window. At the south end, a timber paneled door with glazed fanlight opens into the manager's office and the northern opening houses glazed French windows which open into the vestibule to the rear of the manager's office. The remainder of the verandahs is enclosed with concrete blockwork.

The side elevations of the building are red facebrick and the building is separated from the adjacent buildings by narrow pedestrian lanes. The central front entrance comprises a draft lobby consisting of a pair of exterior timber paneled doors with an arched fanlight and a pair of interior glazed timber doors on pivoting hinges. These swing doors are notable for the decorative brass, timber and glass handles. The flanking arched openings accommodate large double-hung timber sash windows.

The main block is trimmed with narrow cornerboards and watertable, and a handsome boldly projecting modillion cornice on the front and rear elevations. Unless otherwise noted, windows are simply framed and contain 6/6 sash that date to the Federal period. The symmetrical five bay south facade is centered on a well-detailed entry that reflects three compatible periods of development. Historic photographs reveal a surround consisting of paneled pilasters carrying an entablature with fanlight below.

The Webster Congregational Church is a historic Congregational church off NH 127 on Long Street in Webster, New Hampshire, United States. The church was built in 1823 by George Pillsbury, a local builder, with interior joinery by William Abbot, another experienced church builder, and is an excellent representation of late Federal styling. The main facade has three entrances, each topped by a semicircular fanlight with reeded soffit. The central doorway has sidelight windows, while the flanking doors do not.

Mena City Hall, also known as the Old Post Office, is the city hall of Mena, Arkansas, located at 520 North Mena Street. It is a two-story brick building with Classical Revival and Colonial Revival features, designed by Treasury architect James Wetmore and built in 1917. Its elaborate lobby decorations are still visible despite the building's conversion for use as city hall. Its exterior features a Classical pedimented portico, and an entrance topped by a Colonial Revival fanlight.

The Roswell Moore II House is located in a rural-residential setting of northeastern Southington, on the west side of Andrews Street overlooking Wassell Reservoir. It is a 2-1/2 story wood frame structure, with a side gable roof, central chimney, and clapboarded exterior. It rests on a foundation of ashlar cut brownstone. The main facade is five bays wide, with a center entrance topped by a half-round fanlight and sheltered by a 19th-century gabled hood.

The doorway is round-headed, the fanlight being filled by a board decorated with seven radiating daggers. Above the doorway is a semicircular hood mould, over which is a lamp fitting and an elliptical panel inscribed with "Wesleyan Methodist Chapel" and the date 1834. The door is flanked on each side by a Gothic-style arched window containing Y-tracery, over which is a pointed hood mould. Under the eaves, the bricks form a dentilled pattern.

Single-storey verandahs are found on the northern and southern elevations of the building and along the entire length of the eastern elevation. The principal point of entry to the building is in the north elevation, where an elaborate covered porch provides shelter for the main entrance. This consists of a six-panelled cedar door with semi-circular fanlight and sidelights. Generally the interior of the house has plaster ceilings, timber boarded floors and very fine stained-cedar joinery.

The first floor central section is sheltered by a three-bay porch addition that links the pedimented wings. The mansion's front entrance is framed by three-paned sidelights separated by slender reeded pilasters and surmounted by a fanlight with wooden tracery. The two bays which flank this entrance on the first floor porch have a four-over-four sash. The remaining windows on the ground and first floors consist of a six-over-six double hung sash.

The Captain John Gunnison House is located in a rural setting of central Goshen, on the north side of Goshen Center Road about east of New Hampshire Route 31. It is a two-story wood frame structure, with a hip roof and clapboarded exterior. Its main facade has five bays, with the door centered, with flanking sidelight windows and a false fanlight above. A single-story porch extends across the center three bays, supported by round columns.

The church council rejected a plan for a gabled house - similar to those found in Prince Albert today - in favor of a more "modern" Plan using wolf ends instead. The facade includes a front door with a fanlight and four sash windows. A small entryway leads to two lobbies and a dining room with curved walls vaguely reminiscent of Baroque architecture. The kitchen, servant quarters, and stable are housed in a back wing, giving the building an L-shape.

Most of them are designed by Percy Bacon Brothers and the majority were donated as memorials by parishioners in the period from 1900 to 1910. The stained glass fanlight depicting James and John, the sons of Zebedee, was designed by Australian artist Norman Carter in 1930. The window behind the baptismal font, depicting Christ with the Children, was repaired and rededicated in 2004 by the fifteenth rector in the presence of the then Primate, Peter Carnley.

The main entrance is centered on the front (west- facing) facade; it features sidelight windows and a broad elliptical fanlight, framed by pilasters and topped by a cornice. The interior of house has been modernized, but its principal showcase, murals in the central hall and stairwell, have been preserved, as has some of its woodwork. These were painted, probably c. 1830, by the itinerant artist Rufus Porter, and show harbor and woodland scenes typical of his work.

The house faces the Susquehanna River, and both the front and rear doors are "sheltered by a shallow portico". A circular carriage drive (originally gravel, now concrete) leads to the front door, which also has a fanlight. There are five windows on the second floor on both the front and rear sides of the house, with a dentil cornice above both sets of windows. The external details on the house also include a "frieze board with triglyphs".

The post office is a one-story, five-bay brick building with stone water table. Its double-doored main entrance is at the top of a set of granite steps with iron railings. The door is surrounded by fluted Doric pilasters and an entablature; above it is a fanlight with cast aluminum eagle. The words "UNITED STATES POST OFFICE" are spelled out in bronze letters across the frieze, with "DELMAR 12054 NEW YORK" above the door.

A pair of glazed timber doors with brass handles and kickplate and an elaborate fanlight over opens onto the main business chamber. A dogleg terrazzo stair, which extends to the roof level, has a timber handrail and decorative wrought iron balustrade. The walls in the stairwell are lined with black and yellow ochre coloured tiles. The loftily proportioned business chamber retains many original fittings and finishes including timber paneling, timber counters with marble tops and timber and glass screens.

These rooms are lined with tongue-and-groove, have remnants of original ventilators and fretwork fanlights over blocked-in doorways that formerly led into the wards. The main entrance of the building consists of two timber doors with four upper panels of glass and a long glass fanlight. The hallway is wide, has a high ceiling with pale yellow painted tongue-and-groove lining. A rendered brick chimney with a decorative cedar mantelpiece is located on the western wall.

It is built of stone, with a (non original) timber shingle roof and has a simple, Doric, timber portico. It has small paned casement windows and six panelled doors set in panelled jambs with elaborate architraves. The entrance door is a wide pair of French windows with Georgian glazing. The wide entrance hall with a timber, cantilevered stair, beneath which a door with a semi- circular fanlight leads to the rear of the house, is particularly fine.

Most French doors have fanlight windows above them. There are also a couple of heavy timber panelled doors. The original front entrance door has been replaced by a glass sliding door, however a panel of the original etched glass that would have surrounded the front door is still visible. Glass and metal louvres have replaced the original windows in the building however an original sash window still exists at the front of the building on the upper storey.

Former non-conformist chapel adjoining former rectory (Llangrove Cottage qv). c1840. Built of coursed and squared sandstone rubble with ashlar dressings and a hipped slate roof. Rectangular shaped building adjoining Llangrove Cottage to west, north entrance, moulded cornice and string course, cast iron canopy supported on four pillars to entrance, semi-circular headed doorway with fanlight and panelled doors. Two windows to west side with flat arches, stone heads with keystones and glazing bar sash windows.

The door to the hallway has a single-light fanlight with dimpled glass. In the western corner of the room is a small built-in cupboard with a linoleum clad floor. The timber structures at the rear of the core consist of an L-shaped wing, remnants of rear verandahs (now enclosed) and 1960s additions. The L-shaped wing has round timber stumps, external walls clad in timber chamferboards and a hipped roof clad in corrugated metal sheeting.

On the ground floor of the front elevation two sets of shuttered French doors flank each side of the central front door. All windows are six- pane sashes and featured shutters, although the windows at the front are slightly larger than those on the rear and sides. Many windows retain the original glazing and feature the remains of stencilled floral patterns. The impressive double front doors, capped by a three-paned stencilled fanlight are painted red on the exterior.

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

The face brickwork facade is divided by piers at regular intervals. The front entrance, paired, panelled timber doors in a moulded arched entrance, with fanlight assembly, opens to a central lobby. The paired, glass doors in the foyer have timber panels at their base and open to a foyer with an arched hall. The turning timber staircase, in its original position and adapted with stainless steel handrails to conform to regulation heights, leads to the first level.

The reception area, to the north of the foyer, (which is also accessed via a door in the lobby), includes a strong room which formed part of the original design of the building. The rooms are simple in design and decoration and are connected via two separate, panelled, timber doors with architraves. One doorway is topped by a single-pane fanlight. The rooms have a plastered cornices and a back-to-back fireplace with timber surrounds and mantle.

Roofs are of slate with portions of restored Morewood and Rogers type iron tiles. There is a central front door and four pairs of shuttered French doors opening onto the stone flagged verandah. External joinery and door furniture, including six panel front door and fanlight, are generally intact, but few original internal fittings have survived. There is a stone outbuilding at the rear and a freestanding oven (J Ward) with areas of stone paving and remains of other footings.

The windows in the bays on either side of the entrance have round-arch tops, while the remaining windows have flat lintels with keystones. The window above the door is a larger window with sidelights, and the gable above has a large fanlight lunette in it. The property includes two outbuildings, each of which have Gothic Revival features. and The house was built by William Blacklock who, on September 24, 1794, purchased two lots in the newly laid out Harleston Village.

The front door is a fine example of Georgian design and comprises a pair of cedar doors with side lights with diaper pattern glazing bars, surmounted by a fanlight. This is repeated halfway along the hallway. All the main rooms have cedar French doors onto the verandah with fine margin glazing and transom lights above. The interior is distinguished by high-quality cedar joinery, 6-panel doors, 12-pane windows, skirting boards (some 30 cm, some 45 cm) and architraves.

At the west end is a doorway over which is a lintel, and a fanlight whose architrave contains Perpendicular tracery and whose keystone is carved with the head of a putto. Each of the upper stages contains two- light windows with mullions. Those in the second stage have leaded lights, those in the third stage are blind, and the top stage has louvred bell openings. At the summit of the tower is a balustrade and there are crocketted pinnacles at the corners.

The balustrade encloses the second-story balcony. Decorative corbels and scrollwork are found on the fascia above the first level, and the columns at the corners of the portico are matched by pilasters on the front façade. The doorway is flanked by engaged columns and sidelights, with a semi- circular fanlight above. A two-level Greek Revival gallery with seven two- story Doric columns, and using the same balustrade as seen on the front portico, is located on the rear of the house.

Early features include timber framed double-hung windows with moulded timber architraves and skirting, ventilation panels in some rooms, timber panelled front door with fanlight and an early kitchen shelf above the boarded fireplace. The kitchen has been fitted with modern cupboards and the bathroom fittings are modern. Exposed rendered brick walls are present in the kitchen and timber floor ceiling boards are exposed in some of the rooms where the later fibro ceiling panels are damaged. The residence is currently unoccupied.

Each bay has a single door covered with a shallow pediment that is flanked by one- over-one sash windows topped with a segmented fanlight. Above each window is a decorative brick arch with an ashlar keystone. The sills are a continuous course of ashlar, broken only by the doors and central pilaster, while a similar course of quarry-faced limestone forms the base of the arches. This window treatment is repeated on the second floor façade and on the Randolph Avenue side.

The ground floor of the Green House contains the "Military Bar", the "Moreton Room" and the "Norman Pixley Room". The Military Bar is located at the front, western side of the building and features a bay window. It has a panelled, timber door with decorative coloured glass fanlight and breezeway assembly. The double hung sash windows have a single large pane of glass at the base of the window frame and twelve panes of small glass in the upper section of the frame.

Its main entry is crowned with a modest fanlight, echoed by a fan- shaped wooden motif atop the window above it. On the grounds, visitors will find a nineteenth-century garden, fruit trees, a privy, cobbled yard and carriage house. Within the house are fine collections of silver, furniture, portraits, clocks, needlework, antique fans, hatboxes, nineteenth century toys, and more from New England, Asia, and Europe. The China Trade Room displays early China Trade decorative arts including four Chinese coastal Hong paintings.

The north (front) facade is centered around the round-arched main entrance, with modern aluminum and glass doors framed by a carved wooden fanlight surmounted by a vertical brick archivolt and keystone. "BALLSTON SPA N.Y. 12020-9998" is written in black lettering above the door. The windows on the front and lobby sections (the front three bays) on the sides have splayed brick lintels, keystones and stone sills. A stone course goes around the building above the top of the entrance archivolt.

The Williams House is not the only Federal style house in Hudson, but it is significantly different from the others, most of which are located in the opposite end of the city, near the Hudson River. Williams' house used common bond for the entire house, while the other houses did the front in Flemish bond. It also lacks the sidelight or elliptical fanlight commonly surrounding the main entrance of a Federal house. These changes may reflect the different regional origins of their builders.

The cornice on the main block is dentillated; that on the ell is plain. The main entrance is centered on the front facade, with sidelight windows on either side and a fanlight window above. The entry is sheltered by a portico supported by clustered square columns; this portico is a replacement to the original, made when the house was moved. There is a secondary entrance in the ell, which is sheltered by a closed-in porch dating to c. 1920.

The John Fuller House is located in a rural area of central northern Suffield, on the west side of Halladay Avenue north of its junction with Blossom Street. It is a 2-1/2 story brick structure, with a side gable roof oriented perpendicular to the street. The main entrance is in the short street-facing facade, in the center-left bay of four. It is recessed within an opening with a rounded top, which is filled with a fanlight panel.

The two entrances are topped by Federal-style fanlights, and there is a half-eye window in the pavilion's gable. The tower's first stage has louvered openings with half-round fanlight tops, and is itself crowned by a low balustrade with urned posts. The belfry, with arched openings, is crowned by a similar but smaller balustrade, which surround a cupola and weathervane. The structure was built in 1831 as a church for the local Baptist congregation which was organized in 1794.

The eastern and western sides of the building are clad in profiled metal below sill height. Windows on the eastern side of the classrooms comprise modern aluminium-framed sliding sashes, with a continuous fanlight, shaded by an exterior high-level louvred metal awning. New doors have been added to the eastern side of the classrooms. Windows on the western side of the passageway, the clerestory and the wing have been removed (at the time of inspection in mid-2016) for replacement.

The Tuttle Square School, now the Auburn Historical Museum, is a historic school building at 41 South Street in Auburn, Massachusetts. The single story two-room wood frame building was constructed in 1922 to replace a smaller school on the site, in the face of increasing school population. The building's most prominent decorative feature is its Federal-style entry door surround, with pilasters supporting scrolled brackets, topped by a fanlight. The school served the Auburn public schools from 1923 to 1933.

The Rundlet-May House stands in what is now a predominantly residential area south of downtown Portsmouth, on the west side of Middle Street, a busy north-south road. It is a three-story wood frame structure, topped by a low-pitch hip roof surrounded by a wooden balustrade. It is finished in wooden clapboards, and has four chimneys, symmetrically placed with two on each side. Its main facade is five bays wide, with a center entrance framed by sidelights and a fanlight.

Built of brick on a stone foundation, the courthouse is covered with a slate roof and features elements of wood and stone., Ohio Historical Society, 2007. Accessed 2013-09-21. Before the modernization of 1896, the facade included a small cupola and a pediment with a fanlight, resembling somewhat the present appearance of the Highland County Courthouse in Hillsboro, and a Doric column on each side of the two-story entrance, similar to the present-day Knox County Courthouse in Mount Vernon.

Rutledge School, also known as Rutledge Public School, is a historic school building on the north end of 2nd St at Rutledge, Scotland County, Missouri. It was built in 1912, and is a two-story rectangular brick building with Georgian Revival style design elements. It has a full basement and gymnasium added in 1966. It measures 46 feet by 59 feet, and has a medium hipped roof, a double- leaf entrance with a fanlight, and projecting bell tower with the original bell.

The two six- over-six double-hung sash windows on either side of the main entrance have louvered shutters with stone sills and splayed lintels. Recessed panels top each window on the upper story. On either side of the pediment small gabled dormer windows with eight-over-eight double-hung sash pierce the roof. Side fenestration consists of two windows similar to the front windows at ground level, two small windows on the second floor and a fanlight at the gable apex.

The Philip Eames House is located in rural eastern Washington, at the southwest corner of Summit Hill Road and Stone House Road. It is a 2-1/2 story masonry structure, built out of irregularly cut granite, with a gabled roof and brick chimneys. Its main facade is five bays wide, with its center entrance set in a segmented-arch opening framed by pilasters and a keystoned arch. The entry is flanked by sidelight windows and topped by a fanlight transom.

The elaborate front door is timber-framed and set into an arched opening; with patterned glass lights (green, red and yellow) surrounding the central, low-waisted double door. Some original door hardware remains. On the far side of the entrance lobby is an elaborate doorway into the central corridor. Topped by an open timber-framed fanlight containing the top of a pointed arch and two timber quatrefoils, the doorway has two fixed and two opening leaves, each glazed with five arctic glass lights.

Brunyarra is representative of the substantial homes built in Strathfield during the later half of the 19th century. It was built in the Victorian Italianate style with a solid and sedate façade. The street front has wide verandahs and balconies to the south-eastern corner decorated with moulded balustrades, columns and bases and ornate capitals. Arched windows in recessed surrounds and a six-panel entrance door flanked by sidelights and topped by a fanlight add to the detailing of the verandahs and balconies.

The Mann House is a historic house at 422 Forrest Street in Forrest City, Arkansas. Designed by Charles L. Thompson and built in 1913, it is one of the firm's finest examples of Colonial Revival architecture. The front facade features an imposing Greek temple portico with two story Ionic columns supporting a fully pedimented gable with dentil molding. The main entrance, sheltered by this portico, is flanked by sidelight windows and topped by a fanlight transom with diamond-pattern lights.

The arch on the parapet at the corner contains the words "Ulster Hotel 1910". The facade of the building then steps back along Brisbane street to form a wider verandah on the first level and ground floor, from which the central entry hall leads into the main part of the building. The public bar occupies the eastern part of the ground floor of the building. The entrance to the bar on the corner contains early double timber doors with an arched fanlight.

The Samuel Beck House stands near the southwestern corner of The Hill, a cluster of historic houses southwest of the junction of Deer and High Streets. These houses were relocated to this area as part of a road widening project. The Beck House is 2-1/2 stories in height, with a side gable roof and clapboarded exterior. It is five bays wide and two deep, with a large central chimney, and an early Federal-period front door surround with an arched fanlight.

The song when originally recorded by George Formby enjoyed a successful release on 78rpm. It was released on Decca Records (F5569) on 29 May 1935. The song also appeared in Formby's 1939 film Trouble Brewing, in which it bore an additional verse. It tells the tale of a tawdry, West End-based woman of a certain age, full with alcohol and shoplifted goods, trying to earn a living in a Soho night spot, where she is "Fanlight Fanny the frowsey night-club queen".

The Old Santa Rosa Catholic Church and Cemetery is a historic church building and cemetery on Main Street in Cambria, San Luis Obispo County, California. Built from 1870 to 1871, the church was the first in Cambria and is one of the oldest remaining buildings in the town. The church has a simple Classical Revival design with clapboard siding, a gable roof, a boxed cornice and frieze, and an arched entrance topped with a fanlight. The church's cemetery is behind the church building.

The arched centre entrance bay projects on both floors, and is surmounted by a gable and both floors have cast iron balustrade, but of a different design. The ground floor has a timber framed glass entrance door with an arched fanlight, with a large sash window on the west and a casement on the east. The first floor has french doors with timber louvred shutters. Each of the side verandahs have been fitted out as a shop at ground level.

The Colonel James Loomis House is located in the village center of Windsor, on the west side of the Broad Street Green, between Poquonock Avenue and Maple Avenue. It is a 2-1/2 story brick building, with a gabled roof. Its street- facing main facade is three bays wide, with the main entrance in the left bay, topped by a half-oval fanlight window. Windows in the other bays are set in rectangular openings, with stone sills and splayed stone lintels.

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.

The arcade has pilasters at either end, above which flagpoles are mounted behind the parapet. The Quay Street elevation detailing runs the width of the arcade either end of the building. The building has paired wrought iron gates on the southern side for vehicle access, and a single wrought iron gate on the northern side.ABC Radio Studios entrance arcade, 2017 The arcade has paired timber-panelled entrance doors with sidelights and an arched fanlight containing etched glass and leadlight panels.

On the first floor, the middle three bays are outlined by slightly-projecting arches, the central bay (where the entrance is) being slightly wider. The entry consists of a single door, flanked by pilasters and sidelight windows embellished with oval tracery, and topped by a semi- elliptical fanlight with similar tracery. The entry is sheltered by a portico supported by four Corinthian columns, with a latticework balustrade on top. Above the central projecting arches, four fluted Corinthian pilasters rise to the roof level.

The homestead was built by James Chisholm on land granted in 1829 and later renovated, probably in the 1870s, to include the Gothic verandas and porches; the kitchen has been separated forming a courtyard. The house has a long stone flagged front veranda on the north side with two gables breaking the eavesline and marking the entrances. Decorative features include bargeboards in a rustic pattern, shuttered french doors and a front door with fanlight and side lights. The walls are rendered brick.

The Kellogg-Eddy House stands west of Newington center, on the west side of Willard Avenue (Connecticut Route 173), north of its junction with Cedar Street. It is a 2-1/2 story wood frame structure, five bays wide, with a center entrance and two interior chimneys. Its front entry has a fanlight above and is sheltered by an original portico supported by turned columns. There are two two-story wings extending to the side and rear, which were added in 1927-28.

The two-story smooth stone building stands facing S. Market Street with Lincoln Way, or U.S. Route 30, to its side. The building's main entrance is located in a central projection and is reached by a flight of stairs. To either side of the projection are two long arched windows on the main floor with two smaller arched windows located in the basement floors. The second floor windows are massive and contain a long rectangular window topped with a fanlight.

These included the exterior walls which were of rough coursed sandstone with shell-lime mortar. They were rendered on the outside, lined to resemble ashlar masonry and probably painted. The verandah and front entrance hall were paved in square flagging, the roof was shingled, and hand-made nails were used in the flooring. Timber Doric columns on the verandah, French windows and a heavy wooden front door with a traditional Georgian fanlight lent an air of elegance to the exterior of the house.

The parish contains one listed building, Huntington Farmhouse, which is designated at Grade II, the lowest of the three grades, which is applied to "buildings of national importance and special interest". The farmhouse is in red brick with storey bands, a moulded eaves cornice and a tile roof. There are two storeys and an attic, and it consists of a central range and two projecting gabled cross-wings. The doorway has pilasters and a fanlight, and the windows are casements with segmental heads.

A terracotta eagle tops a semicircular fanlight above the doorway. Tuscan order columns flanking the entrance support an entablature inscribed with the name of the building and capped by a decorative cartouche. In the lobby, polished Colorado Yule marble surrounds the doors leading from the vestibule and clads the lower portion of the walls on either side of those doors. It also surrounds the elevators and extends for several feet on either side of the elevators, covering the lower portion of the walls.

The hip-roofed house is Colonial Georgian in style and plan, having a typical front doorway with segmented sidelights and an arched fanlight, and a symmetrical arrangement of rooms about a central hallway on each floor. The ground floor has wide, open verandahs on three sides. Two service rooms run across the rear of the core, incorporating pavilion wings of the side verandahs. The walls are of brick, which is lime rendered and jointed to give the impression of stone.

The gables of the roof have deep eaves, with large Craftsman-style brackets. The main entrance is at the center of the front facade, flanked by columns and topped by a fanlight and bracketed cornice. The interior is divided into a waiting room with offices and bathrooms to the sides, and a large dining room. Elsie Klingman Libby operated a restaurant of some sort, probably out of a 19th- century house, at this site until it was destroyed by fire in 1922.

The verandah has square posts and a two-rail dowel balustrade. An external flight of stairs to the upper level joins the verandah at the far end. The entrance on this level is a low waisted four-panel timber French door, with a three-pane rectangular fanlight (two panes of clear glass and one painted) and flat arch. The door and windows on this level are surrounded by a false quoin effect created by brickwork proud of the main wall face.

The entrance to the main stair hall has a fixed arched fanlight above the door with the words "Hotel Metropole 1906" etched into it. The stair hall also has a pressed metal and contains a substantial and elaborately detailed cedar stair. An arched window with decorative leadlight. The main bar area to the west of the hall has been substantially altered with the removal of several walls to form one main bar area on the principal corner of the building.

The entry portico to the south has rusticated brick pilasters flanking a sandstone arch with toothed voussoirs, set in a brick gable end surmounted by a sandstone cornice with dentils. The timber double entrance doors are surmounted by a similar sandstone arch around a glazed fanlight. The interior features two timber staircases, which have timber balustrades with turned newels with rounded terminals. The windows are sliding sash with grided panes to the upper leaves, excluding those to the verandahs and toilet bay.

The entrance consists of a pair of original four panel timber doors with fanlight. The Pyrmont Street facade is divided up into three bays, all treated differently to reflect functions within the building. The south bay continues the front facade treatment and is dominated by the entrance lobby which is expressed by a bold frontispiece of rock faced ashlar sandstone above a sandstone plinth. The frontispiece is penetrated by a Florentine-arched doorway having rock faced voussoirs and a smooth-tooled intrados.

Four sets of early French doors open from the core of the building onto this verandah. On the northern elevation the verandah is enclosed and a small, central, gable-roofed portico (a later addition) shelters the main entry doors. The portico roof is supported on two timber posts identical to those on the southern elevation. The double entry doors are low-waisted with glass fitted between fine mullions in the upper sections and a three-centred fixed fanlight above the transom.

The Union Tavern is located in the center of the rural community of Milton, on the south side of Broad Street (North Carolina Highway 57), between Palmer's Alley and Ler's Alley. It is a 2-1/2 story brick structure, set close to the road, with a gabled roof. Its front facade is six bays wide, with three entrances, each set in a round-arch opening with a fanlight above. Windows are rectangular sash, with stone sills and brick lintels.

The ground floor western wall has timber panelled doors with arched fanlight at the north and south ends. A similar doorway is located in the centre under the internal staircase, but the door is missing. These doors are accessed by rough sandstone steps and a timber ramp, and a stone lined stormwater drain is located in front of and running parallel to this wall. A tall sash window is located above the central door, with a smaller sash to either side.

The parapet rises into an intricately decorated pediment above number 58, with palmette scrollwork and semicircular antefixae. Each house has an Ionic-columned porch with a straight-headed door and semicircular fanlight. Numbers 57 and 59 have canopies and first-floor balconies; number 58 has only a balcony. The three houses are the only ones on the east side to have full-height bows, and number 57 is unique on that side in retaining its original unpainted yellow-brick façade.

Louis Thibault designed the main facade, Anreith was responsible for most of the porch itself, and the front door was built by Hermann Schutte. The pillars, front door, balcony door, and the kiaat fanlight were all the work of Anreith, as were the wood carvings. Two lounges, a dining room, a pantry, a kitchen, and bedrooms lie on the first floor, along with a courtyard out back. On the second lay another lounge, more bedrooms, a bathroom, storerooms, and a balcony.

The handrails and upright posts are of timber. The ground floor landings also give access to Wharf Street via a double set of doors, the inner doors being French doors with six-panelled glass panes and the outer door of solid timber with surmounting fanlight. These landings also display original timber directory boards with glass panes. The upper floor consists of numerous offices which flank either side of a narrow hall which runs the length of the central core of the building.

The northeast and southwest verandahs have been enclosed with multi-paned windows and hardboard panelling. Hatherton is frontally symmetrical, with a slightly projecting gabled porch accessed by a short flight of steps with an arched valance above. The gable has a fretwork panel, decorative bargeboard and finial, and the main entry consists of an arched fanlight and sidelight assembly of etched glass with carved timber mouldings and panelled timber door. Step out sashes, with incised architraves, open to the verandahs on both levels.

The doors are set under an arched glass fanlight with the sidelights placed in straight-topped transoms to either side. The front of the house also has a "family" entrance to the left of the tower, entered through a small arched loggia. The rear elevation has a centrally placed set of entry doors that enter the building behind the main staircase. The rear of the house also has an exterior service entry that opens into the servant's hallway and staircase.

The Colony House is located a few blocks west of Keene's central green, at the southeast corner of West Street and School Street. It is a brick two story structure with a hip roof. The exterior has modest Federal styling, predominantly in its main entry, with half-length sidelight windows topped by a half-oval fanlight and sheltered by a modest portico. The interior of the building has well-preserved woodwork that took its inspiration from the publications of Asher Benjamin.

Of the original complex, only the powerhouse remains standing today. The powerhouse is divided into three sections: the two-story, flat-roofed front section was used as offices; the hip roofed middle section originally housed the generators; and the rear section, separated from the middle by a stepped brick firewall, was used for coal storage. The façade of the building is five bays wide, with a recessed entrance. The entrance is topped with a fanlight and decorative brick and granite arch.

The Marshall Symmes House stands at the southwest corner of Symmes Street and Main Street (Massachusetts Route 38) in southern Winchester. It is a 2-1/2 story wood frame structure, five bays wide, with a side gable roof, clapboard siding on the front and rear, and brick side walls. The house corner boards are pilastered, and the central front door is framed by sidelight and fanlight windows. It is sheltered by a gabled portico supported by round columns. Rev.

The Benjamin Riggs House stands on the east side of Robinhood Road, near the Robinhood Marine Center in northern Georgetown. It is a two-story wood frame structure, with a hip roof, central chimney, clapboard siding, and granite foundation. Its main facade faces south, with an ell extending north to join the house to a barn. The front is three bays wide, symmetrically arranged, with its entrance framed by pilasters and topped by a half-round fanlight window and cornice.

By 2008, "the once great mansion stands barely recognizable, although the basic brick volume and Adam entrance portico with fanlight and curving granite steps (one half is missing) are more or less intact. Many ground-floor shop extensions have been added, along with Queen Anne-style oriel windows and dormers on the upper floors. Though out of character, the Victorian predations had a certain disheveled charm when they were filled with odd antiques, curiosity shops, and tearooms."Susan Southworth, Michael Southworth.

Internal: The former lamp room is currently used as a storage area and features face brick walls with exposed roof truss structure within the corrugated metal roof. The timber boarded door is in the form of a sliding loading door with a fanlight above. ;Signal box (1910) The signal box was originally built in 1910, constructed with three storeys, two in brick with the upper level constructed in timber cladding. The building was accessed via an external timber stair, on the western side of the building.

The Barrows-Steadman House is a 2-1/2 story timber-frame structure, resting on a fieldstone foundation. It is sheathed in clapboard siding, and has a gable roof pierced by two large internal chimneys. Its main facade, facing Main Street to the northwest, is five bays wide, with a center entry flanked by sidelight windows and Doric pilasters and topped by a fanlight and entablature. The secondary entry is on the southwest side, facing Stuart Street, and is centered on a three-bay facade.

Internally the building is divided into suites of medical offices, accessed via a hallway on each level. The ground floor corridor is particularly intact, and displays a sequence of arches, plastered walls, and timber skirting boards and dado rail (now painted). A central staircase of dark-stained, silky oak treads and handrail, with wrought iron balustrading and dado tiles, services all floors, as does the adjacent elevator. A casement window and arched fanlight with multi-paned leadlights is a prominent feature of the ground-floor stairwell.

The house had thick walls and served as the centre of the estate and a rallying point for defence. At the time of Thomas Halse death in 1702, the Great House was just a single-storey building. By the late 1740s the building was owned by his son, Francis Saddler Halse, who developed the property into a more imposing and beautiful two-storey structure. A new entrance was erected, accessed by an elaborate arrangement of stone steps flanked by columns and capped with a fanlight.

The entrance features an elliptical fanlight opening sheltered by a one-story Doric porch. It was added when the entrance was moved from the Lombardy Street side to the Grace Street side in 1924, when the building was expanded to house the T.C. Williams School of Law of the University of Richmond. In 1834 the Baptist Education Society purchased the house and it became the main academic building of Richmond College, later University of Richmond. It housed the School of Law from 1917 to 1954.

Compacted gravel/granite comprises the driveway and pedestrian path which flanks the house's eastern side, parallel to Willandra Street.Stuart Read, site visit, 19/3/09 ;House:Willandra, rear view Willandra is a colonial Georgian Revival style house, two storied, hipped roof, deep eaved, five bayed, with shuttered French doors below and 12 light double sash windows above, decorative fanlight over the front door and encircled by single storeyed, stone paved, stone columned verandahs. Exterior walls are rendered sandstock brickwork. Ceilings are generally plastered with decorative cornices.

The portico leads to a pair of doors, each with a radial fanlight, and between them is a 16-pane sash window. At the summit of the entrance front is a gable. The bays at the front and sides of the church are separated by brick pilasters that curve at their tops to form arched recesses. In each recess is a round-headed window in the upper tier, and a flat-headed window in the lower tier, all of them being sash windows with 30 panes.

Built in 1823, the house is a Federal structure, built of brick on a stone foundation and two stories tall. The facade is divided into five bays and features a double entryway with a fanlight but no sidelights. The house may have been built with a porch or stoop, but whatever was present at the time of construction has since disappeared; the entrance is surrounded by a newer porch of artificial stone constructed before 1924. An ell is attached to the house's northwest-facing rear section.

The register lists the architecture as being Georgian. The five-bay front facade has two flat Doric pilasters and two more pilasters, located off the central bay support the broken base pediment. The original door was replaced with a 19th-century door that has a 20-pane fanlight and is flanked by two flat pilasters that support the broken base pediment over the door. The main house originally had two-chimney design and another chimney was added to the east wall for a 20th-century furnace.

The Benjamin Church House is a two-story clapboarded Colonial Revival topped with a hipped roof that has four pedimented dormers. Constructed between 1908 and 1909 from designs by Clarke, Howe & Homer, architects, the building cost $21,000. The front of the house faces west towards Hope Street and is and has an ell on the rear side that measures . The front facade has a symmetrical five bay facade with the main entrance in the center, the door has sidelights and a semi- elliptical fanlight.

Skirting is simple and largely non-original to this level, whereas some original architrave fabric is retained to the early doorways. The majority of internal doors to the ground floor have been removed, with two original four panel doors retained to the Postal Manager's office to the north and adjacent to the storage beneath the stair. The remaining doors are modern flush and modern security doors to the exterior. The entry from Ormond Street is recessed and has a fanlight and sidelights surrounding the door.

The north wing verandahs have paired, white painted timber, tuscan columns with stone bases; those to the southern wing have square chamfered timber posts with curved timber brackets at the corners and are partially lattice screened to the west. The northern wing has French doors with large fanlights and timber shutters. The southern wing has casement windows and timber doors with glass panels. The entry hall, in the junction between the two wings, has a panelled cedar door with clear glass fanlight and sidelights at either end.

Architect Ewing Miller, Sr., of the Fort Wayne, Indiana, architectural firm Johnson, Miller & Miller, designed the hotel in the Classical Revival style. The four-story building was built in red brick and uses Bedford limestone in many of its decorations. The building's entrance is set in smooth limestone and is topped by an arched stone decoration resembling a fanlight. A pair of French doors are located on either side of the entrance; each set of doors is topped by a wooden pediment and stone arches.

The Jacob Randall House stands in rural northern Pownal, on the west side of Lawrence Road, the principal north-south road leading from Pownal toward Lewiston. It is a 2-1/2 story brick structure, with a side gable roof, two internal chimneys, and a granite foundation. Its main facade is five bays wide, with its entrance in the central bay, recessed with a fanlight. The sides are two bays wide, and there is a single-story addition extending to the left side of later construction.

The Berry Museum is a single storey brick building in the Scottish Baronial style with a stepped gable facade. The gable parapet is capped with stone and surmounted by a spherical finial. The parapet at is supported at the corners of the building by a stone corbel and a circular louvre windows placed in the centre of the gable. The lintels over the windows and entrance are constructed in light coloured brickwork while the fanlight and upper half of the windows feature painted lattice work.

A pair of arched windows are flanked by a set of Corinthian pilasters supporting a pediment and a frieze bearing the year "1886" in the center with a fanlight above. The central projection is topped with a pediment with a circle light framed by a carved wreath of flags. Standing guard over the entrance is a statue of Justice. The rest of the facade on either side of the central projection is symmetrical, with three arched windows on each floor and out-thrust corners.

The Sprague House is a historic house at 59 Endicott Street in Danvers, Massachusetts. It is a 2-1/2 story wood frame structure, five bays wide, with a side gable roof, end chimneys, and clapboard siding. This well preserved Federal style house was built in 1810 for Joseph Sprague, Jr., son of a wealthy Salem merchant who was also involved in the family business. The house's main Federal feature is its central doorway, which features a semicircular fanlight window and a pedimented overhang supported by pilasters.

Massie House, also known as Oak Grove, was a historic home located at Falling Spring, Alleghany County, Virginia. It was built in two phases in 1825–1826, and was a double-pile, two-story, five bay, wood-frame house on a brick foundation in the Federal style. The main entrance featured the original paneled double-doors ornamented with small Chinese and Gothic motifs, flanked by sidelights and topped by a segmental fanlight. and Accompanying photo It was added to the National Register of Historic Places in 1982.

The right tower arch is combined with a window whose glazing bars denote a door fanlight, upper sidelight windows and line up vertically with a cut in the brick wall to either side of its double door. The recessed middle bay houses the former postal hall at ground floor level and the open verandah of the quarters above. The postal hall has three brick segmental- headed double-hung sash windows, embedded in a broad, shallow and slanted sill. The stiles of the upper sash are tapered.

In 1555 the Incorporation had sufficient funds to build a hospital at the Kirkgate. The basement and vaults of the 16th century building were incorporated into the current building, which was designed by Thomas Brown in the neoclassical style and completed in 1818. The new building had three bays on the front elevation and featured a porch with paired Doric order columns on the ground floor; there was a large window with Ionic order columns and semi-circular fanlight window above on the first floor.

Liberty Farm is a 2-1/2 story Federal style brick house, built around 1810, and now stands in a suburban area of western Worcester, Massachusetts. Its main block is five bays wide, with a center entry sheltered by a portico supported by Doric columns. The doorway is flanked by sidelight windows and topped by a fanlight. A wood-frame addition extends to the right of the main block, and another extends to the rear; these were apparently added in the early 20th century.

The Lord Nelson Hotel is a smooth faced, three storey sandstone building in the Old Colonial Regency style. The building has a hipped, corrugated asbestos cement roof, following the "L-shaped" form of the building. The roof cladding is not original and is partially concealed by a decorative parapet and moulded capping, which extends around both facades along the full length of the building. The building has a splay corner, featuring a central arched doorway with paired timber doors and a fanlight at ground level.

The front facade is three bays wide, with a central door topped by a fanlight transom. The side walls are four bays long; the first window on each side has been bricked over, apparently as part of 19th century alterations to the stairwells inside. Centered above the front entry is a two-stage tower: it has a square base, above which is an open belfry supported by four posts and surrounded by a balustrade. The tower is topped by a four-sided cupola and weathervane.

The gable above is fully pedimented, with a half-oval fanlight at the center. Sympathetic modern additions have been made to the right side of the building as part of its conversion to a commercial space. The house was built in 1822 by James Loomis, who at the time operated the town's only store directly adjacent. Loomis was one of many descendants of Joseph Loomis, one of Windsor's first colonial settlers, and his children were instrumental in the founding of The Loomis Chaffee School.

The entry consists of a six-panel door, flanked by half-length sidelight windows and topped by a half-oval fanlight louver. This assembly is framed by pilasters set on plinths, rising to support a broad entablature and cornice. The interior of the house has a typical center-chimney plan, with well-preserved Federal and Greek Revival styling. The house is generally believed to have been built in 1833, the year in which Almond Gushee, Jr., part owner of a local mill, married Elvira Drake.

The Samuel Wyatt House is located in an area just south of Dover's downtown area, known historically as Tuttle Square, the city's commercial center during the first half of the 19th century. It is located on the north side of Church Street at its junction with Academy Street. The house is 2-1/2 stories in height, with a front-gable roof and clapboarded exterior. It is three bays wide, with a side hall entry flanked by sidelight windows and topped by a fanlight.

The Reid House is a historic house located at 2013 S. Prairie Avenue in the Near South Side community area of Chicago, Illinois. Built in 1894, the house was designed by the firm Beers, Clay and Dutton in the Classical Revival style. The house's design features a narrow entry portico with Ionic columns and terra cotta decorations, a fanlight and sidelights on the front door, a cornice with a modillion, and Adamesque ornaments. In addition, the house was the first residence built with a steel frame.

The floor of the front entry porch, under the arcade, is raised several steps above the surrounding level. From the entry porch, a pair of timber panelled doors with a decorative glass and timber surround open into an entry vestibule. The vestibule is tiled with multi-coloured tessellated tiles and decorative mouldings including cornice, picture rail and skirting. A set of timber-framed doors at the rear of the vestibule has side panels and a fanlight, all of which are glazed with decorative leadlight.

The main entrance is topped by a fanlight window, and the windows in the flanking bays are set in round-arch openings, a Mills design hallmark. The building's entrance hall is symmetrical, with the stairwell concealed behind a doorway that is matched by a false doorway on the opposite wall. The hall has curved ends, as do the matching parlors, providing an illusion of increased space. The house was designed by Mills and built in 1823 for Ainsley Hall, who died before it was finished.

The Gladstone Regional Art Gallery and Museum is situated on the corner of Bramston Street and Goondoon Street, which is the principal street of Gladstone. The Art Gallery and Museum is a single-storeyed masonry building, with a basement level, designed in a free classical style. The main entrance to the building is from Goodoon Street through a portico with Doric columns and an arched entablature with "TOWN HALL" in raised lettering. The doorway is in an arched opening with decorative double doors and fanlight.

All other ceilings, excluding those in the sleep-out and verandah, which are sheeted, are lined with vertically-jointed tongue and groove boarding. Six rooms open off the hallway, two to the left, three to the right and one to the rear. Above each doorway (all fitted with timber doors) is a decorated frieze panel, except above the rear door where there is a pivoted fanlight. The rooms to the left are the current living and dining rooms, which are joined by a large, rectangular shaped opening.

Hobartville is a fine two storey sandstock brick mansion built by William M. Cox junior, son of William M. Cox who built the first road over the Blue Mountains. Francis Greenway may have been the designer. The entrance has a fine sandstone portico with Doric columns, sidelights and elliptical fanlight around four panel door. The house features a curved cantilevered stone stair in the two storey hall, French windows to a flagged, one storey, verandah to north-south, with a low pitched slate hipped roof.

The shallow hipped roof is pierced by two chimneys in the middle and a tall tower behind the front pavilion. The lowest of the tower's four stages is a plain wooden section, topped with a cornice. The next two are united by a small pair of windows similar to those in the building, above a recessed panel and topped with a fanlight and pediment. On the second stage they are flanked by two wooden fluted pilasters; on the third by paneling and a spiral carving.

Wallingford Hall is set on a property on the north side of York Street, near the western edge of Kennebunk's village center. The main house is a 2-1/2 story wood frame structure, five bays wide, with a hip roof, end chimneys, clapboard siding, and a granite foundation. The roof is ringed by a low wooden balustrade. The front (south-facing) facade is slightly asymmetrical, with the entrance at the center, with flanking sidelight windows and a leaded semi-oval fanlight window above.

The house Cavaness built has significant Classical Revival styling. Its main facade is dominated by a two-story portico supported by six concrete Ionic columns and topped by a relatively unadorned pediment. Granite steps lead up to the central bay, where the entry is flanked by sidelights and topped by a fanlight, all composed of bevel-edged leaded glass. The two outer bays of the front facade are set slightly back, and there are stairs descending from the porch down to the grounds at the ends.

A two- story architrave was beneath the arch, with an engraved cartouche reading "Singer" at the center. The upper part of the arch had a fanlight with five vertical mullions, below which was a bronze grille measuring wide and tall. As a result of the modifications, the first three stories were faced with rusticated North River bluestone. Four stories were added between the 7th floor and the three-story roof during that time, and the Broadway facade was expanded from two bays to five.

The Turner House, also known as the Turner-Fulk House, is a historic house at 1701 Center Street in Little Rock, Arkansas. It is a two-story wood-frame structure, with a gabled roof, clapboarded exterior, and brick foundation. Its most prominent feature is a massive two-story temple portico, with a fully pedimented and modillioned gabled pediment supported by fluted Ionic columns. The main entry is framed by sidelight windows and an elliptical fanlight, and there is a shallow but wide balcony above.

Fitzroy Terrace is a colonial Georgian breakfront terrace of seven two-storey houses designed by the architect James Hume in 1846. It is built in stuccoed brick lined out in imitation of ashlar with the central terrace of three stones projecting forward with a gable roof. The gable attic is lit by a semicircular fanlight to the rear and a pivoting sash window to the front. The verandah to the ground floor is supported on simple timber chamfered posts with wide boarded veranda divisions.

There is a deep valancing between the floors. The front of the house has a bay in the verandah at both levels next to the main entrance. This is marked by a square porch which extends beyond the verandah and rises through the upper storey, so that it resembles a tower. The front door, surmounted by a large semicircular fanlight, opens into an entrance foyer; a large area with a chequerboard black and white Italian marble floor, a turned timber staircase and panelled ceiling.

Guilloche-patterned carving on the architrave of the thrice-repeated Palladian windows is also used in the roof cornice. Above a simple, double-doored main entrance is an elaborate double-door with a carved pediment adorned with dentils, fanlight and pilasters. On the first floor, twelve-over-twelve window openings are contrasted on the second floor with Palladian windows with Roman- arch keystones (a motif repeated in the portico). In the original design, a massive three-tiered tower is topped by a bell-shaped, copper cupola.

The McLaughlin House is a 2-1/2 story wood frame structure, three bays wide, which is set close to busy Main Street in South Paris. The main entrance is in the center bay, flanked by sidelight windows and topped by a fanlight, with a sheltering hood supported by heavy Italianate brackets. The bay to the left of the entry has a projecting polygonal bay. A two-story wing is recessed from the main block, and joins the house via a connecting ell to a period barn.

The center entrance is topped by a round-arch fanlight and sheltered by an elaborate dentillated and bracketed portico. The flanking bays have polygonal projecting bays on the first level, with narrow windows topped by segmented arches, and similar dentillation and bracketing. Above the main entrance are a pair of narrow round-arch windows with stone keystones, while the windows above the side bays are wider and set in segmented-arch openings. The dormers in the mansard roof section are gabled and also elaborately treated.

The front elevation features windows with arched glazing bars, whilst the fanlight above the door features scalloped glazing bars. The remainder of the windows were originally nine paned in rows of three which pivoted inwards or outwards, however most were replaced with sheet glass or glass louvres in 1983. Internally, the ground floor originally consisted of an office and storerooms which were located at the southern end of the building. A brick fire wall divided them from the larger area which housed the workroom.

A single storey brick air raid shelter is located on the eastern side of the main building, the top of which is used as an outdoor seating area opening from the former engine room, now a kitchenette. The 1965 brick showroom at the southwestern corner also survives. The front entrance, facing Drake Street is symmetrically composed, with a centrally located doorway flanked by windows on either side. The doorway features a pair of five panel bolection moulded doors, surmounted by a fanlight with scalloped glazing bars.

The doorways are in the innermost bays, flanked by sidelight windows and topped by a fanlight. The left side, 55 Beacon Street is named for William Hickling Prescott, a nearly blind historian from a prominent Boston family, who lived there from 1845 to 1859. Prescott had celebrated novelist William Makepeace Thackeray as a houseguest. That unit was acquired in 1944 by the Massachusetts chapter of the National Society of the Colonial Dames of America for use as its headquarters, a role it still serves.

Internally the building is arranged around a large central hall, accessed from the principal entrance off Kent Street. Rooms are found off either side of the hall on the ground floor and the hall is terminated in the eastern corner of the building with the stair hall. The entrance is through an elaborate double timber door opening from the recessed porch. The doors are half glazed and panelled, surmounted by a triangular pedimented entablature and all surrounded by clear glazed sidelights and semicircular fanlight.

This couple inherited the house, and it has since remained in the hands of their descendants. The main block of the house is a 2-1/2 story wood frame structure, five bays wide, with a side gable roof and four side chimneys in the brick end walls. The main entrance, centered on the east-facing facade, is topped by a fanlight window and flanked by pilasters of Doric order, which support a lintel with entablature. There are secondary entrances on the side walls.

This second series are flanked by a short rendered masonry wall with face brick capping. The southern elevation which is the principal facade, has a central entrance bay, with the tower element to the east and a gabled projection to the west. The central entrance, to which access is provided via the already mentioned stairs, is a single timber framed and glazed door with an elliptical fanlight above. The glazing in these features and in most other openings throughout the building is arctic glass.

A semi-oval fanlight window is located in the center of the recessed tympanum at the gable's center. The front facade behind this temple front has pilasters at the corner and dividing its three bays, with its center entrance flanked by sidelight windows. The side walls are essentially identical, each with a pair of brick chimneys rising above. The house was built in 1832 for Zebulon Smith, about whom nothing is known; it is surmised that he was a substantial businessman, given the grandeur of the house.

The sides of the building have eight sash windows, each with shutters and a fanlight above. Design and construction of the church, which was completed in 1827, are attributed to Benjamin Butler, a builder who moved to Farmington from Massachusetts in 1790. Butler is also credited with building the first bridge across the Sandy River, and he was a member of the town's building committee. Unlike many churches built in the 1820s, its form is more reminiscent of church designs of the mid-18th century.

The entrance is now at the base of the tower, with the fanlight just above. The tower's fourth stage has Palladian windows on each side, and its pyramidal roof is framed by pinnacles at the corners. The Catholic mission to the Penobscot Indians was established in 1688 by Louis-Pierre Thury, a French missionary baptized in Quebec in 1667, with the construction of a church building and establishment of a cemetery. The mission was transferred to the Jesuits in 1702, and headed by Antoine Gaulen until 1732.

The fireplaces have been closed off but one still features a simple timber mantelpiece with decorative support brackets. The doorway between the postal room and the residence has a deep reveal and a decorative architrave. The timber panelled door features a decorative metal door handle and has a hopper opening fanlight over. The lunch room, storage and office area has timber framed walling lined with cement sheets with strapping over the joints, all of which appear to be of a later date than the comprehensive c.

Windows are capped by brownstone lintels, and the building corners are finished with brownstone quoining. The main entrance features a doorway with half-round fanlight, and a gabled portico supported by slender round columns. The main roof's cornice has dentil moulding, and its front face is pierced by three dormers, with peaked or semicircular gables. The house was built in the 1790s for Benjamin Williams, a well-to-do sea captain (Middletown was then a major shipping center in trade with the West Indies).

Nelson Lodge is an archetypal single-storey colonial Georgian-style bungalow, fiive bays wide. It follows the standard Colonial Georgian plan: a central hall, with rooms of equal size on either side with wide french doors which extend the living space onto the verandahs. It has 7 bedrooms, 6 bathrooms and a basement. It exhibits typical features of the period including the broken-back roof, panelled french doors, fanlight windows, windows with large panes of glass and spreading verandah forms where cast iron columns form colonnades.

The Morse–Tay–Leland–Hawes House is a historic house in Sherborn, Massachusetts. The farmhouse was built about 1700 by James Morse (born 1686), and added to the National Register of Historic Places in 1986. It consists of a 2-1/2 story main house in 4 bays, with single story rear wing. Surface treatments are late Georgian in style, probably added by Dr. Jonathan Tay in the 1770s or 1780s, and include a semicircular fanlight and narrow Doric pilasters framing the front door.

The house is a 2-1/2 story wood frame structure with a gable roof, two interior chimneys, and clapboarded exterior. It is five bays wide and two deep, with a center entry framed by pilasters and topped by a transom window, triangular pediment, and carved fanlight motif. The house follows a typical late-Georgian center-hall plan, with four rooms on each level, two on either side of the central hall. On the lower level, the front right room housed Nathanael Greene's 300+ volume library, while the rear room served as the kitchen.

The verandah has arched openings on the ground floor and square openings with a glazed brick balustrade on the first floor, however, both levels of verandah have been enclosed with later louvres and sheet material, which is not of cultural heritage significance. At either end of the verandah on the ground floor are secondary entrances reached via stairs from the front garden. These are highlighted by a porch with a semi-circular smooth rendered concrete hood. The front entrance and porches have an arched fanlight above timber French doors with panelling and bolection moulding.

The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales. Oaklands is a typical and excellent representative example of a Victorian Georgian homestead and one of few in the Bega Valley area. It displays many typical colonial architectural features, such as external symmetry, verandas on four sides, French doors onto the verandas, a front entrance with finely glazed sidelights and fanlight, and cedar interior joinery of a high standard, including typical Georgian fire surrounds, architraves and internal doors.

Within is a foyer with marble tile floor and a stair descending to the basement and, through another set of doors in a screen with translucent leaded glass sidelights and fanlight, is a hall; both rooms are in the Georgian style, in beige, cream, and gold. The Small Dining Room is similarly Georgian in decor, with robin's egg blue walls and white-painted trim. From the ceiling hang two crystal chandeliers. Soon after the building became a royal residence, additions to accommodate the viceregal party and household were required, including a ballroom and sunroom.

The Hulls Cove High School is set on the west side of Bar Harbor Road, a short way north of Hulls Cove and just south of the Church of Our Father. It is a single-story wood frame structure, with a hip roof, wood shingle siding, and a rubblestone foundation. The roof has flared eaves, a typical feature of Shingle style buildings designed by Andrews, Jacques & Rantoul. The main facade faces south, with a projecting central vestibule, whose doorway is flanked by fluted pilasters and topped by a fanlight window.

The men's and women's toilets have exposed studs to the interior, and have original windows on the north and east sides. The east and north walls of the waiting shed are also single skin, with the studs exposed internally. There are timber benches within the shelter shed, and a window to the east has been covered over. The office is lined internally with vertical timber boards, and has a ticket window and two fanlight windows on its north side, and a stable-style door on the west side.

The north-facing facade is five bays wide with the first story bays situated beneath semi-circular blind arches. A brick belt course divides the first and second floors, where six Ionic pilasters originate between each bay and extend to the rooftop cornices, and summit at small urns atop the balustrade. The front door has a fanlight and colored glass sidelights, which is covered by a single story Doric portico complemented by four fluted pillars and two pilasters. The eastern side entrance is located at the center bay of the main house.

One of the earliest surviving houses in the town is The Lawn, in front of the Civic Centre with its public tennis courts, in brown brick The similar example of 44–50 Bath Road: also in brown brick and as is sometimes seen, has been painted. with three double-hung sash windows set back in reveals with flat arches, roof with parapet and porch of fluted doric columns, pilasters, entablature and semi-circular traceried fanlight. The Lawn Nearby important landowners included those of Osterley House, Syon House, Hanworth Park House and Worton Hall.

At the rear of the house is an addition, roughly dating to the move but extended later, which incorporates a formerly-external shed into the house. The interior of the house follows a typical Federal-period center hall plan, with the central hall divided into front and rear sections (each with a staircase) by a doorway with a fanlight. There are two rooms on either side of the central hall. The woodwork in the public spaces is not particularly elaborate, with simple cornice moldings and fireplace surrounds, and flared moldings around the windows.

Mitchell's house is a brick building with a foundation of sandstone, a slate roof, and miscellaneous elements of sandstone and other types of stone.. Ohio Historical Society, 2007. Accessed 2013-05-21. Built with a floor plan in the shape of the letter "L", the house is entered primarily through a grand entrance in the center of its five-bay facade. This entrance is the exterior's most prominent component, due to its trabeated entrance with an archway, its eight-panelled surrounding windows and fanlight, and its Ionic columns on both sides of the doorway.

Many of the houses make use of decorative windows, designed as fanlights fitted with stained glass, enclosed within muntins of gypsum plaster and lime-coated sash. Windows that are typical of the Old City of Sana'a are the alabaster qamariyyah, and the stained glass fanlight (‘aqd mulawwan). The Great Mosque of Sana'a is located about 300 yards from the Yemen Gate. The old city of Sana'a is listed as a UNESCO World Heritage Site due to its unique architectural characteristics, most notably expressed in its multi-storey buildings decorated with geometric patterns.

Between the windows, fixed glazing, with a pair of tall centre pivoting fanlights above, has replaced a pair of doors and has a recent security grill fixed over the lower section of the opening. The centre bay (Bay 2) has three double hung windows, with two light sashes, mesh head vents and security grills, separated by a four panel door with fanlight over. A recently installed steel-framed panel of steel mesh has been fixed over the door. Centred in the north-eastern bay (Bay 3) is a large ledged and braced sliding door.

The flat arched, central entrance porch with a prominent keystone in stone is flanked by posts with decorative carved shields to the capitals beneath an open-bed segmental pediment with decorative carving to the tympanum. A decorative metal grille fanlight sits over the porch entranceway. An arched porch entrance to the south opens onto the central courtyard and the arched entrance to the west connects with the new D Block undercroft link to F Block. There is a new metal bridge link across to B Block from the second floor.

The Gallison Memorial Library is located on the north side of US Route 1, just east of Center Street and about west of the junction with US Route 1A. The street-facing original portion of the building is a small single-story brick building, with a side-facing gable roof, chimneys at the sides, and a concrete foundation. The front is symmetrical, with a center entrance flanked by fluted columns supporting an entablature, and a fanlight above the door. The outer bays have sash windows with round- arch fanlights above.

The entrance doorway in the centre of the wall was added in the 18th century which serves as an entrance to the house behind the wall, it has a pointed arch containing fanlight inset with wrought-iron and Gothic tracery. The north front shows evidence of a former in-filled doorway with three stone steps to the threshold, which is now a little above street level. The interior of the house consists of early 19th century features including a stair case with stick balusters and a fireplace with reeded architrave surround.

Riversdale is a Federal style five-part mansion with a 2-story main block and -story end pavilions linked by -story hyphens. The seven-bay stucco-covered brick central block features a hip roof. An entry porch with Tuscan columns and a small pediment shelters double entry doors on the front The porch sits in a three-bay indentation, which is symmetrical to both the north and south sides of the house. The front doors are topped by a fanlight The north porch has a dairy storage area beneath.

Each double door opening onto the verandah has a low waist, 4 lights in each leaf, and a 2-paned fanlight. The exterior walls to the southern section of the house are largely clad in chamferboards, except for a small section on the western facade, which is clad in wide, vertical timber slabs. A square verandah area occupies the south-east corner of this section of the house. The windows on the eastern facade are casements, except for a fixed pane of glass separating two double doors with upper lights.

Detail of the terrace Crewe Almshouses is a terrace of seven two-storey houses totalling thirteen bays, in red brick under a slate roof. It has a central projecting section of three bays with a circular stone decoration, which is topped with a pediment.Pevsner & Hubbard, p. 288 The main entrance door is in the centre of the three-bay section; it has a stone surround with a semi-circular fanlight and decorative keystone above, and is flanked with Tuscan columns supporting a pediment, narrow flanking windows and pilasters.

Above these windows a wrought iron arched balcony spans the arch, whose interior is capped by a large half-round fanlight. The interior of the building houses city offices on the ground floor, and the facilities of the opera house on the upper three floors. with The city hall was built in 1899 to a design by George Adams, a native of Lancaster, New Hampshire. Its theater was used until World War I for all manner of performances, meetings, and lectures, and fell into decline with the advent of motion pictures.

The fanlight features a sunburst pattern with the tracery continuing down into the sidelights and doors with vertical bars. The arched doorway is replicated on the north facade in a set of three, continuing the arcaded effect. This arcade is highlighted by a stone cantilevered staircase to the left, with ornately carved corbels of mythological creatures leading to a second floor balcony adjacent to E.W. Marland's quarters. The east front is the only one that features a symmetrical facade, and where all three stories are evident due to the house being built on a hill.

The Sawyer–Medlicott House is located west of the town center of Piermont, on the south side of Bradford Road (New Hampshire Route 25) near its junction with River Road. It is a 2½-story brick building, with a side gabled roof and end chimneys. The main facade is five bays wide, with sash windows arranged symmetrically around the main entrance. The entry is framed by partial sidelights and fluted pilasters, and topped by a segmented fanlight and an elliptical outer surround that is decorated with rosettes and rope moulding.

The central portal has double, panelled doors, fanlight, and large open segmental pediment supported on large consoles. The tympanum has a cartouche bearing the Salt family coat of arms, flanked by the carved figures of Art and Science by Thomas Milnes. At basement level, the windows are square-headed, while at ground and first floor level the windows are round- arched and archivolted, the first floor windows being framed by fluted Corinthian colonnettes, and with carved head keystones and blind balustrade with turned balusters. There is a dentilled cornice between the ground and first floors.

The main entrance, set in the base of the tower, is recessed within a round-arch opening, with a half-round fanlight above. The school was built in 1897 to relieve overcrowding at a number of other schools in central Taunton, and was named for George Washington. It is one of three schools designed for the city by local architect Gustavus L. Smith, and is the fifth oldest surviving school building in the city. It has been converted to residential use, and is now known as "Washington House".

The fenestration of the main front is composed of elaborate tripartite windows with carved pilasters, except for the central bay, where there are double round-headed windows over the doorcase. The front door is flanked by engaged clustered columns and has an elaborate cobweb fanlight above. The datestone "1773" does not seem to relate to any part of the present building, but may indicate a previous phase of building activity. There are substantial ranges of limestone outbuildings to the south-east including one range with segmental and depressed-arch carriage arches.

The upper level outer bays accommodate pedimented full pane sash windows framed by plain projecting architraves with base ears. The street level accommodates two full pane sash windows to the south bay and a sash window and six panel timber door with large fanlight to the north. The Reef Street elevation consists of the west wing, each level of which is punctuated by a central full pane sash window, and the enclosed extension beyond the upper level verandah. The northwest and southeast elevations are partly obscured by adjacent buildings.

The entry is flanked by sidelight windows and topped by a fanlight window. Above the entry on the second level is a Palladian window. The roofline has a bracketed cornice, and there is a low balustrade ringing the roof whose posts are surmounted by urns. The interior has a central hall plan, with high-quality woodwork in the public rooms of the first floor. Constructed in 1800-1801 for shipping magnate Major Hugh McLellan, the brick mansion was designed by John Kimball, Sr. (1758-1831), an architect/housewright originally from Ipswich, Massachusetts.

The south side of the house faces onto the gardens. From this side, the basement appears to the south of the house as a lower ground floor level, and so from the south each element of the house presents four storeys, with a central entrance to the basement level, with decorative fanlight, leading giving access to the gardens. The upper three storeys have five bays, and the blocked central window on the upper floor has a dated keystone. The basement chapel has two large, round headed windows, with intersecting astragals at their heads.

The Manning House is a two-story wood frame structure, five bays wide, with a hip roof, and two large interior chimneys. It is joined via a connecting ell in the rear to a barn, and a second ell extends from the side. The main entry is centered on the front (east) facade, and is flanked by sidelight windows and topped by a fanlight window. The interior has a fairly typical Federal period arrangement, with a central hall separating two rooms on each side, with a kitchen behind.

It has an elliptical fanlight in its east gable, among other varied fenestration, and a silo to the northwest. Also attached is a deep stone foundation that may be the remains of the original icehouse. A frame springhouse is slightly to the south, and a one-story granite shop to the northwest, also now in use as a garage. Just off the house's southwest corner is the privy, made of dressed granite with a flat roof, overhanging wooden cornice, mahogany door and six-over-six double-hung sash window.

The United States Post Office Old Chelsea Station, originally known as "Station O", is a historic post office building located at 217 West 18th Street in Chelsea, Manhattan, New York City. It was built in 1935, and designed by consulting architect Eric Kebbon for the Office of the Supervising Architect. The building is a seven bay wide two story brick building, trimmed in limestone in the Colonial Revival style. The main entrance features a ten light transom, Doric order pilasters, and a blind stone fanlight with carved eagles.

Of the two original side walls, which angle outwards from their base and converge to a sharp point at the rear corner of the studio, the western wall remains the most intact. The lower portion is clad in timber weatherboards with pairs of casement windows occupying the upper portion to ceiling height. Containing no glass, the windows are enclosed by plywood shutters ornamented with triangular pieces of timber and secured from the inside. Each shutter has an angled top to accommodate an upside-down triangular fanlight of yellow patterned glass above each pair.

Paired timber doors open either side of the stair, with an arched leadlight fanlight to the southern door. The northern end of the first floor has been fitted out as a nightclub, and the majority of the internal walls have been demolished and render has been removed exposing the brickwork. The form of the early corner lounge with fireplace is still visible, and window architraves and sills survive. A small bar separates this area from a pool room at the southern end of the floor, which has rendered masonry walls and fireplace.

For many years it was the largest and most elaborate in the village. The oldest surviving house in the village, the Judge Blanchard home on East Broadway, is the only building to show clear influence of the Georgian architectural style common before the Revolution. It is a frame building on a raised foundation with symmetrical fenestration and a Palladian window above the entrance. It was built in 1790, before the emergence of the Federal style, exemplified by the Judge McLean home further down the street with its elliptical fanlight and sidelights at the main entrance.

Designed by nationally prominent architect Benjamin Henry Latrobe,Schrand, Eugene F. Written Historical and Descriptive Data: Elmwood Hall , Historic American Buildings Survey, 1937-03-10. Accessed 2013-11-24. Elmwood Hall sits atop a hill, and from its octagonal cupola and widow's walk, one may see many miles along the Ohio River either to the east or to the west. The house's front faces the river to the north, featuring a grand double door with fanlight, sidelights, a tall staircase, and carven trim, but all of the house's other sides also include extensive detailing.

In > the 1920s and 30s he purchased lands and built houses. Some of his best > creations are on Dingli Street in an Italian Liberty style with floral > frieze designs, such as the Art Deco double-fronted two-storey townhouse > ‘Assisi’ with columned and fanlight entrance together with wooden balcony > flanked by simply designed balcony railings. No 10 next door, is of > particular interest and architectural uniqueness. Acrooss the road stands a > row of distinctly Art Deco design which is immediately recognizable as being > Vincenti, who engaged a geometrically pure and abstract form of > ornamentation.

There are brick chimneys on both ends of the structure. The clapboard siding, a fanlight transom over the front door, and the hand-wrought wood trim in the house's interior appear to have been added a few years after the house was built. Originally the house had a split-shingle roof, which had been replaced by galvanized iron as of 1936, when Sabine Hill was visited for the Historic American Buildings Survey (HABS). A one-story service wing extends from the rear, in an arrangement that was common at the time the house was built.

The upper floor has a mixture of sash and louvred windows as well as recessed panel timber doors. The roof of the structure is a T-shaped gable end zinc roof with a semi-circular fanlight on either side of a double gable end section of the roof. In 2003 it was reported as being in "very poor condition" and "in need of major repairs".Table 3.4 Location and Condition of Railway Stations , Annual Transport Statistics Report: Jamaica in Figures 2003-2004, Ministry of Transport and Works, July 2005.

The building is painted to indicate the two major stages of construction with different decorative timber work to the verandah and two entrance stairs. The entrance doors to the hall are timber panelled with a fanlight but are not used in the current layout. At the rear of the L-shaped building is an attached dressing room with a corrugated iron skillion roof, single skin chamferboard walls and pine board raked ceiling. The hall has a flat boarded ceiling which is raked on either side and features circular fretwork vents.

To the rear [north] elevation is a blocked window, and a narrow timber 8 panel door leading out onto the enclosed verandah. There are two rooms to the front (south) side of the house and one to the rear. The front room on the west side has a double casement timber and glazed door, with fanlight over, leading out onto the verandah. The doors have a single timber panel to the bottom, and 4 horizontal panes over with a marginal glazing bar detail, and margins in-filled with coloured glass.

The Boscawen Academy was a private school chartered by the state of New Hampshire in 1827 as part of a general plan to improve secondary education. This two story Federal style brick building was constructed in 1827-28 by William Abbot, a local joiner who also built a number of other civic buildings in central New Hampshire. The brick exterior is laid in common bond, with a header course every eight rows. It has a low pitch gable roof whose pedimented end, above the front facade, has a fanlight window.

The Nathaniel Treat House is set on the east side of Main Street (United States Route 2), just north of its junction with Westwood Drive. It is a 2-1/2 story brick structure, with a side-gable roof, four symmetrically placed end chimneys, and a five bay front facade. The main entrance is centered, with a sheltering portico supported by fluted Doric columns and pilasters, whose interior has been glassed in. The doorway is slightly recessed in the wall, with flanking sidelight windows, and a half-round fanlight above.

Door of 10 Downing Street, London In architecture, a transom is a transverse horizontal structural beam or bar, or a crosspiece separating a door from a window above it. This contrasts with a mullion, a vertical structural member. Transom or transom window is also the customary U.S. word used for a transom light, the window over this crosspiece. In Britain, the transom light is usually referred to as a fanlight, often with a semi-circular shape, especially when the window is segmented like the slats of a folding hand fan.

Mulford T. Hunter House from the state of Michigan The porch features Ionic columns atop raised pedestals, and the front door has an elliptical fanlight framed by a Syrian arch. Above the porch is an oval window, surrounded by decorative brickwork; other second story windows have similar decoration. Two dormers with leaded windows surmount the façade. The house is directly adjacent to the George W. Loomer House; the two are the only remaining buildings from the 19th century in what was at the time one of Detroit's most fashionable areas.

The main entrance is flanked by full-length sidelight windows and pilasters. The Foster house has had an addition built in the corner between the main block and the ell, which includes a projecting bay window on the front facade. The Cleaves house has a somewhat more decorated facade: the cornice is deeper than that of the Foster house, and it is studded with brackets. The gable end has a full round-arch window, while that of the Foster house has a rectangular window with a round fanlight decoration.

Each of the breakfronts is heavily embellished with contrasting tuck pointed brickwork and cement rendered details. Cement rendered elements include the plinths, pilasters decorated with quoin stones to the ground floor and fluting to the upper section at the first floor level, sills, brackets, imposts, key stones, entablature parapet, pedimented gable and finials. The gable includes bullseye louvred vents. The fenestration to the breakfronts includes a round arched window with eleven lights to the ground floor and pairs of segmental arched windows with fanlight and double hung sashes within a single segmental arch.

Sangallo did not adopt any of these plans, instead deciding to reduce the area of the church, whose plan became a rectangle with its long side normal to Piazza Scossacavalli. Its nave was flanked by four large niches, and Sangallo designed four rooms (two on each side) as sacristies. The church's appearance in the mid-16th century, shortly before its completion, is known from a woodcut by Girolamo Franzini. Its facade appears almost square; at its center there was a portal with a tympanum, surmounted by a large fanlight opened by a round window.

Signifiers of home, such as the railings, the door case with its fanlight and stone sills, became a hallmark of John Melvin's work. In 1975 Melvin and Alison Smithson founded The Architects' Standing Committee for Planning Reform (ASCPR), a pressure group of professionals working in the built environment with the remit to free up excessive government control of city development. During the 1980s, Andreas Papadakis, director of the leading architectural publishing house, Academy Editions, promoted a series of symposia held at the Tate, the Royal Academy and the Royal Institution.

Doorway with Ionic columns, pediment and fanlight An earlier building on the site was a stone and timber hall close to a large barn and cornmill powered by a water wheel. The house gets its name from the dam on the brook that was built to power the wheel. The manor house Adam Mort built, dating from around 1600, is described in his will, He died in 1631. The house had a kitchen, parlour with a parlour chamber over it, bed chamber, little chamber, buttery, dairy, loft and clock loft with a bell.

Original cedar door and window joinery, skirtings and architraves survive throughout. The boardroom is notable for its joinery including the painted French windows with fanlight to the balcony flanked by large full pane varnished cedar sash windows and full pane sash windows to the former light well to the southwest. This room now has a lower plain plaster ceiling and a three-quarter height partition to the southeast. The hopper windows to the Mary Street side offices do not have internal sills, reflecting the removal of earlier French windows to these openings.

55-59 Harrington Street is a Victorian two storey terrace divided by pilasters into three houses. When constructed in , the terrace consisted of seven houses and was known as "Stafford Terrace". The external elevation of painted brick is essentially plain capped by a curved parapet, its only decoration being a carved flower in the centre, and have first floor balconies and open lower verandahs. Windows are double hung, while doors are mainly of four panels with a plain fanlight above, and with four pane french doors to the first floor verandah.

These were removed, as well as native fig tree species, after protests concerning acts of public indecency by people leaving the nearby hotel relieving themselves under the trees. Also growing around the square are several silky oak trees (Grevillea robusta) and one kurrajong (Brachychiton populneus). Thompson Square is surrounded by a number of Colonial Georgian buildings including; ;The Doctor's House - 1-3 Thompson Square A fine, substantial two storey sandstone brick terrace building. It has a good joinery attic storey, fine front door flanked by engaged columns and a very well designed fanlight.

The James A. Walls House is a historic house on J. A. Walls Drive on the eastern fringe of Holly Grove, Arkansas. It is an irregularly-shaped 2-1/2 story wood frame structure with a cross-gabled hip roof, projecting sections, and corner turret typical of the Queen Anne style. Its porch, supported by Tuscan columns, and front entry, with fanlight and pedimented bay, are typical of the Colonial Revival. Built in 1903 by a prominent local builder, is one of the community's finest examples of this transitional style.

The verandah is now cement-paved and external walls have been given a rough- cast rendered finish.Sheedy, , 3-4 Internally the plaster walls show some evidence of dampness but otherwise the condition of the building appears to be very good. The front door is six-panelled with a rectangular fanlight over, internal doors are four-panelled, windows are two panes of double hung sash pattern and there are paired French windows opening onto the balcony. The building has been used as a self-contained dwelling for approximately 26 years.

A central great hall with an Adam fanlight is the main entrance to the domicile, with a drawing room on each side. The left drawing room would be where Jefferson Davis would hold his final war council with John C. Breckinridge, his Secretary of War, and senior military officials. Before the War, the wide double doors would open to create a ballroom from the entire front area. The only additions to the house after the War was a bathroom and a northwest corner wing, which provided extra kitchen space.

The deep, overhanging eaves are emphasized by the placing of oversized paired brackets, with their undulating curves and pendants, around the entire roofline. The three-bay main facade (north) features a central entrance porch with an elliptical-arched fanlight and sidelights framing the double doors. On the second level, twin-arched windows which open to the balustraded porch roof visually support the circular window above, set in the cross-gable. At either side of the central porch and window bay on the first level are also twin-arched windows with hood molds and shallow balconies.

The First Presbyterian Society Meeting House (now the Millbury Federated Church) is an historic meeting house at 20 Main Street in Millbury, Massachusetts. The 1.5 story Greek Revival church was designed by Elias Carter and built in 1828 for a Presbyterian congregation that had been established the previous year. The main facade has a full-height portico with four columns supporting a triangular pediment. It is three bays wide, with long narrow round-arch windows in the side bays, and the main entrance in the center, topped by a half-round fanlight.

The main roof has quad gutters while the balcony has bullnosed guttering. Several sets of low-waisted six-panel (two timber at the base, the rest is clear glass) French doors with rectangular fanlight and flat arch open onto the balcony. The flat arch is formed by untapered bricks laid in a stretcher bond on about a sixty-degree angle, from either side in opposition, meeting in a v-shape forming a central triangle. This arch is repeated above the windows and French doors on the ground floor.

The Weston Homestead is set on the east bank of the Kennebec River, on a rural parcel at the end of Weston Road, north of the town center of Madison. It is a large 2-1/2 story wood frame structure, with a gabled tin roof, clapboard siding, and a granite foundation. Its main facade faces west, toward the river, and is symmetrically arrange, with five bays. The central one is occupied by the main entrance, which is flanked by Doric pilasters and is topped by a fanlight and a lintel with dentil moulding.

The William Colburn House is located north of Orono's downtown, on the west side of Bennoch Road (Maine State Route 16), between Noyes and Winterhaven Drives. It is set on a terrace above the road, and would at one time have had views of the Stillwater River. The house is a 1-1/2 story Cape style wood frame structure, five bays wide, with a side gable roof, two interior brick chimneys, clapboard siding, and a granite foundation. The center bay contains an unusually wide doorway, that includes flanking sidelight windows and a fanlight.

In 1927 Buffalo architect Bryant Fleming was commissioned to do renovations on the house. He removed a veranda that had been installed around 1900 along with much of the front facade's three-dimensional decoration, making it more of a pure Federal building. To make up for the veranda he had the front lawn terraced and accentuated the front entrance with the fanlight and flanking pilasters, reinforcing those already found on the corners. The fenestration was further enhanced with square plaques at either side of the window heads and the grillwork windows in the attic.

It is a two-story wood frame structure, with a hip roof, twin interior chimneys, clapboard siding, and a stone foundation. Its main facade is five bays wide, with a center entrance flanked by sidelight windows and topped by a delicate fanlight. At the center of the group stands the house of Moses Jacobs, which was probably identical to that of his brother at its construction, which was between 1820 and 1826. Its entrance was altered when the house was converted to a duplex, so it now has two doorways sharing an entablature.

The sandstone ashlar is dressed around openings and has rock-faced finish to the outer verandah walls and picked finish to the courtyard walls. The building has seven rock-faced sandstone chimneystacks, and French doors with glass fanlights and sash windows open onto the verandahs from most rooms. The main entry is on the northern side and is accessed via a flight of stone steps with a timber arch between timber posts. The entry door assembly consists of a panelled cedar door with glass fanlight and sidelights with cedar framing.

The ceiling is lined and a projecting vestibule has twin timber doors with a fanlight above. The interior has tongue and groove boards to the walls, a flat boarded ceiling and partitioning has been installed to separate the surgery, reception and a toilet. The building has double-hung sash windows and a rendered masonry strongroom is built into the southeast elevation adjacent to the surgery and is used as a store. A metal sheeted shed sitting on metal posts and a weatherboard and fibrous cement toilet block are located to the rear of the building.

The Richardson House is located at the southeast corner of Main and Summer Streets in northern Wakefield, just east of Lake Quannapowitt. It is a 2-1/2 story wood frame structure, with Greek Revival styling, distinctive for being five bays wide while presenting a gabled roof end to the street. It has a particularly elaborate Greek Revival entry treatment, deeply recessed, with flanking sidelight windows and fluted pilasters, and a transom window above. The front gable has a window at its center, which is topped by a dummy fanlight.

A timber door with coloured glass upper panels, fanlight and sidelights, separates the hall from the enclosed rear verandah. The rear kitchen wing has undergone several changes, including the kitchen being refitted, but retains the upper portion of a partition wall which originally separated a maids room. The early addition on the northern end contains a study with working fireplace, and an internal bathroom has been constructed within the inside corner of the enclosed rear verandah. A large single-storeyed addition has been constructed on the northeast, and contains living spaces and a garage.

The semi-circular fanlight windows and the brick divides, which resemble pilasters, are among the Classical Revival details in the building. The People's State Bank was cast in the commercial style of architecture and has detailing heavily influenced by Classical Revival, a popular style for bank buildings at the time. The building, a one- story structure, stands on a concrete foundation with 12 inch (30 cm) thick walls, and a full basement. The Classical detailing is emphasized through the use of brick, glass, and concrete throughout the building.

The slabs have been dressed at the top and bottom to conform to a regular depth and are connected to top and bottom plates with either nails or lengths of twisted wire. Rails have been checked into round corner posts and there is also a central round post in each of the long sides of the hut. The floor is formed from ant-bed and although now covered with dust, is clearly discernible. An entry door is located on the eastern wall, it has a fanlight space above that is covered with corrugated iron.

These are surrounded by a substantial architrave and the door is surmounted by a narrow operable fanlight. The doorway is surmounted by a centrally placed timber entablature which terminates in a broken pediment. Other openings to the house, flanking the entrance and from all internal rooms with access to the verandah, are full length vertical sash walk-through openings surrounded by moulded architraves. The entrance door gives access to a small entrance vestibule, which in turn provides access to a central hall from which the principal rooms of the house are accessed.

This continues the ground floor stone coursing and has a centrally located round arched entrance which is surrounded by relief rendered quoining and an arched fanlight above. The central doorway is surmounted by a rectangular keystone which displays in relief the name "Maryborough Government Office Building". The upper floor of the building is lined with rectangular window openings glazed with six panelled vertical sash windows. The side wings at either end of the building principally house the internal stairs and are distinguished externally by a central arched doorway to the street.

A large room with a marble and tiled fireplace opens to the northeast through French doors, with casement windows above, which may date from the 1850s. The main entrance, in the northeast wall, has side lights of clear and red glass with an early stencilled glass fanlight. The main foyer, formerly verandah space, contains some early brickwork free of paint or render. Abutting the two-storeyed structure, on the southwest face, is a small chamferboard, single-storeyed building with a hipped roof and a separate curved roof over a narrow verandah.

Built for prominent merchant Peter Smyth, the stone is believed to have been quarried locally in the district of Port Hood. In true Georgian style, it has a raised first floor level entrance with a fanlight and sidelights with original stone stairs ascending to it. While one-and-a-half storeys at the front, at the rear there are a full two-and-a-half storeys. The lower level of the house, (partly below ground level on the front), contains a kitchen with original fireplace, pantry, storage and bedroom.

The verandah has paired timber posts, a panelled frieze with timber mouldings, a timber rail supported by scroll shaped brackets, and wide timber entrance steps. The twin entrance doors with fanlight are framed by timber pilasters, and the paired timber sashes to either side have wide timber surrounds with deep cornices above. The eastern side has undergone a number of changes resulting in a variety of window types, including paired sashes to the front banking chamber and hoppers to the rear. The western side has paired timber sashes with timber batten window hoods.

Bronze commemorative plaques on the sides honor local World War I veterans. A rear entry with sidelights topped by teardrops and an elliptical arch with fanlight, all of leaded glass, opens into the east-west central hallway. The hallway is sided in Vermont marble with carved panels featuring a fleur de lis pattern at the base, supported on eagle brackets and divided by pilasters with oak and acorn capitals. To the west of the vestibule is a panel with gilded letters both serving as a building directory and dedication plaque.

The 1946 presbytery is located within the churchyard, approximately north-west of the church. It is an idiosyncratic structure, having single layer brick external walls in stretcher bond set high on a substantial concrete column and beam frame. In plan it comprises a rectangular brick core of three non-connecting rooms, each of which has front and back French doors with Arctic glass and fanlight above, opening to a wide encircling verandah. This verandah was open initially but has been enclosed with fibrous cement sheeting and windows, and lined internally with fibreboard.

The main entrance is elaborate, with sidelights and an elliptical fanlight window, all sheltered by a portico with slender Ionic columns and turned balustrade. The interior has woodwork, paneling and wallpapering that appear to be original, although there have also been murals drawn on some of its walls by Barry Faulkner. The house was built about 1810 by William Wyman, and was described as the "finest house in town". Wyman, a Keene native, was said to have made his fortune at sea, and owned a store in the town center.

The three entrances are set in round-arch openings with a fanlight above. The multistage tower has an arched louver above a marble date panel at the second stage, and a clock at the third stage, which is differentiated from the second by rounded corners. The belfry is octagonal, with round-arch louvered openings, and is topped by a smaller octagonal cupola and a short spire. The church congregation was founded in 1674, when Portland was known as Falmouth, and its early history was interrupted by Native American attacks.

The main entrance has paired timber panelled doors, flanked by hinged timber side panels, and surmounted by a large arched glass fanlight. Tall sash windows are located either side of the entrance doors. Internally the building has boarded ceilings, with vertically jointed boarding to most of the walls, and rainwater heads protrude into the rooms along the northeast side of the building. The entrance vestibule has timber posts with cast iron brackets to the railway platform, and a low timber wall surmounted by a metal balustrade screens the luggage passage adjacent.

All external doors and windows were originally fabricated in cedar with window sills and lintels of stone. Remnant joinery on the upper storey includes central double hung window with twelve panes, and glass and timber French doors with multiple panes and margin glazing opening onto the balcony; and on the ground floor, double hung sash windows. The ground floor front door joinery (but not the door), including a semi circular fanlight, is also intact. The rendered arch was inscribed with the words "Graham Lodge", and these words have been recently been restored.

The front portico has simple round columns supporting a roof with a low balcony, while the entry is flanked by sidelight windows and pilasters, and is topped by a fanlight window. The house was built about 1864 by Thomas Ayer, a local businessman and politician. It was built at a time when Winchester was just beginning to undergo a transition from an agricultural to a residential suburban area. Ayer was prominent in civic affairs, raising funds and materials for the American Civil War effort, and serving on various town committees.

Although the cornice is narrow, following the Federal style, the moldings are Greek Revival in scale. The doorway is well-proportioned, with sidelights and narrow pilasters, but contains a simply glazed architrave instead of a more elegant Federal style fanlight. Inside the architrave trim moldings throughout most of the house and the two simple fireplace mantels reflect the Greek Revival influence. The simple, but elegant, stair banister and the molded trim and block corner moldings found in the southeast room on the first floor are also typical Federal details.

The former town hall is a three-story, three-bay rectangular structure of brick (now faced with putty-colored stucco) in common bond. The front facade has a distinctive, elaborate main entrance with a two-story portico framed by pilasters which go all the way to the roofline. The entrance itself, now behind modern storm doors, has four paneled wooden doors with a neoclassical surround with engaged columns, full entablature and large fanlight. On either side of the portico are sash windows, similarly trimmed, supported by aprons atop smaller side entrances on the first story.

Roseneath is a single storied Georgian town house of very good architectural quality. A simple yet elegant sandstock, brick colonial town cottage having a symmetrical street facade consisting of a central doorway with an elliptical fanlight, four twelve panel shuttered windows, turned timber columns and sandstone flagging to the verandah on three sides. Above the doorway and windows are soft red rubbing brick lintels contrasting with the mottled fawn and grey sandstock brick of the walls. The three-sided columned verandah is under the same roof of the house.

External: A small square shaped detached face brick shed featuring moulding and rendered string course detailing similar to the main station building. It is located on the northeast (Up) side of the station building. The shed features a gabled corrugated metal roof with timber bargeboard and narrow eaves with exposed rafters, contrasting rendered moulded trim above the fanlight over a single door on northeast side elevation and two double - hung windows with multi-paned upper sash featuring multi-coloured glass panes similar to the station building on both of the side elevations. There are two rows of string course throughout all elevations.

Side and rear view A two-storey building of simple mid Victorian Colonial design of 3 bays originally having a 2-storey verandah and balcony (now removed). The central entrance door is of 4 panels with fanlight flanked by a large shop window either side containing 6 equal panes of glass surrounding by a deep timber architrave. Symmetrically arranged above a 3 identical pairs of French windows having decorative transoms above. Construction is of English bond brickwork on coursed rubble bluestone foundation with the upper part of the front façade having tuck pointed Flemish bonded brickwork.

A well-maintained Colonial Revival (one of the two dominant architectural styles during 1870–1920; the other being the Tudor Revival) graced by a wide porch across the entire front with classic fanlight (or transom) above the main entrance, as well as sidelights. One cannot help but notice the handsome pillars with Ionic capitals and ornamental balustrade as well as the dentils under the cornice, typical of this era. The Isaac McLean House, has been known for over 25 years as A Cambridge House Inn. This property, together with a handful of other Victorian homes represents architecture of historical significance.

Notable features include a fanlight and sidelights framing double paneled front doors, original false graining on all original doors, original marbleizing on surviving mantels, and handwriting (including notes, poems and other records) on walls throughout the house, with the earliest dating to 1870. The nearby Old Bridgeport Road is a registered Mississippi Landmark. The current site has had a variety of uses, first as a Native American camp, later as Hall's Plantation, which was occupied by Union troops on numerous occasions during the Civil War, and finally as the center of an African American tenant farming community.

Original plans of the keeper's quarters, 1900 Cottages at Norah Head Lighthouse, view from the lighthouse Writing above door in Norah Head Lighthouse On the ground floor there is an entrance door made of cedar set with sidelights and fanlight, with an etching on the door glass saying Olim Periculum Nunc Salus, Latin for "Once Perilous, Now Safe". Above the door is the writing "•A1903D•", stating the year of official lighting. There is also a "ghost door" on the outside which was planned but never completed. The first floor comprises an entry hallway and two rooms.

The interior exhibits evidence of three periods of development, all in the 18th century: the timber framing is stylisting from the late First Period (1720s), parlor spaces have been decorated with later Georgian wood paneling, and the main entrance surround, a late 18th-century proto-Federalist surround with a false fanlight. The house was built about 1723 by Lieutenant William King. King was the son of James King, one of Suffield's early colonial settlers, and was given the surrounding acreage in 1722. King was a major local landowner who was active in civic affairs, serving as a town selectman for many years.

The main facade, facing west, is symmetrical, with a center entrance sheltered by a Colonial Revival portico supported by groups of slender tapered Tuscan columns. The door, glassed in its upper half, is flanked by wide sidelights and topped by a low half-oval fanlight. The interior is arranged with a central circulating desk, reading rooms to either side, and book stacks in the basement and to the rear, where a cross-gabled section extends. The library was established in 1902 by a vote of the town meeting, and was at first housed on the second floor of a local school.

The main entrance is framed by sidelight windows and topped by a fanlight. The interior retains high quality original Adamesque woodwork. Marshlands The house was built about 1814 for Dr. James Robert Verdier, and is noted among Beaufort's houses for its distinctive blend of Adam style elements with those from the West Indies, the latter including the arcaded basement and the single-story porch (when typical Beafort houses have two-story porches). Dr. Verdier was noted for discovering early treatments for yellow fever; his house was used during the American Civil War as the headquarters for the United States Sanitary Commission.

Through his north-facing wall of glass he could sketch sailboats as they tacked the busy shipping channel between Portsmouth and the ocean. He was an early and avid proponent of the Colonial Revival movement, collecting American antiques (back when most were considered used furniture) and arranging them with Chinese ceramics, Japanese prints and other objets d'art as studio props. Tarbell also collected salvaged architectural elements; his studio's facade featured a Federal fanlight doorway. In the new living room added to the main house, he installed a Georgian mantelpiece attributed to Ebenezer Dearing (1730–1791), a master Portsmouth ship woodcarver.

Conway Post Office is a historic post office building located at Conway in Horry County, South Carolina. It was designed and built 1935–1936, and is one of a number of post offices in South Carolina designed by the Office of the Supervising Architect of the Treasury Department under Louis A. Simon. The building is in the Classical Revival style and is a one-story brick building that features an off-center entrance with large fanlight above. It was the first Federal post office built in the city of Conway until it was replaced by a new federal post office in 1977.

On the basement level, symmetrical projecting door cases crowned with plain shields provide entrance to the stair halls. The roof, clad with asbestos cement tiles, is pitched and hipped except for the central range which terminates in a gable/pediment at both south and north elevations. The front gable is marked ROMA STATE SCHOOL with the date of construction, 1937, in the gable of the rear of the building. The building has relatively understated decorative features and fenestration patterns The main entrance is flanked by two grouped banks of casement windows crowned with a semi circular fanlight window.

In spite of the restored front door and fanlight, she believed that the movie set, which she characterized as "plywood and papier-mâché," was so deteriorated that it could never be resurrected again. Her vision was to cut up the set and sell rectangular sections along with a picture of Tara and a certificate of authenticity.Jennifer W. Dickey, "A Tough Little Patch of History": Atlanta's Marketplace for Gone With the Wind Memory, Ph.D. dissertation, Georgia State University, 2007, pp. 120–121. Talmadge eventually decided to keep the Tara set, and it remained in storage at the time of her death in 2005.

The building is covered by a flat roof that is obscured from view by a parapet wall that features shallow corbelling near the top. The large brick building at 600 Monroe Street, originally known as the Tal-Fred Apartments (118-5318-0059), rises two stories above Monroe Street, although the Sixth Street elevation contains three stories over a basement. Built circa 1940, the building apparently contained six relatively large apartment units. Covered by a hipped roof with vented dormer, the building's primary entrance features a single-leaf entry door flanked by sidelights and topped by a semi-elliptical fanlight.

The main entrance, centered on the facade, is recessed in a paneled archway, topped by a semi-elliptical fanlight and framed by very thin columns and leaded sidelight windows. The building has a richly decorated entablature, and its roof perimeter has a low balustrade, interrupted by brick piers. The building was built for Joseph Ensign, a local businessman, in 1917 to a design by the Hartford architectural firm of Smith & Bassette. In addition to housing the Simsbury Bank and Trust Company (founded 1916), it also housed local telephone company offices for many years, as well as a variety of retail tenants.

The triangular fanlight pattern has been replicated in timber on the exterior wall of the 1980s extension, but does not contain glass. The sharply angled rear corner of the studio has windows similar to the front glazed walls, with horizontal timber rails and supported by a round metal post set back from the corner. The ridgeline of the gable roof, which is clad in corrugated metal sheeting, follows the central axis of the studio, ascending from the rear corner to its highest peak over the front glazed walls. The timber rafters are exposed on the interior, running perpendicular to the side walls.

The ground floor has an awning to the Queen Street frontage and to the northern end of the Ann Street frontage. The awning is supported by steel tie-rods fixed to the exterior of the first floor, and has decorative pressed metal soffit and fascia, with the name HOTEL ORIENT in relief. The Queen Street frontage has an entrance at the southern end, with regularly spaced sash windows fronting the street and returning along the Ann Street frontage. The entrance is accessed via a flight of steps to recessed doors which have a leadlight fanlight panel.

The second story entryway has a similar appearance to the first story entry except the fanlight is plainer in design and a small balconet has been placed in front. This doorway was supposed to open up into a second story balcony but according to legend, the ship carrying the materials for the balcony was lost at sea and no attempt was made to finish the project. The building's exterior and interior walls are entirely made of brick, including the columns. With the exception of the brick along the portico, which is covered with stucco, the rest of the exterior brick is exposed.

The entrance, which features an original vertical board door, is flanked by pilasters and topped by a half-round fanlight, and is sheltered by a gabled portico. The interior layout has a large front-to-back chamber to the right of the chimney, and a parlor and kitchen to the left and behind. The tavern was built about 1712 by John Burrows, on land originally deeded to John Clark Sr. in 1644. The North Cove was then coming into use as a shipbuilding center, and the tavern operated by Burrows would have served its workers and travelers moving on the river.

The timber verandah details, together with the front row of square stumps, appear to be of a later date of construction than the house. Arch paned French doors open onto the verandahs, and the main entrance has a timber panelled door with patterned glass sidelights and fanlight. Internally, the building has a central corridor with two rooms on the eastern side, used for storage and containing built in cupboards, and one large room on the western side containing a room divide with timber battened valance. Ceilings are hardboard with timber coverstrips, and walls are vertically boarded.

The Christopher Carpenter House is located in a rural area of central Rehoboth, on the north side of Carpenter Street, about halfway between its endpoints at Perryville Road and Danforth Street. It is a 2-1/2 story wood frame structure, with a side gable roof, central chimney, and clapboarded exterior. It has a five-bay front facade, with a center entrance, whose fine surround includes pilasters supporting a pediment, and a delicately-traced fanlight design. Interior features include molded finishes in the left front parlor, and bake ovens on both floors of the central chimney.

Old Town Farm is a historic poor farm building at 430 Pelham Street in Methuen, Massachusetts. The brick two story building was built in 1846, after Methuen lost its earlier poor farm due to the loss of part of its territory to newly founded Lawrence. The building is five bays wide and deep, with entries on the front and side; the front entrance is recessed with a fanlight and sidelights. The building has shed dormers that run much of the length of the roofline, and its end walls are topped by parapets and double chimneys, features not seen elsewhere in the town.

A reconstructed timber floored verandah runs around the northeast and northwest sides, sheltered by a concave roof clad with corrugated metal sheeting. The main elevation faces northwest onto Channon Street and is asymmetrical about the main entrance which is marked by the projecting gable roof entrance within the concave verandah roof. The elevation is punctuated by large full pane sash windows one to the east and three to the west of the entrance, a two leaf timber door with an arched fixed light fanlight over. Plain painted concrete sills with stark moulded brackets project beneath the windows.

The parapet comprises decorative balustrading and a deep moulded cornice. The main entrance is located on the western side of the facade and is accessed from the street via two concrete steps with risers finished with tessellated tiles. A pair of painted timber paneled doors with an arched and glazed fanlight above provides access into a small entry vestibule which is lined with timber paneling to walls and ceilings and hardwood boards to the floor. The vestibule recesses into and provides access to the building's foyer space via another pair of timber paneled swing doors with two glazed and arched panels inset.

The first-story entrance front is dominated by the residence's grand entrance door. The eight-panel door is faux-grained and is encased by fluted pilasters, and topped by an elliptical fanlight detailed with looped tracery set within a molded nichelike arch. The entrance is flanked by single unadorned windows. The three windows on the second-floor are emphasized by their floor length, ornamented with white marble lintels and are set in recessed red-brick arches with white keystones, tied together with a narrow white string course that runs around the entire perimeter of the house.

Doors are set in both sections, with shuttered windows occupying much of the remaining wall space; the two-story section is divided into three bays by the door and windows, while the single-story section features spaces for three windows in addition to its door. Smaller features include narrow columns supporting the porch roof and a fanlight in the gable of the two-story section., Ohio Historical Society, 2007. Accessed 2013-12-09. Constructed in 1830, the Darlon Allen House was built by a carpenter named Orlando Barker; among the other owners have been R.A. Horr, a Mr. Dirlam, and E.R. Allen.

The doorway from the Central Plaza into Casa Grande illustrates Morgan and Hearst's relaxed approach to combining genuine antiques with modern reproductions to achieve the effects they both desired. A 16th-century iron gate from Spain is topped by a fanlight grille, constructed in a matching style in the 1920s by Ed Trinkeller, the castle's main ironmonger. The castle made use of the latest technology. Casa Grande was wired with an early sound system, allowing guests to make music selections which were played from a Capehart phonograph located in the basement, and piped into rooms in the house through a system of speakers.

The entrance has double timber panelled doors with fanlight surrounded by a sandstone moulding and keystone. A deep string course crosses above the entrance between the pilasters at eave height, with a metal coat of arms positioned centrally above. The clock tower is square in plan with a clock face, surrounded by sandstone mouldings and framed by pilasters with a deep cornice above, to each side and a convex hipped sheet metal roof. The lower wings either side of the tower have parapet walls and continue the eave height string course and top ledge of the sandstone base.

The Silas Clapp House is an historic house at East Greenwich Avenue in West Warwick, Rhode Island. The 2-1/2 story wood frame house was built around 1797-1804 by Silas Clapp, who farmed a parcel of land surrounding the house. It was thought to be built in 1804, but newspapers found in the walls are dated as early as 1797 and many at 1798, suggesting the house was built earlier than previously thought. It is a well-preserved example of vernacular Federal styling, with a five-bay main facade and a central entry with fanlight.

The main door is panelled, with leaded glass sidelights and an etched fanlight featuring gum leaves, a swallow and a dragonfly. A similarly lit doorway is located at the opposite end of the hall. On the right of the hallway are separate drawing and dining rooms, the former incorporating a window bay with Doric fluted columns and pilasters on either side, and the latter a set of cedar folding doors which can be folded back to create one large area incorporating the hallway. On the left of the hall are the master bed, dressing and sitting rooms.

Located adjacent to the church on the west is a three-story rectory. Built in 1905 at a cost of $6,000, it is a rectangular brick building that rests on an ashlar foundation; it is covered with a slate roof. Three bays wide on the front and four long on the sides, it features gables on the front and sides, a large verandah-style front porch, and two bay windows. Individuals enter the house through an ornate recessed front door, which is ornamented with details such as an elliptical fanlight with a keystone, a bevelled window, and recessed sidelights.

Two stories tall, the library is a Neoclassical building with Palladian influences. Built of yellow brick, it occupies a raised stone foundation; the granite details at the top of the foundation sit above the ground. Multiple buttresses are placed on all sides but the rear (west), both supporting the roof and dividing the walls into segments. Numerous windows are placed mid the buttresses; between the ordinary windows found in most places and the massive fanlight-topped stained glass window at the center of the facade, the building has so much glass (all uninsulated) that it suffers substantial heat loss because of the fenestration.

The James Neal House stands in The Hill, a cluster of closely spaced historic houses bounded on the north by Deer Street and the east by High Street at the northern edge of downtown Portsmouth. This grouping was created by a road widening project from houses originally located on or near Deer Street. This house is a three-story brick structure, oriented facing west on the south side of Deer Street. The side facing the street is two bays wide, while the main facade is five bays wide, with a center entrance topped by a Federal style fanlight.

The Daniel Pinkham House is one of a cluster of houses known as The Hill, located south of Deer Street north of downtown Portsmouth, that was created as the result of a road works project in the 1970s. It is a three-story wood frame structure, with a low- pitch hip roof and clapboarded exterior. Its main facade is five bays wide with a center entrance; the windows are simply trimmed, with smaller windows on the third floor. Its front entry is flanked by Adamesque pilasters with rope molding, and topped by a semicircular fanlight window.

Built of brick with sandstone elements on a stone foundation, the two-story Deuscher House features a central projecting bay containing the entrance and its fanlight; a small gable with oculus sits at the top of the projection. On the left side of the facade, as seen from the road, is a large bay window on the first floor with a single window on the second, while two windows are placed on each floor on the facade's right side. A hip roof covers the house, descending to form a cornice supported by paired brackets., Ohio Historical Society, 2007.

At the time the building was destroyed it was described as: > The axis of the building is north-south, with the main entry at the northern > end facing Cleveland Terrace. The north facade has a two- storeyed verandah > with crossed timber balustrades and curved boarded valances to both levels, > and a central projecting portico with paired timber posts topped with a > pediment and a flagpole as finial. The double entry doors have an arched > fanlight, and large single pane double-hung windows with arched heads to > either side. Behind are two levels of offices and chambers each side of a > central corridor.

1913 postcard of the station The railroad depot is located two blocks east of its Central Square, at the northeast corner of Franklin and Pine Streets. It is a single-story brick building resting on a granite foundation, with a shallow-hipped roof whose extended eaves are supported by large brackets. The roof is pierced by cross gables which have fanlight windows that have been blocked up. It is oriented with its long facade facing Pine Street, with the former railroad right-of-way on the other side (now used for parking on this parcel, and not readily evident in adjacent parcels).

The design involved a symmetrical main frontage of nine bays facing the High Street; the central section featured a doorway with a rectangular fanlight on the ground floor; there was a tall window spanning the first and second floors above. The left and right sections were faced with stone on the ground floor and featured balconies on the first floor. The county coat of arms, flanked by figures depicting Public service and Knowledge, which had been designed by John Hammond Harwood of the Sheffield College of Arts, were erected above the doorway. Pevsner described the design as "moderately civic-monumental".

Loder House is an 1834 two storey brick Georgian townhouse with attic and later Victorian two storey timber verandah with cast iron lacework balustrades and verandah brackets. The upper floor has five symmetrically placed French Doors with stone voussiors, opening onto the verandah, whilst the ground floor has paired windows with stone voussoirs and sills, flanking a central entrance with an arched fanlight. The main facade is of face sandstock whilst the side walls have been rendered. The 1975 National Trust (NSW) listing said that at that time the street facade was stuccoed, the remainder of the external walls face brick.

The front door has a large fanlight above with vertical iron security bars. The front portion of the interior is one large, open, room. A brick extension at the rear of the building is accessed by a narrow hall along the eastern side which leads off to two rooms to the right and then to the rear exit door. The shop is abutted by a lowset brick office building to the eastern side and is bounded by a driveway to the western side which leads around to the back of the building where two external toilets are situated.

The Farnsworth House is set on the west side of SR 117, between the Lakewood Pines Campground and the road's junction with North Bridgton Road. It is a 2-1/2 story wood frame structure, five bays wide, with a side gable roof, end chimneys, clapboard siding, and stone foundation. The main (east-facing) facade is symmetrically arranged, with a wide central bay housing the main entrance, which is flanked by sidelight windows and topped by a fanlight. A single-story porch extends across the southern facade, supported by Doric columns; it has been partially enclosed.

The lobby was divided with the postal department on one side and the telegraph department on the other. In December 1898 the Department of Works decided to erect a balcony the full length of the Post Office instead of a verandah along half of it as had been originally contemplated. In June 1899 a proposal for the erection of a clock at the office was discussed. Initially it was suggested that the clock could be placed in the fanlight of the office, but this was rejected on the basis that the position would block airflow to the office.

A vestibule, projecting from the front façade, provides a partial base for the square church tower, whose main stage rises partially through the main roof to an open octagonal belfry area supported by round columns. A series of octagonal sections, decreasing in size, are capped by the steeple and weather vane. The projecting vestibule has two doorways, each framed by delicate pilasters, and topped by a fanlight, with a set of windows at the gallery level, topped by a small pedimented gable. The main sides of the façade are unadorned except for windows at the gallery level.

Paired timber doors with fanlight open from the luggage passage to the former cloak room on the northern side. Two sash ticket windows with cantilevered timber counters access the former ticket and parcels office to the south of the entrance vestibule, with small hinged doors below. The railway platform has tall sash windows, some of which have been painted out, and timber panelled doors with fanlights open from the adjoining offices and service rooms. Rainwater heads, draining the box gutter between the station building and the carriage shade, protrude into the platform area, with the downpipe inset into the station building wall.

The entrances to the Council Chambers and Town Hall Theatre are located in the end bays above which a raised signage panel on the parapet clearly denotes these functions. The central bay signage panel bears the name, Gayndah Soldiers' Memorial Hall. The fenestration comprises pairs of three-light casements and fanlight which are separated by pilasters with simple vertical detailing and articulated by raised vertical and horizontal rendered concrete bands. The pilasters finish to the underside of a wide string course that projects forward to form a hood at each entrance and at the centre of the building.

The First Church of Christ, located in downtown Hartford at the corner of Main and Gold Streets, is a prominent local example of Classical Revival architecture. Daniel Wadsworth probably designed it, loosely following the example of architect James Gibbs's church of Saint Martin in the Fields in London. A monumental two-story temple portico with modified Ionic columns forms the entrance to the brick structure, and is surmounted by a three-stage tower that repeats the columns at an increasingly diminished scale at each major level. There are three entrances on the main facade, each topped by a half-round fanlight window.

The Chase House is set at the southwest corner of US 202 and Kanokolus Road in the center of Unity. Set back from the main road, it is a 2-1/2 story brick structure, five bays wide, with a side gable roof, end chimneys, and a stone foundation. The main facade is symmetrically arranged, with a center entrance flanked by sidelight windows and topped by a fanlight window. A 1-1/2 story wood frame ell extends to the rear, and there is a barn near the rear of the property that was once connected to the house via a shed.

James Manning, who was the third owner of Oaklands, was partner in the Twofold Bay Pastoral Company. The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. The house is architecturally of state significance as an excellent example of colonial architecture in the style of Victorian GeorgianApperley et al, 1994 with a high degree of refinement. This refinement is displayed in the symmetrical façade, the hipped roof, the finely glazed French doors, the front entrance door with sidelights, fanlight and corresponding interior door, the 12-pane windows, the fire surrounds and other fine interior cedar joinery.

Welsby left his mark on the house in a number of ways, including the orientation of the house to the river, the terraced gardens to the river's edge, his initials in the leadlight sidelights of the entrance, and the name Amity in the leadlight fanlight. Other elements include the coral garden bed edging, compass points marked in the front concrete path, and the 1893 flood marker on the entrance stairs. A river front rotunda and baths had been constructed prior to 1925, and were destroyed during the 1974 floods. After Welsby's death in 1941, Jane continued to live at Amity for another 14 months before she moved to Windsor.

A long single- story sunroom addition extends to the south. The west-facing facade is dominated by a two-story portico supported by paired Tuscan columns, under which is the main entrance, topped by a semi-elliptical fanlight window, and a second-floor veranda. This central portico is flanked on the first floor by picture windows with small side windows, and by paired sash windows on the second. The east (river-facing) facade has a broad veranda extending the width of the main block, and a two-story portico supported by fluted square columns, under which is a sitting area on the second level.

The design involved an asymmetrical frontage with four bays facing Hamilton Road with the right hand bay containing a high five-stage clock tower with a dome; the central section featured an arched doorway on the ground floor flanked by pilasters with a fanlight above; there was a stone balcony and a double window on the first floor flanked by pilasters with a gable above containing a tympanum and an oculus. Internally, the principal room was a double-height public hall with seating capacity for 1,200 people in the centre of the building. The horse- drawn fire engine was also based at the town hall.Naismith, p.

This grand residence had four huge reception rooms which could be interconnected depending on the size of event, allegedly 60 rooms (counting small dressing rooms as well as proper rooms) and a glazed cupola rising to 70 feet above ground. Fowler's favourite writing room was an internal room on the third floor, lit only from the cupola via a fanlight over the door. The house had no central staircase, so visitors entered one of the main rooms through a small lobby, while family and staff used the basement entrance. There are verandas all round the house at first, second and third floor levels, linked by two outside stairs.

The verandah has paired timber posts with curved timber brackets, timber louvres enclosing the southern end, and cast iron balustrades. Opening onto this verandah are french doors with fanlights from bedrooms, and a central arched timber door, sidelights and fanlight assembly from a main hall. Either side of the semi-recessed verandah are projecting brick bays housing paired casement windows with timber and iron hoods, and surmounted by arched parapets with rendered cornice details and circle motif. The corrugated iron skillion awning to the ground floor has paired timber posts to the central section, with triple timber posts either side, curved timber brackets and a solid valance for signage.

Internally, this wing has a large dining room at ground level, and bedrooms at the first floor level. The dining room has three ante-rooms opening onto the northwest verandah, vertically jointed boarding to the walls, fibrous cement sheeting with cover strips to the ceiling and upper walls, arctic glass to the casement windows and French doors, and a timber batten arch opening to the central ante-room. The first floor contains a central corridor with rooms opening either side, and a foyer area at the northeast with a timber ramp access to the garden. Internal doors have timber batten fanlight panels, and ceilings are boarded.

Built of brick, Immaculate Conception is a Romanesque Revival structure with a gabled front divided into three bays. Each of the side bays is pierced by an entrance with fanlight and a window above, while the tower projecting from the center bay includes two oculi and an arched window above its doorway. A belfry with louvering is placed within the tower in the small space between the roofline of the rest of the building and the top of the tower. Unlike the bays in the facade, the side bays are almost totally occupied by large Romanesque windows, while a cornice of miniature arches sits under the eaves between the brackets.

Henry C. Griggs, cofounder of the Smith and Griggs Manufacturing Company and a two-term member of the Connecticut General Assembly, which made small items like corset fasteners from the brass the city produced in great abundance, sold part of his lot to Republican editor J. Henry Morrow in 1883. Morrow built the building, the first of the four now in the district, to accommodate not only the paper's printing presses and editorial offices but its printing business. Stylistically it reflects different influences of the time. The corbelling and terra cotta panels are typical Victorian decorations, while the fanlight and fenestration anticipate the Colonial Revival style by a few decades.

A double-leaf entry door with a fanlight similar to that found at the Kentucky Hotel occupies the central bay on the first floor, and is sheltered by a small, hipped-roof porch, which is a late 20th-century addition. However, this section of the building also would have presented a much denser three-bay façade along Fifth Street. This elevation is also fenestrated by large-paned 6/6 sash on the first floor and 6/9 double-hung sash on the second floor. The left-hand window on the first floor rests above a wooden panel, and may have once served as a doorway.

The John Elkins Farmstead is located in rural northeastern Danville, on the north side of Beach Plain Road a short way east of Hillside Terrace. It consists of a main house, with a wing that connects it to a barn; a carriage shed frames the west side of the courtyard formed by these structures, which lie just north of Beach Plain Road. The main house is a 2-1/2 story frame structure with a gabled roof and central chimney. Its centered entry is a 20th-century replacement for what was, by architectural analysis, probably a Federal style surround with sidelights and a fanlight.

The timber-framed windows and doors include casements with a semi-circular fanlight above to the front bay window, a small rondel window opposite the main entry stairs, double-hung sash windows more generally and high-waisted panelled doors throughout. Decorative stained-glass leadlight feature in the small rondel window and main entry door. The layout of the Manse is generally as originally built with the main entry hall/corridor flanked by bedrooms to the north, living and dining to the south. At the east end of this hall, a doglegged cross hall allows internal access to the Minister's study and bedroom on the north and bathroom to the south.

The Elmore Houses are located on southwestern South Windsor, on either side of Long Hill Road just south its crossing of Interstate 291. Number 87 is the older of the two houses: it is a 2-1/2 story wood frame structure, with a gabled roof, central chimney, and an exterior of asbestos siding over original wooden clapboards. The main entrance is at the center of its five-bay facade; it has a Greek Revival surround built around the entrance, which is topped by a more Federal appearing fanlight. The interior follows a somewhat typical Georgian Colonial plan, with a narrow vestibule leading to chambers on either side of the chimney.

The porch is enclosed with rendered masonry walls and has a flat corrugated iron roof concealed by a curved parapet, which mimics the front gable to the main building. There is a semi-circular arched window in the south wall of the porch, in-filled partly with glass and metal louvers and partly with a timber panel. The front wall of the porch until very recently had a grouped arched opening comprising three six-paned timber-framed casement windows with fanlights. The windows had been removed at the time of inspection, leaving a large open space in the wall with the central fanlight still in place.

The 1892-1898 alterations made this elevation asymmetrical, replacing the original central door with an elongated porch area to the right side, and a large corner tower. These changes reflect aspects of the (then) new Baroque Revivalism just appearing in Britain. It is not clear from the drawings whether the original front door had an arched top, but it gained one in these alterations, having a large thermal fanlight over a broad three-part setting of door and flanking hall windows. Next to that came the new porch, treated as a two-stepped breakfront with stuccoed flanking piers and paired Corinthian columns at the centre bay.

The northwest tenancy (the former Commercial Banking Company of Sydney), currently a bar/live music venue, has a non-original awning to Brunswick Street. The awning is supported by metal tie rods fixed to the face of the building at the first floor window sill height, and comprises a deep metal fascia and pressed metal ceiling. The ground floor comprises a non-original timber framed shopfront with central paired timber framed glass doors, with a recessed original doorway at the northwest end. This doorway retains original fanlight and architrave detailing, and originally accessed a corridor leading to the rear internal stair and rear offices.

Montpelier Lodge ( 1830) on Montpelier Terrace stood out from the surrounding stuccoed buildings due to its red-brick walls; it also had an elaborate entrance with Doric columns and a delicately patterned fanlight. Development accelerated after Thomas Read Kemp was declared bankrupt in 1837, forcing him to sell all his land and move to France. Parcels of land were rapidly developed with terraced streets (especially to the south, leading up from Western Road) and set-piece squares and crescents. The Temple was still isolated until 1834–35, when the firm of George Cheesman & Son built a new vicarage for the Vicar of Brighton Henry Michell Wagner.

In this, as in the whole treatment of the Classical Order, the > building was more subtly and successfully handled than the Supreme Court > façade. The design of the entrance is however, a disappointment; its > pediment was oversimplified and given inadequate visual support. Instead of > a decorative fanlight, a rather bizarre circular clerestory light with a > cartwheel pattern was inserted high in the wall above the entrance. Van der Heever views the similarities between the two buildings' design as leaving little doubt that Thibault also designed the Children's Home, since the Old Magistrate (now the site of the South African Cultural History Museum) is undoubtedly his.

The George Sumner House is a historic house at 32 Paige Hill Road in Southbridge, Massachusetts. The 2.5 story late Federal wood frame house was built sometime before 1830, probably for Major George Sumner (who is recorded as its owner in 1855). Sumner was a leader in the early development of the textile industry in Southbridge, being the first in the area to offer as a service the complete cycle of woolen textile processing, although some work was still initially done in homes, not in a factory setting. The house is notable for the fanlight window on the gable end, which is a late 19th-century addition.

The Andrews House stands close to the east side of South Bridgton Road (Maine State Route 107) in a rural area of southern Bridgton. The house is a rambling connected series of wood frame structures, with the main house block at the southern end, and ells extending along the road to the north and behind the house to the east. The main block is a 2-1/2 story structure, five bays wide, with a side gable roof, central chimney, clapboard siding, and a stone foundation. Decorative elements are minimal, with the central entrance framed by pilasters and a fanlight, with a dentillated cornice above.

Eleven properties line this piece of road, with another two on Simpson and Elden completing the district inventory. The oldest house, the Elden family homestead, stands on the south side of Elden Road, and is a fine Federal-style estimated to date to the 1790s. The Came-Marshall House, located just northwest of the junction, is probably the most impressive house in the district: it is a 2-1/2 story Federal-style brick structure, with an elaborate entry that has sidelight windows and a semi-circular fanlight. Most of the houses in the district, however, were built between 1825 and 1850, and are Greek Revival in character.

French doors with shutters open onto verandahs which have unlined corrugated iron skillion roofs and timber posts. The main entry is positioned centrally on the northeast, with a set of brick steps accessing the verandah to a flat arched doorway with double cedar panelled doors with fanlight and sidelights opening to the entrance hall. A matching doorway accesses the entrance hall from the enclosed rear verandah. The building's core is one room deep, with the northeast wing consisting of a central entry hall, a bedroom on the north, a living room on the south, store rooms at the southern end and brick lean-to store rooms at the rear.

A large fanlight window on the east side of the room faces the Jacqueline Kennedy Garden, the East Colonnade, the East Wing, and the U.S. Treasury. Two disguised doors allow access to a closet and a staircase up to the third floor. Charles Dickens wrote this about the room during the administration of John Tyler: > [W]e went upstairs into another chamber, where were certain visitors, > waiting for audiences. At sight of my conductor, a black in plain clothes > and yellow slippers who was gliding noiselessly about and whispering > messages in the ears of the more impatient, made a sign of recognition, and > glided off to announce him.

1937 Teacher's residence, from north-west, 2015 The teacher's residence is timber- framed, weatherboard-clad and highset on concrete stumps. The building has a hipped roof, with a projecting gable to the northeast corner and an enclosed L-shaped verandah to the northwest corner. Timber stairs provide access to the front verandah and an enclosed landing to the rear. Early timber joinery is retained throughout the building including: casement windows with four-light fanlights and corrugated metal-clad hoods to the north, east and south elevations; a high-waisted panelled front door with glazed inserts and fanlight; and low-waisted French doors with four-light fanlights opening onto the front verandah.

Although the Campbell House has a brick veneer, it is a wood frame building on a limestone foundation. It has a somewhat irregular footprint, with three gabled sections that rise two stories and a fourth section that rises one story and has a flat roof. The house's massing, rooflines, window placement, and wide frieze boards suggest Greek Revival architecture, but the segmental-arched windows, bowed shutters, fanlight over the front doors, and centered attic window are more characteristic of Federal architecture. In the house's original configuration, the wings to the northwest and southwest stood just one story, and the latter, a kitchen, was all wood.

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

Christine I. Mitchell (born December 8, 1951) is an American filmmakerCode Gray: Ethical Dilemmas in Nursing on IMDbAcademy Award for Best Documentary (Short Subject) WorldCat entry on Code gray: ethical dilemmas in nursing references Boston-based Fanlight Productions,[2004] and film co-producers Ben Achtenberg, Joan Sawyer, and Christine Mitchell and bioethicist and the executive director of the Center for Bioethics at Harvard Medical School (HMS).Diane Alame, Establishing the Online Harvard Medical School Bioethics Journal, a Master's degree capstone project in the Center, supervised by Christine Mitchell, 2017, accessed October 25, 2018Miller J. Ethics Evolution: Division of Medical Ethics becomes Center for Bioethics. Harvrd Medical School website. May 1, 2014.

St. Anne's Church is located on the east side of Down Street, near the southern end of Indian Island, location of the Penobscot Indian Island Reservation. It is a single- story wood frame structure, with a front-facing gable roof and clapboard siding. The building has had a series of significant alterations, having been originally built with a small tower and belfry on its roof, with an entry in the western facade and a fanlight in the gable. Around the turn of the 20th century, this tower was replaced by the more elaborate square tower seen today projecting in front of the body of the church.

Fenestration of Tamworth Post Office is regular, with windows and doors spaced between arches of the verandahs. To the ground floor original section of the building fronting Peel Street, there are two pairs of French doors at the centre, with fanlight and arched window over each and paired, side hung windows either side with arched fanlights over, of matching proportions to the doors. The 1966 addition to Fitzroy Street has modern automatic sliding glass doors to the Post Office and modern shop windows either side. The first-floor openings comprise French doors and modern flush doors to the original openings fronting Peel Street and to the eastern end fronting Fitzroy Street.

The former cloak room originally had a central dividing wall, which separated a former ladies waiting room, and a timber panelled door with fanlight accesses the ladies toilet at the northern end. The ladies toilet contains three cubicles, one of which contains an original earth closet which is not in use, another has been converted into a WC, and the third has been removed. An unpainted rear sanitary service passage, originally for the service of the earth closets, is located behind the cubicles. The service passage has a low narrow door opening onto the verandah, which replaced an earlier door which opened at the base of the verandah steps.

The door, designed by Rylance, has eight square panels which are repeated in the form of a vertical strip of four square windows on either side of the door. The door is surmounted by a leadlight fanlight with the name of the house incorporated into the design. In plan, the house has an offset cruciform shape with the entry positioned at the core of the house on the Western side. A sunken passageway leads from the front door to a hall that leads, through large openings, to the dining room, lounge room and terrace as well as to the stairs to the upper floor.

The front facade and west elevation of the main block are dominated by a handsome verandah with a slate-clad, Mansard roof pierced by tiny, decorative dormer windows (with round or miter-arched lintels). Bold, square posts with elegant, molded details support the verandah's broadly projecting, bracketed eaves. The main entrance consists of a pair of molded wood doors surmounted by a large, round- arched fanlight. The east elevation of the main block features a prominent, two-story bay window; the east elevation of the rear (north) wing contains a secondary entrance with a small, yet handsome, porch with Victorian-inspired details similar to those found on the front verandah.

The main entry, slightly recessed in this section, consists of a pair of modern glass-and-aluminum doors topped by an extended round-arch fanlight window. There is a small oriel window in the gable section. The interior of the main floor consists of the public lobby area, which includes an enclosed vestibule area at the main entrance, with small offices on either side, and a work area to the rear. The vestibule is set one-half floor below the main lobby area, with stairs rising from the main entrance to the left and right, and is framed in stained wood that matches other woodwork in the lobby area.

External: Constructed of face brick with a corrugated metal gabled roof extending as an awning to both platforms, the Lithgow station building is an island platform building in standard "A10" Federation style design. It features ten bays with a linear arrangement along the platform with tuckpointed brickwork and engaged piers between the bays. The eastern (Up) end of the building has been extended approximately one bay in 1961 (formerly used as Railway Refreshment Room) with a matching gable end detailing featuring large metal box-framed window openings supported on with brick brackets with security mesh and a single door with side windows and fanlight on the east side. A narrow awning provides protection over this door.

The houses on both sides of the street had identical fanlight entrance doors, and despite Pemberton's prediction of variety in architectural treatment, the double houses were quite similar to the opposing Crescent. The major stylistic differences were Bulfinch's exclusive use of swag panels in the Crescent and recessed brick arches in the houses across the way. No floor plan has been discovered but it is presumed the double houses had the traditional arrangement of two rooms on either side of a transverse hallway divided, as in the Crescent, by main and service staircases. The two center units were much larger than the pairs at the ends and included tiny fenced-in front gardens.

Education centre block B (technical college workshop), located to the northeast of teaching block A, is a two-storeyed brick structure with a hipped corrugated iron roof. The building has large multi-paned sash windows with angled headers and rendered sills, with rendered keystones to the ground floor windows. Entrances are located on the southwest and northeast, with the southwest entrance having a deep cornice supported by brackets above the door and with a fixed window above. The northeast entrance consists of a two- storeyed rendered composition of double timber doors with windows above to the ground floor, and similar doors with an arched fanlight to the first floor accessed from an external timber stair.

Closest to the street are two simple rectangular openings, while the opening closest to the grand foyer has a timber frame and semi-circular fanlight with frosted glass lights. Two openings nearest the Mall have been in-filled during the 1979-1980 renovation. The lift and main staircase to the upper floors of the Regent Building are accessed through the rear of the coffee shop and sit in the eastern corner of this part of the building. At the far end of the entrance hall, a set of marble steps spanning its full width lead up to a landing enclosed by three sets of original double doors opening into the grand foyer.

The building is of a rectangular Italianate design, mostly of two storeys but with a three-storey tower at the west gable with a pyramidal roof. The original design featured a porte-cochère frontage, which Ross removed and reattached to his own additions in 1871; the 1960s renovation work replaced Ross's frontage with the current porch, which reuses Playfair's original parapet, and features a pair of Roman Doric columns and a Neo-Georgian fanlight. It is constructed of pinned rubble, with polished and tooled ashlar sandstone detailing. Aside from Wittet's plasterwork, the interior mostly dates from the 1960s renovations, with little of Playfair's original work remaining other than the shape and layout of the rooms.

The Grove is an excellent example of antebellum Greek Revival architecture. Among the distinguishing architectural features of the house is a full-height pedimented portico supported by four Tuscan columns, a prominent dentilated cornice extending around the building along the roofline, elaborate doors on both the first and second story, and a symmetrical, balanced interior floorplan, all of which are hallmarks of the Greek Revival style. The original main entrance of the house features double wooden doors flanked by unfinished paired fluted pilasters and columns, and elaborate sidelights. The original main entryway is also topped by an elaborate elliptical fanlight and a plain entablature similar in appearance to that extending near the portico roofline.

Millers Point Post Office is a simply detailed, square, two-storey Victorian reddish-pink Flemish and stretcher bond brick building in the Federation Free Classical Style. It has a single-storey, early brick outbuilding to the east, separated by a courtyard. The main building has a rendered and cream painted coping to a convoluted parapet that flattens out to the rear of the building, behind which is a hipped corrugated sheet metal roof with two corbelled brick chimneys and louvred dormer window to the east. There is a round arched entry porch to Kent Street and painted stone steps, with stained glass fanlight and sidelights to the original timber door set back into the façade.

St Saviour's is a rendered masonry building with a corrugated iron roof. It is rectangular in plan with a separately-roofed front entrance porch and a northern rear vestry wing. It faces east onto Hynes Street, the main street of South Johnstone, and the symmetrically arranged facade, with its curved parapets to the front gable and front porch, and banks of windows with semi- circular arched fanlights, along the side elevations, makes an aesthetic contribution to the streetscape. The front elevation has a six-paned timber framed casement window with semi-circular fanlight, either side of the centrally positioned front entrance porch, which is accessed from the north side via two concrete steps.

Its Doric colonnade acknowledges changing trends, but their slenderness along with the house's elliptical fanlight and clapboard siding suggests that its builder was not yet ready to fully embrace them. A few years earlier, quarries near the village of Medina to the west had found a reddish-brown local variety of sandstone. Soon quarries near Albion began producing it as well, and it became a major local industry, producing much of what was called brownstone when used in New York City, as well as all the steps of Henry Hobson Richardson's "Million Dollar Staircase" in the state capitol. It would take a while to be used for Albion's downtown other than curbs, steps or window trim.

These windows have leadlight, in a geometric pattern, to the bottom panel only. The main entry door assembly consists of a central door with solid bottom panel and leadlight upper panels, and leadlight panels to the fanlight and sidelights featuring a floral design. Internally, Aberfoyle has six rooms opening off a central corridor with a kitchen wing at the rear. The front two guest rooms have curtained off projecting corner bays with leadlight windows and cedar frames, with the southwest bay containing a photographic image of a picturesque railway line in a bush location (possibly on the Cairns- Kuranda or the Spring Bluff rail line) set within a glass panel in the centre of a leadlight window.

The ground floor verandahs had timber floors which have been removed, and a central set of sandstone steps accessing the main entrance on the eastern side. Fanlights, 2015 The east and south walls have smooth faced sandstone blocks, while the north and west walls have picked faced sandstone. Both floors have French doors with arched fanlights opening onto the verandahs, with three sets of doors either side of the central entry, and all arched headers have expressed vermiculated keystones. The central entry has double doors with sidelights, and an arched fanlight with coloured glass segments surmounted by an expressed keystone carved in relief with the initials JD 1867 surrounded by a garland of leaves.

At roof level, above the cornice, carved figures of Justice, Peace, Plenty, Chastisement and Hercules were erected together with four urns. At ground floor level, in the middle of the central bay was the main entrance which was flanked by Composite order columns with a fanlight and architrave above. On either side of the entrance, statues of King Charles I and King Charles II were erected in niches; at first floor level, above the main entrance a statue of Queen Anne was erected, also in a niche. Inside, a court room and a lower hall were established on the ground floor and a council chamber and a large imposing assembly room were established on the first floor.

The Hotel Cecil is a two storeyed rendered masonry hotel located on the corner of Down and Lowry Streets at North Ipswich. Built in 1887, the Hotel is constructed of brick with a rendered ruled ashlar finish with a continuous sill to the ground floor walls upon which semi circular headed openings with cement rendered architraves finish on plinth blocks. The main entry to the building is from Down Street through a large 6 panel timber door with sidelights and a semi headed fanlight decorated with leadlights that include the name 'Hotel Cecil 1887'and stained glass panels depicting native flora. There are additional entrances at the truncated corner of the building and two further along Lowry Street.

Experiment Farm Cottage is an Old Colonial Georgian house with symmetrical front and low pitched hipped roof continuous over verandah of vertically seamed iron. The entrance consists of a six-panelled door flanked by sidelights and with an elliptical fanlight above. It sits in a small domestic garden with some mature trees, including jacaranda, (Jacaranda mimosaefolia), lemon scented gum (Corymbia citriodora), fruit trees and cottage plants. Since 2001 a more appropriate 19th century pleasure garden to the north has been reconstructed, based on early photographs and records, and comprising 2 large oval beds with mixed tree and shrub planting, a series of "framing" trees including a hoop pine (Araucaria cunninghamiana) and others.

The western and southern walls are constructed of predominantly rough faced ashlar, with dressed stones around window and door openings. The western wall has three tall arched sash windows with steel bars, and the bottom course of stone, slightly expressed to suggest a base, has small vented openings. The southern wall of the western section of the building has two arched doorways, which have enclosed walkways attached, flanked by a tall arched sash window with steel bars to either side. The southern wall of the eastern section, which is three courses shorter than the western section, has an arched sash window with steel bars and a doorway with paired timber doors and a glass fanlight.

The entrances are each framed by pilasters and topped by corniced entablatures, and there are half-round fanlight windows above them, at the same level as the equivalent element of the central window. The interior retains many original 19th-century features, including box pews, and a pulpit placed at the front of the building instead of the more common rear. (omitting 7 photos that are part of the registration) The town of Burke was chartered in 1782 and first settled in the 1790s. Early religious meetings were typically held by itinerant ministers in private residences and barns, and there was early disagreement about which denomination an officially settled minister should belong to.

The window openings which line the principal facade have fixed louvre timber shutters. Many features of the original home, Adderton, remain extant including its facade to the south east, with early window openings and doorway over which is an elliptical fanlight fitted with a stained glass panel. The half-glazed entrance door opens onto an entrance vestibule, flanked to the north and south by parlours, and screened from a central hallway running parallel to the facade, by an elliptical arced opening fitted with a four panel glazed timber screen. Each parlour is fitted with a marble fireplace and two finely mullioned 12 paned vertical sash windows, one panel of which is stained.

Foster's Tavern was built by Anthony Foster, with construction beginning in 1801 and taking seven years or more to complete. The house is made of locally made bricks and features tied chimneys (separate chimneys joined by a wall or facade) at each end of a gable roof, hand carved woodwork including bowed mantels and stair scrollwork, blown-glass windowpanes, soapstone hearths, cattle-hair plaster and original shutter pintles. The portico with its fanlight was added in 1845 and the porches about 1915. Foster's Tavern housed John C. Calhoun and Bishop Asbury on their travels through the area, with the southeast corner room on the second floor traditionally called the John C. Calhoun Room.

The first floor has a cast iron balustrade. The front elevation at ground level has a more recent timber-framed, glass entrance door with fanlight over on the west side, and a pair of 6-over-6 timber vertical sash windows. These have narrow glazing bars with no horn to the top sash, and the glass appears original or early. To the first floor there are three early double casement doors with glazed fanlights over, opening onto the front upper-level verandah. The front gable has a centrally placed 6-over-6 timber vertical sash window, over which is a convex curved corrugated-iron window hood, supported on curved timber brackets with decorative pendants, in-filled with a cross lattice.

A set of stained timber, double doors open from the porch into the interior. These are high-waisted with coloured leadlight windows set into each top panel, the design of which features a narrow border, green background lights and a central arrow and torch motif. This patterning is extant in many of the early windows facing Brisbane Street. The south-western elevation of the church, facing the driveway, has changed little from that designed by Gailey: 6 bays framed with shallow engaged piers connected top and bottom, the first 5 punctuated by tall, narrow windows with round-arches and sills, and that at the rear featuring both a narrow window, shorter than the others because of the sloping land, and a timber door with semicircular fanlight.

The south side of St Rufus Church, showing four of its five arch-pointed windows, with the tower rising in the background St Rufus Church is mainly rubble-built, with sandstone ashlar detailing, and a slate roof. Its five-bay north and south sides are buttressed, with crenellated walls and hoodmoulded pointed-arch windows with transoms and tracery and coloured glass, and with wide crowstepped gables at either end. Attached to the middle of the west gable is a square tower, which rises to a height of in four stages, each stage narrower than the one beneath it. In the southern face of the bottom stage is a large, pointed-arch hoodmoulded entrance, with chamfered edges and a fanlight above the doors.

The William Street facade also has two lightwells to the basement, located either side of the central entry abutting the end wings, which consist of a curved porphyry retaining wall with sandstone capping and wrought iron balustrading. The lightwells are bridged by a concrete walkway where they abut the end wings, accessing a single panelled timber door with fanlight, and featuring an iron gate with the letters DA intertwined. The southern door, however, has been enclosed and replaced with a sash window, and a later sash window has been introduced to the first floor flanking wall of the southern wing. A retaining wall with sandstone capping, end pillar and wrought iron balustrade extends from the building along the William Street frontage to the south.

Adderton forms the central section of the present day convent, and was originally a two storeyed house with basement which was designed and constructed by early Brisbane builder, Andrew Petrie. Petrie was principally a building contractor, but was able to provide designs for local buildings until the influx of architects to Brisbane in the 1860s. Petrie was also responsible for the design and construction of the 1853 Adelaide House, later known as The Deanery, for Dr William Hobbs. An early photograph of Adderton reveals it as a simple stone building of Georgian proportion and detail; a centrally located doorway with an elliptical fanlight above, flanked by timber shuttered windows and with chimney stacks protruding from each end of a simple gabled roof.

A small brass knocker has a portrait of William Wallace with sword and features "SCOTLAND", "WALLACE" and "ANNO DOM MCCCVI" (1305, the year of Wallace's death), above which are two kangaroos holding a thistle. The fanlight of the front door and the adjacent hall window are divided into small panes by lead cames. The layout of the house comprises principal reception rooms at the front (south-west) with discreet service rooms on the western side and a separate bedroom wing at the rear (north- east). Circulation is via a central hall divided into distinct sections, reflecting hierarchy of use: wide and decorative in the front hall; narrower and less-decorative in the bedroom wing; and less-decorative still in the service rooms.

The building has a central double timber door with glazed fanlight to the verandah, with narrow, paired timber sash windows to either side. The rear of the building has a central double timber door accessed via a timber stair with a timber and iron awning, with a narrow paired sash window to the west, and the former east window having been closed over with weatherboard. The gable ends originally had three narrow sash windows, evidence of which can be seen in weatherboard infill, but the west gable now has a triple panel of glass louvres and the east has four sets of paired casements with a timber and iron window hood. Each gable has a high level opening which has been closed over.

Archibald Mitchell was the owner of the land between 1839 and 1865 and, according to the Sands Directory, the name changed in 1865 to Frankford [sic] Villa with Archibald Mitchell still in residence, suggesting some change in the nature of the house. It appears that Mitchell borrowed heavily against the property and was sold-up by the mortgagee Jane M. Dunsmere, who possibly had to force the sale as her husband John appeared to have died around 1864. There is apparent fabric evidence from the earlier "Waterloo Villa" period in the presence of the front door and fanlight, multi- paned windows to the original north and rear walls, a bead and butt door, the six panel doors and some of the joinery trim.

Roseneath Cottage was built in 1837 for Janet Templeton. It is of significance for its historic association with this pioneer of the Australian wool industry who is believed to have been responsible for the introduction of the merino sheep to the colony of Victoria. Roseneath is also of aesthetic significance as a simple yet elegant sandstock brick colonial cottage, having a symmetrical street facade consisting of a central doorway with an elliptical fanlight, two twelve panelled shuttered windows, turned timber columns and sandstone flagging to the verandah on three sides. A well-proportioned house having a facade of unusual harmony and charm Roseneath is considered to be the best surviving example of a colonial town cottage exterior within the County of Cumberland.

The Georgian-period house in the Queen Anne style is situated on the brow of a hill rising from the Derwent valley, and is constructed out of red brick and dressed with stone, and uses rusticated stone quoining of millstone grit. It is 2½ storeys, and composed of five bays with sash windows, with the central bay projecting. The entrance is said to employ Venetian styling because it is in three parts, with the central doors being flanked by two rectangular sidelights with doric entablatures supported by doric half columns, and above the door is a segmentally headed fanlight. Surmounting this are two further round-headed windows with the top one projecting into the open pediment; the first story window has a large corbelled stone sill, and is framed by ionic pilasters.

The ground floor windows were narrow slits as the walls were as thick as an ancient keep. The writer speculates that the first floor was built upon a ruined keep and records that the outside steps appeared a 'restoration' addition and that a fanlight of many panes of glass existed above the entrance as found in very old houses. It is further speculated that, as the dwelling has little traditional history attached to it, it may have seen use as dower house to a nearby estate. In 1931 the Kilmarnock Glenfield Ramblers had a outing to Riccarton Moss and Haining Place and commented on the ancient mansion-house of Haining which they considered as having once been much larger with its thick walls and 'springs of arches at different parts of the outside walls'.

The Russell Room contains a portrait or Russell, a fireplace, stained glass fanlight, decorative moldings, and other elements. In 2007, the recreation room on the ground floor of the union was renovated and by resolution of the Pitt Student Government Board in December 2007, was named "Nordy's Place" in honor of Chancellor Mark Nordenberg who the board resolved was a student favorite and worthy of the honor. Gigs Game Center, outfitted with videogame hardware and software, is also located on the lower level. In 2009, renovations to the second floor improved the accommodations of the student careers center and renovations to the fifth floor were completed to provide six new meeting spaces for student organizations, four of which with hard- surface flooring enabling groups to practice dance routines and other activities.

Sited on the highest point of the plantation at the edge of a bluff on Alexander Creek, Daniel Turnbull contracted with carpenter Wendell Wright to construct a house in the transitional Federal-Greek Revival- style designed by an unknown architect. Built of cypress and cedar milled primarily onsite, the westward facing five bay, two-story house features a two-story gallery with smooth Doric columns and a bulbous vase like balustrade, matching fluted pilasters and a Doric entablature. At the center of the house, both upstairs and down, is a Federal-style elliptical arch doorway, with six horizontal panels, distinguished by boldly formed fluting, a layered entablature, a keystone, and leaded patterns superimposed on the glass. The fanlight features a series of loops in a radial design, while the side lights feature ovals and roundels.

5 Carlton Terrace, with original fanlight designed by Playfair The Greek Revival architect William Henry Playfair designed Carlton Terrace in the 1820s, and a number of his original drawings, dating from 1821 to 1831, have survived in the Edinburgh University Library. An early drawing dated 1821 (number 1036) shows a design with rustication at ground floor level which was later discarded, and his final design emerged in a series of drawings done in 1825.Edinburgh University Library, Drawings by William Henry Playfair, numbers 1036-1048 Strongly influenced by ideas of the Picturesque, Playfair considered the individual characteristics of the site in making his design.Listed building information for 1 Carlton Terrace, Historic Environment Scotland, accessed 19 March 2018 Unlike Regent and Royal Terraces, there were no external columns or pilasters.

Although the new Mansion is in the Greek Revival style, it also incorporates several Georgian features such as dormers, a fanlight of the doorway at the front entrance, and the long window on the circular stairs in the rotunda. Inside, the floor plan includes twelve bedrooms and eighteen baths, two kitchens and one kitchenette, two dining rooms, one breakfast room, a receiving room for state affairs and another for routine business, a living room, a sitting room, two butleries and two security stations for the state troopers assigned to the mansion, and two offices-one for the governor and one for a secretary. Along with the dramatic spiral stairway in the rotunda, there is an elevator running from the basement to the third floor, as well as a system of dumbwaiters.

The facade displays typical yet fine Greek Revival details including water leaf motifs on the stone brackets supporting the first floor window cornices, front door fanlight, heavy cornice, stone architrave and mouldings to the upper windows. The interior has a fine timber geometric staircase, polished Cedar joinery, Australian sienna marble chimney piece in the drawing room and other original interior details. The layout of Merchant's House is a representative, yet now rare, exemplar of the late Georgian/early Victorian period townhouse which included kitchen, scullery and cellars in the basement; entrance hall, dining room and parlour on the ground floor; drawing room on the first floor with French doors onto a balcony; and bedrooms on the upper two floors. With its adjoining working store (now adapted) it is an excellent example of a townhouse with associated store from the 1840s.

Frederick Cliffe Howchin (11 April 1885 - 22 September 1957), known professionally as Fred E. Cliffe, was an English songwriter, best known for his work co-writing songs with Harry Gifford for entertainer George Formby. He was born in Liverpool, and by 1907 had started working in music halls as a lightning sketch artist. He moved to London, and by 1910 was working as a songwriter with Fred Godfrey and others. His greatest period of success as a writer came in the 1930s, when he teamed up with Harry Gifford to write some of George Formby's most popular songs. These include "Fanlight Fanny" (1935), "With My Little Stick of Blackpool Rock" (1936), "When I'm Cleaning Windows" (1937), "It’s Turned Out Nice Again" (1939), and "Mr. Wu’s a Window Cleaner Now" (1939), some of which also included Formby's name as a co-writer.

The design involved a symmetrical main frontage with fifteen bays facing Castle Hill; the central bay featured a doorway flanked with pilasters on the ground floor; there was a stone balcony and a window with a fanlight on the first floor. Internally, the principal room was the council chamber in the centre of the building on the first floor. An office building known as "The Octagon", because of its shape, was added to the north of the main building in the 1960s and a bunker for use as an emergency planning centre in the event of a nuclear attack was completed in 1989. In December 2017, as part of a cost saving scheme, the county council announced plans to move to a smaller purpose-built facility at Alconbury; the proposal was approved by the full county council in May 2018.

The building features are typical of the early colonial Georgian period – it has a simple rectangular shape, symmetrical facade, six panelled door, a chair rail around the wall, and entrance doorway with sidelights and semi circular fanlight. The fabric of the walls differs from the later sections of the house being built of sandstock brick (made by convicts from local clay) rather than from random rubble. The farm outbuildings are understood to have included a detached kitchen and store, stables, coach house, slaughter house, stock yards and convict huts. Many of the earliest out buildings are thought to have been located west of the house as the house was originally oriented towards the east looking out to the George's River. Early transport to the Bunker's Farm was by the George's River until the Great South Road opened in 1814.

The Sessions House, designed by Sir Robert Smirke, which can still be seen through the stone archway of the 1913 facade The original Sessions House, which was designed by Sir Robert Smirke in the Greek Revival style, was completed in 1824. The original design involved a symmetrical main frontage facing south west; the central section of three bays featured an arched doorway with a fanlight flanked by two narrow windows and there was a triple window on the first floor; the end bays of the central section slightly projected forwards. The building was initially used as a facility for dispensing justice but, following the implementation of the Local Government Act 1888, which established county councils in every county, it also became the offices and meeting place for Kent County Council. Internally, the principal room in the Sessions House was the council chamber.

The building, which was designed in the Italianate style, was built as a private residence for Thomas William Smith Oakes, an East India Company merchant; it was initially known as Earlham Grove House and was completed in 1865. The design involved a symmetrical main frontage with three bays facing onto High Road; the central section featured a doorway with fanlight flanked by paired Doric order columns on either side on the ground floor; there were single windows on each of the first and second floors above the doorway. The philanthropist Catherine Smithies, who founded the Band of Mercy animal welfare group which later merged with the RSPCA, lived in the house in the mid 19th-century. Her son, Thomas Bywater Smithies, who was the publisher of The British Workman, also lived in the house at that time.

The striking paired semi-octagonal faceted bays are quite idiosyncratic, the imposition of asymmetrical massing through the introduction of these bays on what was previously seemingly a rigidly symmetrical composition, and the embellishments such as the stylised console brackets and moulding profiles used, all point to an Italianate style. Frankfort, 1893 The internal decoration, particularly the interior semi- elliptical arch and, to some extent, the upper level joinery all point to a "make-over", given the presence of remnant Regency influenced detailing in the joinery trim, window elbow linings, and particularly the fanlight over the front entrance. The rear wings exhibit some Federation era influence (pressed metal ceilings) while there is some remnant joinery trim to the south wing ("Interwar"), though the latter has been substantially compromised by piecemeal alteration and was seemingly utilitarian when built.

External: Located at 6 Railway Parade to the eastern side of Lithgow Station, the Station Master's residence is a fine example of a grand two-storey railway residence. It is constructed of brick and stone, with rusticated render to the main railway facades and a slate tiled roof. The residence is located on the northern side of the railway line with a projecting faceted observatory room over the entrance portico. The distinctive Victorian features include arched windows with contrasting rendered moulded trims and sills, projecting keystones, rendered contrasting string band at the first floor slab level, decorative moulded brackets supporting the wide eaves, a rendered chimney with corbelled top, timber framed double-hung windows with two-pane upper sashes, timber panelled entrance door with sidelights and fanlight, and an arched two- storey high decorative portico with tessellated tile flooring over the front entry dominating the railway facade.

Père Duchesne To be denounced as an enemy of the Republic by Le père Duchesne often led to the guillotine. The journal frequently used euphemistic language to call for the trial and execution of perceived enemies, such as calling for the "carriage with thirty-six doors" to lead such and such a "toad of the Marais", "to sneeze in the bag", "to ask the time from the fanlight", "to try on Capet's necktie". Born in the fairs of the 18th century, Père Duchesne was a character representing the man of the people, always moved to denounce abuses and injustices. This imaginary character is found in a text entitled le plat de Carnaval ("the Carnival dish"), as well as an anonymous minor work in February 1789 called "Journey of Père Duchesne to Versailles" or "Père Duchesne's Anger at the Prospect of Abuses" in the same year.

In the early 20th century the town hall in Kendal was the meeting place of Westmorland County Council. After finding that the town hall was too cramped to accommodate both the town council and the county council, council leaders decided to procure dedicated a county headquarters: the site they chose was open land on the corner of Stricklandgate and Busher Walk. The new building, which was designed by Verner O. Rees in the Neo- Georgian style and built by local builders, G. F. Martindale, was opened as "Westmorland County Hall" in 1939. The design involved a symmetrical main frontage with nine bays facing onto Stricklandgate; the central bay featured a doorway on the ground floor with a rectangular fanlight containing the county coat of arms; there was a sash window on the first floor and a central turret with a square clock at roof level.

The house was one story, of brick with a steep gable roof, in Federal style including a fanlight over the front door. It was originally rectangular, measuring 26 by 28 feet; before 1919 a frame extension with shiplap siding was added at the rear to create a T shape, and this had a rear porch that was later filled in. The house was one of the last remaining buildings from the early history of Benicia, when the town served as the capital of California from 1853 to 1854, and the brick appears identical to that used to build the state capitol there. The front door and interior wood trim appeared to be later 19th-century additions from lumberyard stock, and wooden millwork decoration was of a style suggesting the 1870s; the house itself had also been thought to date to that decade, because of a 1919 city assessment estimating its age as 40 years.

The design involved a symmetrical main frontage with seven bays facing north; the centre section of three bays featured a doorway with a fanlight on the ground floor with a large cast iron lamp above; there was a deep recess on the first floor with a large rounded headed window in the centre flanked by two square windows. Following the death of Thomas Pelham, 1st Earl of Chichester, the last member of the Pelham family to own the building, it was acquired by Thomas Campion, a wine importer, in 1805. After sale by the Campion family in the mid 19th century, it passed to John Fullager (a lawyer), then to William Robins (a brewer), to John Ingham Blencowe (an estate agent), to Margaret Sikes Duval (a spinster) and, finally, to William Taylor Banks (a stockbroker). It then became the offices and meeting place of East Sussex County Council, which had previously been based at the old County Hall, in 1938.

The design involved a symmetrical main frontage with eleven bays facing onto the churchyard with the end three bays on each side slightly projected forward; the central section of three bays featured an arched doorway on the ground floor flanked by Ionic order columns with a segmental pediment containing a cartouche; there was an oriel window on the first floor and a window with a fanlight on the second floor flanked by large Ionic order columns spanning the second and third floors; there was a pediment at roof level. St Margaret's House, another 18th century building located to the east of the old shire hall, was acquired by the county council in 1932 and subsequently incorporated into the complex for use as additional county council offices. A large modern extension, designed by McMorran & Whitby and often referred to as the new shire hall, was added in 1968. After the county council was abolished in 1974, the new shire hall became surplus to requirements, but following conversion works, the building re-opened as a Premier Inn Hotel in October 2015.

Around the same period, his work was featured in a special winter number of The Studio on jewellery and fans. Here a jewelled shoe buckle in copper, and a cloak clasp and waist band in beaten silver were featured In 1901 Morris produced designs for a dining room for Mrs Bruno Schroeder, now in Glasgow Museums. Also in 1901 he designed a scheme for a remodelled entrance to the Blackie works (at 17 Stanhope Street in the Townhead area of the city and built by Alexander 'Greek' Thomson), which included a pair of wrought iron grilles, swing doors, a stained glass fanlight, and fingerplates in beaten brass. In later years Agnes Blackie recalled "the appointment in 1892 [sic.] of a disciple of art nouveau, Talwin Morris, as head of the art department, had tangible effect, not only on the design of book covers, but on the appearance of the office at 17 Stanhope Street" Blackie, A. (1959) Blackie and Son 1809-1959: a short history of the firm, Glasgow, Blackie & Son, pp.

The entrance consists of a two-storeyed gabled element which projects from the face of the building, and is composed of an arched doorway to the ground floor with unpainted rendered classical detailing above and to the first floor. The detailing includes coursed render to the ground floor expressing voussoirs, above which is located an open-crown pediment with relief mouldings which are described in the Brisbane Sculpture Guide (Judith McKay 1988) as The festoon of Queensland agricultural produce—including wheat, strawberries, macadamia nuts, bananas and pumpkins— (which) is given due status by the addition of classical acanthus leaves. Above this are paired columns either side of a shield, which originally housed the words "DEPARTMENT OF AGRICULTURE", which support an entablature with an urn at either end and a low arched window with expressed keystone to the first floor in the centre. The pediment above has a central shield with the date 1898 AD. The doorway has double panelled timber doors, with an arched fanlight with radiating mullions.

Mitchell's first ethics media was an instructional interactive computer videodisc in 1990, Nursing Ethics and Law, which she produced with two collaborators. With filmmaker Ben AchtenbergFanlight Productions founder Profile of filmmaker Ben Achtenberg lists Academy Award Nomination among its awards (with whom she has worked for over 26 years, and sometimes with others) she has produced six documentary videos. She was an associate producer of "Code Gray: Ethical Dilemmas in Nursing", a documentary film, which was nominated for (but not awarded) an Academy Award in 1984;Code Gray: Ethical Dilemmas in Nursing on IMDbAcademy Award for Best Documentary (Short Subject) their 2002 video, Stanley, about ethical decisions in caring for a patient with end stage kidney failure, was part of a 3-film documentary series Icarus Films: Films from independent producers worldwide page highlighting The Fanlight Collection 'Caring at the End of Life' Series (3 films) directed by Ben Achtenberg and Christine Mitchell and awarded a 2004 Freddie award for medical media. Their 2003 video, Everyday Choices, concerned a visiting nurse and an elderly patient facing ethical questions about waning capacities and independence.

External: Constructed of face brick with corrugated metal gabled roof extending as an awning to both platforms, Lawson station building is a single storey early phase "type 11" island platform building in standard Federation style design. It is an 8-bay long building featuring 7 bays to the original face brick section and 1 long bay to the signal box extension and has a linear arrangement along the platform with tuckpointed red brickwork and engaged piers between the bays. The extended bay at the southwest end has painted fibrocement wall panels on rendered brick base with 6-pane horizontal sliding windows and a timber door with decorative fanlight. Other features include rendered splay course to plinth, moulded cornice, two horizontal moulded rendered string courses at corbel height, timber framed double-hung windows with multi-paned coloured glass upper sashes, timber framed and panelled doors with multi-paned coloured glass fanlights, contrasting decorative trims and sills around windows and doors, standard iron brackets over decorative corbels supporting ample platform awnings, fretted timber work at the end of awnings and gable ends, timber cross finial to gable end, two tall face brick corbelled chimneys with rendered tops.

In the late 19th century the local board met in various places including private residences and public houses but, after the area became an urban district in 1894, civic leaders decided that this arrangement was inadequate and chose to procure purpose-built civic offices; the site selected had been occupied by a private residence known as "Hill House". The building, which was designed in the Edwardian Baroque style, was completed in 1898. The design involved a symmetrical main frontage with five bays facing onto Ewell Road; the central section featured an arched doorway with a fanlight on the ground floor; there was a wrought iron balcony and a round-headed window with the borough coat of arms and a pediment above on the first floor; there was a cupola containing a clock at roof level. The building became the headquarters of Municipal Borough of Surbiton when it secured municipal borough status in 1936Frederic A Youngs Jr., Guide to the Local Administrative Units of England, Vol I: Southern England, London, 1979 but ceased to be the local seat of government after the creation of the Royal Borough of Kingston upon Thames in 1965.

Park-like setting In 2006 the buildings and facilities included a grandstand; old timber pavilion; Trade pavilion; Yarraford Hall; stud cattle pavilions; bar and barbecue facilities; 167 horse stalls; tea room seating 100; a new pavilion for basketball; four stand shearing complex; prime cattle yards; caged birds pavilion; show secretary's office; showring and camping ground, park-like landscaped grounds. ;Main Exhibition Pavilion The Main Exhibition pavilion was built in 1892. The one storey Main Exhiobition Pavilions timber pavilions are clad framed, four joined sections with domed tower, round headed windows, iron roof gabled and domed, timber walls with rear and side walls constructed of corrugated iron; quoins timber routed; timber footings; iron columns; ceiling King post trussed, walls horizontal; tongued and grooved timber, timber floors; windows one and four paned; doors tongued and grooved panels; fanlight; gas lamp side door: domed porch front entrance. ;Grandstand The main timber grandstand was completed and opened at the 1899 Armidale-Glen Innes Combined District Show. Built of hardwood and covered with corrugated iron, the main building had a ground surface of 58 by 30 feet; a height of 24 feet from plate to plate, giving a roof projection of five feet, with an ornamental front gable. The stand provided seating for 350 people.