Decorated with globe and acorn finials, it is lit by a vintage pendant lamp.
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I have several tree topper finials that I have collected and used over the years.
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When I change tree themes, I group the finials on a tabletop or mantle for a holiday arrangement.
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"Taxonomies" follows, a Judaica display that is essentially a cabinet of curiosities, with dozens of shofars, groggers, and Torah breastplates and finials.
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Those are finials you would screw onto the top of a lamp or tie onto the end of a cord for Venetian blinds.
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Following the tradition of the German-made, hand-blown glass finials of the 19th century, this piece adds shimmer, height, and refined taste to any tree.
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White-picket, wrought-iron and chain-link fences enclose the tiny front yards, as do pink marble balustrades with finials shaped like globes or, sometimes, eagles.
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Myer Myers, a colonial silversmith who was a member of the congregation, created elaborate silver-and-gold finials, known as rimonim, to adorn Yeshuat Israel's Torah scrolls.
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Its gold finials and blue spires will tower 60 metres above the centre of the park, making the castle the largest in any of Disney's six such domains.
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Besides pulling down the statue of George III, patriots also knocked the ornamental finials from the posts of a wrought-iron fence that still encircles the Bowling Green.
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The morning light seems warmer beyond the gatehouse; there, pink in the rising sun, is the chapel, with its crown of slender finials, there the abbey, all carved arches and gray stone.
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Leaving behind the tidy, low-lying green polders of Flanders, the huge railway viaducts leading into the town along the industrial harbor are bordered by elegant granite balustrades ornamented by finials and huge carved balls of stone.
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Peter Pennoyer, who focuses on classically inspired design at Peter Pennoyer Architects in New York, came up with a grand gate-like structure with two double-helix columns that become elaborate finials on top, flanking a copper roof.
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"People don't understand this town, but l love the people and the history," he says, standing in the doorway of the boxy one-story building, topped with a row of mismatched early 20th-century iron finials salvaged from railroad signal posts.
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Race up the south entrance stairs, pause beneath the arches of the loggia, run your hands along the soft limestone pillars, and imagine a metamorphosis occurs: The vermilion walls peel away, fine dentils recede into flatness, turrets and towers, with their finials and conical caps, transform themselves into concise pyramids.
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Two drawings of Cole's original studio — one by Frederic Edwin Church (1848), another by Jasper Francis Cropsey (1850) — illustrate both Cole's architectural talents and the restoration team's meticulous attention to his specifications: an entrance portico, stately floor-to-ceiling paned windows, a low hip roof and decorative bargeboard with acorn-shaped finials.
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"We are thrilled to add this treasure of Jewish artistic heritage to the Met's growing collection of important Judaica, where it will join recent acquisitions such as a 15th-century handwritten copy of the Mishneh Torah, and a Torah crown and pair of finials of 18th-century Italian silver," Daniel H. Weiss, the president and chief executive of the Met, said in a statement.
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The list includes items that stretch back into the depths of civilization in a region known as a vital early trading crossroads, including ivory figurines from the ancient Kingdom of Saba (the mythic realm of the Queen of Sheba); Roman-era golden coins and marble statuettes; and brass finials and Hebrew manuscripts from the many centuries when Jews populated what is now southern Arabia.
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Bed posts and public garden (park) railings often end in finials. Wooden posts tend to have turned wood finials. While the purpose of finials on bed posts is mostly decorative, they serve a purpose on curtain rods, providing a way to keep a curtain from slipping off the end of a straight rod. Curtain rod finials can be seen to act much like a barometer of public taste.
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Atop the cornice line are rectangular urns with ball finials.
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The London Clockmakers equipped their lantern clocks with four pillars inspired by classical columns. Attached to these pillars are classical vase-shaped finials and well-shaped feet. To those finials a bell strap is attached that spreads from four corners and holds a bell. To hide the hammer and the clock movement from the spectator three frets are attached to the finials.
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On the gables of the chancel, nave and transepts are cross finials.
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Gargoyles protrude from the gutters and on the gables are cross finials.
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Spherical finials flank the bell tower at the corners of the building.
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Each fence post contained finials at its top, which in turn were once adorned with lamps. The cast-iron finials on the fence were sawn off on July 9, 1776, the day that the United States Declaration of Independence reached New York. The finials were restored in 1786; the saw marks remain visible today. In 1791, the fence and stone base were raised by .
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Notable features of the chapel are finials found on both levels of the façade.
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Its primary decorative feature is the metal cornice, with dentil molding, finials, and ornamental frieze.
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In 1529 is registered by the King Ferdinand I of Habsburg, the family crest and is granted the noble predicate "z Velišova". It is composed as follows: Blue shield - in the shield are three small yellow finials with weathervanes - two of finials are crossed up and third is through them vertically overturned. On the shield is tournament helmet - on helmet are hanging yellow and blue blankets. Above this all are three small finials with weathervanes.
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At the top there is a parapet with open balustrading and obelisk finials at each corner.
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Spear finials top the frontispiece. Twin bell towers with bausters and finials are of urn type. Earlier, Nachinola fell under the Aldona parish.< Aldona's church was set up in 1569 and Moira's in 1636; prior to this Moira was under the Mapusa church, set up in 1594.
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An art deco relief, bud-like finials, and a tableau embellished the stepped pylon at the entrance.
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The pavilions topped with finials that were covered with gold are on either side of the courtyard.
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More recent finds included urns, decorated roof-tile finials and finger-marked 'Pyu' bricks dated before 800 AD.
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From 13th to 18th century, ceramic finials or chofah in the form of the gajashimha were largely produced in Sukothai, Sawankalok, and Ayutthaya. Today most wats or pagodas and palaces throughout Cambodia, Laos, and Thailand are adorned with these sacred finials at their roof end with many types and appearance.
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Santa Cecilia Tower is a small rectangular structure. It is rather plain, but it has finials and other decorative features.
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Above the springers, subtly projecting vertical bands of alternating brick and stonework extend to the parapet, terminating in plinths that originally held ball finials. The finials are still extant but were moved farther back on the roof. The original tall, curvilinear parapet has been truncated. The entrance bay is about wide and slightly recessed.
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The ties are on iron stringers riveted to transverse iron floor beams. Both portals are decorated with quatrefoil brackets and finials.
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On the summit of the gable are ball finials. The eastern face has a three-light window above which is an oval oeil de boeuf window and finials similar to those on the west face. The north and south faces have four round- arched windows with ashlar surrounds. Internally the lower parts of the walls are panelled.
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The lowest stage has a two-light window above which is a parapet with stone balusters and ball finials. The next stage is recessed and has a diagonal clock faces on three sides. The belfry stage above this has two-light louvred openings with stone surrounds. At the top is another parapet with stone balusters and ball finials.
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At the fort, teams discovered a room displaying a number of variations of the United States flag. Brooke of Team Air Force noticed a plaque that explained how soldiers hid messages in the finials of flag poles. Unscrewing the finials yielded maps of the surrounding area. Following the maps led to the location where the fourth artifact was buried.
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There are hard wood benches by the walkway. Originally there were ball finials on the bridge, but these are no longer present.
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The top of the vaulted roof is fitted with a series of nine vase-shaped finials each consisting of a pot and trident.
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The MBTA performed roof repairs in 2012–13; original slate tiles were replaced by modern PVC, and some finials and cresting were removed.
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The resulting spellings have persisted into modern times in words such as come, honey, and love, where an o stands for a short ŭ. This is the reason Richard Coates gave, in his 1998 article, for 'LOndon' changing its spelling from 'LUnden'. Gothic minims may have various decorations (essentially serifs), from a simple initial headstroke, to large diamond-shaped finials at the top and bottom, such as in textualis quadrata, the most decorated form of Gothic. Textualis sine pedibus, literally "textualis without feet", has minims with no finials at all, while textualis rotunda has round finials.
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It has ogee guttering and acroteria and is encircled by a veranda roof with quad guttering and acroteria. The ridge is defined by finials and diagonally battened, louvred gablets. At the southern end of the house, transverse roof vents with louvred projecting gables are decorated with finials and cresting. The gable on the southern elevation over the entrance contains a louvred vent.
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Cast iron area railings with urn finials enclose the front. №3 has a blue plaque as the home of Captain Marryat and George Grossmith.
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The gable ends and the porch gable have stone corbels and coping, and are finished with triangular finials matching those on the central shaped gable.
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The battlements may originally have been built with triple finials in a similar fashion to Conwy, although little remains of these in the modern era.
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The chancel has two bays and a small door to the north. The porch to the south is gabled with flanking pinnacles with crocketed finials.
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Both entrances are at the top of stone staircases and flanked by columns—the south entrance by round Doric columns and the north entrance by square columns. Between the two staircases there are iron railings with spear-shaped finials. At the roof line there is a parapet with ornamental iron decoration and corner finials. Below the parapet there is a blocking course and a moulded cornice.
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The almshouses are in two identical blocks set well back from the street behind a walled front garden. Each block comprises three red-brick cottages of a single storey plus attics under a tiled roof, with two slightly projecting gabled end wings. The gables have sham timber framing and slender finials. There are similar finials to the ends of the roof and two prominent clustered chimney stacks.
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They have one central bay and lateral four-storey turrets. The central bays contain two-storey canted bay windows, above which are pierced stone parapets, three-light mullioned windows, and shaped gables with pierced ogee finials. The turrets have bands between the stages, single-light windows and ogee caps with finials. Projecting forward on each side of the central block are two-storey service blocks.
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There is an elaborate oak main staircase with turned balusters and a painted well staircase with turned balusters and chamfered square newel posts with ball finials.
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A concrete porte-cochere topped with onion- shaped finials was a later addition. Attached to the right of the church is a three-level octagonal bell tower.
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The gable over the left bay also contains lozenge panels and its bargeboard is decorated with carving. On the gable and on the dormer there are finials.
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The shield on the reverse was given rococo sides; previously they had been straight. A ninth leaf was added to the olive branch, and the shape of the leaves was changed. The finials of the scroll were made smaller though more elaborate—on the left-hand scroll, the finials impinge less on the letters "ibus" in "Pluribus" than before. The eagle's wings and tail feathers were also slightly elongated.
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The fourth stage has round- headed belfry openings and on the north and south sides are clock faces dated 1977. The clock mechanism was made by JB Joyce & Co of Whitchurch. The top of the tower is surmounted by a balustrade with large urn corner finials with weather vanes, and smaller intermediate finials. A stone gutter runs around the body of the church at the base of the walls.
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At the centre is a square clock tower with balustrade parapet, ball finials and circular windows. Above the entry archway, which projects slightly forward of the others, is "Town Hall 1912" in relief. The parapet of the verandah has a cornice and ball finials, and is at a lower level than the parapet of the main building. The upper level verandah has cast iron balustrading and the lower level masonry.
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Over the porch is a cantilevered timber- framed hip-roofed bellcote. The gables have crosses as finials and the nave roof has five blocked lucarnes on each slope.
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Its architectural features include turrets surmounted by spires with lead finials. The house is recorded in the National Heritage List for England as a designated Grade II listed building.
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At either end are small pyramidal towers with crocket finials. The interior has been extensively renovated but some original wainscoting and window trim is left on the third floor.
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The Gothic Revival elements at the Ross Bay Villa include the porch with turned columns and trefoil in the gable; finials on four peaks; and chamfered exterior window detailing.
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The gable above is fully pedimented, and a two-stage tower rises above the main roof ridge. The first stage is square, with plain clapboarded sides, and is capped by a cornice with pyramidal finials at the corners and a low balustrade. The second stage is an open belfry, with square corner posts, and is also capped by a balustrade and finials. The tower is capped by an octagonal spire and weathervane.
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The gable ends have fishtail shingles, and the cornice is ornamented with carved brackets with finials. Carved crowns appear above both the windows and the ventilators in the gable ends.
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A gable wall is visible behind the frontispiece. There are twin bell turrets which have "pagoda like" roofs. The finials are of a spear type. A curved pediment crowns the apex.
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The main facade is five bays wide; its windows on the first two levels are topped by segmented arch pediments, while the third level windows, which are smaller, butt against the roof cornice in Federal style. The roof topped by a flat widow's walk surrounded by a low balustrade with urn finials. The urn finials also appear on the fence that sets the house off from the street. The property includes a small office building dating to 1810.
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Many designs hark back to the Gothic and Neogothic of architectural finials, while other contemporary finials reflect minimalist, art nouveau and other traditional styles of décor. The use of different materials is as wide as the range of designs with brass, stainless steel, various woods and aluminium being employed with a variety of finishes such as ‘satin steel’ and 'antique brass'. The durability, strength and machinability of modern alloys have lent themselves to increasingly intricate and dazzling designs.
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The latticed portals feature decorative cast iron crests and finials, and a plaque with the builder's inscription. The bridge is described by History Colorado as one of the most ornamental in Colorado.
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A crocket is in the form of a stylized carving of curled leaves, buds or flowers which are used at regular intervals to decorate the sloping edges of spires, finials, pinnacles, and wimpergs.
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It features an irregular roofline topped with finials, distinctive patterns of decorative detailing, contrasting materials and forms, and medieval-type chimneys. It was listed on the National Register of Historic Places in 2000.
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Each street facade of the two-storeyed corner block is divided into six bays by rendered pilasters. Between is tuck-pointed brickwork and pairs of vertical sliding sash windows with projecting sills and bracketed heads. Above is a projecting cornice, and a parapet with open circular motifs and finials with four-sided triangular pediments, however the finials of the south wing have been removed. The parapet has higher bays in brickwork emphasising the ends and the corner of the two-storey block.
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The entrance door is flanked by pilasters and has a fluted frieze. The south side features a prominent canted bay window. The corner finials to the parapet are carved in the form of pineapples.
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Over the entrance to the porch is an inscription reading "The Lord shall preserve thy going out and thy coming in". The windows contain stone mullions and transoms. On the gables are stone finials.
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The principal entrance lies on this side and is marked by large wrought-iron entrance gates and gate-piers, with large urn finials."Fordell Castle GDL00182", portal.historicenvironment.scot, retrieved 2017-11-22.Gifford (1992) p. 228.
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It is located on the banks of Vishwamitri River. It is near the Sangramsinh Gaekwad Sports Academy. The main reason to put this as an attraction for visitors because of its carved eaves and finials.
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"The Family Plan: The Georgian Style", This Old House, p. 2 During the 18th century embellishing buildings with decoration and adopting elements from Chinese and Neo-Classical architecture became common. Finials, a chinoiserie fad in both Europe and North America, appeared on gable-ends and buttery pinnacles. While the original, ten-to-fifty inch Chinese finials were elaborate designs of porcelain glazed yellow, green, red, blue, orange and buff, those in Bermuda, made of brittle local limestone, remained stone-coloured and rarely exceeded fifteen inches (381 mm).
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Particularly, Aaron's clocks had three spherical finials on top. However, the case presented a spate of other small brassy touches around, depending on the model. The case's door was secured by means of an iron lock.
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The house is timber-framed with oak frames and plaster panels. The roofs are of stone slates and have ornate bargeboards and finials. The chimneys consist of detached diagonal flues. The house is in two storeys.
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The tall octagonal structure is built of Doulting stone. It has a central pier surrounded by six arches forming an arcade. The roof has a central spirelet. There is a parapet with crocketed finials above the arches.
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The gate piers are listed at Grade II. There are two pairs of gate piers, which are made in stone, and are also Norman Revival in style. They are octagonal, with features including arcading, corbels, and finials.
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1905 In 1841 the front facade was reworked in the Gothic Revival style, with the facade gables probably dating from this time. Many of the house's external features date from this alteration, including the roof finials, round windows in the gables, cornice brackets, and exterior entry porch. Family records also suggest that a passageway was cut through the chimney stack at this time, and that the exterior chimney was remodeled to today's columnar style at this time. The Gothic-style fence with its cut-outs and obelisk finials was also added in this renovation.
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The Dubrovnik has influenced the creation of several chess set variants with a variety of names, including but not limited to, Zagreb and Yugoslavia. These variant chess sets often have opposite coloured finials on the kings and queens, while the original Dubrovnik had opposite coloured finials for the bishops. In addition, the chess sets utilize different specifications from the Dubrovnik. In the 1960s a redesigned version by Andrija Maurović, a famous Croat cartoonist, writer and chess player was created and produced in the workshop of master craftsman Jakopović in Zagreb.
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Internally the four walls of the room are marked with rectangular and square deep niches, perhaps devised originally as shelves. The curved ridge is exterior crowned with five kalasa finials at intervals. This annex was thought to be a tomb, but probably it was originally meant for the Imam's accommodation since it is still used for that purpose. Decoration on east side In decorating the building greater emphasis was given to architectural elements, such as flanking ornamental turrets of the doorway and mihrab projections, kiosks, cupolas, and lotus and kalasa finials.
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The corrugated iron roof of the building, which incorporates an attic, is quite complex, reflecting the complexity of the internal planning. The roof scape comprises a number of asymmetrically arranged and variously sized gabled and hipped sections, with a steeply pitched mansard roof over the attic, which is surmounted with a decorative cast iron balustrade, with projecting finials from the corners. Surmounting the gabled ends are similar cast iron finials. The house is lined on three sides by bull-nosed verandahs although some of these have been infilled.
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The painted metal finials of the towers are a design of Emery Roth, in association with Margon & Holder.Gray 2001 "The futuristic sculptural detailing of the El Dorado, as well as its geometric ornament and patterns and its contrasting materials and textures, make it one of the finest Art Deco structures in the city. The towers are terminated by ornamented setbacks with abstract geometric spires that have been compared to Flash Gordon finials," observes Steven Ruttenbaum.Ruttenbaum, Mansions in the Clouds, the Skyscraper Palazzi of Emery Roth,:: (New York: Balsam Press), 1986.
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There are four 3-metre high finials, at the four high-points of the bridge, as architectural ornaments. Their shape resembles the Eiffel Tower without being a replica. The Jacques Cartier Bridge as seen from Parc Jean-Drapeau.
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The gables contain restored bargeboards and finials. The windows have moulded wooden mullions and transoms, and contain casements, and the windows in the middle storey have pediments. The decoration of the timber framing includes lozenges and wavy motifs.
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The clapboard siding rises to a steeply pitched mansard roof with two cross-gables. It is shingled in patterned slate. The rooflines are marked by heavily molded cornices, paired brackets and decorative friezes. The gables are topped with finials.
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The front façade is rendered with a decorative parapet with finials, columns and pilasters. In the 1930s the premises was used as a betting shop. Later it was a barber's shop before returning to use as a billiard room.
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These Pyu stupas, the first Indian foundations in Myanmar, were built from 200 BC to 100 CE and were sometimes used for burial. Early stupas, temples and pagodas are topped with htis and finials or spires symbolizing Theravada Buddhist transcendence.
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The first stage is surrounded by a trefoil pierced > parapet. The eight compartments are finished with gablets having carved > finials at the apex. The flat surface is relieved with diapered work. At the > eight angles are buttresses, relieved with various pinnacles.
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On the gables are ball finials. Inside the church a dado rail separates pine wainscotting below from the plastered walls above. At the east end of the church is an organ, in front of which is a U-shaped communion rail.
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All the windows in the body of the church are lancets; in the transepts these are double, and the east window is a triple lancet. There are cross finials on the gables of the transepts and at the east end.
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The church is constructed in flint and has a tiled roof. Its plan is simple, consisting of a nave and a chancel. At the west end is a bellcote. On the summits of the gables and the bellcote are cross finials.
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The house features gables with decorative woodwork, two square towers with finials at their peaks, and wraparound porches at both front entrances. With photo from 1980. The house was added to the National Register of Historic Places on March 1, 1982.
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The roof of the mosque contains foliage- like finials at the corner of the roofs and on top of the uppermost roof. The wooden posts of the mosque stand over a wooden base instead of set up into the ground.
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The bell tower was completed in 1887. In June 2006, $119,464 funding was approved for restoring and re- pointing of the church tower to prevent further water damage; repairs to damaged stonework; and restoration of the tower's pinnacles and their finials.
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The mansion was modeled on the chateaux of the Loire Valley in France. Architecture critic Henry Hope Reed Jr. has observed about it: > The fortress heritage of the rural, royal residences of the Loire was not > lost in the transfer to New York. The roof-line is very fine....The Gothic > is found in the high-pitched roof of slate, the high, ornate dormers and the > tall chimneys. The enrichment is early Renaissance, especially at the center > dormers on both facades of the building, which boast colonnettes, broken > entablatures, finials on high bases, finials in relief and volutes.
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All the bays are covered with domes on octagonal drums and crowned with lotus and kalasa finials. The device adopted for the support of the domes is the same as in the Lalbagh Fort mosque and the Satgumbad Mosque. The four octagonal corner towers, all rising above the horizontal parapets and having kalasa bases, are topped by renovated solid kiosks with cupolas and crowned with lotus and kalasa finials. Each of these towers is flanked to right and left by a slender turret, which rises above the parapet and ends in a small cupola and kalasa finial.
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The present building is in a stripped-back Art Deco, incorporating elements from the earlier styles of Gothic architecture, which is clearly seen in the spire of the bell tower, as well as the finials that occur on all the original façades and tower. The ornamentation is simple but delicate, and is derived from the shape of the cross, with the finials, tower windows and exterior walls' ornament all derived from it. This motif continues inside. The interior of the sanctuary is simple and elegant, with dark wooden trusses springing gracefully from cross-shaped brackets on the walls between round clerestory windows.
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St John's is constructed in red sandstone blocks and has a green slate roof. The roof has coped gables with cross finials. On the west gable is an open bellcote. There is evidence that the sandstone blocks originated from a former Roman building.
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The church is built in sandstone with a slate roof. The tower is in Perpendicular style with a battlemented parapet, crocketted finials and gargoyles. Its west front has a doorway with a three-light window above it. The belfry windows have two lights.
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The parapet is adorned with stone acorn finials. He demonstrated how a row of town houses could be dignified, almost palatial. The uses of uniform facades and rhythmic proportions in conjunction with classical principles of unerring symmetry were followed throughout the city.
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In the center is a small pediment with scroll brackets on the side. "1892" in gold lettering is in the entablature, surrounded by more decorations, and "T. LATTA", for the original owner, is below. Finials with spherical tops are on either end.
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The churchyard wall, which dates partly from the early 18th century and partly from the early 20th century, is listed at Grade II. It consists of a red brick wall with simple wrought iron gates. On the gate piers are ball finials.
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The tower is in four stages with angled buttresses, a three-light west window above which is a clock face and two-light belfry openings. In one corner is a stair turret. At the top is a castellated parapet with crocketed corner finials.
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The smallest historic resource on the property is the lych gate. Framing the view of the church from Broadway, it is also a granite and limestone structure with a slate roof and wooden Gothic detail. Atop is a gabled clock and copper finials.
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Along the sides of the nave the bays are divided by square pilaster buttresses rising to fluted finials. The windows are round- headed. On the sides of the chancel are two-light Decorated windows, and the east window consists of triple stepped lancets.
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It also has an enclosed, hip roofed belvedere with decorative finials situated at the center of the roof. Also on the property is a contributing carriage barn and corncrib. See also: It was added to the National Register of Historic Places in 2005.
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Behind the façade is the nave wall with its simple, gabled roof and windows. To the left of the church stands the rectangular, three-tiered bell tower topped with finials, a domed roof and a lantern. The clock mechanism are still intact.
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Phyllis Ladyman, his wife and also an illustrator, oversaw its embroidering. The banner's poles had metal finials by the sculptor Betty Rea. It was presented to the battalion by Harry Pollitt at Christmas 1937. When that banner was captured, he designed its replacement.
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The roof features bargeboards (not scrolled) and timber finials. There is a central double breasted chimney stack with corbelled brick string course. A small awning (not the whole length of the building) is supported on arching cast iron brackets and features timber valances.
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On the gables are wrought iron cross finials. At the west end of the aisles are paired lancets. Along the sides of the aisles are triple lancet windows in each bay, between which are buttresses. The clerestory windows are wide single lancets.
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The east window is a triple lancet with a stepped hoodmould. On the north side of the chancel are three lancets. The vestry has a pointed-arched east window, and paired lancet on the north side. There are cross finials on the gable ends.
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The asipim is made of wood, brass and hide. It is believed to be modeled after 17th or 18th century chairs of English "farthingale". Ntuatires are turned brass finials that are attached to the chairs at the very top to represent an eagle's claw.
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A Sterling Silver Torah Breast Plate - or Hoshen - often decorate Torah Scrolls. A set of sterling silver finials (rimmonim, from the Hebrew for "pomegranate") are used to decorate the top ends of the rollers. A completed Torah scroll is treated with great honor and respect.
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It has tall and narrow windows decorated with tracery. Pairs of lancet openings fill the belfry stage of the tower. The tower has many pinnacles, which used to end in leafy finials, since lost. They punctuate the intricate battlements that surround the narrow spire.
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The Palladian windows light the gym, also used for assemblies, with its original hardwood floor. The stage has its original red velvet curtain, with elaborate moldings on the sides. It is topped with a molded broken pediment decorated with grillwork and urn-shaped finials.
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It is executed in the Tudorbethan/Gothic style. A small porch stands on the west side of the house and the roof is ornamented with central, twin stone stacks, an ornamental iron ridge and finials on the gables and probably dates from about 1851–52.
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Its south gate, built by Lorimer in 1893, has tall piers with pineapple finials, and its arch is emblazoned with the words "Here shall ye see no enemy but winter and rough weather" and separately "Be ye wise as serpents and harmless as doves".
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The church, in a Decorated Gothic style, has snecked Duffryn rubble walls with bath stone dressings, stepped buttresses with a slate roof, gables with parapets and crucifix finials. The interior has an aisled four-bay nave and a three-bay chancel with circular columns.
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There is a low door in the north side of the church. The south porch is gabled, and has an embattled parapet with corner pinnacles having crockets and finials. It has a slate roof. The clerestory has eight two-light Perpendicular windows along each side.
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It was nominated as one of Duluth's outstanding examples of a Romanesque Revival rowhouse. Chester Terrace was built using brick and brownstone. The design features towers, turrets, gables, and finials. The building is named after Chester Creek, which flows into Lake Superior near the building.
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The house is coped with stone on top of a brick parapet, and the roof is mainly of clay tile. The balustrades up the main flight of stone steps are in the style of Robert Bakewell, or by Robert Bakewell, himself. The rusticated stone gate piers with acorn finials are specifically mentioned in its entry on the English Heritage register. Stone gate piers with acorn finials Split wooden staircase leading to roof Internal features include a three-flight oak staircase with carved tread ends, a fully panelled dining room, a secret passage to the cellar, and an unusual split staircase leading to the roof.
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In the west front are five tall stepped lancet windows under which is a triple doorway. On each side of the front are buttresses that rise up to turrets with finials. There are more lancet windows around the church, with a triple lancet at the east end.
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Each of the gable ends has a triangular pediment, and on the north and south gables are small gabled finials. The windows have pointed arches and Gothic-style tracery. The windows have cast iron frames and tracery in Perpendicular style. These were made in nearby Coalbrookdale.
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These windows were blocked up in about 1960.Kark, 1990, Pl. 19. Cited in Petersen, 2001, p. 171 There are three-ridged domes that crown the building, as well as the multitude of finials on the domes and the small pinnacles that refine the building's silhouette.
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The Henry Stussi House is a two-story brick building with a three-story tower. It is cruciform in shape. The main section and the tower both have gable roofs embellished with decorative wooden pendants and finials. The front façade has stone pilasters at both corners.
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Ellery's Buildings, Toodyay circa 1910s The row of six shops is of rendered brick construction with an iron roof. The parapet has been divided by pilasters adorned with urn finials. The bullnose verandah canopy is supported on turned timber columns. The shops all have different style frontages.
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It follows a triangular plan with an octagonal corner tower. Other architectural features include corbelling, patterned slate roof and intricate iron finials. In 1992 its condition before renovation was described by real estate historian Paul K. Williams, who bought it for $90,000, as an "abandoned dump".
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The chancel buttresses rise to octagonal finials with flat tops. Inside the church is a surviving brick chancel arch. Under the church is a crypt, which is not accessible to the general public. One of its windows has retained stained glass that depicts a liver bird.
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The neo-Gothic revival towers and spires were completed in 1907. The original finials were removed in the 1950s, perhaps after being struck by lightning.Castillo, Juan. "St. Mary Cathedral gets a face-lift", American- Statesman, February 2, 2013 Additional stained-glass work was added in the 1890s.
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The tower has corner buttresses, a curvilinear west window and smaller louvred windows on all faces at the bell- stage. A clock face is on the south side. The clerestory windows are pitched dormers. The tower, chancel and transept are crenellated and the chancel has crocketted finials.
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The main entrance comprises three adjacent portals underneath a large rose window at the center of the facade. Both the buttresses and the corners of the towers rise to decorative finials, while a large cross crowns the front gable., Ohio Historical Society, 2007. Accessed 2010-02-18.
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The courthouse is timber framed on a projecting stone plinth and has a slate roof. The studded framing has square panelling in its gables. The building centres around the large hall with tall gables surrounded by lower single-storey rooms. The gables have decorative bargeboards and finials.
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The masonry gables are finished off with three flamed-like finials. The two large timber doors and stained glass windows provide light and ventilation. The high vaulted ceiling was originally painted blue and studded with golden stars. The main timber used for the roof was iron wood.
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The curved pediment ends smoothly into two large volutes which seat beside two, large, urn-like finials. The pediment is surmounted by a huge, knob-like finial. To the right of the façade stands the four-tiered bell tower with its rectangular base and octagonal upper levels.
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Upon this is a stone, brick and plaster structure with layers of pavilions. Above these talas (storeys) is a Dravidian style barrel vaulted roof, crowned with thirteen kalasa finials. All four are approximately similar in size and 14:10:3 ratio, about high, wide and deep.
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Built on a projecting plinth, the church has a six-bay nave and two-bay chancel separated by buttresses. Its east and west gables have raked parapets with finials. There is a south porch. The bays have three-light windows while the clerestory and chancel have two-light windows.
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The church falls under the Baroque architecture. It is made of lime, bricks, and stone. Across the three story facade is four pairs of columns and lantern-like finials with two acroterium on top of angular piers on the column's end. Its pediment ends up in a small scroll.
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The west entrance front of the house, and the south front facing the gardens, are of two storeys, roughly symmetrical. They feature parapet gables and ball finials. In the southern elevation, there is an Italianate veranda and stone pillar archways. A walled, flagged terrace includes a pond and fountain.
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Curtain hardware includes products like hooks, curtain rings, curtain finials, etc. These products are used to hang curtain at doors, windows, verandas, etc. Curtain hooks and poles are used to handle and move the curtains. Curtain hardware products are made of varieties of materials including metals and plastics.
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The west tower is on two levels, built over a hollow-chamfered plinth. The slate roof has ridge tiles at the crest and gable ends, with raised coped verges and cross finials. It is wagon-shaped and has carved bosses. The south wall with rood stairs is extant.
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The barn is a rectangular building about two stories tall on a brick foundation. It has a standing-seam metal, gabled roof. The roof has three square, vented cupolas with metal roofing and ball finials. The facade and about of the side elevations are constructed of clay brick.
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Another stringcourse connected its sill to those on the flanking windows, rectangular with flat lintels. All windows were set with one-over-one double-hung sash. At the roof there was a parapet with a small pediment in the center. On either side, and at the corner, were finials.
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The chapel is constructed in red brick with stone dressings and a slate roof. It consists of a nave with an apsidal chancel. Around the top of the chapel is a moulded stone cornice and a balustrade. The balusters are interspersed with square piers supporting swagged ball finials.
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The main entrance is sheltered by a hood with ornately carved brackets. There are two dormers above, with gable roofs topped by finials, and decorative carvings on the sides. The building is one of the most architecturally sophisticated buildings in the rural community. The office was built c.
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The spire rises to . The gables at the east ends of the nave and the sanctuary have cross finials. Along the sides of the clerestory are five quatrefoil windows with hood moulds. Most of the windows along the aisles have two lights, and the east window has three lights.
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These are flanked on each side by three bays containing sash windows. Projecting from the left three bays is a single-storey kitchen wing with a first floor terrace and a balustrade. Inside the house are two Jacobean staircases with turned balusters and square newels surmounted by ball finials.
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The gable is broadly similar to that of number 113, being shaped with stone coping and finials. The side facing the passage to Parker's Buildings contains quoins, windows, two projecting shaped gables and two chimneys with spiral brick flues. At the rear is another gable and a chimney.
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Originally finished in wood, it was clad in brick in 1902, when it was enlarged. It was again enlarged in 1928, at which time the present Torah ark was built. It has a Classical design, with a depiction of the Ten Commandments flanked by gilded lions and pineapple finials.
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The reverse of the medallion is white, rimmed gold, silver, or iron according to class, inscribed "Colombia - Orden Militar de San Mateo - 1ra (or 2do or 3ca) clase." The cross is suspended by a ring from a ribbon that is half yellow (left) & half equal stripes of blue & red, with an open gold, silver, or iron frame at the top of ribbon. Comes in 3 classes: 1st class -dark blue cross with bright gold rim, finials, & bust; 2nd class -dark blue cross with polished silver rim, finials, & bust; 3rd class -polished iron cross without enamel. The Order was created by Public Law number 40 of 1913 and modified by Decree number 349 of 1914.
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The second floor houses apartments. At one time the east half of the second floor had been a boarding house. The building is composed of coursed ashlar limestone, with the stones themselves being of various sizes. The tin cornice that caps the main facade features finials, brackets, dentils, and modillion trims.
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Small bull nose roofs extend from the main roof along the exercise yard walls. Earth closets, once located under these extensions, have been removed. Two ornate finials ventilate the roof and indicate the cell spaces. The 1895/99 addition has a pitched roof which was extended over the modern addition.
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The cathedral is cruciform in shape and faces the east. A bell tower sits at the crossing and contains a carillon of 23 bells. The tower also contains eight screened windows and is topped by eight pinnacles with finials. Entrances are located on the main façade and in the two transepts.
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It features an entrance tower with louvered vents, four cross gables with wooden finials at peak, and bracketed eaves. Also on the property is the contributing session house, built about 1884, and the church cemetery with about 250 gravestones. It was added to the National Register of Historic Places in 1980.
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The cemetery's graves are all closely spaced and well-maintained. They date from 1793 to 1959, reflecting design trends of their eras. The oldest 11 graves, up to 1816, are of brown sandstone and shaped like arches with flanking finials. There is little funerary art save an urn on one.
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The pent roofs, attached to the parapet walls, conceal the parapet and create wide overhanging eaves. The roof ridge junctions feature loaf shaped tile finials. The interior of the house is notable for its use of wood, with inlaid doors, tiger oak floors, red oak mantles, wide baseboards and French doors.
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The pitched sloped dormered roofs includes chimneys, finials, and turrets. The building's entranceways are placed diagonally on the building, flanked by perpendicular wings and turret towers. The form and massing of the hotel is defined by an L-shaped. Copper was the primary metal material used to build the hotel's roof.
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The tower rises two storeys above the nave. It has three bays, with a stair turret to the north-west corner. The bays are articulated by slender buttresses with crocketed finials above the castellated parapet. Each bay on both stages contains a tall two-light mullioned-and-transomed window with tracery.
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Above the top- storey windows is the gilded date "1883". Over the window in the attic is the sheaf from the Grosvenor arms. The gable is elaborately shaped with four finials, and behind it is a belfry with a pyramidal roof and a finial. Two shaped chimneys rise from the roof.
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It was opened on 30 June 1843. There are two crenellated side towers and a recessed centre, which is two storeys high, with three bays divided by buttresses. In the centre are heraldic beast finials. There are three windows between the buttresses with 'Perpendicular' tracery and a central four-centred doorway.
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The two western turrets are round and proportioned like pepperpots. They have steep concave conical roofs, covered with slate at the bottom, capped with lead at the top, and crowned with ball finials. The southeastern turret serves as chimney stack. It is round and low and carries four clay chimney pots.
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The Cheesman-Evans-Boettcher Mansion is a formal, late Georgian Revival house. The building is surrounded by a wrought iron fence with cannonball finials on the brick posts. The walls of the mansion are red brick. There is a white wooden frosting under a hipped roof with prominent gabled dormers.
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The pedimented gable sports classical urn finials and the Latin date "DEO 1788." The design of the church has been credited to Father John Reid, with later additions by Peter Paul Pugin. Inside, the reredos incorporates a painting of St Gregory by Caracci, a gift from the Earl of Findlater.
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The second stage sports paired blind windows with semicircular heads. The corners feature less prominent angle-buttresses with fleur-de-lys finials. The third stage has more but smaller paired windows and the buttresses are here clasped. At the fourth stage there is a single large window featuring a balustrade.
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All the graves, including the two small, unmarked graves, are surrounded by a metal fence with decorative elements such as finials. Logan City Council has placed interpretive signage at both cemeteries and both are currently maintained by the Council, which has also undertaken conservation work on some of the headstones.
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Over the door of No. 11 is a cartouche containing the date 1903. On the gables and on the summits of the turrets are finials. The chimneys and the rear of the cottages are constructed in brick. No. 13 is at the south end of the street and has two storeys.
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The building is detached and built of sandstone in the classical style, with a tower and steeple at the corner. There is a rusticated basement and two storeys above with arcades, columns and arches. Around the top of the walls there is a balustrade with finials. There is a metal roof with skylights.
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The windows along the sides of the nave have two lights, the east window has three, and the west window four lights. Inside the porch are three niches. There are stone cross finials at the east ends of the nave and the chancel. Inside the church is a wooden screen with linenfold panelling.
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The house is built in brick with stone bands and dressings on a stone plinth. The hipped roof has red tiles with lead finials. As a whole the house has 1½ storeys and is in two bays. It has three chimneys with red- brick barley-sugar flues and stone plinths and caps.
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St Michael's is constructed in calciferous sandstone rubble. The roofs are in green leaves, and have coped gables with cross finials. Its plan is simple, consisting of a four-bay nave with a south porch, and a three- bay chancel with a north vestry. On the west gable is a twin open bellcote.
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The Second Street Bridge has a single-span Whipple truss design, made of steel and iron. The bridge is wide and spans over the Kalamazoo River with of water clearance. Its abutments are made of granite fieldstone. The structure is decorated with lattice work, iron end post finials, and latticed metal handrails.
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The tower is built in brick and stone. It has round-headed bell-openings and urn-like finials. The chancel has a five-light east window dating from the 14th century, and a two-light window on the south wall of the chancel. The north aisle, dating from 1832, has Perpendicular style windows.
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Their heads merge into octagonal shafts (kal) of the pillars, which taper and flow into an octagonal kalasa and ornamented capital. The top phalaka (flat plate) is a square. The kapota (a type of frieze) above is decorated with six kudu arches. Above the kapota is a wagon-style roof, topped with finials.
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The massive, squat towers are topped with conical roofs and copper finials. The first floor level is clad in brick, which changes to shingles on the upper portions of the side facades. The windows in the house are all double-hung with the upper sash one-half the height of the lower.
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The center flanking towers have flared pyramidal roofs and finials. Fenestration on the stucco and half-timber section in the rear consists of six rectangular windows and five doors. They are placed irregularly on the two stories. The only decorative touch is the triangular pediment on one dormer window at the roof.
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There are cross finials on the east and west gables. At the west end there are three two-light windows under a rose window. Along the north wall of the nave and the south wall of the aisle are two-light windows containing plate tracery. The clerestory windows are quatrefoils in roundels.
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The plaza includes the Soldiers' and Sailors' Arch; the Bailey Fountain; the John F. Kennedy Monument; statues of Civil War generals Gouverneur K. Warren and Henry Warner Slocum; busts of notable Brooklyn citizens Alexander Skene and Henry W. Maxwell; and two 12-sided gazebos with "granite Tuscan columns, Guastavino vaulting, and bronze finials".
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To the southwest of the chapel are gates and gate piers. The gate piers date from the 20th century, and the gates from about 1750. The piers are in brick on stone plinths and have stepped stone caps with ball finials. The gates are in wrought iron and were made in Milan.
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Some lampshades or light fittings, especially in glass, typically terminate in a finial which also serves to affix the shade to the lamp or fixture. Finials are twisted onto the lamp harp. Typically the finial is externally decorative whilst hiding an internal screw thread. There are several standard thread sizes which are used.
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The 3½-story structure was built on a raised basement. The lower levels are composed on rustucated limestone, while the upper levels are brick. The exterior of the building features an abundance of towers, turrets, finials, cresting, and a large polygonal bay. A cupola is located on the peak of the hip roof.
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The courthouse was built of rusticated sandstone in the Richardsonian Romanesque style. with It was designed by the Des Moines architectural firm of Foster & Liebbe, and built by G.J. Stewart & Company of Chariton. The building features both round and segmental arches, turrets with conical roofs, and finials. The windows are vertical and narrow.
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Swaythling railway station. Swaythling station was built in 1883 in an elaborate Neo-Flemish styleSites and Monuments and is a grade II listed building.Southampton City Council: Listed buildings in Southampton Accessed 17 September 2007. The left side has a Flemish gable with central pediment and ball finials and includes a date tablet.
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All three bays are surmounted by Dutch gables with ball finials. The gables in the lateral bays each contain a small two-light window; the central bay has an oval window. The west face of the farmhouse also has two Dutch gables and stone mullioned windows. The other two faces are plain.
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Roof finial or chofah (colorized) as depicted on the bas relief of Angkor Wat temple in 12th century. The representation of cho fah is unclear and believed to represent garuda, however, the present research indicates that the original chofah upon which most subsequent chofah have been based is the gajashimha of Suryavarman II, the Khmer king who built Angkor Wat. Temple finials representing gajashimha was presumably appeared in Cambodia during or shortly after his reign (1113 AD to 1150 AD). These finials (chofah) symbolized the unification of the northern and southern Khmer kingdoms and the reign of King Suryavarman II. This symbolism spread extensively throughout the region including part of today Laos, Lanna, and Isan which were once the Khmer empire.
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The seat at Blythburgh was presumably the manor house of Westwood, or Blythburgh Lodge, the former seat of the Hoptons between Blythburgh and Walberswick. During the second decade of the century Sir Robert rebuilt Cockfield Hall at Yoxford anew. He preserved a part of the old Tudor brick mansion built by the elder Sir Arthur Hopton, Sir Owen's father, a century before, keeping three gabled bays as the north wing of the new hall. The new construction was a grand building, also of red brick with Jacobean architectural detailing of finials externally: some surviving early 17th century details include an oak staircase with turned balusters and pierced finials, painted panelling, carved stone fireplaces, and a drawing room with a very fine ornamental plaster ceiling.
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The mayor of Khon Kaen in 2005 chose Sinxay to be the new identity of the Khon Kaen and had finials designed representing Sinxay and his two brothers, Siho and Sangthong. the story of Sang Sinxay, one of the masterpieces of Lao literature written by Pang Kham in 1649, during the Lan Xang period.
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The other rooms are lined with pressed metal ceiling or ply lining. A small single room shed is adjacent to the gardener's cottage. It has weatherboard cladding, scalloped bargeboard and a corrugated iron gable form roof with finials. The weatherboards have been partly removed on both sides and the building converted into a carport.
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The terminal building was square in plan with a hipped roof, clad in terracotta tiles and crowned with two terracotta finials. It has arched openings to the street and the river. The floor of the building is concrete and the walls are clad in chamferboard. The interior has timber bench seats against the walls.
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The east front is based on the design of Santa Maria della Vittoria in Rome. It has three bays, separated by pilasters, the central one advanced slightly. The side bays, topped with volutes and finials, have corniced central panels which have inset round-topped niches housing statues. The pedimented entrance is in the central bay.
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The central building features a rear porch entry to the central room which is marked by a transverse gable. Gable ends feature decorative timber barge boards and timber finials. The platform verandah has a decorative timber valance and is supported on timber posts with curved iron brackets. Timber sash windows have moulded surrounds and sills.
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Its truss elements are joined by pins. The posts at the ends are topped by urn finials, and the crossing latticework elements at the portal ends are arched and crowned by cresting. Crossing elements of the guard rails are decorated with rosettes. The bridge was built in 1895 by the Berlin Iron Bridge Company.
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Lines of windows, alternately circular and round headed, run up each side, with grotesque masks and cherubs serving as keystones. The unique feature of the tower are the eight Baroque pinnacles. The four on each corner have pannelled bases and scrolls, surmounted by vases. Between each of these are 20 foot obelisks, with ball finials.
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On the top of the tower is a brick parapet with a stone coping and vase finials on the corners, and a weather vane on a high-standing metal support. Above the north porch is a sculpture of an ass's head upon the coronet of a marquess, which is the crest of the Mainwaring family.
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Above it was a frieze that bore the inscription "Arnink Garage 1915" carved into the cast stone. The garages were set with casement windows that continued with the large, pointed- arch windows in the upper stories. Between them the tracery continued. At the top of the Arnink were cast-stone finials shaped like bells.
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The gabled facade is of Bath stone with Plymouth limestone dressings. The gable ends are decorated with crocketed finials. The arch over the double doors of the gabled porch is inscribed "United Methodist Church 1910". The porch, which has a two-light window above, is flanked by two-light windows under continuous hood moulds.
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In the corners between the projection and the nave are pinnacles with conical roofs and cross finials, and there is a similar pinnacle at the east end. Along the sides of the church, each bay contains a lancet window. The east window has four lights. Inside the church are galleries carried on cast iron columns.
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Maragondon is unique among Jesuit churches for its proportion. The façade is narrow but tall, not squatty as in other churches. To the left of the façade is the taller bell tower with no clear divisions between the stories. The bell tower has a quadrilateral shaft that tapers upward with four corners ending with finials.
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The grand staircase is ornately finished. The same red Brazilian marble is used on the runners and wainscot, but the risers and the railing are ornamented brass. The prominent brass newel posts are topped with finials and connected by mahogany railings. Ornate brass designs with geometric, curvilinear patterns and rosettes are beneath the railings.
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The roof is hipped and carries lead finials. To the right of this is a chimney with bands of red sandstone. On the right of the building is a short lower wing with a coped gable. On the gable side is a two-light stair window above a quatrefoil, and another two-light window.
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The chhatri domes replicate the onion shape of main dome. Their columned bases open through the roof of the tomb, and provide light to the interior. The chhatris also are topped by gilded finials. Tall decorative spires (guldastas) extend from the edges of the base walls, and provide visual emphasis of the dome height.
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Two hipped roofs clad in diamond pattern slate tiles with terracotta ridge capping and ram's head finials. The ground floor projects outward from under the first floor, so that a portion has its own roof. The roofs are finished with timber barge boards and painted rough-cast infill. The chimneys are also rough-cast cement.
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Behind this are seven mullioned and transomed windows, and there are similar windows in the middle storey. Above these is a cornice and three shaped gables containing mullioned windows. The gables have stone copings and finials, and contain heraldic panels. Flanking the middle part of the central block are three-storey slightly projecting wings.
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The gable facing the front has scalloped barge boards and finials. The facade is divided into three bays by fluted timber pilasters supporting a scalloped entablature below the eave. It has a central entrance sheltered by a pediment porch and flanked by sash windows. The upper storey has high round arched windows to each bay.
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W.R. Hinkle and Co. is a historic automobile showroom located at South Bend, St. Joseph County, Indiana. It was built in 1922, and is a two-story, rectangular, yellow brick building with terra cotta trim. It is seven bays wide and has a one-story addition. It features narrow terra cotta piers that extend into pointed finials.
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Outside the church is a pair of gate piers in yellow sandstone by Thomas Stringer dating from around 1790. On top of the piers are vase finials standing on a stepped base. These are listed at Grade II. The churchyard contains the war graves of eight British servicemen, six from World War I and two from World War II.
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The Victoria Bridge is a long, narrow suspension footbridge, situated to the west of Aberlour in Moray and spanning the River Spey. Its lattice truss walkway is suspended from wire rope cables with a diameter of . These are supported by tapering, latticed iron pylons, with ball and spike finials. It has a span of between its supporting towers.
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The gatepiers at the lower lodge have chamfered rustication and moulded cornices with elliptical ball finials. There are similar gatepiers at the upper lodge north of the house, and another at the entrance to the stable yard. Within the grounds are two lakes fed by a small stream. The stream is crossed by a small ornamental balustraded bridge.
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It had an iron fire-door separating the library from the main entrance section. This saved the library from the fire of 1907 which destroyed the rest of the timber parliament buildings. Along with Parliament House, the library was strengthened and refurbished in the 1990s. This included recreating Gothic elements of the roof including ironwork, turrets, and finials.
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A ten-month project to repair and restore the cross was completed in August 2010. This work included recreating and attaching almost 100 missing ornamental features including heraldic shields, an angel, pinnacles, crockets and finials; securing weak or fractured masonry with stainless steel pins and rods and re-attaching decorative items which had previously been removed after becoming loose.
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As a late example of Italianate the T. Goings Building lacks the elaborate window detailings of the district's other Italianate structures. Despite this, the building does have elaborate cornices. The wood cornices have brackets set atop brick piers, with finials atop. They are constructed of clapboard with the brackets and organic appliques in between the piers.
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A two-storey Victorian Gothic church residence. It is a pleasant asymmetrical design in sandstone, the quoins being articulated. A delicate cast iron verandahed porch marks the entrance and is enclosed at the north by a single storey wing of similar style but apparently built later. The slate gabled roof is decorated by carved barge boards and finials.
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The modillioned cornice forms the base to a deep, panelled parapet decorated with rosettes and pedimented piers with grotesque winged beasts supporting iron finials. Three-bay return elevations. The main hall projects at the rear. It is seven bays long by five bays wide with tall slender round-arched windows with glazing bars and circles in heads.
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The city of Stockton, California owns a Chabre sculpture, The Great Combine, commissioned in 2009. Also in Stockton, the Joan Darrah Marina has 23 pieces created by Chabre: A large cast bronze and stainless steel bench, 12 water jet cut aluminum medallions on light poles lining the marina, and 10 cast bronze finials atop gateways to the boat slips.
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They are decorated with brass tracks, caps, brass finials, and incised or stamped brass sheet. The surface on the outside is covered with leather and with brass. The lower part of the chair is made out of wood with short straight legs and four stretchers. It has a wide flat seat short back with no arms.
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The cathedral has an irregular plan, whose largest component is the nave. It is built out of native red sandstone with an ashlar finish. The walls of the nave are supported by buttresses crowned with Gothic finials. The main tower and entrance portal are at the southwestern end; the tower rises , with a tall steeple topped by a cross.
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The painted pulpit Holy Trinity church dates from 1493. An earlier church would have stood on this site from the 9th century or earlier. The current church was built of local lias stone cut and squared, with hamstone dressings. It has stone slate roofs between stepped coped gabled with finials to the chancel and north porch.
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The building has an imposing open front verandah with paired timber posts, capitals and brackets with a hipped main roof with a parapet surmounted by turned finials. The date AD 1916 appears on the pediment. The roof is clad with corrugated galvanised iron with original metal ventilators intact. There are some internal tongue and groove VJ walls still exposed.
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On the ground floor is an elliptical-headed doorway with a two-light window over it. Above this is a string course, then a clock and a window on alternative faces. Over these is another string course and a parapet with ball finials. The turret is surmounted by a recessed slate spire with a weather vane.
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On the south face is a clock which is balanced by stained glass bull's eye windows in the other faces. Above these are louvred two-light belfry windows. At the top of the tower is an ogee cornice and a parapet with ball-topped finials at the corners. Over the north and south doors are bull's eye windows.
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The gables have Gothic bargeboard decoration with drop pendants, and there are finials on the roof. The porch is supported by bracketed posts, with Chippendale-style Chinese screens between some of them. The front porch is probably a later addition, and the back of the house shows evidence of reconstruction after a fire. The cottage was built c.
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Narrowsburg Methodist Church is a historic Methodist church on Lake Street in Narrowsburg, Sullivan County, New York. It was built in 1856 and is a frame, Greek Revival style meeting house. The rectangular structure features a pedimented facade and open belfry decorated with finials. It was moved to its present location in 1879 and modified about 1930.
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It features round-arched arcades around groups of vertical windows and the nameplate decorated in terracotta on a slightly projecting entrance frontispiece. Diaperwork spandrels are located between the windows. The building culminates in elaborate parapets with oversized finials. At the roofline is a traditional brick cornice and the spandrels above the third floor arches are plain.
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These homes contain highly ornamental detailing throughout their interiors and have classical architectural elements, such as brackets, quoins, fluting, finials, and elaborate frieze and cornice banding. Since the late 1930s the neighborhood has been a major cultural center for Brooklyn's African American population. Following the construction of the Fulton Street subway line ()Echanove, Matias. "Bed-Stuy on the Move" .
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Urbana and Chicago: University of Illinois Press. pp. 111-112. Owing to the decay of the brickwork, the garden was restored in the summer of 2010. Large parts of the walls were entirely demolished and rebuilt. Eight stone fruit baskets and six orb finials, or globe stones, dating from 1905 were restored to the new walls.
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This two-story brick building lies on the northeastern corner of Public Square at the heart of the city. Among its distinctive architectural features are three rounded arch windows with sash panes, metal brackets, and multiple finials. Although some of the facade has been modified, an original metal awning covers the recessed entrance.Owen, Lorrie K., ed.
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Inside the base of the tower is an arcaded screen dated 1723. Also in the tower is a hatchment dated 1723 and two painted panels. The lectern and double-decker pulpit both date from the 17th century, as do the poppyhead carvings on the nave pews. Over the pulpit is an octagonal sounding board with pendant finials.
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A small timber toilet block is located at the rear of the building. The hexagonal section is surrounded by a verandah with turned timber posts and dowel balustrade. It is of single-skin timber construction with timber chamferboards and exposed bracing. The roof has decorative finials and a small gable is located above the short entry stair.
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Dictionary of Ohio Historic Places. Vol. 1. St. Clair Shores: Somerset, 1999, 96. Some of the gable peaks and roof corners are ornamented by finials, while the eaves are highlighted by large bargeboards. Stone lintels surround many of the windows, and the house is entered primarily through an off-center trabeated door recessed into the facade.
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The library building is a single-story structure built on a raised basement. The exterior is composed of red vitrified tile and rock-faced stone on the basement level. It is capped with a hipped roof that features finials on the ridge and tile flashing. The gabled front entrance projects from the main facade, and pilasters frame the door.
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Medieval bichuwa from south India are typically decorated with the face of a protective yali (demon) on the hilt. Some have finials to the pommel or even protruding laterally as quillons or guards. A few bichuwa are forked or even double-bladed. The weapon's small size meant it was easily concealed in a sleeve or waist band.
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There are also finials on several other roof and dormer peaks. Lancet windows are located in the nave and transepts. There are trefoil windows in the dormers. A large, recessed rose window is located on the front facade of the nave, and a triptych window located on the opposite end of the church over the altar.
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It consists of a metal staff topped with an eagle, and a square of metal covered with reliefs. Two vexilloids are depicted on the Victory Stele of Naram-Sin. In Alaca Höyük, archaeologists have discovered Hittite vexilloids dating from c.2400-2200 BCE, having finials depicting bulls, stags, as well as abstract forms often interpreted as solar symbols.
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East Barsham Manor is an early Tudor manor house built in 1520. The house is constructed from red brick and tile. The roof is adorned with chimneys, some with twists and finials built in a mellow brick. Some of the brickwork is thought not to be original being from restoration work carried out in 1919 and 1938.
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Larger brackets support the entrance balcony. Galleries with turned spindles and urn-shaped finials flank the entrance. The gallery on the north is extended to form a porte cochere. On the north side of the home is a beveled and leaded stairway window. A two-story bay on the south side features a “bottle glass” window.
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It is symbolic of the city within the Capital District, and is used in Cohoes' current seal. The city government and police department are based in it. It is faced in smooth ashlar limestone with alternating bands of rough stone. Its Chateauesque aspects, such as the stonework, irregular silhouette, conical-roofed towers, wall dormers and ornamental cresting with finials.
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At the corners of the church are diagonal stepped buttresses rising to crocketed finials. On the north side of the nave are two three-light windows, with a two-light window in the north wall of the chancel. The east window has three lights. On the south side of the nave are three three-light windows.
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In the nineteenth century, seven years after Queen Victoria's Jublilee, a major reconstruction took place. A new bellcote was built, retaining the old finials. A new north window was added, matching the south windows. The west window was restored where the doorway had been, and the south door which had been bricked up was re-opened.
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The chancel measures by . It has a cornice decorated with ballflowers. Along its south wall is a bench, a double piscina dating from the 14th century, and a triple sedilia; these are decorated with ballflowers, crockets and leaf finials. The carving is of high quality, and was probably paid for by Henry de Gower, Bishop of St David's.
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The furnishings were designed by C. Blades, and carved by John Jackson. The choir stalls are particularly elaborate, with traceried canopies, and the seats have finials in the shape of lollipops. The oak pulpit stands on a sandstone base, and the pews are also in oak. The east and west windows contain stained glass by Shrigley and Hunt.
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All windows were glazed with white cathedral glass. The pulpit, lectern, reading desk and font cover were made of oak, and the octagonal font of Doulting stone. The corbels, finials and terminals were carved by Harry Hems of Exeter, the seating by Messrs. Baker and Son of Bristol and the ironwork by Mr. Leaver of Maidenhead.
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On the second story the dormer and the gable ends are covered in scalloped shaped shingles. They extend down the house to form the porch and veranda roofs. The roofline is varied and reflects the Shingle Style. It consists of gables and cross gables that are topped by finials and two brick chimneys with corbelled chimney caps.
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On the wall of the north aisle is a fragment of a 14th-century wall painting. In the chancel are 15th-century pews with poppyheads and with finials carved with lions and bears. The windows in the south windows of the chancel and clerestory contain fragments of medieval stained glass. There is a ring of three bells.
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It is symmetrical and rectangular-plan in the classical tradition. The exterior is coursed, tooled sandstone with ashlar dressings; decorative features include band courses above and below piano nobile, V-jointed angle quoins, eaves cornice and architraved windows. There is a Doric entrance porch on the west side. Cast-iron torchere lamp standards with nautical finials flank the entrance.
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As the dragon is considered as a symbol of protection and fierceness in Asian tradition, it is speculated that this chime would have attached as a roof end tile figure to a royal palace or a Buddhist temple hall. Dragon finials are significant in Korean art. The dragon face resembles that at Godal Temple, which is dated to 975.
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Designed by local architects Dufrene and Mendelssohn in 1884, the three-story Specht Building was modeled in the Italian Renaissance Revival Style. This was a popular style for cast-iron facade buildings. Christian Specht's company, the Western Cornice Works, manufactured the facade. The company was a manufacturer of galvanized iron cornices, finials and other metal building products.
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At the upper level of the façade are rectangular windows set in recessed triangular pedimented frames. A relief of a cross serves as ornamentation to the triangular pediment capping the entire façade. The three-level bell tower stands on the left of the façade. It features a conical roof and finials jutting out of the corners of each level.
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The grave of Charles Kingston is marked by an obelisk on a three tier plinth. The top of the obelisk has been broken off. Another grave, with two burials, is marked out by a low concrete enclosure with a concrete headstone with a marble plaque. Other graves are surrounded by metal fencing, some of which have decorative finials.
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At the summit is an embattled parapet with crocketted finials on the corners. The east window in the chancel has three lights and is in Perpendicular style. In the south wall of the chancel are a square-headed two- light window and two lancet windows. On its north wall is the vestry and a pointed two-light window.
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The niche for the 20th century was left blank through the end of that century. In 2001 the choir parapet was completed with carvings of Martin Luther King Jr., Albert Einstein, Susan B. Anthony. and Mohandas Gandhi. In addition, the finials on both rows of stalls were carved by Otto Jahnsen and depict church-music composers and performers.
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At the rear is a detached two storey coach house and dairy, of face brick with stone lintels, gabled roof and decorative timber finials and bargeboards. The rear kitchen has a large original Lasseter's kitchen range. All ceilings were replaced and a bathroom has been enclosed on the rear verandah. The rear verandah was enclosed in 1984.
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Cartref is a mid-18th-century, Grade II listed building. It is one of 24 blue plaque buildings on the Monmouth Heritage Trail. The three-storey, five-bay building features a hipped roof of Welsh slate with spike finials and large brick chimneys. Ebberley House (pictured above and below) is also recorded at 23 St James Square in at least one document.
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The window at the east end of the choir was built in 1877, and consists of four lights with contemporary tracery. One of the finials shows an angel playing the bagpipe. On the north side of the choir there is a medieval sacristy, which is now an ecumenical chapel and mausoleum of the Maitland family dedicated to the Three Kings.McWilliam, p. 230.
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The -story wood-frame cottage was built in 1856, and is a well- preserved example of Gothic Revival styling. This instance in particular is notable for its drip-style bargeboard decoration. The house was built as part of the initial subdivision of the Strawberry Hill area. Other Gothic features, including finials on the gable and drip molding surrounding the windows, have been lost.
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The church is built in blocks of calciferous sandstone and has green slate roofs. The roofs have coped gables and cross finials. Its plan consists of a three bay nave with a south aisle and a south porch, and a three-bay chancel with a north vestry. On the gable between the nave and the chancel is a twin open bellcote.
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With very minor exceptions, no stone was used in the building and decoration of Sutton Place, only brick and terracotta.Harrison, p.153. Exceptions include stone tops of semi-octagonal turrets flanking the main entrance door (p.162, note 1) Thus, the bases, doorways, windows, string- courses, labels and other dripstones, parapet, angles, cornices, and finials are all of moulded clay.
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The weatherboard clad gables have scalloped bargeboards and finials. There are skillion additions to the west and north. The structure has been altered and the phases of development are not clear. The frame is sawn timber and most of the walls are weatherboard and some are drop board or slab (former stable area); this area also has a wood "cobbled" floor.
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It is typically used without the addition of animal glues. Marezzo scagliola is often called American scagliola because of its widespread use in the United States in the late nineteenth and early twentieth century. Slabs of Marezzo scagliola may be used as table tops. When set, scagliola is hard enough to be turned on a lathe to form vases, balusters and finials.
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The green rolled asphalt roof is steeply pitched, cross-gabled with smaller dormer gables. Bargeboards decorate the cornices of the intersecting gables, with turned finials at the apexes. Two large brick chimneys further accentuate the vertical Gothic motifs. A veranda on brick piers matches the Gothic trim on the gables, with clustered octagonal-capitalled columns and open-work tracery at the soffitt.
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The memorial is in the form of a mausoleum, long, wide and high. It is constructed of stone and plaster. Four corner columns support a stepped roof which is surmounted by a miniature mausoleum containing an urn with wreath and flame in the form of a lamp of remembrance. The corner finials are in the form of classical urns and festoons.
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"Scourfield and Haslam" (2013), 358. This style of architecture for garages was continued after the Ist World War with Humphrey's Garage in Newtown, Montgomeryshire, still displaying the names of the makes of car that it was selling in the 1930s and Pritchard's Garage in Llandridod Wells, with a curving facade, using similar lion finials to those on Tom Norton's Automobile Palace.
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A Christian flag displayed alongside the United States flag next to the pulpit in a church in California. Note the eagle and cross finials on the flag poles. Under the doctrine of incorporation, the First Amendment has been made applicable to the states. Therefore, the states must guarantee the freedom of religion in the same way the federal government must.
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The exterior is constructed of blocks of Bedford limestone. The tower is crenellated across the top, and features finials on three of the corners and a copper-covered lantern topped by a cross on the fourth. The main entrance of the church is deeply recessed within a Gothic arched opening. The original wooden doors matched the tympanum area's inset panels above the doors.
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A dormer projection of the mansard roof tops the balcony, decorated with a small pediment and a circular window. A square tower room rises above the roofline. It has two semicircular arched windows facing each direction, with small panels below. Scroll-sawn brackets define the tower's fifth story, consisting of a pyramidal roof with round dormer windows topped by small finials.
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The lower storey has close timber studding and an eleven-light leaded window. Above this is a row of twelve quatrefoil panels which slope slightly outwards over which is a continuous 34-light leaded window. The two gables are carried on brackets which curve outwards, and have herringbone struts, moulded bargeboards and shaped finials. The north face give the appearance of two buildings.
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The Great Barn is constructed in sandstone with a slate roof, and incorporates a carthouse. It is dated 1692, and has ball finials on its gables. To the northwest of the house are the coach house and stables, also in sandstone, and dating from the 17th or early 18th century. A small cupola was added to it in the 19th century.
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The church was designed in the a spare Early English version of the then-popular Gothic Revival style with a prominent saddleback tower. The walls have Leckwith limestone facings, bath stone dressings and bands, and red Staffordshire tiles. The gables have parapets and are surmounted by carved crucifix finials and moulded kneelers. The buttresses are low and set back with steep set-offs.
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The tower, which was built in the first quarter of the 16th century, rises two storeys above the nave. It has three bays, with a stair turret to the north-west corner. The bays are articulated by slender buttresses with crocketed finials above the castellated parapet. Each bay on both stages contains a tall two-light mullioned-and- transomed window with tracery.
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The church is constructed of brick with stone dressings. It is believed that the stone pillars inside the church are from the previous building. The exterior walls are of locally-made brick, and the quoins and finials were made of stone from a quarry at Manley near Macclesfield. The plan of the church consists of a three-bay nave with a choir.
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The church as rebuilt has an aisled nave, six bays long, with a clerestory. There is a short chancel. The tower is attached to the south west corner of the building, and is entered through a western lobby. It is divided into storeys by string courses; the corners have octagonal turrets, terminating in what George Godwin called "carved finials of impure design".
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The wall of the fireplace has a mantel decorated with fretwork, pagoda-like scalloped moldings, as well as canopies topped by pine cone finials. Above the doors are similar canopies, which might have displayed Chinese porcelain vases or ceramic figures. The two long windows are topped by scalloped pediments, decorated with fretwork. During Mason's lifetime, three of the walls were probably wallpapered.
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Molded baseboard runs around the entire room. The windows are complemented by panels in the wall below and a two-inch (5 cm) wooden drapery rod with acorn finials above. In the ceiling plaster is a molded cornice and two friezes, with a sunflower surrounded by other floral motifs at the center. The decorative centerpiece of the parlor is the black stone mantelpiece.
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The house has a terracotta tiled roof, which extends over verandahs to three sides, and which features terracotta finials. A prominent feature of the house is the decorative timber work to the verandahs. The balustrades are wide, white slats, and centrally located in each verandah bay is a circular motif. A scalloped valance is also made from wide, white slats.
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The Duvall–Ash Farmstead is a historic farm located northeast of Fiatt in Fulton County, Illinois. Edward Duvall built the farm's oldest buildings, the house and smokehouse, circa 1848. Duvall gave the farmhouse a Gothic Revival design with multiple front-facing gables decorated with bargeboards and topped by finials. In the 1890s, Singleton K. Ash purchased and extensively renovated the farm.
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The tower has three stages. It is built in rubble with granite for the long and short quoins, the string course, embattled parapet, and the tall corner pinnacles with crocketted finials. The doorway to the porch consists of the outer order of a Norman doorway which has been moved from elsewhere. It includes zigzag carving and flowers carved in heavy relief.
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The listing describes the building as a three- storey manor house with a symmetrical front and projecting gabled wings. It has brick walls in garden wall bond with burnt headers, and stone dressings, on a flint plinth. The roofs are tiled, with moulded copings to its parapets and gables. There are ball finials to the gables at the apex and springing.
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The awning has timber valances to both north and south ends. The building has a complex gabled corrugated steel roof, with gable ends to north and south, and projecting bay with gable end located towards the north end of the building on the street side (west elevation) only. Gable ends feature rectangular timber louvred vents, simple timber bargeboards and finials.
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The adjoining stable block is itself a Grade II listed building. The manor house is in limestone with dressings in gritstone, quoins, hood moulds, copings and finials on the front, and a stone-slate roof. There are two storeys and attics, and an approximately H-shaped plan. The entrance front has six bays and four unequal gables, three of them over projecting bays.
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The gatepiers and gates to the chapel are listed at Grade II. The gates are of wrought iron and date from around 1750. They are of Milanese Rococo style and include statues of Saint Andrew. The square piers are from the 20th century and are built of brick on a stone plinth. On their tops are stepped stone caps with ball finials.
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Detail of one end of the bridge, showing the ornamental crests and finials (in 2008) The bridge's two spans have a through Pratt truss design, each with five panels. The structure is about long with a roadway about wide. The roadbed is concrete on corrugated metal, replacing the original wood decking. The structural members are made of wrought iron and are pin-connected.
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The small sloping Plaza Mayor has gardens on a raised platform, with paths dividing it in quarters. The resulting four small garden beds are fenced off by white wrought-iron fences. Cobbled streets surround the square, separating it from the surrounding buildings. Wrought-iron lamp-posts, statues of English greyhounds, and columns with large terra-cotta finials decorate the plaza.
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Driveway to Baroona, ca. 1885 Baroona is a single-storeyed rendered masonry building with a corrugated iron gabled roof. The building sits on a level hilltop site and has verandahs to the east and southeast, and to portions of the north and south elevations. The gables have timber finials and decorative bargeboards with the eastern bay gable featuring timber fretwork.
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The carriage house is also a frame structure. Its roof is double-gabled on the east side, with two brick chimneys and a latticework cupola. It and the gables are topped with finials. The main entrance on the north is a pedimented portico, supported by two narrow columns rising from stone walls that extend from either side of the main entrance.
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On the gables are cross finials. Inside the church the walls are rendered, and support five oil lamps, three on the north walls and two on the south. The grey stone font dates from the 13th century, and was originally in the earlier church. It is square and stands on a thick cylindrical shaft and a square base with steps.
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The church brick façade has one large portal with three windows. The recessed arched entrance is flanked by a pair of rectangular pilaster dividing the façade into three well-defined planes. The whole facade is then framed on the sides by heavy circular buttresses topped by urn-like finials. An open pediment in the upper façade is topped by a small cupola.
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These arched openings feature smaller, round- arch windows on each level. A belt course separates this arcade from the gable, which features a frieze and finials with three stone-carved crosses at the gable stops. A stone statue of Saint Mary is installed at the roof peak. The bell tower has rounded-arch windows at the first and third level.
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Note the three cast iron arches, crossed finials, pinnacles, and the taller, broader towers, etc. characteristic of that bridge.Aikman, James (1839). An account of the tournament at Eglinton, revised and corrected by several of the knights : with a biographical notice of the Eglinton family to which is prefixed a sketch of chivalry and of the most remarkable Scottish tournaments. Pub.
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The windows have curved pressed metal hoods with heart-shaped motifs (a later addition), and the bay window has smooth grey sandstone dressings. The gable ends have deep timber boarded eaves with terracotta finials. The verandah is supported on chamfered octagonal timber posts with rounded capitals, and has timber boarded spandrel panels with internally exposed bracing. The verandah ceiling is timber boarded.
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They consist of four gate piers with moulded bases, which are surmounted by pyramidal finials. Between the piers are ornamental wrought iron gates. To the south of the Priory Road entrance is another lodge, also in a single storey with an attic, which is similar to the lodge to the south of the main entrance. In Priory Road is the former registrar's office.
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The furniture, other than the recently added altar and communion rails, was designed by Paley and Austin. The choir stalls are decorated with pierced friezes, and have poppyhead finials. The wooden pulpit is polygonal, and is decorated with a frieze of pierced tracery. The font consists of a square bowl in an octagonal stem, with black marble shafts at the corners.
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Control house The control house is the dominant architectural feature of the station. The copper-clad timber frame exterior is painted in a vertical, batten seam pattern. It is topped with a low hipped roof clad in sheet metal and pierced by two ventilating dormer windows on the east and west side. A fleur-de-lis–patterned group of finials at the peak.
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Decorative elements include scalloped barge boards, turned finials with twisted lightning conductors, distinctive arched dormer windows, turned cedar verandah balusters and two classically moulded chimney heads. Internally, much of the original cedar joinery survives. There are four rooms on the main floor and another four rooms in the attic. These are lit by windows in the dormers and in the gable ends.
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In the west walls of both aisles are two- light windows. The north porch is in two storeys, and to its west is a stair turret. On its north side is an arched doorway, with a three-light window above, and on the east and west sides is a two-light window. On its summit are finials consisting of mutilated figures.
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The Perry house was designed by Charles A. Dunham from the prominent Burlington, Iowa architectural firm of Dunham & Jordan. It is noteworthy for its elaborate roofing system. It features five dormer windows, two hip-and- deck roofs, three gable roofs, and two hipped roofs. The steeply pitched roof also has finials, pendants, and brackets with a modified frieze under the eaves.
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The porch has polygonal angled buttresses to each corner topped with finials. The bays continue up through the steep roof to form two storey dormers giving the hall an impression of height. The porch has a semicircular porch arch in stone, bearing the original halls construction date of 1612. The porch rises to the same height to give the façade symmetry.
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The church is constructed in red sandstone, and has roofs of banded grey and purple slates. At the west end is a narthex porch, above which is a five-light window. Over this is a pair of two-light Geometric windows flanking a canopied niche containing a statue of Saint Francis. On the east and west gables are stone cross finials.
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It is the only one of the four to not have a flat roof, instead rising to a shallow-pitched gable. Rusticated sandstone also finishes the basement of 750 Broadway, which has the most elaborate decoration of the four. Sandstone is also used for its balustraded steps, leading to a double-doored paneled entrance topped by a transom. Its windowsills are bracketed, with finials on the lintels.
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The spire is 35 metres high with a weathercock on top; it is surrounded by four smaller spires at its base which are capped by metal finials. The north-east tower replicates these smaller spires above the gable. The roof structure is of hand-sawn timber and the roof covering was originally shingles, but at some point the Church was re-roofed in clay tiles.
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The tomb is of a neoclassical design. It stands upon a stepped plinth, with carved entablature supported by twelve ionic columns, arranged in a square and containing the sarcophagi. The entablature supports raised armorial panels facing east and west and urn finials. Completed in 1826, it was designed by William Robertson, a local architect who designed buildings for the Established, Episcopal and Catholic churches.
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The building is timber framed and weatherboard clad with decorative scalloped bargeboards to the gables and finials and a timber floor. It has a skillion form verandah on the east part enclosed in drop board (slab) construction. There are two stages of skillion addition to the west and a matching gable form addition to the north. It has timber boarded ledged and braced doors.
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It has a two-light west window and two-light bell openings, and other small windows on each face. It is possible that this was a pele tower. The roofs have coped gables and cross finials. In the nave and the aisle the windows date from the 19th century, while the windows in the chancel are original; also in the chancel is a priest's doorway.
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These sculptures exhibit a style unique to the Chiquitos region, differing from that of the reductions in Paraguay or the Bolivian highlands. The tradition of figure carving has been preserved to the present day in workshops where carvers make columns, finials and windows for new or restored churches or chapels in the area. In addition, carvers produce decorative angels and other figures for the tourist market.
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The details of the windows are not uniform, the west window of the south aisle, and the four- light window in the north aisle, "being of better style than the rest". The roof is in three sections with red tiles, finials and raised coping to the gables. The vestry, which was built in 2008, is situated at the south-west corner of the church.
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On the south, the gable roof chancel extends at a shallower angle to the east over a vestry addition. Finials decorate the belfry and northern end of the gable; the southern finial has been removed. The gutters have been removed recently. Windows to the nave are lancet-shaped with two rectangular sashes and a pointed fixed sash above, all with a central glazing bar.
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Arched openings, broad fluted supports, and a bracketed cornice adorned the porch. The porch supported a balcony above with a closed railing and finials on its corners. Tall, paired windows stand directly over the entrance and open onto the balcony. These windows and all other windows on the main block of the house stand in segmental arched openings and display decorative metal crowns over the top.
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The building is set back from Victoria Road, on which it sits. There is a gardened square outside, bounded by a dwarf wall. At the front corners, on large square bases, are 2 sculpted lions, by Thomas Milnes of London, representing War and Peace. At the rear of the wall are round section cast-iron railings with spear-head finials on a dwarf wall.
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First Baptist Church is a historic church at located 200-228 N. Main Street in Fall River, Massachusetts. The church was built in 1850 and was a work of local architect Josiah Brown. It is built of wood with brick trim in the Gothic Revival style. The tower originally contained a tall spire and corner finials that were destroyed during Hurricane Carol in 1954.
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On these floors each of the three bays under the gables is split into three further sections by supporting timber posts and each of these is split again into three more horizontal sections. Each of which are decorated with patterns made of timber. The gables have scalloped and pierced barge boards decorated with spike finials. The doorway is on the right hand side of the second bay.
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The building's dutch gables This shingle roofed single storey limestone building in a Victorian Tudor style with Dutch gables, was constructed utilising convict labour. Additions were carried out by the PWD. The building was firstly constructed as a single room with a porch with curvilinear parapeted gables and finials. It has a steeply pitched roof supported on timber trusses and once had perimeter windows.
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Two symmetrical octagonal minarets rise through the porticos; they are twenty-eight meters high and have conical caps and finials. A domed ablution kiosk of square shape is attached to the northeastern corner of the mosque. It is believed that a madrasah built by Khan Arslan Giray in 1750 used to adjoin the eastern wall. The mosque is entered from a portal facing north.
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Along the top is a parapet, in the centre of which is a sundial. This is inscribed with the words "We shall", and skulls and crossbones; on its summit are hourglasses. At the ends of the parapet are urn finials. In the north wall of the chancel is a two-light window, and the north wall of the vestry has two paired lancet windows.
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Warmington and Ward's photos, Vol. 2, pp. 195-97 A telephone booth and post box are in now front of the breakfront. The quarters behind is an asymmetrical two-storeyed house with a projecting breakfront set on the southwest end, a terracotta tiled roof in the Marseilles pattern, horn finials, simple gabled roof endings, and a brick chimney with textured stucco and face brick capping.
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In the graveyard is the tomb of John Fawcett who died in 1817. It is constructed in ashlar stone and consists of a chest tomb on a plinth, and on its top is an overlapping slab bearing inscriptions. The tomb is surrounded by a low stone wall on which are cast iron railings with spear finials. It is designated as a Grade II listed building.
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The building is in Federation Free Classical style with an exuberant, free and mannerist use of classical features: parapet with a Palladian balustrade skyline, globe finials, double layer of alternating pediments (the lower pediments having crests), string course, Romanesque arched windows and doors, hood moulds above and aprons below windows.R Apperley, R Irving and P Reynolds, A Pictorial Guide to Identifying Australian Architecture, p. 104-107.
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The church is constructed in blue lias stone with limestone dressings. The steep roofs are of Welsh slate and are hipped and gabled. It has a four bay nave with a north porch, north and south transepts, a chancel terminating in an apse, and a southwest tower, with a spire, incorporating another porch. The style is Decorated and it is elaborately detailed including pinnacles with finials.
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The lower parts of the bays are panelled, and the upper parts consist of open arches with pendents. The choir stalls date from the 19th- century, and have carved angels as finials. The stone font dates from the 12th century and has a tapering cylindrical bowl carved with a cross and interlacing decoration. The bowl stands on a cylindrical stem and a circular base.
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The 11-story Potter Building is arranged in a mixture of styles, including the Queen Anne, neo-Grec, Renaissance Revival, and Colonial Revival styles. As a result, it stands out from the surrounding buildings. The Potter Building's architect, Norris Garshom Starkweather, was known for designing churches and villas in the mid-Atlantic states. The building measures tall from sidewalk to roof, with finials extending upward another .
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The branch was closed (apart from a section) on 28 June 1991, and goods service ceased. However the station building remained as it was listed by NZHPT Category II in 1982. It is a standard Vintage station, with gables, finials and scalloped bargeboards.Rail Heritage Trust - Thames Work on the proposed Paeroa–Pokeno Line commenced in the 1930s, but little was done and the proposal was abandoned.
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At the front and back, above the spouts, are panels flanked by buttresses, surmounted by crocketted gables and finials. On each side are disused gas mantles. At the top is an octagonal pinnacle over which is a crocketted spire with a wrought iron cross finial. The memorial includes two inscriptions: one refers to the donor, while the other is taken from St John's Gospel.
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Wanting to expand the business, Knickerbocker again commissioned Montross. The second garage was similar to the first in decoration and overall form, save for an extra story at the top. It differed in its wide single garage at the street level with no text and lacked the roofline finials. In 1947 Knickerbocker sold the Arnink garage to another concern, which converted it into a warehouse.
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To the west stand a 52-metre-high tower topped by a ridge turret and an adjacent circular chapel dedicated to Our Lady of Czestochowa, referring to the dedication of the initial Gothic church. Facade, gable and tower are adorned with typical Neo-Baroque elements such as volutes and finials, which are also present in the chapels, the sacristy and the staircase leading to the choir.
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"If there is a building in the State that is perfectly fireproof, in which a fire cannot start, or could find nothing to make headway on if possibly started, it is California Hall", claimed the University Chronicle. The roof is concrete-sheathed steel covered in Spanish mission tiles (tejas), reflecting Howard's desire to create a uniquely "Californian" architectural style. The rooftop features skylights studded by copper finials.
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The church is built in shale with sandstone dressings, and a red tile roof. Its plan consists of a nave and chancel with six bays in a single chamber, a vestry on the north near the west corner and a porch opposite it. Near the west end is a bell turret with a spire. At the chancel end and over the porch are metal cross finials.
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Inverness is a large, single-storeyed timber house, situated on the hill top above Toogoolawah. The building shows influences of stylistic trends popular around Federation in the treatment of decorative elements. The hipped roof has projecting gables above the front entrance, side verandah entrance and billiards room. The roof features decorative eaves and gables with diamond patterned asbestos (Durabestos) shingles and decorative terra-cotta ridges and finials.
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There were two portals at its eastern end, perpendicular to each other, creating a cross-vault. The arch had Ohio sandstone and wooden lining inside, and the portals contained circular cornices, outward-facing piers, and octagonal domed finials. Meadowport Arch was restored in the 1980s, but has since fallen into disrepair. Nethermead Arch, also completed 1870, carries Center Drive through the center of the park.
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The north-west entrance to the estate is through two tall mid-19th century gate piers, which are Grade II listed. These are constructed principally of rubble, but dressed with bath stone ashlar which frames heraldry peculiar to the Davy family. The piers are crowned by double cross finials. These piers clearly reflect the unusual design of the large buttresses on the south face of the mansion.
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Thomas B. Finley Law Office, also known as the J. F. Jordan Law Office, is a historic law office located at Wilkesboro, Wilkes County, North Carolina. It was built during the early 1880s, and is a small one-story frame building one room wide and two deep. It has sawnwork bargeboards and decorative finials in the Carpenter Gothic style. It is owned by the Wilkes Heritage Museum.
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War memorial at Charleville, ca. 1939 The First World War Memorial is situated in a park in Charleville; the park has an ornamental fence and gates and a path leads to the memorial. Also within the park are two guns or war trophies and a flagstaff. The memorial itself is surrounded by a cast iron picket fence with fleur-de-lis finials and a centrally placed gate.
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The original Broadway Avenue Bridge was one of the fanciest bridges on the Mississippi River. It featured finials on each top corner and a band of scrolls, crosses, and lines between them. The horizontal struts and guard railings used X-shapes as a pattern. Each end of the bridge has a hexagonal cast iron plate embossed with the date and the designer of the bridge.
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Additional wings of the building continue to the north and south of the towers. The sloped roofs over the porch and part of the second story are covered with red clay tile. The hipped roofs of the towers, also covered in red clay tile, are topped with finials. The remainder of the roof is flat, with the exception of the metal-framed glass skylight over the porch.
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In the nave are oak pews dating from the 15th or 16th century, noted for their carved poppyhead finials with grotesque faces. There is a hexagonal, ornately carved Jacobean oak pulpit. In 1871/2, the church underwent a restoration by the architect George Edmund Street, who introduced some Victorian Gothic Revival elements and built the north and south porches, as well as a medieval-style baptistery.
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Projecting gables at the front of each house are decorated with timber sunburst designs and finials while the eaves have pairs of brackets. The exterior walls are clad with narrow chamferboards. Windows at the front of each house are timber framed double hung sashes that have been grouped in threes. Each house consists of six main rooms and three bathrooms, the plan of which is roughly rectangular.
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Terracotta, possibly created by New York Architectural Terra Cotta, was used for decorative detail on the facade. When built, the top story contained further ornamentation such as a flagpole and finials, which caused the building to stand out on the skyline. The winged figures on the facade's uppermost portion were similar to that of Robertson's previous Corn Exchange Bank building at William and Nassau Streets.
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The Arkansas Louisiana Gas Company Building is a historic commercial building at 116 West 6th Avenue in Pine Bluff, Arkansas. It is a single story masonry structure with distinctive Moderne styling. Its most prominent feature is the parapet, which was Art Deco-style blue flame-shaped finials at the ends of the central raised section. Its walls include blocks of colored and clear glass, and tile elements.
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The interior décor has not survived. In the basement the vaults are preserved, with lunettes and barrel vaulting. The northern façade looking over the courtyard has thirteen bays, separated by pilasters with Ionic capitals (finials). The middle window (slightly wider than the others) on the first floor of the façade is a remnant of the eighteenth century main entrance door, approached by flights of stone steps.
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McGraw Hill, New York: 2006 Although the movement had a short life under the leadership of Dona Beatriz, artifacts have survived, including St. Anthony figurines made of "ivory, brass, and wood ... affixed to crosses, used as staff finials, and worn as pendants.... these images, called Toni Malau or "Anthony of good fortune" in KiKongo, served to guard their bearers against illness and other misfortunes".
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Glass windows provide light into the interior between the lowest and second-lowest tier. On the upper terrace situated above the second-lowest tier, four rooms or gardu topped with cupolas acted as a kind of finials on the upper ridges of the second roof-tier. A six-sided cupola roofed the mihrab of the mosque. The roof is covered in shingles made of belian pieces.
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Large hooks are screwed into the beams at two places. Dumbarton Dumbarton is situated on the southern side of the school complex. It is a high-set, single-storey dwelling with exposed cross brace stud framing. It has a transverse gabled roof with colorbond sheeting, a roof light over the stairwell, finials on the gables and a weathercock on the chimney of the double fireplace.
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The roofs are crowned by small finials in form of kalasha. The well is 5.3 metres in diameter. At the top of the round well-shaft, there are six double- bent struts in the last storey; four in back wall covered with stone lintel for drawing up water, in leathern bags for irrigation purposes. There are stone screens on each side of first kuta forming its walls.
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None of the earliest Islamic structures in Sumatra survived. The characteristic of Islamic architecture include multi-tiered roofs, ceremonial gateways, and a variety of decorative elements such as elaborate clay finials for roof peaks. The multi-tiered roofs are derived from the tiered meru roof found in Balinese temple. The oldest surviving Indonesian mosques are quite large and in most cases were closely associated with palaces.
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Original timber barge boards and finials have been removed, as has the original stair and balcony on the eastern (Beaumont Street) elevation which has been replaced with a utilitarian steel structure. A corbelled brick chimney has been removed from the centre of the rear elevation. The building has been painted cream in colour. Internally, Hamilton Junction was built to contain a large mechanical- type lever frame.
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The First World War Memorial is located in a park setting and is surrounded by cast iron posts with decorative finials. The sandstone and granite memorial sits on a stepped concrete base with the cast iron posts fixed into the lower step. Above this is a smooth faced step capped with a cyma recta moulding. The front face bears the words "Their Name Liveth Forever More".
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Huggable Hangers – velvet-flocked, no-slip hangers whose thin profile conserves closet space. Endorsed by Oprah Winfrey, Huggable Hangers were HSN's best-selling product , with more than 300 million sold. Forever Fragrant – a line of home odor neutralizers including sticks, wickless candles, scent stands, finials, spheres, drawer liners, and shoe shapers. Mangano broke an HSN record on January 31, 2010, by selling 180,000 units in one day.
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In the ground floor of the front facing the street is a modern shop front. In each storey are three sash windows, surrounded by ornate stone cases. At the top of the front facing the street is a shaped gable containing blue brick diapering and with stone coping, volutes and five finials. Towards the right corner is a wrought iron sign bracket dated 1890.
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The house is constructed in Ruabon brick and has a chipped and rendered upper storey; the roofs are in Lakeland green slate and the chimneys are brick. Its north (entrance) front has five bays. The outer bays project forwards and are gabled with finials. In the centre is a projecting porch with pilasters, over which is a balustrade including a panel containing a carved griffon and motto.
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This driveway is lined by an avenue of distinctive, mature Queen Palms Arecastrum romanzoffianum. Further down the slope the grounds comprise mostly indigenous vegetation. The house is almost L-shaped in plan, and has a corrugated iron roof which is a complex of hips, gables, ridges and pavilions, with decorative gablets and finials, and three brick chimneys. There are verandahs, with separate roofs, on all four sides.
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They include mirrors and bronze dragon-head finials from Wei China; gold rings and horse-trappings similar to those found in Silla tombs in Korea; and fragments of a glass bowl from Sassanian Persia. The , powerful local rulers, controlled the route to the continent and "presided over the rituals". The many kofun or tumuli in the area are believed to be their burial ground.
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Interior view of St. kentigern's Parish Church Aspatria The internal dimensions of the church are:- nave 22 metres by 12,2 metres; chancel 9.2 metres by 4.9 metres. Piers circular and multiangular alternatively. The pulpit made of stone, is on the north side of the chancel arch, and the reading desk is on the south side. The pews are open and uniform, with finials at the end.
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Johnson County Courthouse is a historic courthouse located at Warrensburg, Johnson County, Missouri. It was built between 1896 and 1898, and is a 2 1/2-story, Romanesque Revival style sandstone building. It has a cross-gabled building with a square tower rising from a central base. The building features the central tower's octagonal, ogee-shaped dome, plus four corner towers or pavilions with domes and finials.
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The Judge Henry L. Benson House, built in 1892, is an historic octagon house located at 137 High Street in Klamath Falls, Oregon. In 1981 it was added to the National Register of Historic Places. It is a two-story frame house, built to a T-shaped plan with two symmetrical octagonal towers. The towers have conical roofs topped by "witches caps" and wood spires with finials.
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Most of the original walls were torn down around 1917, and a new wall constructed. Portions of the wall consisted of ashlar granite blocks of various shades and colors, both coursed and randomly set. Other portions consisted of rusticated or rubble rock of various types (such as granite, greenschist, mica-schist, and other rock). The walls were topped with wrought iron fencing and cast iron finials.
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Tied buttresses along the north and south walls and gothic arched heads to the main entrance porch, other external doors and the traceried windows generally conform to the details typical of the period, style and building type. The external walls are of a warm gold sandstone (probably a Sydney stone) laid in narrow courses of rock- faced stone with dressed stone for corner quoins, window and door surrounds, mouldings and string-courses. The western tower, a compact structure with a shallow arch over the central doorway and stone traceried windows at clerestory and bell-tower level, terminates with a modest projecting string course surmounted by the squat circular finials with ball-mouldings installed in 1913 to replace the original corner spear finials and balustrade. The original diagonally boarded entry doors in the west elevation of the tower are flanked by pilasters with decorative heads and a frieze of carved foliage.
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The bridge cables are attached to two steel towers which stretch above the stone piers. These stone piers along with concrete stub abutments and steel bents make up the substructure. The vertical clearance of the deck is exactly and the bridge is estimated to suspend above the water. The original design of the bridge contained decorative finials placed on top of the towers and elaborate cresting on the towers and portals.
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The existing chimney pots are not original. The walls of the original building are Flemish bond tuckpointed brickwork with sandstone capping to the parapets and sandstone quoins to the external corners and reveals to openings. An arch on the centre of the original parapets has a stone infill carved with "ERECTED 1884". Sandstone finials top the gables and bull's-eye vents in the gables are edged with sandstone.
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Much of the site was salvaged – limestone blocks, floorboards, elaborate airing finials, windows, and slates. In June 1986 the old gatehouse lodge was also demolished. The site has been vacant since 1986, although there have been various proposals for redevelopment, including as a museum of science and technology, and as apartments. In 2005, the building and land was sold by public tender to a Western Australian-based developer for $6.65million.
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Internally, the upper storey of this porch contains two vestries accessed by a wooden turnpike stair. The east gable is surmounted by a Classical pediment whose ends and apex are topped by ball-topped obelisk finials. The pediment contains a small oculus. The main window is round-arched and consists of a cluster of five lancet lights while the lancet windows in the gable of either aisle hold three lancet lights.
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Inside New Greyfriars, galleries on the north, south, and west sides faced a pulpit against the middle south pillar. McGill created a Dutch gable with Classical pediment at the western end and, below this, added the semi- octagonal porch. He also replicated the north door in the bay immediately west. McGill added a near-identical pediment over the east gable and topped the pediments and buttresses with ball-topped obelisk finials.
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Constructed in 1848 for William T. Wynkoop, a local businessman, the 2½-story stone building features steeply pitched gables trimmed with wooden scroll-work vergeboard and pendants with finials, and a gabled tower with the same decorative elements and lancet arch windows. Native limestone is its primary construction material. The house originally had a wraparound porch that was removed. It was listed on the National Register of Historic Places in 1990.
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The Sturges House is a rambling wood-frame structure, with more than 30 rooms and 11 staircases. It was built in four stages between 1840 and 1895, and has seen relatively little alteration since then. The exterior is almost entirely clad in board- and batten siding, except for some gable ends which are clapboarded. The gables are typically steeply pitched, and are all decorated with bargeboard, pendants and finials.
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Its plan is simple, and consists of a nave with a south porch, a chancel, and a north vestry with a chimney. At the west end is a bellcote. On the roof at the east end, and at the junction between the nave and the chancel are wrought iron finials. The bellcote has hung slates in its lower part, above which is a row of star- shaped openings.
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Its shaft stands in a square pavilion of red sandstone with square corner pillars. It has a stone roof with a pedimented gable to each face and ball finials. Above the cross is an extension which carries a stone ball and an ornate weather vane. On the east, south and west gables are bronze sundials of 1897 carrying the inscriptions "We are a Shadow", "Save Time" and "Think of the Last".
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Located on the fourth floor, the museum holds pharmacy memorabilia such as drug products, equipment, and sundry products dating back to the early 20th century. Among the museum's possessions are two hand-carved finials, which were often found over the door or partitions that separated the main part of the pharmacy from the back room where pharmacists did most of their work, an old-fashioned powder mill, and a konseal machine.
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William S. Smith House, also known as Croswell House and Phoebus House, is a historic home located at Oriole, Somerset County, Maryland. It is a two-story cross-shaped frame Queen Anne house, built about 1890. It features by a pair of three-story entrance towers with pyramidal roofs marked by kicked eaves, wooden finials, and weathervanes. It was listed on the National Register of Historic Places in 1991.
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The sacristy has a south doorway, and windows on the south, west and east walls, those on the east having angel mullions. The apse is without windows, but on the sides of the sanctuary are windows similar to those on the nave. On the roof of the nave are three decorative cross finials. The brick campanile is almost high, and it has a stone bellcote containing electronic speakers.
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That distinction is evident in the crowns that sits above the finials of the flag poles atop the corner parapets of the building. Bourke railway station is the original terminus of the Main Western railway line. The railway extension from Byrock opened on 3 September 1885. Passenger services on the line were cancelled in September 1975 with the line closing down entirely in 1986, leaving the station derelict.
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The station buildings are constructed of brick with a painted finish and feature gabled roofs clad in corrugated iron with corbelled brick chimneys. The central building features a rear porch entry to the central room which is marked by a transverse gable. Gable ends feature decorative timber barge boards and timber finials. The platform verandah has a decorative timber valance and is supported on timber posts with curved iron brackets.
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Swete's watercolour of the east end shows the surviving arrangement of crocketed finials projecting outward on corbels over the string course with canopied niches containing much weathered statues of St George and the Archangel Michael.Listed building text The north wall is topped for only part of its length with a crenellated parapet.Listed building text Fragments of 14th- century stained glass, showing three figures, survive in the present chapel anteroom.Pevsner, p.
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It was an imposing, two-storeyed brick building, designed and built by local contractor John Hill. The street facades were "tastefully worked in selected bands of salt glazed bricks, as also around all doors and window openings ... over the first floor windows has been fitted a plastered cornice about 20 inches and a coping mould about 10 inches with the top finished artistically in scrolls and ball finials".
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Plaque from the north wall of the estate orchard The blocks are four of five stories in height and are united by timber details, gable roofs with finials, red tiles and casement windows usually with south-facing balconies. The rear and side elevations are in a very different plain and minimal style and overall reflect the modern design of the 1920s rather than the use of the vernacular.
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Pugh House is a historic home located at Morrisville, Wake County, North Carolina. The house was built about 1870, and is a two-story, three-bay-wide, Italianate style frame I-house with a one-story end-gabled rear ell. It features molded roof cornice brackets with finials, bargeboards with fleur-de- lis-shaped motifs, and a hip roofed front porch. Also on the property is a contributing smokehouse (c. 1880).
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Its interior retains elaborate decorations, including plaster cornices and marble chimneypieces, dating from Robertson's remodelling. In the grounds is an 18th-century garden house, octagonal in shape with a pyramid roof, which contains a sundial dated to 1661. The grounds are accessed by two gates, which have square ashlar gatepiers with carved ball finials, which are included in the listing for the building. The house has been praised for its elegance.
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It has decorative bargeboards under its eaves and is topped by finials and other ornamentation. The house's architecture — both original and later modifications — demonstrates historical trends in the community, depicting the growing prosperity both of its owners and of the community. and It is individually listed on the National Register in 2004, and also was included as a contributing building in the Genoa Historic District, NRHP- listed in 1975.
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A small shrine may have been in the cavity in the lion's chest. The Shore Temples configuration of the two Shiva shrines with the small Vishnu shrine in between illustrates an attempt to balance the different, competing religious requirements. The roofs of the temples have ornamentation similar to the Pancha Rathas. The roofs have finials on the top, indicative of its religious functional nature, as it was a completed temple.
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The church was built to the design of architect Edmund Kirby of Birkenhead and was extended soon after completion and altered in the 20th century. It is built in the Early English style in squared rubble sandstone with red ashlar sandstone dressings, decorative banding, coped gables with cross finials and its roof is laid in bands of blue and grey fish-scale slates. Nikolaus Pevsner describes it as a "pretty church".
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In 1925 they bought a lot for their own building. They hired an architect, and on May 15, 1927 the new building was "dedicated to the promotion of... Bible teaching and Gospel preaching, with earnest advocacy and generous support of the world-wide mission." With The building is a red brick auditorium with a 2-story brick facade. The facade is trimmed with two ranks of pilasters topped with finials.
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The fourth bay is the most substantial, wider and higher than the others, and projecting forwards. It contains three pairs of two-light windows and has a shaped gable in which there is a circular window with star- shaped tracery. There are finials on all the gables. On the right of the main front is a turret which has a square base and is octagonal above with broaches at the transition.
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Middle Littleton Tithe Barn, Evesham, Worcestershire The barn is constructed of Blue lias stone with Cotswold stone dressings. It has a triple purlin roof which is tiled in stone. The building has had several modifications; a pair of gables on each side of the building were destroyed during the Victorian period and additions made to both sides. Smaller gables with ornate clover-leaf finials and many buttresses remain.
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A barge lock was constructed against the north-east ("Surrey") side. This is followed by four immense brick piers protected by large ashlar stone cutwaters (starlings). These in turn support relatively thin stone dressings reaching to the metal parapet level, carved in a classical style with reredos and cornices, supporting painted metal arches. A matching-colour balustrade is above the arches finished with black lanterns, metal pillars and simple finials.
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St Munn's is built of snecked, squared sandstone rubble with ashlar dressings. The roof is made of grey slate. The main body of the church is on a T-shaped floor plan, with the nave extending to the north. At the head of the T-shaped building is a small, modern square bell tower with corner finials and a pierced stone parapet, over an advanced, gabled central bay.
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This is topped by a four-sided dome and finial. Each stage of the tower has a decorative balcony railing, shrinking in size, with matching corner posts topped by finials. The interior consists of a large auditorium with gallery, and an entry vestibule with stairs on either side. The gallery is supported by turned posts that rise to an elaborate entablature that forms the base of the gallery's parapet.
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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.
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The roof is the most noticeable area of Chateauesque architecture, featuring finials and tall chimneys. The Queen Anne turret features corbels below the roofline. The elaborate patterns on the exterior walls are also express Queen Anne influence. The Patten House is the sole building remaining in Palatine from the period that has Chateauesque elements—most surviving structures, such as the George Clayson House, are in the Second Empire style.
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The old seal and today's civic coat of arms have their roots in the late 12th century. Heraldically, the arms might be described thus: In azure a town gate and tower argent – with roof gules surmounted by two finials or – flanked by crenellated town walls argent. The town's official blazon describes the roof as "tile-red" – not truly "gules" (i.e. red). The arms can be traced back to 1577.
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The southern elevation has a double-storey portico, aligned with the central masonry section, bearing the name Woodlands and the year 1868. (The date refers to the year Charles Smith first took up land in the Rosewood district, not the date of construction of the house.) Either side are two semi-circular pedimented frontis pieces. All have elaborately decorated crests, finials and bargeboards. A large bay window projects either side.
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Part of Clive's collection from India including fine old master paintings, the wealth amassed after the Battle of Plassey and the Battle of Serirangapatnam, French and English furniture, and Italian curiosities, were brought to the castle. These include Tipu Sultan's magnificent state tent, made of painted chintz; a gold and bejewelled tiger's head finials from Tipu's throne; and two cannons that are today positioned on either side of the castle entrance.
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Decorative sculptural work is seen best in the ceiling panels of the mandapas. Exquisite lacquer work in brick red and black colour was adopted for turned columns of timber. Metal craft was also used in sculpturing idols, motifs, cladding and finials. All sculptural works were done strictly according to the canons of proportions (ashtathala, navathala and dasathala system) applicable to different figures of men, gods and goddesses, prescribed in texts.
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Each of the limestone columns is cut from an Indiana quarry and made of five sections reinforced by steel rods and plates. The fountain in front of the monument is a bronze-cast replica of the finials that adorn the Wrigley Building. The brass spout was made from a mold of a terra cotta finail on the Wrigley Building. The front of the monument has a dedication plaque (pictured left).
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First torii leading to Izumo-taisha. The main structure of Izumo Oyashiro was built in the Taisha style, the oldest style of building shrines. An impressive sized gable-entrance structure is built for the main structure, which gave the name of The Great Shrine or The Grand Shrine. The main hall (honden) bears an enormous chigi (scissor-shaped finials at the front and back ends of the roof).
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The hammerbeam roof is intricately carved and is described as being "outstanding". The pews date originally from the 17th century; their ends have panels and ball finials. The stained glass dates probably from the 1860s, and is probably by Clayton and Bell. The two-manual organ was built around 1880 by Henry Willis and Company, with additions in 1907 by Rushworth and Dreaper, and alterations in 1950 by Kingsgate Davidson.
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The Paoay Church, also known as the Church of San Agustín, is located in Paoay, Ilocos Norte. It is the most outstanding example in the Philippines of an Earthquake Baroque style architecture. Fourteen buttresses are ranged along the lines of a giant volute supporting a smaller one and surmounted by pyramidal finials. A pair of buttresses at the midpoint of each nave wall have stairways for access to the roof.
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The timber-framed building has exposed timber studwork, with horizontal timber lining in some sections which are protected by verandahs. The symmetrically composed north-eastern facade features three projecting gabled bays, enclosed with weatherboards, with simple decorative barge boards, finials and vertical sash windows. These bays emphasise the central entrance and two end corners of this facade. Between the projecting elements is a bull- nosed verandah with diagonally crossed balustrading.
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By 1969 home decorating tastes had again changed. The company restyled the shapes of Fiesta to try to modernize it. Finials on covers, handles on cups, bowl contours and shapes, were all modified to give Fiesta a more contemporary appearance. The glaze colors were also changed, with the choices being limited to three colors for the place-setting pieces, and one color for the five major serving pieces.
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Manley Hall (also known as Thickbroom Hall) was an English Tudor-style country house in Weeford, near Lichfield in Staffordshire. The house was built in 1833 in a 1200-acre estate for John Shawe Manley, who in 1843 was High Sheriff of Staffordshire. It was designed by architect Thomas Trubshaw (1801–1842) of Little Heywood. Internet Archive Google Books The building included a watch tower and elaborate finials and chimneys.
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Phoenix Bridge is a historic metal Trapezoidal Whipple truss bridge spanning Craig Creek near Eagle Rock, Botetourt County, Virginia. It was built in 1887 by the Phoenix Bridge Company of Phoenixville, Pennsylvania. It consists of rolled wrought-iron "Phoenix post" compression members and round and rectangular tension rods with pinned joints. It includes a cast panel embellished with anthemions and garlands, small urnlike finials, and quatrefoils and trefoils.
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The second Bryn Mawr Hotel was designed by Furness, Evans & Company and built in 1890–91. It is a five-story, "L" shaped stone-and-brick building in a Renaissance Revival / châteauesque style. It features a large semi-circular section at the main entrance, topped by a conical roof and finial. It has a steeply pitched red roof with a variety of dormers, chimneys, towers, finials, and skylights.
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The main span is a semi-through arch, with the roadway penetrating the middle of the arch. It is flanked by identical steel deck arches, with five concrete deck arches of diminishing size extending to the south landing. The main arch is marked by tall obelisk-like concrete finials on the main piers, with smaller decorative elements marking the ends of the flanking spans. The arches are built as box girders.
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Seven square piers, with Doric capitals and gilt festoons, created a narrow colonnade along the north and south walls. A wainscot high, made of white Sylacauga marble with a verd antique baseboard, was placed on the walls and around all the piers. An acanthus crown molding topped the room, and gilt plaster moldings in the shape of finials surrounded each window and doorway. Turned wood spindles decorated the northern wall.
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The top stage contains two-light, flat-headed, louvred bell openings, and at the summit is a battlemented parapet with elaborate corner finials. The tower has diagonal buttresses, that at the southeast angle being carved with the figure of St Laurence. The nave has Norman buttresses, and two Norman doorways, one on the north and the other on the south. Above the north doorway is a re-set sheila-na-gig.
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On the front elevation a series of arched windows is interrupted by a central pavilion that forms the entrance. The arched entrance doorway is flanked by two smaller arches. Further emphasizing the entrance are two large finials that project out of the roofline of the second story, visually framing the dome behind them. The dome's mosaic is chevron-patterned with a band of rectangular and diamond patterns encircling its base.
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The Robinson House stands in a residential area west of Auburn's downtown, on the west side of Forest Avenue, and is set on a hill overlooking the downtown. It is a two- story wood frame structure, with a busy roofline featuring several gables and corbelled brick chimneys. The gables are decorated in Gothic vergeboard, with the gable ends topped by small finials. The walls are clad in vertical board siding.
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The E. A. Burnham House is an historic house at 17 Nickerson Street in Pawtucket, Rhode Island. It is a 2-1/2 story wood frame structure, with a cross-gabled hip roof plan. Its exterior is finished in wood shingles, with decorative Gothic Revival bargeboard, finials, and other elements. The building's interior contains elaborately carved woodwork, most of which has survived conversion of the building to multiple units.
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The central block is in brick with stone dressings, and has a symmetrical three-bay front. In the centre is a bolection-moulded doorcase surrounded by unfluted Corinthian half- columns, and a broken pediment containing an armorial shield. Above the doorway is an oval window, and the other windows on the front are mullioned and transomed. At the top of the front is a cornice with blind oval windows and finials.
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The Grade II listed gates On the driveway to the north of the hall is a pair of stone gate piers dated 1733. They have a cruciform plan, on each face are fluted pilasters, and on the south faces are niches and date panels. At the tops of the piers are entablatures with pulvinated friezes that are surmounted by finials in the form of lions' heads (the Whitmore crest).
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The north and west sides of the courtyard were the barn and cart shed, which are less elaborately decorated. The southern boundary wall is decorated by the insetting of pebbles taken from the nearby coastline, and is accessed by a gabled gateway with ball finials. In the west corner of the enclosure is a small battlemented tower, which housed a weighbridge and was also used as a tool shed.
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Blackpool Bridge is Grade II listed and located to the east of Blackpool Mill to cross the River Cleddau. A single-span bridge, it was built about 1825 for the de Rutzens family of coursed, undressed stone, with two carved external panels on either side and dressed stone edge on the rim of the arch. To the south of the bridge are stone piers topped by ball finials.
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The building originally had a slate roof with terracotta hips, ridges and finials. Both the boiler and engine house have since been clad in terracotta tile. The gable roofs have monitors, which are centrally placed and continue approximately half the length of the roof and are fitted with fixed steel louvres. The roof truss in the engine house is a delicate hand-wrought Warren truss strengthened internally with matchboarding.
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The roofs are decorated with scalloped barge boards, finials, and carved eaves brackets. The verandah has chamfered timber posts and ornamental timber valances. The internal layout comprises four substantial and two smaller rooms either side of a central corridor on the ground floor, and four large and two small bedrooms on the upper floor. The entrance hall has frescos on the walls and ceilings, and is divided with a decorative arch.
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First Presbyterian Church is a historic Presbyterian church located at Dundee in Yates County, New York. It is a Romanesque style brick structure, with limestone and terra cotta trim, built in 1895. It is distinguished by two multi-story towers, broad cross gables, bold, turret-like pinnacles and finials, and finely crafted corbelled brock trim.See also: It was listed on the National Register of Historic Places in 2004.
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National Library of France, written in the Luxeuil type. The folio's content consists of Acts 5:17-25. Tempore illo exsur- / gens autem princeps sacerdotum: et omnes / qui cum illo erant· quae est heresis sadducaeorum·... The Luxeuil type uses distinctive long, slim capital letters as a display script. These capitals have wedge-shaped finials, and the crossbar of ⟨a⟩ resembles a small letter ⟨v⟩ while that of ⟨h⟩ is a wavy line.
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The two-level facade of the church is described as of Renaissance style. Its expanse is divided vertically by single or coupled Doric columns. The two saints' niches flanking the main portal, three fenestrations on the second level, and the saint's niche on the center of the pediment are all topped by triangular pediments, each with a pair of decorative brackets to support it. Four urn-like finials top the second-level cornice.
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The steeple is 180 feet high, metal-covered and decorated by John Thomas with statues representing the four continents. The entrance has a porch with an arch and balustrade with ball finials. The other entrances on the west side have old iron lamp standards and new lanterns, and one has an iron balustrade. This building should be understood in the context of the whole group of buildings in Crossley Street, which are all listed.
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171 Detail of west face, with inscription over the fountain, and blocked-up windows The building is a small rectangular stone structure with three domes consisting of two tombs with a sabil (fountain) in the middle. At each corner of the building is a cylindrical pier with projecting domed finials (now missing). The principal building material is kurkar stone, with some reused limestone blocks incorporated into the masonry, and marble used for decoration.Petersen, 2001, p.
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While less decorative, it follows the same basic form and massing as the Spreckels, with flame finials, and a concentration of Baroque detail at the cornice and side openings. They differ in that the proscenium arch and the side pavilions are simpler in design. The music pavilion is a concrete structure built on a raised stone podium. It is rectangular in shape with a peaked roof which levels out to the north and south walls.
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It contains two bedrooms, a kitchenette, lounge, entrance porch and verandah which has been enclosed. The building is presently unoccupied. Also located on Lutwyche Road is the former dental hut, a single storey timber framed building clad in timber chamferboards with a terracotta tile gambrel roof and finials. It is elevated on timber stumps and was converted to several different uses including an assistant officer's quarters and later as an orderlies' hut.
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Three smaller finials are located on the ridge of this roof. The trackers' quarters, located at the north eastern corner of the block, at the rear of the main building, is a simple single- storeyed weatherboard and corrugated iron structure. It has two single rooms, each with an entrance and exit door and a double hung sash window in each room. The hipped roof provides an awning for a covered porch area.
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William Wooden Wood House is a historic home located at Huntington in Suffolk County, New York. It was built in 1868 and is a -story, three-bay clapboard residence with a -story, four-bay clapboard west wing. The roof features a major gambrel cross-gable with round arched window, wooden ccrsting and finials at the ridge line and two interior end chimneys. It was added to the National Register of Historic Places in 1985.
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It is a timber-framed manor house on a high sandstone plinth with infilling partly in wattle and daub and partly in brick, and with a slate roof. It has an H-shaped plan, consisting of a hall with two cross-wings, and is in two storeys. Behind the hall is a projecting stair turret. The upper floors of the wings are jettied, and the gables have wavy bargeboards and apex finials.
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The new church was consecrated on 25 June 1878 by James Fraser, the Bishop of Manchester. The present church was built in 1878 to a design by Garlick, Park and Sykes. It is constructed in the Early English style from yellow stone, with slate roofs and ashlar interiors. The tower is at the south west of the building and has four stages and angled buttresses which are topped with pinnacles and finials.
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The kermesse. The people of Quiquendonne arrive to observe the demonstration by Docteur Ox. Prascovia now determines to get hold of the moderator key. Ox and Ygène start the demonstration and the finials are illuminated by the oxyhydric gas. The gas makes the people become animated and new couples come together: Suzel joins Ox, Niklausse gets close to Madame van Tricasse, Monsieur van Tricasse tries to seduce Loché, but she is taken with Schahoura.
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St Bridget's is constructed in calciferous sandstone ashlar, and has a green slate roof. Its plan consists of a three-bay nave with a south aisle and south porch, and a two-bay chancel with a north vestry. At the west end is a three-storey tower with a saddleback roof, and at the ends of the gables are cross finials. The church contains elements of Norman, Gothic and Gothic Revival architecture.
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St Mungo's is constructed in red sandstone rubble with a sandstone slate roof. It has coped gables on which are cross finials. The plan consists of a two-bay nave with a north aisle, a south porch and a north vestry, and a two-bay chancel with side chapels and a lean-to hearse house. On the west gable is a twin bellcote and on the east gable is another bellcote for the angelus bell.
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' On top is the 1964 sculpture of a cat by Jonathan Kenworthy, in polished-black Kellymount limestone. Iron railings, oval in plan, with upper flourishes and spearhead finials above and an intersecting circular return (an "overthrow"), surround it. The stone and railings are negligibly raised by a small broad stone plinth mainly set into the surrounding pavement. It has had statutory protection as listed, in the initial grade II category, since 1972.
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In June 2018, Neita ran 11.19 secs to finish second at the British Championships, earning selection for the European Championships in Berlin. At the Championships she qualified for the semi finials but missed out on the final after finishing 4th in a time of 11.27. In September 2019, Neita finished in 1st place in the 100m, representing Europe in The Match, a two-day team competition against the USA in Minsk, Belarus.
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1894 Eclecticism, elements of Neo-Baroque The tenement had as first landlord Franz Kaczmarek, a postman. The elevation on Nakielska street offers its upper part to the view: first floor is flanked by pilasters crowned by ornamented corbels. A heavy gable dormer sticks out from the roof: it possesses Neo- baroque elements, such as a decorated triangular pediments and ball finials. The building complex covers also a part offset from the street, with a garden.
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The eminence upon which Hearthstone Castle is built is approximately 650 feet above sea level and commands panoramic views to the north and east. A pair of large granite gateposts with globe finials stand at the entrance to the property, on the east side of largely rural and undeveloped Brushy Hill Road. A steep 800-foot-long gravel driveway ascends to the buildings, which cannot be seen from the road. Hearthstone southern elevation, April 1985.
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The central panel is broken into two halves vertically by means of rosettes within square frames - the lower depicting a swinging creeper with luxuriant leaf age and the upper two half-arch motifs with a finial in the thick of shrubs and foliage. The flanking panels are similarly disposed and ornamented. All the panels depict multifoil arches with finials. The vegetal motifs betray local influence and speak of the Muslim adaptive spirit.
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The wall running along the south side of the churchyard and the lych gate are listed together at Grade II. The wall is in sandstone, is about high, and stands on a chamfered plinth. It is decorated with panels containing courses of pebbles. The lych gate stands opposite the south door of the church. It is timber-framed on stone piers, and has a roof of fishscale slates and terracotta ridge tiles with wooden finials.
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At the corners of the nave and the chancel are buttresses that rise up as spirelets. On the gables of the chancel and the nave are cross finials and pinnacles. There is an organ chamber at the east end of the north aisle, and a war memorial chapel at the east end of the south aisle. The windows along the clerestory are round with inset quatrefoils; all the other windows are lancets.
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The former Evans' Stores is an imposing three-storey brick warehouse with a painted façade. The building is dominated by four pediments above the cornice, each decorated with a sunrise motif. The façade is divided into four bays by pilasters capped by finials. In 1989, work was completed on the conversion of the Stores and the adjoining terraces at 42-52 Harrington Street, with shops, bars and restaurants facing Nurses Walk to the rear.
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Some timber framing survives around these extensions, including part of one gable, small framing to a projecting wing with a diagonal brace, and close studding with a middle rail on the first floor between the two wings. The interior has oak panelling in places, some of which has a linenfold design, as well as exposed beams to the ceiling, which are ovolo moulded. There is an inglenook fireplace. The oak staircase has large ball finials.
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The commoners' altar is a mud rectangle surmounted by a long row of rattle staffs, which reflect the activities of generations of senior sons. The staff finials depict a generalized ancestral head, devoid of any marks of status. One or more brass bells are placed in the center of the altar to be rung at the beginning of rituals. Occasionally, the senior son will add decorative elements that relate directly to his father's life.
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The exterior and, especially, the interior, reflect a love of surface decoration as espoused in the works of Charles Eastlake. The house has remained a private home since his death in 1909. At some point in the ensuing years the wood cresting and finials were removed from the roof and dormers. The original walnut doors between most of the rooms on the first floor were replaced with French doors in the 1920s.
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In 1922 the library became part of the Municipal Borough of Lytham St Annes with the amalgamation of St Anne's on the Sea and Lytham Urban District Councils. In 1974 the administration of the library was taken over by Lancashire County Council. In Buildings of England Hartwell and Pevsner describe its 'Dark red and yellow and black brick dressings, including dentil sill bands and 'quoins'. Steep coped gables with jaunty finials, and lancets.
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The second shaft, a 12-sided polygon separated from the first by fretted balconies supported by muqarnas, is decorated with blue faience. A balcony separates the third level from the second shaft. The third level is made up of two rectangular shafts with horseshoe arches on each side of both shafts. Atop each of these two shafts rests a finial atop two identical onion shaped bulbs, with a balcony separating the finials from the shafts.
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The decorations can be floral, Kirtimukha shapes (demon faces), geese, elephants and occasionally human figures. Pillars, beams and rafters inside the palace were made of wood as evidenced by ash discovered in excavations. The roof was made of brick or lime concrete, while copper and ivory were used for finials. Palaces commonly consisted of multiple levels with each flight of stairs decorated by balustrades on either side, with either yali (imaginary beast) or elephant sculptures.
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The edge of a pagoda's eaves forms a straight line, with each following edge being shorter than the other. The more difference in length (a parameter called in Japanese) between stories, the more solid and secure the pagoda seems to be. Both teigen and the finial are greater in older pagodas, giving them a sense of solidity. Vice versa, recent pagodas tend to be steeper and have shorter finials, creating svelter silhouettes.
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The bronze clock faces on the Tower Harkness Tower is 216 feet (66 m) tall, one foot for each year since Yale's founding at the time it was built. From a square base, it rises in stages to a double stone crown on an octagonal base, and at the top are stone finials. From the street level to the roof, there are 284 steps. Midway to the top, four openwork copper clockfaces tell the hours.
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Trees and grassed lawns surround the remainder of the building. Measuring approximately , the studio building is rectangular in plan with a narrow frontage and a small verandah at the rear. The steeply-pitched roof is clad in red Marseilles tiles with terracotta finials and metal acroteria, and has timber lined eaves, wide. The front section of the roof has a half gable, while the rear is hipped, extending over the rear verandah.
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There is a narrow laneway to the north, between the cottage and the adjoining shop, giving access to the rear yard. The bricks, laid in Flemish bond, are reputedly hand-made locally but, apart from the two chimneys, are painted externally to resemble their unpainted colour. The footings, doorsteps, thresholds and window sills are of local sandstone. There is a steeply pitched corrugated iron gabled roof with fretted barge boards and turned finials.
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The building features pilasters, corbeling, canted-brick courses, and contrasting stone trim around and between the windows and at the street level. It is capped with an ornate metal cornice that contains pilasters, finials, pediments, floral and circle imagery, and quilted surface textures. It was individually listed on the National Register of Historic Places in 2009. In 2011 it was included as a contributing property in the Waterloo East Commercial Historic District.
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Among Richmond's most interesting architectural features is its Cast-iron architecture. Second only to New Orleans in its concentration of cast iron work, the city is home to a unique collection of cast iron porches, balconies, fences, and finials. Richmond's position as a center of iron production helped to fuel its popularity within the city. At the height of production in the 1890, 25 foundries operated in the city employing nearly 3,500 metal workers.
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The main two-storey building, with attics, has a frontage in an "E" shape which is long. The roofs are covered in slate and have ogee- shaped gables and finials, with stone chimney stacks. The stone chapel, which is joined to the main building by a covered walkway, is supported by two-stage buttresses and has a spire on the crossing tower. There is also a lodge at the entrance to the site.
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Monument to Hugh Bourne Across the road and opposite to the chapel is its graveyard. In the graveyard is a monument to the movement's founder, Hugh Bourne, who died in 1852. The monument was designed by John Walford, and is built in ashlar, with an inscription in lead lettering. The monument consists of a square plinth, with stepped buttresses on the corners that are surmounted by small finials in the form of obelisks.
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The gable ends are treated with diagonally battened panels incorporated into which are fine finials and drop mouldings. Variously sized gabled projections occur on each of the four faces of the building, from various points. This asymmetrical massing contributes to the overall picturesqueness of the structure. Stairs leading to the house, 2014 Access is provided to the building from a two part stair extending from the Westminster Road footpath to the entrance door.
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This portion of the building is about 38 feet long. The roofs of the two parts are at different levels, and covered with grey stone slates and stone ridge tiles. The gable ends are surmounted by ball-shaped, ornamental stone finials retained from the original structure. By repute the hall was the home of a 17th-century Royalist family who lost part of its possessions as a result of the English Civil War.
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The architecture historian Nikolaus Pevsner called the King's Theatre "splendid" and described the theatre as having a "prominent hexagonal tower with Ionic columns and lion finials around a broad spire-like top crowned by a cupola with a replica statue of Aurora. The interior is charming and richly detailed, making full use of the tight space. Plaster figures and mouldings in Matcham's full-blown Baroque."O'Brien, Bailey, Pevsner and Lloyd (2018), pp. 531–532.
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The main entrance is through the eastern side. The prayer chamber has a façade with a broad arched iwan in its centre and is adorned with slender turrets alternated with kiosks. Its dome is the largest and highest of the three domes crowning the sanctuary. All the bulbous domes have inverted lotus and Kalash finials on the top and have narrow zigzag courses of white marble alternated by broad bands of red stone.
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The front and side verandahs have slender cast-iron corinthian columns, tripled at the corners, and delicate cast iron balustrading. This decoration contrasts with the square timber posts and timber balustrading (now removed) of the rear verandah. The pyramid-shaped corrugated iron roof of the core is separated from the verandah roofs by a small cornice with paired console brackets. At the apex is a widow's walk, with cast iron cresting and corner finials.
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In 1982, the site was placed on the National Register of Historic Places. The Valley Grove Preservation Society obtained a 50-year lease on the 1862 building from the Valley Grove Grace Cemetery Association in 2007. In subsequent years, the church has received a new steeple roof, finials, exterior repairs, and painting. This project has been financed in part with Minnesota Historical and Cultural Heritage Grants provided by the state through the Minnesota Historical Society.
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It is in use as part of London's inner Ring Main. Thames Water have exclusive access and take charge of repairs, cutting and planting, assisted by volunteer projects and residents' information. The street-side railings have a mixed set of pointed finials and form a neat, paradigmal archetype so are listed. South of the main road the opening (between sides) in total measures , of which is the green area with its directly adjoining thin pavements.
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The parapet is divided by short pedestals surmounted by substantial finials. Between these are two pediments with decorative scrollwork and the badly weathered letters MUI on one and OOF on the other. The uppermost part of the pediments have circular elements featuring symbolic elements of the Oddfellows, including a dove and hands shaking. The elevation to Cathie Street is exposed face brick, with a series of circular and semi circular arched windows.
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The first burials in Boljoon's cemetery probably occurred in the 1760s. It was closed when a public cemetery was opened. Its gates might have been built in the 1700s, or in 1783 when the present church was constructed. Consisting of coral stones, the cemetery has a symmetrical stone arch gateway with a three-layer pediment, finials on both sides of the two-lower layers and a stone relief of a human skeleton on top.
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On the ground floor the arch forms an entrance porch; on the upper floors the arches form balconies with wrought iron railings. At the top is a gable with three ball finials. Over the entrance arch is a stone panel inscribed with the date 1889 and "Parker's Buildings". On each floor is a three-light window in the left bay, and a one-light window at a lower level in the right bay.
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The north-facing theater is a three-story building that extends wide. The first floor has a stone facade, while the upper floors are clad in polychrome brick. The facade features a large, central curvilinear gable parapet rimmed with terra cotta ornamentation and five finials. The midline of the gable features a two-story rectangular window with stained glass sidelights, topped by a circular stained glass oculus window highlighted by a terra cotta sunburst.
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The house is built in a T-plan with 1½ storeys in Jacobethan style. It is constructed in red brick with scattered sandstone blocks; the hipped roofs are tiled and have terracotta finials. The upper storey of the main part of the house is timber framed and jettied with pargeting in the panels; the gable end contains a four-light window and above this is tile hanging. Under the gable is a carved bressumer.
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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.
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Portions of the roof are decorated with vergeboard, finials, and crenellated parapets. The interior features elaborate mahogany woodwork, and is predominantly Gothic Revival in character (matching the building's exterior), although the main parlor is more Greek Revival in character. Original furnishings and Morrill family possessions remain in the house, from the furniture to linens and kitchen implements. The interior walls have seen only minimal alterations, which have generally been limited to maintenance such as new coats of paint.
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The Perpendicular east window is large, with six lights, almost filling the east wall of the chancel. There are gables at the east and west ends of both aisles, which contain three-light Perpendicular windows. In the north aisle are three-light Perpendicular windows, an ogee-arched crocketted doorway, a pierced parapet, and crocketted finials. The chapel projects from the south side of the church, with diagonal buttresses, a pierced parapet, and a five-light transomed south window.
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The elaborately decorated exterior of the four story building has been described as 'eclectic' and 'neo-gothic'. Two towers, one containing the bell and the other a water tank, form the central feature. The center of each wing is ornamented by a colorful cast iron coat of arms of the Sibley Family which includes the saying, Esse quam videri, meaning "To be, rather than just seem" (Sibley 1908, 33). Tall iron finials crown each of these features.
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The Sannidhanam (main temple) is built on a plateau about 40 feet high. The temple was rebuilt after arson and vandalism in 1950. No charges were brought and the earlier stone image of the deity was replaced by a panchaloha(an alloy from five metals) idol, about 1 and half feet. The temple consists of a sanctum sanctorum with a gold-plated roof and four golden finials at the top, two mandapams, the balikalpura which houses the altar.
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The rood is surrounded by a parapet with decorated perforations and piers with baroque finials. A small dome was added to the top of the altar when it was expanded in the 1940s. A continuous choir loft on the eastern side of the building above the entryway creates a sequence of compression at the entry, which opens up into a tall space above the nave. A rectangular skylight on the western side of the building lights up the altar.
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Carpenter Alex F. Simpson planned the Gothic Revival church. The one-story frame church features a square tower at both of the front corners. Each tower has a louvered lancet arch window above the first story, which is demarcated by a belt course; the towers are both topped by pyramidal spires with finials. A bargeboard with decorative moldings covers the gable between the two towers; the front entrance, added below the gable in 1958, features a matching bargeboard.
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It was built in 1898 by Henry Davey Jnr. It is a double storey building with parapet decorated with scrolls and finials, and it is constructed of rendered brick, with a ridged iron roof and timber framed windows. The ground floor has always been used as a shop and has retained much of its original character and features. The shop was originally known as Urwin's Drapery Store and it was later known as Caddy & Wilshire's Drapery Store.
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There is a growing industry in providing "off the peg" garden offices to cater for this demand, particularly in the UK but also in the US. Shed owners can customize wooden sheds to match the features (e.g., siding, trim, etc.) of the main house. A number of decorative options can be added to sheds, such as dormers, shutters, flowerboxes, finials, and weathervanes. As well, practical options can be added such as benches, ramps, ventilation systems (e.g.
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The memorial stands in a small garden now just outside the All Saints' churchyard, defined by a low stone wall to the front and a yew hedge to the rear with ornamental gateways to either side. The gates are of cast iron and supported by large stone piers with urn finials. The wall is inscribed: "TO THE MEMORY OF ALL THOSE OF THIS TOWN AND COUNTY WHO SERVED AND DIED IN THE GREAT WAR".Pevsner, p. 319.
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The main roof is gabled with two transverse gables at either end and clad with corrugated iron; the roof extension at one end of the station is a mixture of a hipped form and gable hipped form. Both roofs have eaves supported by paired brackets. There is simple timberwork to the gables, together with finials, and there are round vents with render trim on the gables as well. The station has four chimneys with bracketed cornices.
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Originally, the building was three stories high and topped by concave pyramidal roofs with finials atop them, but today it is two stories high and topped by buttressed, clearly differentiated side square towers on either side of the center section. The towers were an unusual feature at the time they were built, containing articulated stairwells to the galleries. Its original ceiling was deep blue, with gold stars. The building was designated a New York City Historic Landmark in 1987.
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Ornamented parapets with center cartouches and corner finials surround the dome. From March to November, 1981, the station was the eastern terminus of PennDOT's Parkway Limited train, which took commuters to Pittsburgh. Until 2005, Greensburg was served by the Three Rivers (a replacement service for the Broadway Limited), an extended version of the Pennsylvanian that terminated in Chicago. Its cancellation marked the first time in Greensburg's railway history that the town was served by a single daily passenger train.
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The mosque consists of a three-aisle square prayer hall covered with a hipped roof, a narthex and porticos facing east and west. Two symmetrical octagonal minarets rise through the porticos; they are twenty-eight meters high and have conical caps and finials. A domed wudu kiosk of square shape is attached to the northeastern corner of the mosque. It is believed that a madrasah built by Khan Arslan Giray in 1750 used to adjoin the eastern wall.
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The chords taper up toward a square section in the center of the span, which is topped by four finials. On the Manhattan side, there is a plaque stating the year 1894, the words "Central Bridge", and the name of the bridge's major engineers. The design has been compared to a "raffish tiara" due to the presence of the Gothic Revival-style abutments. The span is located between two pairs of stone end piers with shelter houses.
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The building has in total five timber entrance porticos with fine timber detailing including battens and, cross-braced balustrades. The roof is crowned with a timber and corrugated iron fleche with four gables with finials, which when erected contained a Boyles patent ventilator. Internally, the hall is encircled by rooms. The western end has a large meeting room, library and office either side of an entrance hall, and a timber mezzanine with balcony access to meeting rooms.
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The mosque is now administered by Prince of Arcot Endowments Trust. The plaque indicates that the mosque was renovated during the regime of Azam Jah, who modified its minarets and added golden finials to the spires. The Nawabs of Arcot were friendly towards fellow Hindus, appointing a Hindu as chief personal secretary. A significant number of the administrative staff of the mosque are Hindus, which is seen as a symbol of a harmonious mix of cultures.
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Each of the three wings of the U-shaped building, formed around a parade ground, has wide verandahs running lengthways on both sides with attached teachers' rooms. The prominent corrugated metal-clad roof has multiple, intersecting and projecting gables. Its gable ends feature a variety of elaborate timberwork, including: moulded barge boards; scrolled, paired eaves brackets; fretwork; mouldings; stop-chamfering; lattice; finials; and pendants. Metal louvres in the apex of the gables vent the roof space.
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The Church of the Holy Trinity in Long Sutton, Somerset, England dates from the 15th century and has been designated as a Grade I listed building. An earlier church would have stood on this site from the 9th century or earlier. The current church, which was consecrated in 1493, was built of local lias stone cut and squared, with hamstone dressings. It has stone slate roofs between stepped coped gabled with finials to the chancel and north porch.
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The roof sheeting was replaced, new finials constructed and the rear verandahs rebuilt. New dormer windows at roof level were constructed facing south-west over the new rear verandahs. Most of the ground floor and second floor ceiling framing and some of the roof framing was replaced. All floors were re-laid with plywood and hearths removed, concrete slabs were laid in wet areas, tie downs were installed and new ceramic tile paving was laid on verandah floors.
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It is long with a span of , and is wide, carrying an wide roadway and two sidewalks. The shore ends of the bridge rest on abutments of granite stone, while the center of the bridge is supported by a reinforced concrete pier, which is flared on the upstream side to deflect debris. The bridge is reinforced with steel beams, giving it a carrying capacity of 15 tons. It is decorated with pendant acorn finials and painted bright white.
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All three buildings are built of brick laid in common bond with pressed metal roofs. Metal is also used for many of the decorative touches, such as iron finials, window caps, balustrades, cornices and dormer windows. The mill itself is an L-shaped four story building with two stair towers in the late Second Empire style, with corbeled brickwork and cast iron detailing. The original timber framing has been replaced by reinforced concrete on the lower stories.
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The Godfrey-Kellog House stands north of downtown Bangor, on the west side of Kenduskeag Road, overlooking Kenduskeag Stream. The house is a rambling 1-1/2 story wood frame structure, with a variety of projecting bays, gable dormers, and other architectural details. Its gables are adorned with jigsawn vergeboard, with the main gables topped by decorative finials. Walls are finished mainly in vertical board-and-batten siding, with some elements clapboarded and others finished in flushboard.
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Names of the fallen in the Boer War and World War I (left-hand side), 2015 Names of the fallen in the World War I (right-hand side), 2015 All pillars sit on a substantial plinth capped by a torus moulding. From this rises a shaft of banded sandstone which culminates in a stepped element. The entire front face of the pillar projects slightly forward. The outer pillars are each surmounted by stylised eternal flame finials of sandstone.
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The First United Building was designed by Ar. Andres P. Luna with a rectangular plan. On the main facade is a central tower flanked by two chamfered corner towers on both ends of the building. The three towers have the same ornamental treatments of thin cylindrical moldings running up to the square plates and continued by beveled arches that relate to the windows at the sixth floor. There are octagonal windows flanked by stout finials above the arches.
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Residence in 2015 "To-Me-Ree" stands on the north-west corner of Moffat and Macalister Streets on the southern side of Denmark Hill with extensive southern views. "To-Me- Ree" is a substantial, brick villa with a complex gabled roof-line. Its southern facade has two projecting gables, connected by a verandah which has been enclosed with boarding and coloured glass casement windows. The gables each have round ventilator "windows" and decorative timber pediments and finials.
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The entryway itself occupies most of the bay and is set between piers with alternating bands of brick and stone terminating in ball finials. A stone slab inscribed "Borough of Carrick Incorporated June 21, 1904" sits above the door and transom light. The bay is crowned with a stone pediment with carved scrollwork and a medallion inscribed with the construction date. The tower that originally stood at the rear of the building is no longer extant.
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A simple rectangular hall with attached side entry porch typical of rural public schools of the period. Gothic revival in form and detailing the building features steeply pitched gables with timber barge boards, braces and finials, together with simply stepped buttresses to the porch walls and Tudor arched entrance. Major finishes include face brickwork to walls, stone basecourse, sills and buttress dressings and contrasting rubbed brick heads to windows and entrance porch. The roof is corrugated iron sheeting.
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Flanking the throne are two pillars, each surmounted by a capital in the form of attenuated oak trees. On top of the capitals are finials with carved harps on the fronts, to signify Ireland, and on the backs are lions rampart for Scotland. On the back of the throne is a statue of Saint George in armour, representing England. Supporting the statue is a base and a pedestal, both square with canted angles, on a hexagonal step.
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The temple form is often referred to as being part of Greek revival architecture, however when it expanded to Utah it had some Gothic Revival attributes. Features of gothic architecture included in this form as apparent in Utah are: A steeper pitch to the roof, wall dormers, finials, bargeboards, and frame bay windows. There have been approximately six Gothic temple-form houses recorded in Utah, and this home stands as a historical representative of this style.
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The original section of Lake City City Hall is a two- story brick building with a four-story bell tower. It stands on a limestone foundation, a material also used for the water table, window lintels, and archways. It exhibits an eclectic mix of Queen Anne and Romanesque Revival architecture. Queen Anne elements include the assymmetrical massing, flat brick façade, windows grouped in twos and threes with transom lights, fluted chimneys, and detailing with brackets, dentils, and finials.
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The medal is a bronze Cross pattée with concave ends on the arms and ball finials on the points. The obverse of the cross bears the effigy of the young queen facing right in the center of the cross. Each arm bears an inscription；on the top is LOMBOK, MATARAM on the left； TJAKRA-NEGARA on the right, and 1894 on the bottom arm. The reverse of the cross depicts the rampant Dutch lion in a wreath.
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The house was three and a half stories in height and constructed of pink granite with a red slate roof and bronze cresting and finials. Stylistically, it was adapted from the French chateaux of the Renaissance. Completed in 1898, the house cost between $350,000 and $450,000. Following Wesson's death, the mansion was turned over to the Connecticut Valley Historical Society in 1911, contingent upon the society raising $100,000 for maintenance of the property, which they were unable to do.
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The Julia Budge House is a historic house located at 57 W. 1st North in Paris, Idaho. The house was constructed in the 1890s for Julia Budge, one of the wives of Mormon leader William Budge. Julia Budge worked as the Paris telegraph operator and was an active member of the Paris Ladies' Relief Society. The house has a one-story cottage plan with Queen Anne details, including a trefoil bargeboard pattern, bracketed window heads, and pendant- shaped finials.
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Eastman created a colonial gravestone research program called "Tiptoeing Through the Tombstones". Students were given opportunities to research and analyze the evolution of New England gravestone symbols (such as ‘death heads’, ‘cherubs’, and ‘urn and willow’). They studied inscriptions, borders, finials, and styles popular in New England from approximately 1680 to 1820. For each colonial cemetery they visited, students filled out seriation charts to document the rise and fall in prevalence of various gravestone styles and types of inscriptions.
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Chippendale's rococo style is readily visible in this high chest, with its scroll pediment, flame finials, and shell motifs on the drawers. It is carved from Virginia walnut, with brass mounts. An unusual feature is the unbroken top row of narrow drawers, with the elaborate shell-carved drawer above, rather than centered in the row. This is a more constrained and conservative stylistic choice than many other high chests, hinting at an earlier dating within the period.
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Lunna Kirk is the oldest working Kirk (church) in Shetland. The formal landscape around the house was laid out during the 18th century, and augmented in the 19th century with Gothic ornaments, such as the beach cobble finials of the gates to the south- west of the house. On the hilltop beyond the gates is a small folly, known as Hunter's Monument, which terminates the axis, and was formerly used as a lookout by the lairds.
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The First World War Memorial is located in a prominent location facing the intersection of William and Steley Streets. It is surrounded by a low green painted fence of cast iron posts with decorative finials joined by circular rails. The sandstone and Italian marble memorial comprises a pedestal surmounted by a digger statue. It sits on three steps of red painted concrete which are surmounted by a base step of smooth- faced sandstone with chamfered corners.
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Pilgrim Congregational Church is a historic Congregational church building at 909 Main Street in Worcester, Massachusetts. The brick Romanesque Revival building was constructed in 1887 to a design by local architect Stephen Earle. The buildings windows and other details are trimmed in sandstone, and a tower with projecting rounded corners rises from one corner. It features an open belfry with round-arch openings and is capped by a steeply pitched roof, with decorative finials at the corners.
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Connected is a private bathroom with a sink, mirror, toilet, bidet and claw-foot tub with separate faucets for fresh and salt water.Dunbar A door connects the room with Edward Knight's bedroom; a shared porch connects the two rooms. Edward Knight Jr.'s bedroom décor recalled styles of the colonial era, reflecting many of his ancestors. Furnishings include Colonial revival interpretations of furniture, a high-post bed with pineapple finials, nightstand, as well as old-fashioned sconces.
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St. John's Church is a freestanding cruciform-plan Evangelical Protestant church built of limestone with pitched slate roofs, cut limestone copings and cross finials. The building features limestone walls with cut-stone string courses and lancet window openings. It has a crenellated parapet to the tower with carved pinnacles set on the buttresses, and with clock faces to the top stage. The lancet openings to the tower has cut-stone louvres from the lower stage to the upper stage.
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In 1631 King Charles I granted a charter for a clockmaker guild in London: the Worshipful Company of Clockmakers, which exists to this day. Many of the well-known clockmakers from that era were freemen of this guild. Many small companies were established in Lothbury in London that functioned as suppliers for the clockmakers. A clockmaker could benefit from the services of brass founders who supplied cast brass clock parts, dial plates, finials, pillars, frets etc.
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The Cahn-Crawford House at 1200 22nd Avenue in Meridian, Mississippi was built in 1918. The house was built by a businessman named E. Cahn, the same person who owned the Masonic Temple in the city. The structure is a two-story tan and dark brown brick building with a green-tiled roof. A large marble staircase on the street side of the building leads to a balconied entry portico with corner piers capped by stone finials.
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All Saints's tower was built in the 15th century with earlier features dating from the 13th century. Its distinctive features include a wide array of double lancet windows, a full complement of four gargoyles and a moulded parapet and gable roof with cross, and further cross finials to its east end. Altogether the church has gained grade I listed building status for its architecture. Its south aisle with porch was rebuilt by R. W. Johnson in 1860.
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The First World War Memorial is situated facing the road in a landscaped area within the Apple Tree Creek sports ground which encompasses a cricket ground, rodeo ring and small band rotunda. The memorial comprises a pedestal surmounted by a small concrete obelisk. It is surrounded by an octagonal enclosure of concrete kerbing with a decorative cast iron fence comprising thin pickets with fleur-de-lis finials. The posts are also cast iron and surmounted by Latin crosses.
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It was designed to attract the eye of the faithful from afar and proclaim the glory of Islam. It has well-balanced proportions and a courtyard surrounded by cloisters on three of its sides and the prayer chamber on its western side. The cloisters have engrailed arches supported on pillars. All the bulbous domes have inverted lotus and kalash finials on the top and have narrow zigzag courses of white marble alternated by broad bands of red stone.
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There is also a portal with ornaments and finials on the right. Three Gothic windows, two of which are divided by slender columns, occupy the space between the buttresses, which have gargoyles on the top. On the left of the Mosque there are similar buttresses, and a sort of square turret. The interior was whitewashed and much damaged, but the whitewash was removed in the early 20th century and traces of painting can be seen on the walls.
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The central portion of the facade consists of a ground floor arcaded verandah with a central semi-circular arch leading to the central entrance door. This semi-circular arch is repeated on the upper verandah and is surmounted by a central gabled roof. Timber finials and decorative timber fretwork are at the end of each gable. The internal walls of the Administration building consist mainly of a painted rendered finish up to the dado line with painted brick above.
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The parapet was originally surmounted by finials which are no longer extant. The front entrance of the building, which faces the adjacent Defence Reserve to the northeast, has a raised verandah which runs the full length of the original 1899 structure. The main entrance is located in the centre of the building, and consists of a projecting portico surmounted by a shaped timber gable with the date and title "A.D. 1899 RAILWAY STATION" in raised lettering.
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A decorative lych gate is located at the southeast of the garden, on the corner of Toorak Road and Hillside Crescent. The lych gate has brick piers surmounting rendered retaining walls either side of a flight of concrete steps. The piers support a decorative hipped gable shingle roof, which has terracotta finials at the corners, and curved projecting rafters with shaped ends. Steel gates with a concave top edge are fixed to the garden side of the lych gate.
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The house is built of red sandstone with Bath stone dressings and has a slate roof with Dutch gables. The two-storey north front has seven bays and a central porch with a balcony above it and Doric columns. An internal staircase rises from the east end of the inner hall to the first floor and has decorated covered urns as finials and pendants on the newel posts. The balusters form an arcade in Jacobean fashion.
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Chigi with katsuogi billets, Sumiyoshi-jinja, Hyōgo , or are forked roof finials found in Japanese and Shinto architecture. Chigi predate Buddhist influence and are an architectural element endemic to Japan.Fletcher (1996), page 724 They are an important aesthetic aspect of Shinto shrines, where they are often paired with katsuogi, another type of roof ornamentation. Today, chigi and katsuogi are used exclusively on Shinto buildings and distinguish them from other religious structures, such as Buddhist temples in Japan.
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69 Its most noteworthy features include: cross-beamed ceiling in the parlour which has not been disturbed since the late fifteenth century or early sixteenth century; striking original sixteenth century mullioned and transomed windows; back-to-back stuccoed fireplaces on both floors and chimney stacks of Tudor origin; fine Jacobean dog-leg staircase with turned balusters and newel posts with ball finials. The latter is the last major addition to the house, which remains largely unaltered from the original.
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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.
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The National Color is never dipped in salute, but remains vertical at all times, while the organizational colors and any guidons are dipped as necessary. When the National Color is not cased, all persons salute the Colors. The finial is a nickel or chrome-plated spearhead, though the Navy uses different finials on occasion. Each service attaches campaign/battle streamers, sometimes known as battle honors, for actions in which the service as a whole has taken part.
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As two stories were added to the Scales House in 1596-1603, the shed was enlarged into a warehouse and the entire structure transformed into a Renaissance building furnished with an elaborated stone portal, horizontal sandstone fillets, volutes and finials, and a ridge turret covered in copper. Stone tables on the front gable were painted in blue and furnished with gilded crowns and the inscription "1603". One of these can still be found in the entrance facing Skeppsbron.
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Originally the building was a five-room gabled building which featured a central waiting room with a Station Master's office and parcel office to the western side flanked by a shed and lamp room wing, with a ladies and gents waiting room to the east flanked by a bathroom wing. Historic plans show three brick chimneys and gablet vents and a front verandah to the entry which all still exist. Timber finials to gable ends still exist on the original detached wings.
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The Fort Street Presbyterian Church is an ornately detailed Gothic Revival structure built of limestone ashlar from Malden, Ontario. The facade features a tall square tower with spire on one side with a shorter octagonal turret (modeled after King's College Chapel in Cambridge) on the other. A central stained glass window illuminates the sanctuary. There are seven bays along the side of the church with flying buttresses, crocketed finials, lacy stonework and tall windows, designed to give the impression of lightness.
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No. 33 is mid- Georgian. No. 31 is accessed through two 18th century gate-piers adorned with pineapple finials which open onto a cobbled courtyard in front of the house. The western façade is 19th century and stone; a single-storey, it incorporates a tower, in the centre of which is a 14th-century door, beneath a small pointed window. The rear contains a blend of medieval features, including a 14th-century head of a king, set into a chimney.
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Roman-style amphorae on the parapet, above each pilaster, serve as finials for each bay division. At the northern end of the structure, a concrete port-cochere enclosed by decorative wrought-iron railings projects from the upper-level floor line, creating a side terrace for the upper floor. The house is very simple in plan and elegant in execution. The main entrance accesses a foyer with steps leading up to the major circulation hall through wooden and stained-glass double-doors.
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When the property was put up for sale in 1991, developers expressed interest in demolishing the home, which is in a desirable location and had been heavily modified since Wright's original design. Custom furniture had been removed, and finials and Ionic columns added, in contrast to Wright's Usonian style. The home was purchased by two architecture enthusiasts who restored the home to Wright's plans and built a large addition, designed by Bob Inaba of Kirksey-Meyers, to make the house more liveable.
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Much of the planning occurred in 1929. Church records of tentative specifications for St. Mary's include specific details for a great deal of wood carpentry, including oak and birch wood with oil staining, varnish, and Lammens "Permo" waterproof brush coats, as well as hand made mission tiles for the roofing. Galvanized iron, steel, copper, concrete, and other materials help complete St. Mary's. Finials, decorative addictions at the top of the building's façade, were included as well, made of cast stone.
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Sampson Erdeswick is buried in the church among his ancestors, with a very large elaborate polychrome monument in which his costumed effigy is recumbent below, with two deep-set kneeling female mourners (his wives) in arched recesses over. At either side, columns with Corinthian order capitals support a double entablature in the late Elizabethan style, framing an inscription and (formerly) with obeliskoid finials. The whole is overlain with a copious display of heraldic escutcheons and surmounted centrally by a crest.
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Rochdale Town Hall in 1909 The frontage and principal entrance of the Town Hall face the River Roch, and comprises a portico of three arches intersected by buttresses. Decorating the main entrance are stone crockets, gargoyles, and finials. Four gilded lions above a parapet around three sides of the portico bear shields carrying the coats of arms of Rochdale Council and the hundred of Salford. Rochdale Town Hall is wide, deep, and is faced with millstone grit quarried from Blackstone Edge and Todmorden.
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The Jenks House is a one-and-a-half-story brick structure with a two-and-a-half-story tower. Its distinctive appearance derives from a combination of three architectural styles. The bracketed square entry bay and cruciform roofline are elements of Italianate architecture while the platform porches, oval stained glass window, and mansard roof on the tower come from Second Empire architecture. The steep gables, finials, stone window sills and lintels, and detail on the eaves all signal Gothic Revival architecture.
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It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility".
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A small ledged entry door is located on the north elevation and a pair of large ledged doors opens to the street to the south. Three shuttered windows are located on the east elevation while an awning window and a small ledged door is located on the west elevation where a timber- framed lean-to roof has been added. Simple timber finials adorn each gable end. Internally walls and ceilings are unlined and un-painted and the floor is formed from concrete.
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Prehistoric archaeological finds in Hundheim itself cannot be directly confirmed, but just beyond the eastern municipal limit lie the prehistoric graves and find sites in the municipal areas of Wolfstein and Lohnweiler. Nevertheless, found at the Hirsauer Kirche near Hundheim are many spolia from Roman times. Possibly the best known of these is a relief showing a sword fighter (42 × 39 cm) in the nave’s south wall. At the church’s southwest corner is a sandstone block with finials on it (1.22 × 0.35 m).
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The red brick church, in neo-classical style, has an unusual square plan with four corner turrets topped with domes and finials. It houses an organ built by Thomas Parker, to specifications outlined by Handel in 1749, for his librettist Charles Jennens. Jennens' home Gopsall Hall, has not survived, but the organ passed to his relatives the Earls of Aylesford.Warwickshire Packington Hall, Estate Chapel of St. James N05888 The instrument was filmed and recorded for the documentary The Elusive English Organ.
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The Wiggin family transferred the ownership of the Hall and an acre of land to the National Trust in 1962, and it was opened to the public in 1963. The Hall was nearly empty of furniture at the time; most of the furniture and pictures in the Hall have been subsequently lent or given to the Trust. In 1981 the roof and brickwork were repaired, and the bargeboards and finials were replaced. It is now fully restored, and furnished with donated period furniture.
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The 1887 bridge was very ornate, featuring finials on each top corner and a band of scrolls, crosses, and lines between them. The horizontal struts and guard railings used X-shapes as a pattern. In 1950, the bridge was raised 20 feet to allow barges and larger boats to pass underneath. The old bridge was removed in 1985, but a single span of the bridge lives on as the Merriam Street Bridge that connects Nicollet Island to the St. Anthony section of Minneapolis.
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Spring House Gazebo with Mirror Lake in background The Spring House Gazebo is a historic gazebo of Eden Park within Cincinnati, Ohio, in the United States. Designed by architect Cornelius M. Foster and completed in 1904, it is the oldest enduring park structure in the Cincinnati municipal park system. As an icon of the entire park system, it appears in the logo of the Cincinnati Park Board. The gazebo was constructed in the Moorish style, with brightly painted arches and ball finials.
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Hockley, also known as Erin and Cowslip Green, is a historic estate located near Gloucester, Gloucester County, Virginia. The core of the main house was built about 1840, then added to in 1857, and modified to its present form in 1901 and 1906. It is a 2 1/2-story, five bay, frame dwelling on a brick foundation. The front facade features two flanking two-story, 12 feet in diameter, octagonal towers, each with original copper finials at the peak.
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On the inside the lobby has stairs to the gallery, with delicate square newels topped by spherical finials, on each side. At the rear of the church is a platform with a walnut pulpit and three matching Gothic Revival pulpit chairs in front of a trompe l'œil painting of an alcove. Italianate detailing is evident in the pillars and balustrade of the choir loft. The woodwork has been meticulously grained by the same local painter who did the rear wall painting.
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High-quality sculptural work is one of the most important monuments of Gothic sculpture of the pre- Hussite period in our country. The pair of towers is topped with richly decorated cantilevered Late Gothic octagonal helmets, which are complemented by a gallery, four corner turrets, and even more brilliantly halfway through another four decorative turrets. There is a Gothic gable containing the Baroque relief of the Madonna, that is surrounded by richly decorated rows of finials, in between the towers.
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Historic Humboldt Park Stables. Originally completed in 1895 by Chicago architects Frommann and Jebsen, the Humboldt Park Stable and Receptory is listed on the National Register of Historic Places and is a Chicago Landmark. The building's design highlights the Germanic character of the neighborhood in the 1890s and is a fanciful creation of various roofs, finials, brick, and half-timbering. The Institute of Puerto Rican Arts and Culture has a 15 year lease that began in May 2006 and expires in 2021.
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It is in Yorkshire stone and has a slate roof. The library has one storey, a front of three gables with ball finials, a central porch with an arcaded parapet, an elliptical-headed doorway, and mullioned and transomed windows with elliptical heads and hood moulds. The museum and art gallery have two storeys, a four-bay central block, a three-bay gabled block to the right, and a diagonally-set gabled block to the left. On the gables are panels of carved figures.
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The original cottage (1888) was front four rooms only with an attached service wing to the rear with two fireplaces (only one survives). Now it is a three bay gabled cottage on north-south axis facing east to Falls Road, extended south -20 with a dining room (with decorative pressed metal walls and ceiling), to five bays. Corrugated galvanised steel roof with fretwork barge boards in clubs and diamonds pattern and finials and exposed collar tie to gables. 3 no.
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The building has buttressed walls, pointed arched tracery windows, and rosette windows to the gable ends. The street elevation has a recessed entry with floriated colonnettes surmounted by a large tracery window and small lancet windows. The building is decorated with white cement render to copings, cornices and window surrounds; it also has stone hood mouldings, beige brick voussoirs, a dado with quatrefoil motifs and a rendered plinth. The gables and turrets to the Brookes Street end are topped with small finials.
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Main façade The hall is neo- Elizabethan in style. It is constructed on an asymmetrical plan consisting of two storeys and five bays, of yellow sandstone ashlar cladding with a slate roof. The corner tower has a wedge-shaped pavilion roof, reminiscent of a Loire Valley château; it is tiled in shaped green Westmorland slates. The projecting entrance porch is Corinthian in style, featuring a semi-circular arch and fluted pilasters supporting a first-floor balcony with ball finials to the balustrade.
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The former Boys' School building displays many of the original design features such as steeply pitched roofs, decorative finials and brackets at the end gables and diagonal boarding on the verandah ceilings. The grounds also contained a play shed, common in the Ferguson era, still standing today. After the erection the Boys' School the girls continued to occupy the original 1861 school building. During the floods of 1893 the Girls' School was used for accommodating people who had lost their homes.
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The two school complexes are of aesthetic significance, the brick buildings creating a visually consistent composition unobstructed by recent buildings and framed by mature trees in the school grounds. Both the brick and the earlier timber buildings are significant for their architectural composition and detailing e.g. the steeply pitched gabled roofs, timber brackets and finials, diagonal boarding and variety of window types. The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.
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Outside the church are two associated structures, both of which are listed at Grade II. At the entrance to the churchyard on the north side is a lychgate dated 1855. It consists of a stone base with octagonal stone piers and timber posts supporting a slate roof. The ridge of the roof consists of pierced tiles, and on the gables are cross finials. To the northwest of the church is a hearse house constructed in stone with a slate roof.
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There are square headed windows on the ground floor, and arched windows above. The house is topped by a low pitched slate roof to give a castle-like feel on approach, behind parapets with balustrades and urn finials. There is also a tall belvedere tower rising at the rear. Remodelling the gardens, behind the house sat a kitchen garden with pergola and associated small orchard, with access to glasshouses, stables and coachhouse beyond (now converted to council offices and storage).
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The elaborate carvings over many of the openings are similar to the stylized motifs found elsewhere on the building. The walls terminate in a Corinthian entablature consisting of an elaborate frieze, dentil course, and bracketed cornice. The red pantile roof with tile cresting and ornamental ball finials was manufactured by the well-known Ludowici Roof Tile Company. One particularly imposing feature of the building is a 150-foot marble bell tower rising from the north center of the original 1899 building.
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After the new parsonage was built in 1910, this building was used as a community center. The cemetery is about in size, and is bounded on three sides by a low stone wall, believed to date to 1733, and on the fourth by the Piscataqua River. An iron gate, mounted on concrete posts with round-arch panels and finials, was added to the north entrance in 1910. Burials in the cemetery date from the mid-18th to mid-20th centuries.
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The building has sash windows and French doors open onto the verandahs with exposed windows having timber shutters. A brick cellar is located on the southern side, a carport is attached to the southwest and a separate rendered masonry garage with a corrugated iron gabled roof and decorative timber finials and bargeboards is located to the west. The grounds include a lawn tennis court to the north, mature trees to the west and south and a stone embankment to the northeast.
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There are carved bargeboards, finials and a lancet ventillator to the gable ends, three-light square-headed windows and iron lace, columns and balustrades to the verandahs." And as being "Built 1876 for Henry Hocken Bligh (1826-1904), former Mayor of Willoughby (1869-70) and husband of Elizabeth Shairp, granddaughter of James Milson. The Blighs lived at No. 16 and owned other properties in the area. It was sold in 1911, through various ownerships until acquired by the Council in 1974.
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The plan of the building is a tower in the west, nave, south porch, chancel, north-eastern chapel and northern wing. The church is built of roughly coursed grey rubble with grey or yellow ashlar dressings and has a slate roof with stone apex finials. The large and defensive west tower has wide-angle buttresses at each corner and a saddleback roof with embattled and corbelled parapets only on the northern and southern sides. The stone-tiled coping is topped by a weathervane.
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The parapet top culminates in a central pediment shape and is surmounted by three concrete pineapple finials. The shopfronts retain their original shape and configuration, although the glass and kickplates are replacements. An interesting feature of the shopfront level is that the piers are coated with concrete which is lightly scored to resemble cut stone. The rear and north side of the building feature segmentally arched openings, most of which have been bricked in, although the outlines are clearly visible.
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A striking feature of the Fuller Houses is the two-story circular porch on the southwest side. The porches are almost removed from the building and topped with a conical roof and ornamented with Queen Anne-style spindle. The exterior walls of the houses are clapboarded and the tops of the gables have simple metal finials. For the National Register of Historic Places nomination, only the interior of one of the four units was surveyed, the second floor interior of 341 Broadway.
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Cadw describes the set of mid- and later 18th-century furniture as being "exceptional". The oak altar is enclosed by communion rails on three sides; the rails are supported by slender balusters and on the corner posts are finials. In the southwest corner of the chancel is an oak pulpit and a reading desk over which is a sounding board. The seating in the nave, chancel and transept consists of box pews and benches, some of which are inscribed with initials and dates.
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The left half of the school's crest incorporates the red cross of England and the five golden pineapples that is to be found on Jamaica's Coat of Arms. The pineapple symbolizes justice, trust and honour, and each pineapple plant gives its own life to produce a single fruit. Around 1681, Sir Christopher Wren had begun using pineapple finials on churches and since then, the fruit has been recognized as a Christian symbol. The pine cone has a long-held imperial significance.
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The parapet features rosettes above moulded string courses supported on paired plaster corbels. Several rendered finials are placed along the parapet, with a slightly larger feature one on each elevation emphasising the principal entrance from that side. The building rests on a rendered masonry base, though which ventilation holes are punched. The cantilevered verandah, extending the entire length of the principal facades, has a bull-nosed awning supported on reeded cast iron columns, and featuring cast iron frieze and brackets.
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The courthouse is a 2½-story structure built on a raised basement. Constructed of red pressed brick, the building is a combination of the Romanesque Revival and the Chateauesque styles. The Romanesque is found in the entrance portals with their rusticated stone and round arches, the heavy rock-faced stone beltcourses, and the round-arched windows on the second floor. The Chateauesque is found in the steeply-pitched roofs and the steeply-pitched gables with finials on the various towers.
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The north front Designed by Charles Barry in 1851 to replace a house previously destroyed by fire, the present house is a blend of the English Palladian style and the Roman Cinquecento.Crathorne 1995, p. 29 The Victorian three-storey mansion sits on a long, high brick terrace or viewing platform (visible only from the south side) which dates from the mid-17th century. The exterior of the house is rendered in Roman cement, with terracotta additions such as balusters, capitals, keystones and finials.
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These are frequently seen on top of bed posts or clocks. Decorative finials are also commonly used to fasten lampshades, and as an ornamental element at the end of the handles of souvenir spoons. The charm at the end of a pull chain (such as for a ceiling fan or a lamp) is also known as a finial. During the various dynasties in China, a finial was worn on the top of the hats civil or military officials wore during formal court ceremonies.
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The first five articles of the constitution discuss General Provisions. Article One asserts that Cyprus is an independent republic with a President and that the President and Vice President must be Greeks and Turks respectively. Article three asserts that the official languages of the Republic of Cyprus are Greek and Turkish, and that all officials documents must be published in both languages. Flags of Greece and Cyprus being flown on flagpoles with cross finials in front of Agioi Anargyroi Church, Pafos.
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John Thomas The exterior walls of the two-storey main building are painted, coursed and square stone. The hipped slate roof has three gabled dormers and red-tiled decorative cresting with finials. The later wing has a similar roof, albeit with two paired sets of dormers on either side of the front wall stack, although the walls are roughcast rendered with smooth rendered dressings enriched with some terracotta. Two doors with radial fanlights lead inside from the central Corinithian portico porch.
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Gustave Greystone-Meissner House, also known as Greystone and Evergreen Hill, is a historic home and national historic district located near Pevely, Jefferson County, Missouri. Greystone was built about 1845, and is a two- story, asymmetrical plan, Gothic Revival style frame dwelling. It sits on a limestone block foundation and measures 48 feet, 1 1/2 inches, wide and 39 feet, 1 inch deep. It has a steeply pitched gable roof with dormers and features Carpenter Gothic wood cut-work, finials and drops.
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The Pressey-Eustis House is a historic house in Winchester, Massachusetts. The 1-1/2 story wood frame house was built in the early 1850s, and is a fine local example of Gothic Victorian decoration. It has an L-shaped layout typical of the period, with a porch at the crook of the L. Its most distinctive features are the vergeboard featuring an unusual acorn pattern, and the finials at the gable tops. George Eustis, town treasurer 1910–24, lived here from c.
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The building is in red brick with ashlar dressings under a slate roof. It is cross shaped in plan, with both single- and two-storey portions. The main (lake-facing) front has a single storey with seven symmetrical bays, a central three-bay projection to the front, and pavilions to each end. The bays of the main face are separated by pilasters topped with stone finials, and the face is surmounted by a parapet with battlements; there are pinnacles at the corners.
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On the octagonal top of the tower is a flat dome flanked by finials, which has been described as Indio-Persian.Arkitekturmuseet Also characteristic for Boberg is the use of ornamentation. It is lavishly applied around the main entrance and along the pavements, its motifs — Swedish coat of arms and homing pigeons — are derived from the activities in the building or — pine twigs and various small animals — from what at the time was regarded as typical Swedish (i.e. a love of nature).
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These were developed to the southwest of the hall between 1840 and 1860. They implemented their designs apparently without any professional help, and the present gardens are largely the result of their planning. The herbaceous border was one of the first of its type to have been created in England. Items they planted which are still present include the yew finials in the herbaceous border, which were planted in 1856, and the holly oak cylinders in the Ilex Walk, which were also planted in the 1850s.
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The pretty Tudor revival style is reminiscent of > contemporary churches and schools designed by the same architect, then > County Surveyor of Antrim. The middle and wing bays of the symmetrical five- > bay front project slightly and have tall double-shouldered gables with > curious finials like inverted gate posts. Beneath the datestone the central > front doorway has a four-centred arch, recessed surround, and a hood > moulding with big cabbage-like bosses all dulled by dark paint. The > intermediate bays have square windows with plain chamfered frames.
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The interior of the house has been left as it was in the 1950s. Some of the buildings have carved ball finials on the gable ends as per the architectural fashion of the time. The finial can also function as a lightning rod, and was once believed to act as a deterrent to witches on broomsticks attempting to land on one's roof. On making her final landing approach to a roof, the witch, spotting the obstructing finial, was forced to sheer off and land elsewhere.
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The octagonal pyramidal roof at the top is tall and includes the 35th through 40th stories. The 35th floor is slightly set back from the 34th floor; it contains arched window openings, finials between each window bay, and a parapet. The roof itself consists of 25,000 gold-leaf dipped terracotta tiles produced by Ludowici, with a fineness of 22 karats. The roof was originally gold leaf on a copper base, but due to copper corrosion, the roof was subsequently renovated in 1967 and 1995.
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The exterior is polychrome and was constructed from brick, terracotta and faience. The ground floor has a full- width tiled fascia continuing along to the neighbouring building; this 20th- century alteration may conceal earlier detail. The arcaded first floor has sash windows with sloping sills in the Gothic faience arcade, clasping rings and crocket capitals to the nookshafts, alternate block jambs, raised pointed arches and roll-moulded dripstring. The ogee window heads have fleur-de-lys finials in front of lozenge-patterned terracotta spandrels.
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The waterside landscape represents a garden in the lower right side, in which a large two-storey pavilion stands. Approached by steps, the lower storey has three large pillars with arched windows or openings between. The roof and gable, shown in three-quarter perspective, is surmounted by a smaller room similarly roofed, and there are curling finials at the gables and eaves. It is surrounded by bushes and trees with varied fruit and foliage, including a large tree rising behind with clusters of oranges.
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The church façade is of barn-style Baroque, a style that has been described as typically found in most Spanish-era churches in the Philippines. It features side pillars capped by urn-like finials, pilasters that divide the façade into five segments and cornices that divide the expanse of the wall into two levels. The pediment is semi-arched and ends into two small volutes before tapering down to the sides. It is adorned by a framed saint's niche flanked by two hexagonal windows.
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Noticeable features are the rose window, embattled parapets and elaborate finials. The hall remained in the Dearden family for several generations until it was divided into three dwellings in the early twentieth century, with the main hall boarded over to provide extra accommodation upstairs. In 1949 the house was purchased by the Sugden family, owners of a brass foundry in Halifax, who restored the building to its previous condition, opening up the main hall and replacing the panelling, the balustrade, the minstrel gallery and other original features.
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Above them all is a large tympanum, an arch filled with concentric arches of brick. It was designed by J. Mandor Matson, a Norwegian immigrant who practiced in Racine. The style is classed as Art Deco, but the United Laymen probably saw the Trinity in the three circles within the large circle, and they probably saw candles in the pilasters topped with finials, perhaps representing their mission to be a light to the world. The Racine Bible Church occupied the building until 1961 or 1962.
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The floor is tiled with azulejo and the walls have been preserved with some alterations. The five-storey square belltower with a conical roof and ballustrated windows on each polygonal level is connected to the langit-langitan, a cat-walk above the ceiling which leads to the crossing over the transept. The belfry has arched windows each with a bell trimmed with finials and a large antique bell on top. It also has a large side door on the right side of the church.
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Its lower finial is called a hang hong, which usually takes the form of a Nāga's head turned up and facing away from the roof. The Nāga head may be styled in flame-like kranok motifs and may have multiple heads. A roof with multiple breaks or tiers has identical hang hong finials at the bottom of each section. Perched on the peak of the lamyong is the large curving ornament called a Chofah, which resembles the beak of a bird, perhaps representing Garuda.
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The simple wood frame building measures 19 by 26 feet, with wooden steps leading up to a raised floor with a balustraded verandah that wraps around the sanctuary. Long eaves of the irimoya (hip-and- gable) roof extend over both the front steps and the verandah. The sanctuary is enclosed by sliding doors with latticework tops and contains an inner altar behind a bell rope and a box for offerings. The building has been carefully restored but still lacks the chigi (forked finials) above the ornamental ridgepole.
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The added wings were completed in face brick with plastered window dressings, bay windows, elaborate timber bargeboards with finials, Victorian brick chimneys and a decorative Gothic side porch on the western elevation. The gabled roofs are sheeted with corrugated iron. Macquarie Grove is complemented by outbuildings (a cottage residence/nursery and garage/studio) that enclose the rear garden. The property contains a number of significant cultural plantings including an established white cedar tree (Melia azedarach), Common holly tree (Ilex aquifolium) and mature camphor laurel tree (Cinnamomum camphora).
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A decorative gabled roof with adorants within the pediment and nagas-finials as depicted on Bayon's bas relief. This triangular gabled roof is almost identical with today Khmer architecture of palaces or pagodas. As the Khmer temples were usually built from brick, sandstone, and laterite, the royal residences of the Khmer courts were mostly built in wood and from other perishable materials where they are not preserved until the modern time. These brick or stone temples once were surrounded by wooden settlements that perished through times.
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During World War I the crescent was frequently painted by Walter Sickert. An unexploded bomb which had been dropped during the Bath Blitz of World War II was discovered in 2016, which required evacuation of the residents while it was made safe and then safely removed. In 2016 decorative finials from the railings in front of the houses, which had been removed and melted down during World War II were replaced after public fundraising. The grass in front of the crescent is sometimes used to graze sheep.
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The remaining ground floor areas are substantially altered from original form. The building has a dog leg stair, rising from a ground floor hall off the Logan Road entrance, in which a plaster archway supported on reeded piers separates the stairwell from the entrance. The stair features turned and moulded newels, surmounted by globular finials, and turned balusters. The upper floors retain their early layout, with rooms accessed from wide corridors, of timber floors and plaster ceilings, featuring elaborate cornices, ceiling roses and plaster archways.
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There are some obvious differences between the original construction of the building and its restoration, probably owing to cost. The large chimneys were not kept for the restoration, although the fireplaces were kept, and the spire is no longer on the building. According to current members of the school community it may have fallen off the building in 1967. There are also some ornamental differences, such as the decorative finials that once lined the top of the roof and were not included in the restorations.
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The entablature comprises a simply moulded architrave, a more elaborate cornice with dentils and a recessed frieze on which the dates 1914 - 1918 are carved in relief. Surmounting the entablature are three sandstone steps on which rest a carved sandstone Celtic cross. The gates have four rough-cut coursed sandstone pillars, high, the outer two of which are surmounted with marble globelike finials. Marble name plates with leaded lettering give lists of those from the district who fought in the First World War and returned.
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Boondah is a single-storeyed weatherboard house with a corrugated iron gabled roof. The building sits on concrete stumps with timber batten infill and is sited on a ridge with the ground sloping to the northeast. The symmetrical north elevation has two corner octagonal ogee shaped cupola's with tall timber finials and a central front entrance porch with a projecting gable roof. The building has verandahs with corrugated iron skillion roofs to the north, east and west which encircle the octagonal shaped corner bays.
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Under the auspices of the National Park Service, he worked on restoring or replacing a number of the almost 200 historical commemorative stones that line the granite interior of the Washington Monument. For the Smithsonian Institution, Seferlis worked on renovating the façade of the emblematic Smithsonian Castle; carved exterior gates and finials; and restored the statue of St. Dunstan donated to the Institution by Westminster Abbey. The fountain in Dupont Circle depicting the seas and the stars. The wind is on the north side.
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Christ Episcopal Church is located within Raleigh's Capitol Area Historic District, just east of the North Carolina State Capitol at the southeast corner of East Edenton and South Wilmington Streets. It is a generally cruciform structure, built predominantly out of rough-cut stone that is varied in color, with dressed stone at the corners and openings. It has a red tile roof that is topped by cruciform finials at the gable ends. The walls are buttressed at the corners, and separating the bays on the long axis.
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The western elevation has a central projecting gable, to which the verandah is terminated, with the kitchen wing projecting to the north. The rear of the building has enclosed verandahs, and a large single-storeyed addition on the northeast. The roof has timber eave brackets and a central ventilator, and the projecting gables have timber finials and diagonal boarding over pressed sheeting. The verandahs have timber posts with timber capitals, timber handrails and cast iron balustrades to the projecting bay sections and entry, and cast iron brackets.
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Cunningham & Waterhouse, p. 165 When using the material he used either Andrew Handyside and Company or J.S. Bergheim, both of whom supplied the iron for Manchester Town Hall.Cunningham & Waterhouse, p. 166 He was more at home using decorative wrought iron, especially for balustrades, iron screens and gates, finials and other decorative uses of the material.Cunningham & Waterhouse, p. 167 Waterhouse was a great enthusiast for the use of brick, especially as the abolition of the Brick tax in 1850 had lowered the price of the material.
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There are three symmetrically placed entry porches at the front Vulture Street facade, with roof forms and bargeboards shaped to the profile of a cupola and surmounted by ball and cross finials. A three-sided apse is centrally located at the rear. The square tower houses a choir space directly above the main entry, and a belfry above that, accessed by a series of simple timber ladders. Above the altar and centrally placed in the main roof is a smaller six-sided tower and cupola.
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Four structures in the grounds around the hall are recorded in the National Heritage List for England as a designated Grade II listed buildings; Grade II listing means that a building or structure is considered to be "of special interest". The 17th-century gatehouse is constructed in brick with ashlar dressings and a stone slate roof, in two storeys and three bays. The gate piers date from the late 17th or early 18th century. They are in painted ashlar surmounted by 20th-century ball finials.
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In the churchyard are two structures also listed at Grade II. At the entrance to the churchyard is a lychgate dating from 1911, consisting of an oak frame on low stone plinth. It has a green slate roof that has ornate bargeboards and finials. Inside the churchyard and overlooking the road is a war memorial dating from 1920. This is in sandstone and consists of a Celtic cross decorated with vine patterns and inscribed with the names of those lost in both World Wars.
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Most of the medieval stonework, is made from limestone taken from quarries around Dundry and Felton with Bath stone being used in other areas. The two-bay Elder Lady Chapel, which includes some Purbeck Marble, lies to the north of the five-bay aisled chancel or presbytery. The Eastern Lady Chapel has two bays, the sacristy one-bay and the Berkeley Chapel two bays. The exterior has deep buttresses with finials to weathered tops and crenellated parapets with crocketed pinnacles below the Perpendicular crossing tower.
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The Albert is a four-story building constructed of yellow brick with red brick dressings and stucco trim. It is three windows wide facing Victoria Street, and five window deep with a two-storey, three-window extension. The original canted ground floor frontage is central paneled with glazed doors and flanking windows framed by granite pilasters carrying fascia, cornice, and baluster with ball finials. The return features coupled pilasters with small pediments over the cornice than runs across the full extent of the ground floor.
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Of particular note are the two stone finials and the stone block and date carved above the door. The Lower Hawkesbury Wesleyan Chapel is therefore a rare example of places of worship for the Wesleyans in the Lower Hawkesbury area in the nineteenth century. As the oldest intact usable stone chapel of this era in the area it is a rare example of its purpose. The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.
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The awning is supported on curved cast iron brackets and has been extended to the east where it forms a large sheltered seating area adjacent to the ticket office. The roof form of this enclosed seating area follows the form of the station building. Three brick chimney stacks with corbelled string courses are located at the northern end of the station building. Both ends of the station have retained their original timber scrolled bargeboards and finials which add greatly to the otherwise utilitarian structure.
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The missing finials represent the need for higher education. The tower is also the meeting place for the executive board of the Michigan State University Tower Guard. The Tower Guard, founded in 1934 by May Shaw, the wife of former MSU president Robert Shaw, is MSU’s oldest and one of the most respected student organizations on campus. It was originally a female honor society that was a service-oriented organization which would help to serve the needs of visually impaired students at Michigan State University.
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The church is built in red sandstone with a roof of Welsh slate in late Perpendicular style. The plan consists of a five-bay nave and a chancel in one range, a north aisle with a chapel at its east end, and a south porch. The tower has two bands and a cornice with a castellated parapet and crocketed finials. The porch, which was added in the 16th century, has grooves into which barriers could be inserted to prevent livestock from entering the church.
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It is located on the north-western corner of Bridge Road and the Great Western Highway, with its principal facades facing these roads. Its site is elevated and in combination with the house's high ceilings and steep roof, this gives it prominence in the local area. The house's original block - a late Victorian/Federation building with "Italianate" and "Gothic" elements - was L-shaped with gabled roofs finished with timber bargeboards and turned finials. Walls are polychrome brick and the building has a slate roof.
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North east of the original reservoir is located the original engineer's residence. It is a late Victorian brick residence using glazed cream brick and understood to be single storey originally with the first storey added soon after. To its second storey addition are original joinery, and detail is to that period including, verandahs and marseilles pattern terracotta tiles with decorative terracotta ridge caps and finials which are more reminiscent of the Federation period. The side walls are painted although a rear utilitarian wing remains unpainted.
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Doors and windows are panelled with decorative architraves and sills, similar in design to rendered details on brick buildings from the period. A corrugated iron roof with timber fretwork gables with decorative finials to flying gable ends is a distinctive feature of the building. Two brick chimneys with corbelled tops are extant. Internal: The internal original layout of the building as well as a number of original finishes remain, however the Station Master's office together with the parcels office (at the Sydney end) have been reconstructed after the 1985 fire.
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The Knole settee (sometimes known as the Knole Sofa) was made in the 17th century. It is housed at Knole in Kent, a house owned by the Sackville-Wests since 1605 but now in the care of the National Trust. It was originally used not as comfortable sofa but as a formal throne on which the monarch would have sat to receive visitors. It features adjustable side arms and considerable depth of seating, it usually has exposed wooden finials at the rear corner tops, and some exposed wood may be present on the otherwise arms.
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The stable/coach shed, store, gardeners cottage, shed have similar drop board walls, weatherboard clad gables, scalloped bargeboards and finials. The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales. Daniel H Cudmore was an early innovator in water management and established irrigation areas around the homestead. This early establishment of irrigation is of state heritage significance as it may provide an opportunity for research on the history of water management and irrigation on the Darling and Murray Rivers.
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The Kane Cottage is set on a nearly parcel of land on a bluff overlooking Frenchman Bay, near the village of Bar Harbor. It is a large 2-1/2 story structure, built of stone through the first floor, and of wood frame construction finished in the half-timbered Tudor Revival style on the upper floors. It is roughly L-shaped with a complex cross-gabled roof configuration. Gable ends are typically decorated with vergeboard and pendants below the roofline and finials above, and the eaves of the roofline are flared.
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Finials at the cornice The pavilion was designed by Rudolph Clausen from the architectural firm of Clausen & Kruse. The firm also designed other historic buildings in Davenport including the Democrat Building, the Forrest Block, Scott County Savings Bank, The Linograph Company Building, and the Davenport Municipal Stadium (now known as Modern Woodmen Park). The music pavilion is located just to the east of the stadium along the riverfront. The inspiration for the pavilion was Harrison Albright's Spreckels Music Pavilion (1915) that was built for the Panama–California Exposition at Balboa Park in San Diego.
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Most of the rooms in the priory are dated to the 16th century and late 19th century during the Coleman renovation. The entrance hall has a great hooded stone fireplace which bears the date 1900. The right wing features intricate moulded plaster ceilings, seen in the dining room and first floor rooms. The interior of the left parlour contains panelling and a fireplace dated to the 16th century on the ground floor A Gothic style staircase with crockets and lion finials leads up the first floor, which contains bedrooms with moulded ceiling beams.
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The structure's horizontally oriented massing was broken by an engaged central section at the main entrance and two other similar treatments at the end portions. An art deco relief, bud-like finials, and a tableau embellished the stepped pylon at the entrance. The Engineering and Architecture Building, now called Roque Ruaño Building was built in 1952, designed by Julio Victor Rocha, initiated the application of the Niemeyer-inspired brise soleil in local buildings. The façade of the three-storey building displayed a continuous sun breaker that protected its second and third-storey windows.
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Most often these necklaces were ornamented with blue or green enameled rosettes, animal shapes, or vase-shaped pendants that were often detailed with fringes. It was also common to wear long gold chains with suspended cameos and small containers of perfume. New elements were introduced in the Hellenistic period; colored stones allowed for poly-chromatic pieces, and animal-head finials and spear-like or bud shaped pendants were hung from chains. Ancient Etruscans used granulation to create granulated gold beads which were strung with glass and faience beads to create colorful necklaces.
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Three Classical orders (Greek Doric, Roman/Composite and Corinthian) are used, one above the other, in the elegant curved facades. The frieze of the Doric entablature is decorated with alternating triglyphs and 525 pictorial emblems, including serpents, nautical symbols, devices representing the arts and sciences, and masonic symbols. The parapet is adorned with stone acorn finials. When viewed from the air, the Circus, along with Queens Square and the adjoining Gay Street, form a key shape, which is a masonic symbol similar to those that adorn many of Wood's buildings.
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Another view, showing porch The former bank is a detached single-storey building in Jacobean Revival style, set back from the street behind railings.Stevenson, p. 40 In red brick under a slate roof, it has decorative blue-brick diapering and stone dressings on the Welsh Row (front) face. The central bay of the front face projects slightly and has a prominent shaped gable, finished with a stone coping and three triangular finials; the gable contains a circular stone moulding, formerly a clock face, and a stone plaque inscribed "Savings Bank erected A.D. MDCCCXLVI".
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It complemented the architecture, with finials and balls. It was replaced in the early 20th century and that was demolished during the 1950s.Paul Dillon and Geoff Coxhead, "Bank Hall, Bretherton, Lancashire", 2004 A pond to the west of yew avenue was drained by the army during World War II. Sycamore trees that grew in the silt were cleared to create a sunken garden planted with native flowers, ferns and snowdrops.Bank Hall Action Group, "Bank Hall News Letter, Autumn 2009", 2009 To the south of the pond is a fallen Sequoia.
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The Gothic Cottage is in a rural setting of northeastern Suffield, set well back (across a field) on the west side of Mapleton Avenue. It is an L-shaped wood frame structure, 1-1/2 stories in height, with a steeply pitched gable roof. Its exterior is clad in vertical board siding, and its gables are adorned with carved bargeboard, with finials and pendants at the peaks. Windows are generally long and narrow with lancet-arch tops, set in groups of one, two, or three, with drip-moulding surrounds.
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It has four finials on its lid, the figure of Dionysus flanked by aroused satyrs, and love scenes of Heracles and Iolaos. The catalogue of his own collection of ancient Roman mercantile sealings stamped in lead was written by conte C. Gaetani and doubtless published at Ficoroni's expense.Piombi antichi mercantili... Dissertazione... chi servir potrebbe Appendici ai Piombi antichi del Signor Abbate F. de' F. (Rome, 1740); it was translated into Latin as De plumbeis antiquorum numismatibus dissertatio, by Domenico Cantagalli [Rome, 1750]): Cole and Pollen; (De Plumbeis Antiquorum...). He died in Rome.
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The north, east, and west sides of the houses have gables and recessed arbours that have arches supported by oak posts. The doorways are constructed from arched oak frames and doors; the doors in the quadrangle have moulded hoods supported by carved corbels. The walls are of sandfaced brick, with handmade red roof tiles, oak window frames with iron casements and lead window glazing. The stone used for the copings, piers and finials is Cotswold stone, a yellow, oolitic Jurassic limestone, that was mined at Temple Guiting quarry, in Gloucestershire, England.
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Caldwell Hall occupies a central position on the campus of the University of Arkansas at Pine Bluff in Pine Bluff, Arkansas. It is a large, T-shaped two- story brick building with Late Gothic Revival features, which was built in 1928 to a design by the noted Arkansas architectural firm Thompson, Sanford, & Ginnochio. Its central entrance section has Art Deco features in stone panels above the entrance, and fluted stone piers that rise to streamlined finials. The building was listed on the National Register of Historic Places in 1982.
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On a red ground of the shield, on green grass soil, there stand two silver towers built from cut foursquare stones with a box window and cross frame inside. They have four block merlons and a blue pyramid roof with a gold finial. Between both towers, there is a church with a small tower, depicted abeam to the right side of the shield. It is built of cut silver foursquare stones, blue roof and two simple golden crosses erected on both ends of the roof on golden finials.
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This space was accessible to the public and was referred to as the "plateau" in Waters' design proposal, and as the "roof garden" by staff members. During World War I musicians used it as a stage for patriotic performances. Along the Spence and Lake Street sides the roof was protected by an ornamented parapet incorporating finials, arches, and balustrades of interlocked concrete circles. The building was installed with an electric passenger elevator, the first to be included in any building in Cairns, and among the earliest examples of this technology in North Queensland.
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It is surrounded on the south and west sides by an ornamented parapet incorporating finials and arches, and on the north and east sides by a plain parapet. Below the ornamented parapet runs an eave supported by closely spaced corbels. Projecting from the roof is a centrally located elevator house comprising a square-based tower and projecting wing, and a tower for the freight elevator shaft on the northeast corner. Internally the building consists of series of shops of various sizes on the ground floor and business offices on the first floor.
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Like many Elizabethan mansions, Barrington is built in an 'E' shape with large projecting wings with square projections that contain staircases. The house is not truly symmetrical as the hall has two lights and the buttery one. The south front has seven gables supported by octagonal buttresses and decorated with twisted finials with ogee scale-work caps and English Crockets. Its central entry porch leads into a screens passage with the hall on the left and, an innovation, a service passage leading to the kitchen wing that occupies the right wing.
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The School also operates the Elmer H. Grimm Sr. Pharmacy Museum, which opened in the fall of 1996. Located on the fourth floor of Salk Hall, the museum holds pharmacy memorabilia such as drug products, equipment, and sundry products dating back to the early 20th century. Among the museums possessions are two hand-carved finials, which were often found over the door or partitions that separated the main art of the pharmacy from the back room where pharmacists did most of their work, an old- fashioned powder mill, and a konseal machine.
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The basement provided accommodation for a caretaker, and the library frontage was set behind a low stone wall with wrought-iron railings and six stone piers supporting spherical finials. Shelving throughout the library was of pitch pine. The building was constructed by building contractor James Holloway, who tendered £5,600 for the job. A foundation stone was laid on 2 May 1889 by John Lubbock, 1st Baron Avebury, and work proceeded quickly, albeit Holloway died in 1889 before completion, and his executors arranged for his brothers' construction company, Holloway Brothers (London), to complete the project.
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Otto J. Maenchen-Helfen notes that the statuette displays clear Europoid features. The Ordos are mainly known from their skeletal remains and artifacts. The Ordos culture of about 500 BC to AD 100 is known for its "Ordos bronzes", blade weapons, finials for tent-poles, horse gear, and small plaques and fittings for clothes and horse harness, using animal style decoration with relationships both with the Scythian art of regions much further west, and also Chinese art. Its relationship with the Xiongnu is controversial; for some scholars they are the same, and for others different.
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The cast iron columns, in diameter, were filled with concrete for stability at intervals of , and supported by struts that were on average were slightly more than thick. The pier's promenade deck is lined with wooden benches with ornamental cast iron backs. At intervals along the pier are hexagonal kiosks built around 1900 in wood and glass with minaret roofs topped with decorative finials. On opening two of the kiosks were occupied by a bookstall and confectionery stall and the kiosks near the ends of the pier were seated shelters.
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Some Venetian glass chandeliers have little finials hanging from glass rings on the arms. Hoop A circular metal support for arms, usually on a regency-styles or other chandelier with glass pieces. Also known as a ring Montgolfière chandelier Chandelier with shape of "montgolfière", the early French hot air balloon Moulded The process by which a glass piece is shaped by being blown into a mould Neoclassical Style chandelier Glass chandelier featuring many delicate arms, spires and strings of ovals rhomboids or octagons. Panikadilo Gothic candelabrum chandelier hung from centres of Orthodox cathedrals' domes.
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The pavilions are topped with ball finials. Originally a female statue stood on top of either pavilion, but these were removed during the war period, to prevent them becoming damaged, however were subsequently misplaced, and have never been rediscovered. The theatre provides seating on four levels - Stalls, Grand Circle, Upper Circle and Gallery. Matcham was famous for his innovative style of cantilever construction of the individual seating tiers, which virtually eliminated the need for supporting pillars, and the King's was no exception, with reasonable sightlines from most seats.
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The church, built in ashlar sandstone with slate roofs, has a nave with clerestory and north and south aisles, transepts, a chancel with a lady chapel and pipe organ chamber. On the south side of the south aisle is a gabled porch with a wrought-iron screen. The vestry, which was added later at its north east corner, is reminiscent of the chapter houses of pre-Reformation abbeys. The four-stage tower projects from the west end of the north aisle and has clasping buttresses at each corner which terminate in crocketted finials.
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Each Villa had a staircase and an independent entrance; the first two (both belonging) to the Olazábal family, had a communication to the main floor by a gallery. The second level of the building was raised, the windows were enlarged and the roofs were decorated with pinnacles and finials as well as wooden lace skirts under the eaves of the gables, in the style of a Swiss chalet, as in many villas of the Belle Époque. Villas Itchola and Esguzkitza were flanked by towers, high above the old gallery of arcades.
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Diagram of a simple lightning protection system A lightning rod (US, AUS) or lightning conductor (UK) is a metal rod mounted on a structure and intended to protect the structure from a lightning strike. If lightning hits the structure, it will preferentially strike the rod and be conducted to ground through a wire, instead of passing through the structure, where it could start a fire or cause electrocution. Lightning rods are also called finials, air terminals, or strike termination devices. In a lightning protection system, a lightning rod is a single component of the system.
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There are also survivals from the English Renaissance: an Italianate staircase of great delicacy and the vividly carved overmantel and fireplace in the Great Chamber. The 'Sackville leopards', holding heraldic shields in their paws and forming finials on the balusters of the principal stair (constructed 1605–1608) of the house, are derived from the Sackville coat of arms. The chapel-room with its crypt seems to pre-date this period and has contemporary pews. The organ, in the late medieval private chapel at Knole, is arguably the oldest playable organ in England.
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At the top of the roof is an orange wooden cupola with octagonal rounded roof supported by round arches with keys and surrounded by a balustrade with chamfered newels and pointed finials. A stone water table runs around the building at the level of the top of the entrance steps. On both east and west facades are a nearly identical projecting two-story pavilion with a central pediment with returns. The centrally located entrances, reached by a set of stone steps, are double doors in concentric recessed round arches.
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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.
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In each pediment is Greville's merchant's mark, being a cross standing on a globe, and two streamers attached to the shaft. On either side of the ledger stone and from the middle rise pinnacles. Between the finials and pinnacles are four heraldic shields, all displaying the arms of Greville: Sable, on a cross engrailed or five pellets a bordure engrailed of the second a mullet of the second in the dexter quarter for difference. These arms are today borne by the Greville Earls of Warwick, but undifferenced by a mullet.
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Other older constructions in the village are: Green Farm whose origins are medieval, Heneage Farm - 16th century, Sundayshill Farm probably 17th century, Oakhall Farm, Moorslade Farm where a more modern building has now replaced the older farmhouse mentioned in 16th century documents. Whitfield House and Pool Farm in Whitfield are also worthy of mention. Brinkmarsh Farm, now (quite recently) demolished was a fine Elizabethan building with ball finials. In what is known as Mill Lane is a mill which has been on the present site for four or five hundred years, probably longer.
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The panel on the front contains the bust of a man, and in the panel on the rear is an inscription commemorating Joseph Peers. On the east and west sides of this stage are buttresses supporting statues. The top stage has clock faces under shaped gables at the front and the rear, while on the other sides there are lancet windows, also under gables. There are ball finials at each corner at the top of the memorial, and on the apex is another ball finial surmounted by a weather vane.
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Thurrock Local History Society Vol. 16, 1972–3 In 2000, a twisted gold wire torc with decorated buffer finials, probably of 1st century B.C. date, was discovered by an agricultural worker here. It was illegally disposed of and is now lost to the archaeological record,Bingley, Randal, The West Tilbury Gold Torc in Panorama 53 - The Journal of the Thurrock Local History Society but photos taken at the time of finding indicate it was similar to torc-types from the Waldalgesheim chariot burial in the Rhineland.Eluére, C. The Celts: First Masters of Europe. p.
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La Scala is a three-storeyed timber building which sits on a narrow corner site overlooking Brunswick Street and has a hipped terracotta tiled roof with decorative finials. The three levels are dissimilar in plan, and consist of offices on the ground floor and a single residence on each of the floors above linked via a stairwell bay. The building shows influences of a mixture of stylistic trends in the treatment of materials and the spatial organisation. A roofdeck above the ground floor overlooks Brunswick Street and is surfaced with fibro tiles.
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King Manuel I was a member of the Order of Christ, thus the cross of the Order of Christ is used numerous times on the parapets. These were a symbol of Manuel's military power, as the knights of the Order of Christ participated in several military conquests in that era. The bartizans, cylindrical turrets (guerites) in the corners that served as watchtowers, have corbels with zoomorphic ornaments and domes covered with ridges unusual in European architecture, topped with ornate finials. The bases of the turrets have images of beasts, including a rhinoceros.
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Thr house is a significant example of the Queen Anne style with elements taken from the Classical Revival style. Queen Anne details include decorative chimneys, complexity of roof shapes such as conical turrets and hipped roof dormers, finials, and fish-scale shingled gable ends. The house is a relatively simple expression of the style and shows signs of transition into the Classical Revival style in its symmetrical facade, Ionic columns, Doric details, and regular footprint. A notable feature is the Porte- cochere which is fairly rare in Grand Forks.
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External: A small relatively square shaped and elevated timber framed traditional signal box of early standard design with a gabled corrugated iron roof with cantilevered iron awnings above the windows. The walls are clad with rusticated timber weatherboards and the gable bargeboards are in the form of decorative scalloped shapes with timber turned finials. The sliding windows are small multi-paned and timber framed and sashed and the first floor landing containing a toilet is cantilevered on cast iron decorative brackets. Access to the signal control room is by a recent steel staircase.
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The Pythian Castle is a building in Arcata, northwestern California, that was built during 1884-85 for the North Star chapter of the Knights of Pythias fraternal order. It is notable for its commercial Queen Anne style architecture which features five projecting towers: two square towers projecting from the center of the two street-fronting sides of the building, and three round towers projecting from the street-side corners. Patterned shingles covered the tower roofs in the past. The corner ones have "witch hat"-shaped tops and used to sport tall finials.
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They became popular in the second half of the 15th century in the Low Countries of Northern Europe, possibly inspired by the finials of minarets in Egypt and Syria, and developed in the 16th and 17th centuries in the Netherlands before spreading to Germany, becoming a popular element of the baroque architecture of Central Europe. German bulbous domes were also influenced by Russian and Eastern European domes. The examples found in various European architectural styles are typically wooden. Examples include Kazan Church in Kolomenskoye and the Brighton Pavilion by John Nash.
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The corner turret provided structural stability and visual balance to the 38'×27' building on a river bank and was probably used as viewing galleries for enjoying the river. The upper level of the octagonal turrets starts from around half the height of the main prayer hall. Both levels have arched panels and windows, surmounted by cornice and capped by domes with kalasha (pitcher) finials planted on lotus base. Otherwise with a bigger dome in the middle flanked by two smaller ones, the mosque bears all the characteristic features of Shaista Khani style.
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The rusticated stone piers on either side of the main entrance gates are surmounted by entablatures and large ornamental vases, while those at the drive entrance have ornamental carved finials. The porter's lodge was built along with the main house to designs by John Wood the Elder. In 1993, the National Trust obtained the park and pleasure grounds. In November 2006, the large-scale restoration project began on the cascade, serpentine lake and Gothic temple in the Wilderness area (as shown in special episode 28 of the Time Team).
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The theme of the building is set by lancet windows; slim and pointed at the top as in the Gothic style, they are complemented by arched borders that protrude from the brickwork. Decorative gables and bargeboards fringe the pitched slate roof on all sides of the building. A tall spire, two chimneys and numerous decorative finials once lined the top of the roof but have been damaged or lost over the years and were not included in the restorations. The rooms are large with high pitched ceilings that show solid timber rafters.
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In the wings, most of the windows in the ground floor are pairs of lancets under an arched hoodmould, and most of the windows in the upper storey have two lights under a flat lintel. The windows in the projections and pavilions are more ornate, most of them consisting of a triple lancet under an oculus. The dormers contain cross casement windows, and on the summits of the dormers are finials. In the ground floor of the central block is a porch with three arches carried on red sandstone columns.
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Simon Willard built longcase clocks which were quite sumptuous, being adorned with many fine details. In the most expensive tall clock units, the mahogany cases had a mid-18th century English style and, bearing exactly similar English brass mechanisms all, their case complexity determined their final price. Distinctively for Willard's workshop, above the clock's top fretwork, three pedestals were, on which two spherical finials and a large bird figure were mounted. In addition, like Aaron, Simon built a glass dial door, whose top had a half arch shape.
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It is square, and each side symmetrical, with tall centred double doors on each side to "allow all to enter on an equal footing". On either side of the door are three tall, sliding sash windows; there are 3 more per side on the second storey, and one on the third. At each of the building's twelve corners is a square lantern (carved out of a single block of wood) surmounted by four green finials. From the top four lanterns hangs a golden ball, with the word Peace inscribed on it.
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The arcades each have seven four- centred arches of granite, supported by monolith granite pillars with sculpted capitals of St Stephens porcelain stone. The tower of three stages is 85 feet in height, with a battlemented parapet and crocketted finials, the top stage is decorated with four carved figures, possibly the Four Evangelists. There is a piscina (used to cleanse sacred vessels after mass at the high altar) on the north side and the remains of rood loft stairs, now built up. In the south aisle is a second piscina and a priest's doorway.
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The Torah case (Heb. tiq) traditionally used in Yemen was either a seven faceted or octagonal wooden box, typically made of a light wood, such as Sudanese teak (Cordia abyssinica), equipped with a pair of brass clasps cut in ornamental floral shapes for closing. The entire wooden box was fitted tightly with a thickly woven decorative cloth, replete with 3 to 5 buttons with matching loops. The top of the box was made with slits wherein they inserted protruding staves for carrying the decorative silver finials (Heb. rimmonim).
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The Naikū does not have any windows. The roof is made of thatched reed with ten billets (katsuogi) located on the ridge of the roof, the bargeboards of which project beyond the roof to form the distinctive forked finials (chigi) at the ends of the ridge. The chigi on the roof of the Naikū are flat on top, rather than pointed, which serves as a distinction for the gender of the deity being represented. In the case of Ise, Amaterasu, a female deity, is represented at the shrine, which is why the chigi are flat.
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It is an attractive building at Egarosindur may be dated sometime around 1680AD. The mosque stands at the back of a slightly raised platform, which is enclosed by a low wall with a gateway consists of an oblong structure with do-chala roof. The mosque proper is a square structure, 5.79m a side in the inside, and is emphasized with octagonal towers on the four exteriors angles. All these towers shooting high above the roof and terminating in solid kiosks with cupolas, were originally crowned with kalasa finials, still intact in the southern one.
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It is a one-and-a-half-story frame house on a stone and brick foundation with board-and-batten siding, three bays wide at the front. Its steeply pitched gabled roof is shingled in asphalt, pierced by a central brick chimney and finials and cross-gabled in the west (rear) elevation. Scalloped vergeboards decorate the gable ends, and the cornice is similarly trimmed. The centrally located front entrance, on the eastern facade, has a bracketed pent roof, and a wooden hood covers both windows, each flanked by louvered shutters.
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Church interior Built in the Baroque style, Quiapo Church's façade is distinctive with twisted columns on both levels. The Corinthian columns of the second level has a third of its shaft twisted near the base, while the upper portion has a smooth surface. The topmost portion of the four-storey belfries are rimmed with balustrades and decorated with huge scrolls. The tympanum of the pediment has a pair of chalice-shaped finials, and towards the end of the raking cornice, urn-like vases mark the end of the pediment.
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Parterre gardens off of the main north portico and south porch are surrounded by low masonry and wood balustrades and feature period-appropriate plantings and marble statuary. A rooftop observation ring with a vasiform balustrade surmounts the house and was used for observing the estate. The estate has three surviving outbuildings: a cook's house, a garden pavilion with eight fluted Corinthian columns, and a monumental gatehouse that date to the antebellum period. The tripartite entrance gate features massive pillars crowned by large metal finials and elaborate cast iron gates.
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It is a two- and-a-half-story, five-by-three-bay balloon frame house on a concrete foundation topped by a steeply-pitched cross-gabled roof shingled in slate, pierced by two brick chimneys at the sides. The south (front) facade has a porch across the entire first story, with a projecting bay window with scroll- sawn vergeboard above it on the second story. The gable above it has a central arched window, with elaborate vergeboards and finials. A paneled frieze and bracketed cornice adorn the roofline.
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The smooth, rather bare walls were faced with yellow-grey stone, probably from the Cefn quarry near Minera. The windows have flat ogee profiles and arched merlons with ball- finials. From the centre of the south front the saloon projected - turreted, and with a vast traceried window, above which, the crenellation rose and fell. A veranda along this front was wrapped round the octagonal bows at either end. There is a resemblance to Thomas Johnes’ Hafod in Ceredigion, which was gothicised by John Nash (architect) in 1791-4.
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This fence comprises pillars with incised crosses and ball finials, between which are masonry panels and steel tube and wire infill panels. The interior has a wooden floor and a ceiling which follows the line of the rafters, lined with fibro and VJ boards. In this building the simple geometric forms, crowned with cupolas and punctuated with tall round-headed windows, are an expression of the canon of Russian religious architecture that dates from Byzantium and that has been constructed here in response to local materials, time and place.
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South entrance of Administration building Finishing the southern corner of the row is the Administration building which was formerly the National Park Service Visitor Center. Constructed in 1936, this Spanish Colonial Revival building was designed by architects of the Eastern Division, Branch of Plans and Design from the National Park Service. The well-detailed building has a simplified Spanish Baroque doorway framed by pilasters topped with frieze, cornice and finials flanking a second story window. The window has rusticated moldings at its sides and is in turn capped with a broken arched pediment.
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The entrance and windows are separated by moulded pilasters. Further along Wharf Street are many window openings of two generations, those closest to the corner of the Richmond Street have replacement arctic glass hoppers, whilst the remaining are multipane vertical sashes with deep reveals. The entrance hall, through the opening in Wharf Street, features a pressed metal ceiling and cornice, and remnants of an early wall paper strip above the dado rail. The unpainted timber stair has an open welled three-quarter turn stairway, with turned balusters and square newels surmounted by acorn finials.
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The interior, looking towards the east end The church is built in the Perpendicular style from rubble masonry; the roof is made of slate with a stone bellcote at the west end and stone cross finials. The church is built in a cross shape, with transepts to the north and south of the chancel. Entrance is through a porch on the north side of the nave, where the doorway has been built reusing older stones. The interior walls of the nave and transepts are lined with painted bricks.
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Brown's Warehouse is a two-storeyed brick building with a parapeted, corrugated iron gable roof and a rendered facade to Wharf Street. This symmetrical facade consists of a central, arched recessed entry and flight of steps with iron gates and an arched sash window to either side. The first floor has a central sash window with J.E. BROWN ESTAB 1857 in relief above, with twin arched sash windows to either side. Render mouldings include a cornice and brackets following the gable with finials to the centre and corners, and window surrounds with horizontal cornice banding.
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The Chisum House is a historic house at 1320 South Cumberland Street in Little Rock, Arkansas. It is a two-story frame structure, with a hip roof and an exterior sheathed in clapboards and decorative cut shingles. The roof is capped by a pair of finials, and there is a three-story square tower angled at one corner, topped by a bellcast roof and finial. The design is varied in the Queen Anne style, with multiple sizes and configurations of windows and porches, the latter featuring turned woodwork.
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Additional rooms were created in extensions to the transepts, and a new building containing a multi-purpose hall and more rooms constructed beside it. This building was decorated in the same colour scheme as the original church, but with few other similarities. While the capacity of the church was greatly increased, the building lost most of its original façades, as well as much (if not most) of its original exterior appearance. Seemingly oddly-placed gothic finials emerging from the tiled roof indicate where the original façades once were.
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The two-story building is near the eastern boundary of the historic district, a half-block west of the intersection of Mill and Columbus Drive, at the western fringe of downtown Poughkeepsie where the ground begins a gradual slope down to the Hudson River. It is faced in brick in running bond with stone rustication at the corners and windows. Projecting gable and a tower in front reach a third storey. The roof is slate, with sharp finials atop the gables and tower; the gables have been further decorated with bargeboards.
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Summer house constructed from the chapel's original bell turret The chapel was designed by William Smith, and was remodelled in 1887. It is dedicated to the Holy Trinity. The chapel is built in brick on a stone plinth with stone dressings and a slate roof, and consists of a three-bay nave and an apsidal chancel, with a bell turret. The doorway and the windows are round-headed, and around the top of the chapel is a cornice and a balustrade with square piers capped by swagged ball finials.
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The National Australia Bank, a single-storeyed chamferboard building with brick piers and a corrugated iron hipped roof, is located fronting Churchill Street, the main street of Childers, to the south. The building, built parallel to the western boundary, is set back from the street frontage with a lawn area to the east. The building has a symmetrical parapeted facade above a wide street verandah. The parapet consists of timber pilasters and deep timber cornices, with much of the original fanciful timber work including pediment, finials and scrolls having been removed.
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Surviving features include the round porch columns, and finials at the peaks of the gables. The house was built about 1890 for James Cogan, son of Patrick Cogan, owner of a local shoe factory. P. Cogan and Son, founded in 1876, was one of Stoneham's successful shoe manufacturers that survived into the 20th century. James Cogan and his brother Bernard (whose house stands on Flint Street) carried on the business after their father; both of their houses typify the improved social standing attending the success of the business.
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A large wall dormer with a gambrel gable rises at the center of the front facade, with wooden finials at the roof corners. A porch extends across the front, supported by groups of square posts and pilasters. The house was built in 1873 for William McGilvery, a ship's captain from a local family prominent in the shipping business, and is one of a cluster of high-quality houses built around that time by related captains on East Main Street. McGilvery was one of five brothers, all of whom became sea captains.
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The roof is covered with two different patterns of slates and is unique for its multicolored appearance. There are a number of High Gothic Revival style elements, which include rich wrought iron on fences, detailed trefoils carved on the stone facade, ridge cresting on the tower roof and finials. White sawn wood ornament decorates the eaves of the porch and the barge-boards of the steep gables of the lych-gate and the caretaker’s house (living room, dining room, kitchen, front and back staircases and upper bedrooms). The basement crematorium has been decommissioned.
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A Gosford Heritage Review conducted in 1997 records the two sandstone finials and the circular motif head and vent on the front facade as being unusual details. They could be of future research value. There is a large, single stone lintel and carved stone with date above the door also with research value. The Chapel also contains the archives of the D&LHHSI; which incorporate Wesleyan history as well as tapes and original research of the Lower Hawkesbury area including research into the pioneer families of the region.
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The clerestory windows are glazed with green tinted cathedral glass. There are some windows of two lights in the aisles, and a three-light one at the east end of the north aisles. The chancel arch is pointed and well proportioned. Beneath it is a low screen, coloured in the mouldings and panels, with green and red on a white ground, and a pair of highly finished solid gates of brass enriched with enamelled work, and supported by two brass standards, tufted with flowered finials representing the sun-flower.
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The Franklin Fairbanks House stands west of downtown St. Johnsbury, on the south side of Western Avenue (United States Route 2), between the Fairbanks Inn and the St. Johnsbury School. It is a 2-1/2 story wood frame structure, with a hip roof, clapboarded exterior, and brick foundation. It has a basic T-shaped layout, with gabled projections to both sides, with its main facade oriented facing east. It has high-style Italianate decorative features, including roof dormers with finials, a bracketed cornice, polygonal window bays, and a porch with chamfered posts.
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The Olney Carnegie Library is a Carnegie library located at 401 E. Main St. in Olney, Illinois. Olney's library association was founded in 1882, but the city did not have its own library building until the Carnegie Library was constructed in 1904. The library was designed in the Classical Revival style by John W. Gaddis; it is the only Classical Revival building in Olney. Its design features brick pilasters with Corinthian capitals, two terra cotta finials atop the roof, and leaded-glass windows with keystone-patterned stone lintels.
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Church door Other than the slate roof, all the visible fabric of the church is terracotta, the use of which material has allowed for a high degree of decoration. The plan of the church is cruciform, consisting of a nave with a west porch (the original base of the tower), two wide transepts, a short chancel, and a vestry in the angle between the north transept and chancel. Externally the nave is divided into five bays by buttresses which are surmounted by finials. Each bay contains a two-light window in Decorated style.
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Christ Church Cathedral stands in downtown Hartford at the southwest corner of Church and Main Streets, surrounded by large-scale commercial buildings. It is a basically rectangular brownstone structure, with a square tower centered at its eastern end. The main facade is divided into three sections by the tower, each of which has a doorway set in a two-story Gothic-arched recess, with a window above. The sides are five bays deep, with buttresses separating Gothic-arched windows, and brownstone finials at intervals along the roof line.
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The roof of the northern building is covered with fibro slates and features terracotta cresting and rams horn finials along the ridge. The display windows on the eastern side of the building have architraves and sills of cement render, the sills being formed into decorative scrolls and the heads being wide and splayed at each end. The door is partially glazed and divided into a number of glazed and solid panels; both door and windows have highlights over. The window at the southern end of the building is set into an arched opening and has a multi paned highlight over the main sash.
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Some ceilings are lined with fibro and others with calico. A timber ladder provides access between ground and first floors. On the north west and south east of the upstairs there are covered timber balconies featuring unusual French influenced hipped rooves with handmade decorative finials, timber balustrades and other highly artistic and decorative features. The French influence in the design was suggested by the late Professor Max Freeland who cited the gables and also the colours used in the four panelled doors featured through the house as specifically influenced by the French Renaissance style of architecture.
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Elaborate carved reliefs are found on some of John Leopold Denman's buildings of the 1930s as a result of his collaboration with sculptor Joseph Cribb. In central Brighton, 20–22 Marlborough Place has a series of reliefs showing workers in the building trade, and 2–3 Pavilion Buildings have Portland stone capitals with scallops and seahorses. Terracotta was popular in the Victorian and Edwardian eras as an external decorative element, as was yellowish faience earthenware. They were commonly used to top off a structure such as a wall or roof, in the form of finials, urns and caps.
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The stone extension to the homestead illustrates the history of development of pastoral homesteads in the Lower Darling and Western Division over time and reflects the pastoralists increasing aspirations, prosperity and confidence in the land in the 19th century. The complexes of outbuildings have common designs such as drop board walls, weatherboard clad gables, scalloped bargeboards and finials. These also depart from earlier utilitarian drop log construction methods, and indicate growing confidence in the pastoral industry. The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
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Stairwell in belvedere tower On the wall of the stairwell are low relief plaster sculptures of Night and Day after works by the Danish sculptor Bertel Thorvaldsen. They symbolically divide the night quarters upstairs from the day quarters downstairs. The oak balustrade has turned balusters and brass finials in the shape of lions, because Elizabeth's family coat of arms featured lions. The ceiling is heavily coffered, but there are windows round the top of the stairwell and a great glass chandelier, so it is very light - in fact the stairwell is built as a separate tower so as to permit so many windows.
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In 1987 fragments of Buddhist sutras written in the Tangut script were discovered in this platform, together with about a dozen clay stupa models. Artefacts discovered during the renovation of the 108 stupas included four painted clay Buddhist statues and over a hundred plain and painted clay stupa models (between 5 and 12.5 cm in height) from the large stupa, seven tsha-tsha from two of the small stupas (nos. 17 and 85), a painted clay Buddhist statue from stupa no. 41, and three pottery stupa finials (between 13 and 17.5 cm in height) from stupa no. 101.
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The Portal of the Herrenhäuser Church shows attributes of the Gothic style as the case may be neo - Gothic in case of the gable frame above the door (also called tympanum). In the four centered arch you can see on the front and on the inner side ribbon - like ornaments (Archivolt) that run left and right of the portal in each three pillars which mark the vestment of the Portal. The Wimperg above the Portal is decorated with three flowers inside and the top is furnished with a cross. Two turret tabernacles with pinnacles, finials and glare windows complete the portal composition.
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The Dogs (also known as The Old House) in Wincanton, Somerset, England was built around 1650 and has been designated as a Grade I listed building. The name 'The Dogs' refers to two stone greyhounds, which were previously used as finials on the gateposts, but these have since disappeared. They represented the arms of the Churchey family who locally held the title Lord of the Manor. The two storey house was largely rebuilt in the 1740s by Nathaniel Ireson, but is one of the few buildings in the town known to predate a serious fire in 1707.
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The body of the church is constructed in local gritstone, the porch is in shale, and the roof is of slate with a tile ridge. Its plan consists of a nave and chancel without any external distinction, a south porch, and a short north transept that was initially the stairway leading to the loft of the rood screen, and used later as a chimney. At the west end is a bellcote with a weathervane. On the gables to the north and east are crosses acting as finials, and supporting the west wall is a large buttress.
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The eaves cornice has a corbelled trefoil frieze. The attic windows have faience surrounds, similar to the first floor arcade, two trefoil-headed transom lights over mullioned lights, each window is in a high gable with round-headed niches in a banded faience decoration and moulded coping. Between the gables there are bracketed corniced shelves carrying faience elephants under bracketed gables with trefoil bargeboards with a crocket decoration and elaborate finials. The round oriel corner turret has nookshafts like the other first floor arcades but with arcaded central lights and blind arches, below a band of linked, splayed shafts and large eaves gargoyles.
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The two flanking sides terminate with urn-shaped finials; the ends of each wall are decorated with a laurel wreath in relief carving; the inside of the walls is further decorated with laurel swags below the urns. The rear wall bears further relief swags to either side of the obelisk; the North Eastern Railway Company's coat of arms is engraved on the pedestal of the obelisk, just above the level of the screen wall, which is surrounded by another laurel wreath. The obelisk rises above the screen wall to a total height of .Borg, p. 88.
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The owl, with its wings expanded, may also be taken to represent knowledge in the widest sense. In the badge, which repeats the keys, the crown rayonny refers both to the royal charter under which Cranfield came into being and, by the finials composed of the rays of the sun, to energy and its application through engineering and technological skills to industry, commerce and public life. The chain which surrounds the badge shows the links between the various disciplines to be studied at the University and in itself also refers to engineering where it plays so many parts.
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The Henrietta Brewer House is set on a bluff overlooking the St. Croix River, about south of Calais on United States Route 1. It is a 2-1/2 story wood frame structure with irregular and somewhat rambling massing, with steeply pitched gable roof sections, and clapboard siding. The house's ornate Gothic Revival features include lancet-arch windows with eared hoods, jigsawn vergeboard in most of its gables, and finials at the points of the gables. The roof has two major north-south gabled sections, which are joined by a transverse section, with dormers projecting at a variety of points.
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Narrandera station building has aesthetic significance as a fine example of a late Victorian second-class station building. The station building is a substantial and aesthetically significant structure with a large awning to the platform and includes some notable decorative features such as bargeboards, finials and pendants. The place has strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons. The site is of social significance to the local community on account of its lengthy association for providing an important source of employment, trade and social interaction for the local area.
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The south range has two storeys plus attics and is entered by a porch on its north side. The façade of the north (entrance) front is irregular, and consists of five bays, three of which project forward and are surmounted by gables of different sizes with ball finials. The front also includes mullioned and transomed windows, a dormer, and a pair of round-headed arches in ground floor of the right bay. The outer doorway of the porch has a Tudor arch with the Molyneux arms carved above; it is flanked by small single-storey turrets.
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2a, 1944Hâmit Z Kosay and Mahmut Akok, Alaca Höyük excavations : preliminary report on research and discoveries 1963-1967, Türk tarih Kurumu yayunlarindan. 5. ser, sa. 28, 1973 The work, which continued until 1970, revealed considerable local wealth and achievement even before the time of the Hittites, with the earliest occupation dating from the 4th millennium BC. Tombs of the 3rd millennium BC feature metal vessels, jewelry, weapons, and pole finials of bulls, stags, as well as abstract forms often interpreted as solar symbols. Excavation at the site resumed in 1994, and is now directed by Dr. Aykut Çınaroğlu.
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The inspiration for the main house at Fairhope Plantation is thought by architectural historians to be an enlarged adaptation of a design by Alexander Jackson Davis, published in Andrew Jackson Downing's Cottage Residences in 1842. The house features numerous Gothic Revival details, including intricate bargeboards on the eaves and gables, hood moldings over the doors and windows, octagonal brick chimneys, and central gables topped by finials on all four sides. Additionally, it has a one-story cast-iron veranda around three sides of the ground floor. It is one of only about twenty Gothic Revival residential structures remaining in Alabama.
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Many of the headstones have high-quality decorative carvings in addition to the usual information about the decedent's birth and death date. This collection of funerary art is more extensive than in other American cemeteries of this size from this period and illustrates changing Protestant notions of death. Sarah Smith's 1766 gravestone, the oldest in the cemetery, is made of slate and features an inverted half-moon and semi-circular finials. Other graves from that early era are carved mainly from red sandstone, with a few postwar markers of fieldstone reflecting the economic stress of the war.
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The square rubble walls were designed to be consistent with the Western European 17th century architecture of the Oxford University campus. Other features include the open-well staircase constructed from oak, featuring shaped balusters and carved eagle finials. Construction was completed in 1928 and the building and its library were handed over to Oxford University. Rhodes House was commissioned by the Rhodes Trust as a memorial to Cecil Rhodes, to act as a centre for research for the "British Empire and Commonwealth, of African and the United States of America", and to be the headquarters of the Rhodes Scholarship system and Rhodes Trust.
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Alterations during the late mediaeval period were limited to the addition of a two-storey latrine tower at the rear of the house and some rearrangement of the rooms around it. In about 1570 a substantial west wing was added, adjoining and parallel to the solar wing. Apparently typical of its period, it would have transformed the living arrangements of the Wake family who built it. Presumably at the same time, the front of the solar block and east wing were "Elizabethanised" with new windows, and the gable end of the kitchen block at the eastern end was decorated with finials.
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On the crest, a royal crown enclosed, which is a circle of Or crimped with precious gems, composed of eight finials, of Acanthus mollis, five visible, topped by pearls and whose leaves emerge from diadems, which converge in a globe of azure or blue, with a semimeridian and the equator Or topped by a cross Or. The crown lined with gules or red. Some institutions of the region have adopted this coat of arms as part of their own emblem, among these the Cortes of Castilla–La Mancha, the Consultative Council and the University of Castilla–La Mancha.
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The Alfred Douglass House stood in southern Brookline's Buttonwood Village area, in the northwest corner of the former Fernwood estate. The estate has been subdivided, and this house would have been accessed via the main drive through the former estate (now Fernwood Road), and was set near the northwest corner of the property. It was a 2-1/2 story wood frame structure, with a stuccoed and half-timbered exterior. Its front facade was characterized by three large gables, decorated with Gothic bargeboard, finials and drops, and had a main entrance under a gabled hood with large brackets.
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Also, based on the dome-shaped bases found on several figures, they could have been used as finials for the roofs of ancient structures. Margaret Young- Sanchez, Associate Curator of Art of the Americas, Africa, and Oceania in The Cleveland Museum of Art, explains that most Nok ceramics were shaped by hand from coarse-grained clay and subtractively sculpted in a manner that suggests an influence from wood carving. After some drying, the sculptures were covered with slip and burnished to produce a smooth, glossy surface. The figures are hollow, with several openings to facilitate thorough drying and firing.
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"Teco Green" vase, before 1922 Vase The American Terracotta Tile and Ceramic Company was founded in 1881; originally as Spring Valley Tile Works; in Terra Cotta, Illinois, between Crystal Lake, Illinois and McHenry, Illinois near Chicago by William Day Gates. It became the country's first manufactury of architectural terracotta in 1889. The production consisted of drain tile, brick, chimney tops, finials, urns, and other economically fireproof building materials. Gates used the facilities to experiment with clays and glazes in an effort to design a line of art pottery which led to the introduction of Teco (pronounced TĒĒ - CŌ ) Pottery.
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Gare du Sud in November 1989 The station was designed by architect Prosper Bobin for the Compagnie des Chemins de fer du Sud de la France and construction lasted from 1890 until June 1892. The station building, set back from the Avenue Malausséna, was designed in an elegant neoclassical style, and built at reasonable cost using new industrial materials. It had a monumental and imposing facade with a central high section flanked by two side pavilions, decorated with ceramic tiles, painted designs and picturesque stonework. Above this was a pitched roof with terracotta tiles, parapets and finials.
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The ornamental detail is elaborately designed in the classical style and includes massive capitals atop the vertical piers, as well as triangular and swans'-neck pediments. The piers divide the facades into multiple bays, which each contain two windows on each floor. The piers, clad with brick above the second floor, are wide at the base, with a uniform width for the building's entire height, but range in thickness from at the first floor to at the eleventh floor. They contain concealed flues that ventilate the gases from the building's furnaces into hidden chimneys underneath the finials atop each pier.
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The Freeman-Brewer-Sawyer House is a historic house located at 532 S. Main St. in Hillsboro, Illinois. The Greek Revival house was built in 1840, during the height of the style's popularity in the United States. The two-story house features six-over-six windows and a front entrance framed by pilasters, sidelights, and a transom; in addition, it originally had a portico supported by Doric columns. In 1904, the portico was replaced by a Classical Revival porch; the rounded, projecting porch features a balustrade along its roof, egg-and-dart molding, dentillation, and urn-shaped finials.
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There is decorative timber lattice, or a combination of lattice and fretwork, on each of the gables, including the front portico, but that on the western gable, which is a later addition, is much simpler in design. All the gables have timber finials. The eastern verandah has been enclosed, but the front and western verandahs retain their original timber detailing, including double chamfered posts with brackets and a simple dowel balustrade. A late 20th century deck extension off the enclosed eastern verandah, with its side entrance, has a replica gabled portico and steps, echoing that on the front elevation.
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The interior is as extravagant as the exterior with decorative joinery, elaborate ceilings and stained glass. At the back is a large block containing the stables and coach house. At the time of construction of Studley Park House, Camden Valley Way was the only road linking Camden to the city of Sydney, so that the access to the House had to be obtained via a carriage drive leading from it. The entry to the carriage drive was marked by a handsome gateway with white painted, decorated timber posts capped with finials and rails from which wire mesh was hung.
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Each side is protected by a chhajja and a jali balustrade above it. There is no dome; instead the building is roofed by a square barahdari having three arched openings on each side which are closed by jalis except in the middle of the north and south sides. It is protected by a chhajja above which is the chaukhandi (pyramidal) roof, crowned by lotus petals and kalash finials. The interior is composed of a central square hall housing the cenotaphs of Asmat Begum, Mirza Ghiyas, four oblong rooms on the sides and four square rooms on the corners, all interconnected by common doorways.
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The Parish Church of St Michael at Brent Knoll had its origins in the eleventh century, with further construction work taking place in the fourteenth and fifteenth centuries, with a restoration in the nineteenth century. It is built of coursed and squared rubble stone, with lead sheeting on the roofs apart from the chancel roof, which is slated. There are cruciform finials on the gable ends. The church is built mostly in the Perpendicular style, the plan being the nave, the chancel, the north aisle, the fourteenth century south porch and the south transept, now used as a vestry.
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The San Juan de Dios Church is a classic example of Partido Baroque architecture in the Philippines. The style, popular from the early to mid-19th century, boasts of a curved façade as opposed to the flat ones typically found in other Baroque churches in the country. The church façade has two openings: a main portal now partially covered with a concrete portico and a semi-circular arch window in the center of the second level which provides light to the choir loft. The window is flanked by pairs of Tuscan-inspired columns extending up to the pediment and capped off by finials.
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The upper-story walls are smooth, accented with thin, textured stringcourses, rising to gabled dormers that incorporate Romanesque leaf ornament, gargoyles, and finials. Like the facade, the east and west elevations are ornamented and symmetrically balanced, prominently featuring a projecting gable with a variety of arched fenestration. The 1929-32 addition to the south adds a massive eight-story block at the rear of the original structure. Although its walls are clad in granite and include arched fenestration to match the original building, the extension is distinguished by its flat roof, flattened elevations, and reduced ornamentation.
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The most interesting aspect of Castle Ward is that of its dual architecture, representing the differing tastes of Lord Bangor and his wife, Lady Ann Bligh. While the entrance side of the building is done in a classical Palladian style with columns supporting a triangular pediment, the opposite side is Georgian Gothic with pointed windows, battlements and finials. This difference in style continues throughout the interior of the house with the divide down the centre. Old Castle Ward There is a tower house in the estate's farmyard, built as a defensive structure during 1610 by Nicholas Ward.
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The pulpit features several carved timber finials in the shape of acorns. Other significant items include marble tablets, one commemorating parishioners who fought in World War I, another to the remembrance of Rev. JD Marly; and an unusual Roll of Honour made from beaten copper also commemorating those who fought during World War I. The red cedar pews within the church date from the original building and are simple seats with railed backs and carved pew ends. The organ which dates from the earliest services held by the Uniting Church in the Herberton School of Arts is also an unusual and significant feature.
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Designed in an early 20th-century eclectic style, the museum building was partly inspired by a French chateau and French Renaissance architecture. It features a symmetrical and centralized layout with a floor area of 8703.5 square meters. While constructed mainly in concrete and steel, the outer walls were entirely made in granite harvested outside Heunginjimun Gate in Seoul. The main entrance is greatly protruded from the facade to accommodate automobiles and is supported by four Tuscan order columns, while the three out of four corners of the building are respectively flanked by three towers with domes and finials.
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Morton House, also known as Morton Mansion, is a historic home with Queen Anne style located at Webster Springs, Webster County, West Virginia that dates to 1912. It is a massive red brick dwelling set on a solid stone foundation, with a hipped roof and features a pair of 2 1/2 story turrets and each is topped with a conical shingled roof and capped with wooden finials. It also has a wraparound porch around 3/4 of the house. It was the home of Eskridge H. Morton (1866-1940) a prominent local attorney and elected official in the West Virginia State Government.
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Regatta Hotel, circa 1940 Western elevation with fire stairs, 2014 The Regatta Hotel, located on a prominent site adjacent to the Toowong Reach of the Brisbane River, is a brick building with hipped corrugated-iron roofs. Composed of three storeys and a basement, it is encircled by wide verandahs, except for a section on the southern side. The verandahs to the rendered street facades display a lavish use of cast-iron balustrading, paired cast-iron Corinthian columns and cast-iron and timber friezes. These facades, which curve around the street corner, are surmounted by a solid masonry parapet ornamented by masonry finials.
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In 1806, distinctive Georgian banners were introduced as a further battle honour awarded to meritorious Guards and Leib Guard regiments. These banners had the Cross of Saint George as their finials and were adorned with 4,44 cm wide Georgian ribbons. It remained the highest collective military award in the Imperial Russian Army until the Revolution in 1917. In the original statute of the Order of Saint George, written in 1769, the currently orange stripes of the ribbon were described as yellow; however, they were frequently rendered as orange in practice, and the orange colour was later formalised in the 1913 statute.
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The single storey pavilion kiosk is of timber-framed construction set on a rusticated sandstone spandrel up to window sill height interrupted in two locations by doorways accessed by sandstone flights of steps. The main and central entrance is marked by a decorative timber-gabled porch in the Edwardian style complementing the Federation period style of the building. The hipped roof is clad with Marseilles pattern unglazed terracotta tiles with finials at ridge junctions. Internally, the north area has a raised timber floor while the south kiosk has a painted cement paved floor and part-raised timber floor.
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Interior of the church The building is single storey structure with tiled pitched roofs, with a Palladian-styled facade facing Orchard Road. The dominant feature of the facade is the Serlian motif (also called a Palladian window) – a central arched opening flanked by openings on either side with flat entablatures. The motif forms the porch which is supported by double Ionic columns, and a smaller version with single columns is repeated above the porch. The front facade has finials at the four corners of the tower, and it is topped by a cupola supported by columns.
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One stone doorway with a Tudor head remains in the side wall of the south wing. The multi-gabled appearance of the house with finials, kneelers, and large lateral stacks remained more or less unaltered until after the end of the 18th century. Little work appears to have been done to the house between 1783 and 1814. In 1814, the building was in poor condition and subsequently underwent a drastic remodelling: this involved removing the gables on the north, south, and east sides and substituting hipped slate roofs with dormer windows set behind a tall parapet.
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These side wings have steeply pitched parapeted gables and at the level of the ground floor projecting bays whose gabled awnings reflect the gabled roof form. Grouped lancet windows under pointed and flat headed arched hood moulds on the second floor, small rose windows, statue niches and Latin Cross finials at the apex of the gables contribute to the ornamentation of the wings. The render on the Ann Street facade is scribed with ashlar coursing. A central bi-furcating stairway, with substantial masonry balustrade featuring cut-out quatrefoils accesses the ground floor verandah of the building on the Ann Street facade.
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The adjacent commercial block was originally owned by John J. Heatherington, and is similar in style to the Opera House block. Both buildings feature facades with a tripartite arrangement and center frontispieces that project slightly forward, a broad rock-faced beltcourse that runs above the second floor windows, a narrow metal cornice, and a brick parapet with finials. The Opera House's parapet has a triangular pediment with "Opera House" on a rectangular base, and the Hetherington Block has a similar feature in a simplified form. with The buildings were listed together on the National Register of Historic Places in 1979.
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It has a galvanised iron roof with small ventilation gablets, but early cast-iron cresting and finials have been removed. Front and rear elevations each have a gabled projection on the southern end, which punctuate surrounding verandahs on two levels. The front gabled projection has three lancet windows on the upper level and on the lower level a further projection housing the chapel sanctuary; in this wall is a niche and statue, understood to be of Mary (Our Lady of the Annunciation). The rear gabled projection has a bank of three lancet windows on both ground and first levels.
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The substantial, Queen Anne styled brick hotel stands in a prominent location on the northern ridge above Petrie Terrace, and dominates the vista at the Normanby Fiveways. It occupies a corner site and is two-storeyed to Musgrave Road and three to Kelvin Grove Road at the rear, where the land drops steeply. The building consists of a central rectangular block with two wings at the rear and projecting bays at the front. The whole is capped by an elaborately gabled roof of corrugated iron, with Tudor style timber detailing in the gable ends, cast-iron finials above, and decorative brick chimneys.
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Notable buildings in the town include The Friday Mosque of Chinguetti, an ancient structure of dry-stone construction, featuring a square minaret capped with five ostrich egg finials; the former French Foreign Legion fortress; and a tall watertower. The old quarter of Chinguetti has five important manuscript libraries of scientific and Qur'anic texts, with many dating from the later Middle Ages. In recent years, the Mauritanian government, the U.S. Peace Corps, and various NGOs have attempted to position the city as a center for adventurous tourists. Visitors may "ski" down its sand dunes, visit the libraries, and appreciate the stark beauty of the Sahara.
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The "attractive-looking building" is of white brick and terracotta, and is surrounded by a wall with a multi-coloured brick pier supporting a large gas lamp. There are decorative terracotta plaques and a gabled dormer window with terracotta finials. In 1914, Hove Council took responsibility for firefighting within its boundaries and immediately sought a replacement for the existing fire station of 1879 in George Street. Clayton & Black's "elegant" new fire station on Hove Street, completed in 1929 at a cost of £11,098, was inspired by one at Bromley—but the "charming bellcote" on the roof was a reference to the nearby Hove Manor, demolished soon afterwards.
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Hyde Park Picture House was designed by architects Thomas Winn & Sons in 1906. It was originally built for Leeds hotel businessman Henry Child, who owned The Mitre hotel in Leeds City Centre, however Leeds Corporation repeatedly rejected his application to transfer his license to his proposed new hotel, The Paragon, and the building was therefore modified to become Brudenell Road Social & Recreation Club, being converted to a cinema in 1913. It stands around halfway down Brudenell Road at the junction with Queen's Road, on a canted corner. The front elevation is topped by a Dutch gable with ball finials and features four ionic columns made from white Burmantofts Marmo.
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The original stupa canopies and finials had all been lost by the time the stupas were restored in 1987, but as part of the restoration each stupa is now capped by a lead canopy of several designs (round or octagonal, with one or two balls on the finial). In 1987 the large stupa was high, with a diameter of , but after renovation it is now somewhat taller. Unlike the small stupas, which are all solid, the large stupa has a small opening on the east side, with a small room in the centre. This is currently occupied by a Buddhist statue and an offering box.
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The four military services are symbolized in the spandrels: an anchor for the Navy; a crossed cannon for the Artillery; crossed sabers for the Cavalry; and crossed rifles for the Infantry. Six sculptural figures, each eight feet tall, adorn the towers: farmer, blacksmith, mason, student, carpenter and an African-American breaking his chains of bondage. Angels in the form of finials cap the towers, one a trumpeter, the other a cymbalist, both facing south to welcome the returning troops.Hartford Courant, September 18, 1866, page 1 During the restoration of 1986–1988, the original terra cotta angels were removed and replaced with copies in bronze.
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The synagogue is a stone building designed in Gothic Revival style, as were the former synagogues of Llanelli and Pontypridd. Unlike the "simple," "charming" Gothic synagogues that once graced Llanelli and Pontypridd, however, the synagogue of Merthyr Tydfil is a "Disneyland" fantasy of a building that architectural historian Sharman Kadish calls a "double- turreted Gothic folly" of a building. Kadish considers the Merthyr Synagogue to be "architecturally speaking one of the most important synagogues in the UK." The building is four storeys high, five when the raised basement is counted. It is crowned by a high gable two storeys tall, capped with stone finials.
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Bahay Kubo Later on the invention of various tools allowed for the fabrication of tent-like shelters and tree houses. Early Classical houses were characterized by rectangular structures elevated on stilt foundations and covered by voluminous thatched roofs ornamented with gable-finials and its structure could be lifted as a whole and carried to a new site. Examples include the Ifugao House and the Royal Nobilities' Torogan. The architecture of the classical period of the Philippines is based on vernacular architecture for most of its centuries and Islamic architecture in some coastal areas at the south, plus the interior of Lanao, after the 13th century.
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One of the torcs is a smaller bracelet decorated with ornament in the style of Celtic art, and the other three are neck rings. The bracelet and one of the neck rings are made with twisted gold wire, and the other neck rings have finials shaped like trumpets. One of the latter has been broken into two pieces. The gold content of the four torcs has been measured using x-ray fluorescence to be between 74-78% (roughly equivalent to 17-18 carat), with 18-22% silver, some copper, and traces of iron, mercury and tin – a mix consistent with other Iron Age gold finds in Europe.
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The upper level elevation displays decorative cast iron balustrade panels which were first patented in Victoria by A. Maclean in 1877 [Turner, p182]. The verandah is under a separate convex, corrugated-iron, awning supported by four slender timber columns with simple capitals at the top, and the edges of the awning are decorated by a cast iron frieze. The Anglo-Dutch parapet [Apperly, p114] is surmounted with three spherical finials and the central pediment displays in relief the year: "1905". Two pilasters extend from below this central pediment and are each decorated with rectangular blue tile inserts and they flank a decorative geometrical motiff in the centre of the parapet.
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It was built in 1876 for William C. Davol Jr., treasurer of the Davol Mills. The house was designed by Boston architects Hartwell & Swasey, who works included numerous other public buildings and private homes in Fall River during this period. The house has the characteristic asymmetrical massing and irregular silhouette of Stick/Eastlake architecture and retains its peaked entrance porch, original carved double-leaved entrance doors, stained glass window, slate roof and copper coping and finials, The interior is richly embellished with Minton tiles and Eastlakian trim and sports an original water-power elevator.MHC Inventory Form The house was added to the National Register of Historic Places in 1983.
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The former Hunter's Emporium comprises a two-storeyed brick building with facades to McDowall and Arthur streets, and an attached single-storeyed brick building, fronting Arthur Street, at the rear. A painted and rendered parapet embellished with moulded scrollwork and crowned with ball finials screens two side skillion roofs and a central hipped roof which shelter the two-storey building. The external walls to McDowall and Arthur streets are of red face-brick worked with darker bands of brick which also form the decorative quoining defining the door and window openings. These bands and decorative surrounds are painted white on parts of the Arthur Street elevation.
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A Kwakwaka'wakw man with a talking stick, photo by Edward S. Curtis The talking stick, also called a speaker's staff,Wade 31 is an instrument of aboriginal democracy used by many tribes, especially those of indigenous peoples of the Northwest Coast in North America. The talking stick may be passed around a group, as multiple people speak in turn, or used only by leaders as a symbol of their authority and right to speak in public.Werness 295 Akan chiefs in Western Africa have a tradition of speaker's staffs capped with gold-leafed finials. These emerged in the 19th century as a symbol of the holder's power.
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Frederick's son, Christopher Columbus Stottlemyer (1857-1931) apprenticed with his father and gradually assumed the management of the family's business, modernizing the production through the introduction of a steam powered lathe and sawmill, increasing the shop's output in the last quarter of the nineteenth century. Christopher Stottlemyer also developed many of the characteristic components for which Stottlemyer Chairs came to be recognized, including scalloped back slats and turned acorn-shaped finials on the back posts of the chairs. Stottlemyer chairs were mostly produced in three forms: straight chairs, sewing or nursing rockers (a rocking chair without arms), and armed rocking chairs. The shop also produced other furniture, including tables and cradles.
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Contemporary homes, however, are more frequently using corrugated iron in place of thatch. Roof finials are formed from thatch bound by decorative metal bindings and drawn into points said to resemble buffalo horns -- an allusion to a legend concerning a battle between two water buffaloes from which the 'Minangkabau' name is thought to have been derived. The roof peaks themselves are built up out of many small battens and rafters. The women who share the house have sleeping quarters set into alcoves – traditionally odd in number – that are set in a row against the rear wall and curtained off by the vast interior space of the main living area.
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Novitiate-to-be dressed in traditional prince attire, including a salwe. Festivals start on the eve of shinbyu called a-hlu win () with a pwè () an orchestra and dance/drama/comedy ensemble) and tea for the guests. In the middle of a street, a pandal or mandat () constructed from bamboo and papier- mâché with ornately painted gold and silver columns, pediments and finials has sprung up overnight. Sweets such as jaggery or cane sugar bars and a-hlu lahpet (), pickled tea laced with sesame oil encircled by small heaps of fried peas, peanuts and garlic, toasted sesame, crushed dried shrimps and shredded preserved ginger) are served with green tea.
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They probably date to between about 1000 and 650 BC.EI, I The bronzes tend to be flat and use openwork, like the related metalwork of Scythian art. They represent the art of a nomadic or transhumant people, for whom all possessions needed to be light and portable, and necessary objects such as weapons, finials (perhaps for tent-poles), horse- harness fittings, pins, cups and small fittings are highly decorated over their small surface area.Frankfort, 343-48; Muscarella, 117 is less confident that they were not settled. Representations of animals are common, especially goats or sheep with large horns, and the forms and styles are distinctive and inventive.
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They reported that the West Virginia Division of Highways received a request from the U.S. Coast Guard to bring the bridge down as it was a safety hazard and pieces had fallen into the river. It also verified that many of the unique features of the bridge, such as the railings, signage, the finials on top, and plaques would be removed prior to demolition. The bridge demolition was expected to take 60 days and cost $750,000.00, which was considerably less than a $1.2 million estimate for demolition costs that had been given in 2000. Explosive demolition of the bridge occurred on Monday, September 12, 2011.
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The rooftop statues of two golden deer flanking a Dharma wheel is iconic. Jokhang's interior is a dark and atmospheric labyrinth of chapels dedicated to various gods and bodhisattvas, illuminated by votive candles and thick with the smoke of incense. Although some of the temple has been rebuilt, original elements remain: the wooden beams and rafters have been shown by carbon dating to be original; the Newari door frames, columns and finials date from the 7th and 8th centuries. The Jokhang owns a large and very important collection of about eight hundred metal sculptures, in addition to thousands of painted scrolls known as thangkas.
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The largest structure, the Tam Thế Hall, rises to 34 m at its roof ridge and measures over 59 m in length. The construction materials include locally quarried stone and timber from Ninh Bình and tiles from Bát Tràng (reinforced concrete was also employed owing to the scale of construction). The temple adheres to traditional Vietnamese design aesthetics with its curve finials and corner eaves soaring outward and upward, resembling a phoenix's tail. Artisanal works from local handicraft villages were selected for the interior, with bronze sculptures from Ý Yên, stone carvings from Ninh Van, wood carpentry from Phú Lộc, and embroidery from Ninh Hải.
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Architecturally, Plas Mawr is almost unchanged from the 16th century, making it a very rare survival from this period. The architectural style is a product of the broader Renaissance influences prevalent across Europe at the time. Robert Wynn spent time in Germany, and the style of Plas Mawr makes use of North German Gothic themes, particularly in its use of symmetry, the pedimented windows at the front of the house, faceted finials and crow-stepped gables.; ; These features were already popular in England when the house was built, and indeed Plas Mawr is very similar in design to Eastbury Manor House, the two possibly being based on the same architectural plan.
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The apsidal form of the eastern churchyard, upon a considerable lynchet edge, may suggest that originally the church was positioned upon an oval mound of earlier (perhaps religious) importance. On the west it abuts the manor hall grounds. The soil here is deep gravel, which quickly disposes of organic remains. Fragments of the 1883 period oakslat fence survive upon the east and north and there is a Victorian timber lych gate, recently retiled with red terracotta dragon finials. The burial yard in that period was enclosed by a stone wall, referred to in the parochial returns of 1565 as somewhat ‘broken down’ and to be repaired.
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At the north entrance to the grounds is a pair of gate piers that are listed Grade II. The piers are in rusticated ashlar sandstone and are surmounted by ball finials. The gates are iron and are similar to those at the end of the lime avenue. At the other end of the grounds, at the site of the former south approach, is a pair of sandstone gate piers dating from the middle of the 18th century. They originally carried the carved unicorn heads that are now in the formal garden, and were left isolated when the route of the turnpike road was moved.
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The high school campus is located on the north side of Huttleston Avenue (United States Route 6), a short way east of the Acushnet River and New Bedford Harbor. Its main building is a monumental masonry structure in an H-shaped layout, with two full stories, full basement, and a third floor and attic under its pitched slate roofs. It is predominantly brick, with an ashlar granite foundation and limestone belt courses. Designed by architect Charles Brigham, it is reminiscent of Tudor architecture with Gothic influences, with a picturesque roofline studded with gables topped by iron finials, and rich carved stonework including gargoyles, grotesques, and depictions of historic figures.
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Rosebank is a substantial, single-storeyed, timber house resting on low brick piers, with a short-ridge roof of corrugated-iron, wide surrounding verandahs and a detached kitchen wing at the rear, accessed from the back verandah. The single-skinned external walls have deep chamferboards with exposed stud-framing. Decorative details include cast-iron cresting and finials on the roof, cross-braced timber balustrading and ornate timber brackets on the verandahs, and a finial and fretwork bargeboards to the small gabled entrance portico at the front. The interior has some fine pressed metal ceilings, which have been restored, and early 20th century light fittings.
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The attraction closed on January 17, 2017 for refurbishment and the addition of President Donald Trump as a new audio-animatronic figure; it reopened on December 19, 2017 after many delays. After the roll call of all past presidents, Washington gives a short speech, followed by Trump reciting the Oath of Office followed and his own short speech. Finials were added along the length of the guard rail between the front row of the audience and the stage as well as security guards stationed at each exit of the theater as a precaution for possible protesting due to many controversial remarks Trump has publicly and privately made since his campaign began.
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Emile Gsell. The Traditional Khmer Housing refers to the construction and assigned usage of houses or buildings by the Khmer people since the ancient time and evolved until today. In Cambodia, there are many Khmer style houses that are built in different ways depending on hierarchy and purposes. In special terms, the house is a symbol of prosperity in the national society, and it serves the lives of the people in each village, which is culture and nature The Khmer has long been known to traditionally live on different designs of stilt house and also has a multi-leveled floor and gable finials at both ends of the roof ridge.
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The house and grounds are separated from the street by a brick and wrought iron fence with the entrance gate flanked by tall brick columns capped with stone ball finials. To the south of the house is the garden that was originally laid out in a geometric arrangement with patterned beds of flowers, ornamental shrubs and large orange and grapefruit trees. Today a formal English garden can be found with gravel paths, boxwood hedges and plants favored in the 19th century. In the rear of the house is the two-story slave quarters that housed many of the estimated 18 slaves that were at the Nathaniel Russell House.
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The Hawkes Pharmacy building is located on the west side of Main Street (United States Route 1A) in the heart of the village center of York Beach, a summer resort village on the coast of northern York, Maine. It is a two-story wood frame structure, with a roofline that has three large gables on the (east-facing) front and two on the south. These gables are all decorated with Tudor Revival half-timbering, vergeboard in the eaves, and finials at the peaks. The central gable on the front has an arch at its center, with a balcony projecting over the building's front entrance.
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The Mount Coot-tha Lookout and Kiosk are located at the summit of Mount Coot-tha fronting Sir Samuel Griffith Drive to the southeast. The Kiosk The kiosk, located to the north of the lookout, is a single-storeyed timber building on a stone base with a terra-cotta tiled gable and half-gable roof. The roof has a prominent central fleche ventilator, terra-cotta finials and chimney pots, and half- timbered gables. The building has evolved from an open sided kiosk, and the main section is formed by two adjoining similar kiosk structures, with a two- storeyed service wing to the rear and an addition to the northeast.
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There is a mural stair in the turret in the re-entrant angle of the south gable; this gave access to the second floor room and the third-floor watch-room. The two 1679 wings to the west enclose a courtyard, the entrance to which is an arched gateway, marked with the initials of John Gordon and Anne, and the date, on the inner side. It has renaissance detail, a semi- circular tympanum above entablature with ball finials. The south wing is a single storey high. The replacement entrance, decorated with an ogee-headed panel containing a winged angel’s head, is in the centre of the west face.
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Following the fire, the building was rebuilt to the design of W. Miles Brittelle of the Albuquerque firm of Brittelle and Ginner, reopening in the spring of 1934. In keeping with the building's Venetian influence, Brittelle decided to redesign the roofline to more closely resemble the Doge's Palace, with an ornamental frieze and finials in place of the original overhanging cornice. The interior office space was also expanded by eliminating the original open arcade behind the facade, and the building structure was upgraded from frame to steel construction. In 1981 the interior was remodeled again to add a second story within the original facade.
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The Occidental Life Building features a Venetian Gothic Revival architectural style which is highly unusual for New Mexico, and has been described by the Albuquerque Landmarks and Urban Conservation Commission as "unique in the country." The Baum Building in Oklahoma City, built in 1909, employed similar architectural features but was demolished in the early 1970s. The building's most significant feature is the white terra cotta facade, which wraps around the south and east sides of the building. The facade was modeled after that of the Doge's Palace in Venice, with arcades of pointed Venetian Gothic arches, quatrefoil windows, and, following the 1934 rebuilding, an ornamental frieze with a row of finials.
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The bronze lion heads are large, strongly stylized, with an almost flat muzzle; they have little in common with the VBC gold head. They probably come from Luristan and are undeniably much earlier than our exemplar. Probably 8th Century BC Several silver exemplars entered the art market, and later some of them even museum collections, (Louvre, Metropolitan Museum, Miho Museum) without any documentation, since they come from illicit digging, reportedly "from a cave cache", which became known as the "Western Cave", in Kal-e Makarekh (or Kalmakarra), western Iran. The silver rhyta have their lion head finials made of gold and soldered onto the silver horn.
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The Colonial Brazilian art is represented by a group of 24 Baroque sacred images, as well as by a number of polychromed wood carvings (columns, doorways, finials etc.). Of particular importance are those made by Valentim da Fonseca e Silva (Master Valentim), proceeding from the demolished church of São Pedro dos Clérigos, in Rio de Janeiro. From modernist Brazilian artists, the collection includes important paintings by Lasar Segall, Candido Portinari, Emiliano Di Cavalcanti and Tarsila do Amaral, as well as sculptures by Victor Brecheret, Bruno Giorgi and Bella Prado. There are also drawings and prints by Clóvis Graciano, Iberê Camargo, Maria Bonomi, Marcelo Grassmann, Poty Lazzarotto, etc.
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St James' Church, alongside the Ouse With no church listed in the Domesday Book, it is believed the church, which is dedicated to St James, was first built in the first half of the twelfth century by Payn of Hemingford, a tenant of Ramsey Abbey, and was enlarged over the following centuries. Parts of the medieval church still survive in the south aisle and nave. The spire collapsed during a hurricane in 1741 and instead of being rebuilt was replaced with eight ball finials at its base. The church is still in active use with up to three services on a Sunday and many more in the week.
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In 1887, after the death of Truman O. Angell, Young was appointed Church Architect, and the architect for the Salt Lake Temple, by church president Wilford Woodruff. After re-designing the towers and finials, and the final appearance of the windows, Young focused his energies on designing the temple's lavish late Victorian/Neo-baroque interior. Besides the construction of interior supports, none of the interior designs drawn by Angell (or Wm. Ward, Wm. H. Folsom, and Angell's son, T.O. Angell Jr.) had been executed. Thus as Angell is considered the primary architect of the temple's exterior, Young is considered the primary architect for its interior.
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The church is constructed in dark-red-brown Flemish bond brickwork, with painted render dressings defining features such as string courses, copings, lintels and sills (internally and externally). Stepped and plain buttresses support the exterior walls, and arched openings are constructed from multiple rowlock (brick-on-edge) courses. The prominent roof form is clad with rib-and-pan profile metal sheeting (replaced in 1997), and features flared eaves supported on decoratively trimmed rafters with a raked soffit of tongue-and-groove boards. The nave end walls are topped with stone cross finials, and gable ends to the vestries and entrance porch are finished with basket weave patterned brickwork.
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Gwangtonggwan's architectural details Mainly built from red bricks and granite, the Gwangtonggwan building has a symmetrical layout which roughly covers 774 square meters. The first floor of this building was designed and served as a bank, while the second floor was designed for conference rooms and offices. When it was originally constructed in 1909, the building had Ionic pilasters, but during the reconstruction following the fire in 1914, the Ionic capitals were removed and baroque decorations were added instead to the pilasters. Today's building has circular and arched windows, decorated pilasters, two baroque-styled domes with finials, two dormer windows, and a detailed pediment consisting of a half-circular window.
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The mosque at Motijhil, 1801 (picture taken by C.B. Asher) Kala Masjid, is situated in the vicinity of the lake and was constructed in 1749–50 AD. The construction date is also mentioned in a Persian inscription which is embedded in the wall of the mosque. The mosque is rectangular in plan and has is three domed. The mosque rests on several octagonal drums which are plain and are devoid of any decoration and the domes are crowned by lotus and kalasha (pot) finials. It also has four octagonal minarets at the four corners which taper upwards and are topped by bulbous kiosks which are supported on slender pillars.
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The vestry at the southeast corner of the building also has a separate roof, the gable running at right angles to that of the chancel. A small entrance portico is centrally located in the western facade of the building, and above this is a pointed arched vent with sloping timber louvres. There are large timber finials to the western end of the main gabled roof and to the gabled roof of the portico, and a timber cross at the eastern end of the main roof. The main entrance is a pointed arched double timber door which is flanked by three-paned patterned glass windows with timber trefoils.
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The northern end of the building originally had a similar arrangement, providing a lamp room and store, but was altered with the construction of the extension containing the refreshment rooms. The loading bay has a cantilevered corrugated iron awning, with corrugated iron cladding enclosing the wall surface above to the underside of the carriage shade. The toilet block and store has corrugated iron wall cladding with metal louvred ventilation panels, and is roofed by a skillion with projecting twin gables with raised ridge ventilators. The gable ends have louvred panels and finials, and a glass rooflight is located between the gables lighting the urinals below.
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Built on the edge of town in about 1876 for W. C. and Mary Ball, the house is a transitional structure between the Italianate vernacular and that of the later Victorian picturesque styles. with The 2½-story frame house features bracketed eaves, a full-height bay section on the south elevation, cornice returns, a high-pitched roof, facade gable, crenellations and finials on the ridges. A prominent feature of the house are its three porches: a kitchen porch on west side, a dining room porch on south, and wrap-around porch on southeast. The house was listed on the National Register of Historic Places on April 4, 1985.
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It comprises a main central body flanked by small blocks, one on either side, separated from the main body of the building by a small courtyard. The architectural features and style bears references to Rustic Gothic in the use of steeply pitched prominent gables with decorative bargeboards, finials, pendants and label moulds, and Filigree in the use of cast iron filigree and ornamental columns to verandahs. The central body of the building has two projecting portions with sharply pitched gables rising above the roofline of the main body of the building. Three verandahs run in between the two projecting portions and to either side.
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The narthex abuts the unfinished western facade facing Amsterdam Avenue; this facade is wide and consists of five architectural bays. The bays are separated by large arched buttresses with finials at their tops, and they contain niches for the possible future installation of statues. The western facade is divided into four vertical tiers. From bottom to top, they are the ground-level portals, on the first tier; the gallery level, on the second tier; the large rose window and several smaller grisaille and lancet windows, on the third tier; and the top of the south tower and the gable above the center bay, on the fourth tier.
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The tower has coffered corner piers, and the clock panels are topped by pediments to all sides surmounted by ball urn finials. Below the clock, the lower tower face is bracketed by two diagonal consoles and includes a paired window with round arches and accentuated voussoirs to Gray Street. The upper tower is slightly recessed behind the first floor façade, and linked compositionally to a widening pattern consisting of four central arched windows on the first floor and a more widely spaced set of entrance arches on the ground floor. Externally, all ground floor arches are segmental and those on the first floor are rounded Italianate.
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The wooden beams and rafters have been shown by carbon dating to be original, and the Newari door frames, columns and finials dating to the seventh and eighth centuries were brought from the Kathmandu Valley of Nepal. In addition to walking around the temple and spinning prayer wheels, pilgrims prostrate themselves before approaching the main deity; some crawl a considerable distance to the main shrine. The prayer chanted during this worship is "Om mani padme hum" (Hail to the jewel in the lotus). Pilgrims queue on both sides of the platform to place a ceremonial scarf (katak) around the Buddha's neck or touch the image's knee.
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The George Worthington Co. constantly required relocation to larger facilities. In 1882, the hardware-wholesale- turned industrial supply company moved into its last building on 820 St. Clair Avenue. Designed by the Cleveland architectural firm of Cuddell and Richardson, The George Worthington Building is noted as a "highly decorative brick structure, notable for its unusually wide window bays grouped in two multi-story arched ranks, a brick cornice, recessed spandrels and finials." Having fallen into disrepair in the later half of the 20th century, the George Worthington Building was rehabilitated as modern loft apartments in 1996 on what is today Worthington Square, and is listed on the National Register of Historic Places as well as being a Cleveland landmark.
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Heritage boundaries Mountain View Homestead and General Store is of State significance for its historic and aesthetic and technical merits. The Homestead is a rare and unusual example of a two-storey wattle and daub dwelling still in its original context including the adjacent timber slab General Store which was run by the original owner, David Todd. It is of State significance for the rarity and uniqueness of the homestead building which lies in the marriage of relatively primitive construction methods and materials and its numerous highly decorative features and finishes in the French Renaissance style. It contains decorative balconies, and veranda valences as well as an unusually roof complete with hand made finials.
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Mountain View homestead and General Store is likely to have aesthetical and technical heritage significance at a State level as the only known two storey wattle and daub dwelling in NSW. Its unusual attention to the details of decorative features demonstrates the creative and innovative achievement of David Todd who built the dwelling in the French Renaissance style. It is unusual in its marriage of crude construction techniques and locally obtained materials with highly decorative architectural features. The architectural features include the timber upstairs balconies, with their hipped rooves and finials and timber balustrades, the carved timber veranda valances and posts, the decorative features and colours in architraves and render mountings and fanlights above all internal doors.
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Wren never came to supervise the structure as it was being erected by the stonemason he had recommended, Christopher Kempster of Burford.Seven letters of Wren to John Fell, Bishop of Oxford, and other documents were published in Wren Society 5 (1928). Tom Tower seen from immediately adjacent to the St Aldates entrance to Tom Quad Christ Church, beneath Tom Tower, looking in towards Tom Quad. In 1732–34, when William Kent was called upon to make sympathetic reconstruction of the east range of Clock Court in Wolsey's Tudor Hampton Court Palace, he naturally turned to the precedent of Tom Tower for his "central ogee dome with its coronet of pilaster-like gothick finials".
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Automobile Palace, Llandrindod 03 Automobile Palace, Llandrindod 02 Humphrey's Garage, Severn Street Newtown Pritchard's garage, Llandrindod Wells Equally notable is use of white Doulton faience glazed terracotta for the Motor Palace at Llandrindod Wells by Richard Wellings Thomas in 1906–1910. Now the National Cycle Museum, it has a curving facade of nine bays of white-faience ware and blocked pilasters dividing the display bays, surmounted with lion finials. It is an early example of steel framed construction. The building reflects that Llandridod was the social capital of Wales at the time and Tom Norton, for whom it was built was both an early bus proprietor and also aviator, hence the fascia letting CYCLES – MOTORS- AIRCRAFT.
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To create this monumental effect, Vanbrugh chose to design in a severe Baroque style, using great masses of stone to imitate strength and create shadow as decoration. The architect slightly tapered the sides of the east gate to create an illusion of even greater height, the wrought iron gates date from the 1840s. The solid and huge entrance portico on the north front resembles more the entrance to a pantheon than a family home. Vanbrugh also liked to employ what he called his "castle air", which he achieved by placing a low tower at each corner of the central block and crowning the towers with vast belvederes of massed stone, decorated with curious finials (disguising the chimneys).
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British Library Newspapers, Part II: 1800–1900: "District News: Harrogate" The church was designed in the style of the second or Curvinilear Period of Decorated Gothic of 1290 to 1350. Due to cost, the decoration of capitals and vaulting are minimal or non-existent, but there is some tracery in the windows, and varied carved finials under some arches. The church is built of dressed ashlar blocks of Killinghall stone, while the boundary wall, also built in 1880, has contrasting rough coping to blend with the contemporary local style. The west wall faces the highway, and has two aisle-end, two-light windows, whose tracery is in the form of a Canterbury cross.
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In 2001, the City of Fremantle adopted the Fremantle Arts Centre Conservation Plan, a guide for its conservation. In January 2007, conservation works were completed with the gable finials on the west façade restored to their original state, following their demolition at the turn of the 20th century. On 20 July 2009 it was announced that the Immigration Museum will be closed as it was the least visited of the states museums, items in the collection will be placed into storage for conservation though items on loan will be returned. Amid criticism for the closure due to the WA Government Budget reductions Arts Minister John Day said that the closure will allow for the expansion of Fremantle Arts Centre.
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They are topped by tapering finials with weather vanes. Above the Perpendicular Gothic west doorway, which has "nicely carved" and moulded spandrels and a four-centred arch, are John Bolney's coat of arms (whose heraldic description is Or a crescent with two molets gules in the chief) and the inscription which was added in 1538 upon completion of the tower. A peal of eight bells is set in a bell-chamber near the top of the tower, lit by four two-light, flat- arched windows. The church is well known for this large complement of bells and the regular bellringing that takes place, and the ancient pub opposite the church is named The Eight Bells in recognition of this.
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From 2004 a number of small excisions along the boundaries of the park were made for road widening purposes, the area of the park in August 2009 being . Memorial to those who served in the Korean, Malaya, Borneo and Vietnam campaigns, 2015 Other memorials have been placed in the park since its establishment as a World War I memorial. Circa 1939 the sandstone and marble memorial fountain honouring the discoverer of gold at Gympie, James Nash, was relocated from near the Town Hall to the memorial park, close to the intersection of Reef Street and River Road. At this time the drinking fountain function was lost, and the upper section with sandstone urn and finials was removed.
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The former Coal Board building, located on the eastern corner of Edward and Mary Streets opposite Young's Building, Optical Products, is a three-storeyed rendered masonry structure, with basement, and a corrugated iron twin gable roof concealed behind a parapet wall. The building is divided into two equal portions, with a central masonry wall with two arched openings per floor, which are expressed on the Mary Street facade. Each portion consists of three bays, separated by pilasters with cornices between each floor, and surmounted by a solid parapet with a central triangular pediment flanked by spherical finials. The building has one street entrance, located in the central bay of the corner portion.
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The double-height-over-sunken-basement brick twin-towered church with stone trim was built at 985 East 167th Street and Hoe Avenue in 1900. The church front elevation is symmetrically divided into three parts and consists of a nave with six-bay clerestory flanked to both sides by six-bay lean-to aisles, which terminate in the bookended square-in-plan single-bay four-stage towers, projecting a bay in depth to flank the gabled three-bay façade of the nave. The central gabled façade has three equal round-headed entrance openings addressed by a flight of stone steps spanning between the towers. Pitched nave roof with pyramidal copper roofs with cross finials to towers.
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The interior of the great hall, facing the wooden screen A free-standing, carved wooden screen made of bog oak in the Great Hall probably dates from between 1530 and 1540. It is described by Pevsner as being "of an exuberance of decoration matched nowhere else in England" and is the only known surviving example from the first half of the 16th century. It stands at the north end of the great hall, covering the entrance to the original kitchens.The Moveable Screen – National Trust leaflet in the Great Hall room guide It has three spiral finials, two outer ones carved from single lengths of timber at the sides of the screen framing eight traceried panels.
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The cresting employed, though common on the Continent, is of a kind hardly known in England, consisting as it does of arches springing from arches, and decorated with crockets and finials. The tabernacle work over the end seats, with its pinnacles and flying buttresses, stretches up towards the roof in tapering lines of the utmost delicacy. The choir stalls (the work of Jörg Syrlin the Elder) in Ulm Minster are among the finest produced by the German carver. The front panels are carved with foliage of splendid decorative boldness, strength and character; the stall ends were carved with foliage and sculpture along the top edge, as was sometimes the case in Bavaria and France as well as Germany.
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The composition of a Shinto shrine The following is a diagram illustrating the most important elements of a Shinto shrine: #Torii – Shinto gate #Stone stairs #Sandō – the approach to the shrine #Chōzuya or temizuya – fountain to cleanse one's hands and face #Tōrō – decorative stone lanterns #Kagura-den – building dedicated to Noh or the sacred kagura dance #Shamusho – the shrine's administrative office #Ema – wooden plaques bearing prayers or wishes #Sessha/massha – small auxiliary shrines #Komainu – the so-called "lion dogs", guardians of the shrine #Haiden – oratory #Tamagaki – fence surrounding the honden #Honden – main hall, enshrining the kami. On the roof of the haiden and honden are visible chigi (forked roof finials) and katsuogi (short horizontal logs), both common shrine ornamentations.
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The main trusses are supported by iron I-beam portal posts topped by decorative finials, and are joined to each other by a web of overhead iron rods. with The bridge was built in 1887 by the Berlin Iron Bridge Company of Berlin, Connecticut, which held rights to the Douglas and Jarvis patent for the lenticular truss design. The bridge was one of the first to be built in the state with state-assisted local funding, and is one of the largest surviving lenticular truss bridges in the northeastern United States. The company built many instances of this design in the late 19th century, but gradually phased out its use in the early 20th century.
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The garden's features include a Palladian architecture bridge (one of only four of this design left in the world), Gothic temple, gravel cabinet, Mrs Allen's Grotto, the ice house, lodge and three pools with curtain walls as well as a serpentine lake. The curtain wall by the lake is known as the Sham Bridge and is similar to Kent's Cascade at Chiswick House and Vunus Vale at Rousham House. Ralph Allen was also responsible for the construction of Sham Castle on a hill overlooking Bath. The rusticated stone piers on either side of the main entrance gates are surmounted by entablatures and large ornamental vases, while those at the drive entrance have ornamental carved finials.
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Cottage furniture is true to the Victorian style in that the beds have high (an excess of six feet or more) and lavishly decorated headboards. There is some carving, usually in the form of finials and medallions, but most of the decoration was painted. Flowers, fruit, and other plants were the most common motifs featuring a large painted bouquet-like medallion in a central panel on the headboard and a smaller, matching one on the foot-board. Because the pieces were done by local cabinet makers, most of which did not have any formal training in still life or landscape painting, the embellishments usually have a slightly primitive, Folk Art feel to them.
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This layout was a medieval concept and later, as custom dictated that servants withdraw from the principal areas of the house, these rooms became used by the family as reception and private dining rooms. Eventually, in the early 20th century, Lord Curzon amalgamated the two rooms to create the grand, and socially necessary, dining room, which Montacute had lacked since the Great Chamber had been abandoned more than 100 years earlier. The Servant's Hall, from which a staircase in the bay window descends to the basement, became the servant's dining room at the beginning of the 18th century. Outside, the six Doric columns on the East Terrace originally had decorative finials, now replaced by lamps.
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The Central Pacific Railroad Depot in Lovelock, Nevada was erected in 1880 in the Stick style or Eastlake style, functioning as the principal point of access to the town in the late 19th and early 20th centuries. The building was originally located on the northeast corner of West Broadway Avenue and Main Street, but was moved by the town in 1999 to its present site across Broadway Avenue. The building consists of two wood frame sections; a 1½ story section to the south comprising the baggage room, and a two-story section to the north containing the passenger waiting room, agent's office and agent's quarters. Both portions are extensively detailed with finials, braces, brackets and flat board trim.
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The Mahabodhi Temple in Bodh Gaya is one of the earliest examples of Truncated Pyramidal temples with niches containing Buddha images.Le Huu Phuoc, Buddhist Architecture, pp. 238–248 The structure is crowned by the shape of an hemispherical stupa topped by finials, forming a logical elongation of the temple. Although the current structure of the Mahabdhodi Temple dates to the Gupta period (5th century CE), the "Plaque of Mahabodhi Temple", discovered in Kumrahar and dated to 150–200 CE based on its dated Kharoshthi inscriptions and combined finds of Huvishka coins, suggests that the pyramidal structure already existed in the 2nd century CE. This is confirmed by archaeological excavations in Bodh Gaya.
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He executed church repair work (Chalford, near Stroud, was re-ordered by him), and designs for memorials, inscriptions, headstones, and lettering; also for metalwork, as Gimson had done, including sconces, chimney furniture and gates, and architectural leadwork. He turned his hand to the woodcarving of details such as finials and newels for his houses. A number of furniture designs are strikingly successful, from the fine piano-case with marquetry inlay, made by Waals, which he designed for Mrs Clegg of Wormington Grange, to the sturdy child's chair with back splats showing humorous carvings of village characters which he made and painted himself, as well as a number of toys, for his daughters.
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In all, Dunning produced 302 published articles, 188 of them were concerned with medieval or Anglo-Saxon pottery.There is a bibliography of Dunning's published work included in his festschrift ; Vera Evison, Medieval Pottery from Excavations: Studies Presented to Gerald Clough Dunning (London, 1974), pp. 18–32 His many other research interests included: French and English schist hones, stone mortars from Purbeck and Caen, the medieval Devon slate trade, black marble Tournai fonts in England and on the Continent, ceramic roof furniture such as chimney pots, finials and roof-tile crests, Iron-Age Swan's neck and Ring-headed pins and late Anglo-Saxon belt buckles.Hurst, 'Gerald Dunning and His Contribution', pp. 12–13G.
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The house is constructed of local sandstone, with a pitched slate roofIt is stated elsewhere (including on the NSW Heritage listings for Dalkeith) that it was originally built with a flat roof. Such references cite "The house that brains built", an article in "Building" magazine on 12 February 1912. However, this article clearly refers to the home of George Augustine Taylor (and his wife, Florence Mary Taylor), the publishers of "Building", which was located next door, at 6 Bannerman St. This house (which no longer exists) was also designed by HA Wilshire, and was very similar looking to Dalkeith, though with a flat roof. with terracotta finials and ridge saddles, a typical treatment at the time.
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The hall remained under the control of Leichhardt until 8 May 2003, when a further boundary change transferred large parts of Glebe and Forest Lodge back to the City of Sydney. In 2008, the Lord Mayor of Sydney, Clover Moore, commissioned extensive restoration works to be undertaken by prominent conservation/restoration architectural firm, Tonkin Zulaikha Greer, which were completed and unveiled by Moore on 2 March 2013. The extensive restorations included a new Welsh slate roof, reconstruction of damaged parapets and finials, the reinstatement of the original natural ventilation system. A rainwater storage system was implemented, to be reused on site for the new habitat garden created for the endangered local Blue Wren.
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In Antwerp, Belgium, artist Eddy Gabriel transformed a bollard to look like a toadstool in 1993. This example was followed by other artists, turning the quayside of the river Scheldt into a street art gallery. In Norwich, England, a set of 21 bollards was installed in 2008 in the Lanes area north of City Hall, designed by artist Oliver Creed and commissioned by the City Council as part of a regeneration programme. They are coloured "madder red", in reference to the red dye extracted from the madder plant and used for dying cloth, one of the city's major industries during the 16th century; and they bear bronze finials also alluding to local history.
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These are now modern, but reflect the original type of facilities, if not their form. The totalisator is a timber framed building clad with weatherboard and fibro set behind and to one side of the grandstand and can be clearly recognised from early photographs. It is a narrow T-shape in plan, with a two-storey hip roofed section set at right angles to a single storey gable roofed section. The roofs of both are clad with corrugated iron of the same profile as the grandstand and the hipped roof retains finials at each end of its ridge pole, though the flagpole at the end of the single storey gable has gone.
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As at Blenheim, the central block is dominated by the raised clerestory of the great hall, adding to the drama of the building's silhouette, but unlike Vanbrugh's other great houses, no statuary decorates the roof-scape here. The decoration is provided solely by a simple balustrade hiding the roof line, and chimneys disguised as finials to the balustrading of the low towers. The massing of the stone, the colonnades of the flanking wings, the heavy stonework and intricate recesses all create light and shade which is ornament in itself. Among architects, only Vanbrugh could have taken for his inspiration one of Palladio's masterpieces, and while retaining the humanist values of the building, alter and adapt it, into a unique form of baroque unseen elsewhere in Europe.
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The large, neoclassical Simmons-Edwards House is a Charleston single house built for Francis Simmons, a Johns Island planter, about 1800. The house, located at 14 Legare St., Charleston, South Carolina, is famous for its large brick gates with decorative wrought iron. The gates, which were installed by George Edwards (who owned the house until 1835) and which bear his initials, include finials that were carved to resemble Italian pinecones. They are frequently referred to as pineapples by locals, and the house is known popularly as the Pineapple Gates House.Jonathan H. Poston, The Buildings of Charleston: A Guide to the City's Architecture 243-44 (University of South Carolina Press 1997) Pineapple Gates of the Simons-Edwards House It was declared a National Historic Landmark in 1973.
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Entrance, 2015 Located on over of hilltop land, Boothville is a complex of double and single-storeyed timber and masonry buildings. The original rendered masonry and timber house remains as the main focal building, sited in a commanding position at the crest of the hill. The main building has a long thin U-shaped plan consisting of, to the south, the original double- storeyed masonry house with now enclosed timber verandahs, its single storeyed rendered masonry service wing to the north-west, and the single-storeyed L-shaped timber addition to the north east. The roof is a series of intersecting pitches dominated by the main roof, which features a flattened central portion bound by a cast iron decorative balustrade with finials.
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A recessed central entrance beneath the portico gives entrance to the galleries, while flanking doors lead to the vestries. Toward the top of the tower are bell openings with pediments, above which is a stage containing a clock face on each side and ball finials at the corners. The tower is surmounted by an open cupola carried on eight plain columns. Basevi was unhappy with the modifications to the designs of the towers at Stockport and at St Mary's in Greenwich imposed by the Commissioners, and these were the only two churches he designed for them The north and south sides of the church have two tiers of windows, the upper ones with round- arched heads, and the lower ones segmental heads.
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These windows are solid stained glass and were manufactured by Redding, Baird & Company of Boston, Mass. These windows, too, carry the theme of old and new testaments with the words “The Lord is One” written in Hebrew and “Spirit of God” written in Greek. Upper portion of the church tower fell through the roof The next year, the great Charleston earthquake of 1886 (7.3 on the moment magnitude scale) devastated the city of Charleston and caused major damage to the Unitarian Church. The entire top of the church tower, including eight paneled buttresses, high pinnacles, and medieval-style finials, fell into the Nave of the church, leaving a gaping hole in the roof and destroying part of the famed fan-vaulted ceiling.
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Geodetic height benchmarks from 1883 Rowald took the Romanesque style elements from the architecture of existing medieval buildings in the old town of Hersfeld, for example from the ruins of the Romanesque abbey, without copying their individual elements (Gelnhausen station, which was also designed by Rowald, has a similar design). Rowald drew heavily on the Romanesque style in the shape of the window on the ground floor, the window frames with their half-columns and capitals and the arched windows in the gables. The tops of the gable with adorned with finials; these are borrowed from Gothic architecture. On the south side there is a one-story building that was built in 1908 that matched the style of the main building.
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Kastane is a short traditional ceremonial/decorative single-edged Sri Lankan sword. Kastanes often have elaborate hilts, especially shaped and described as a rich mythical style inherited from Buddhism in blending a variety of Icons including, Lions, Kirtimukha Serapendiya, Nagas, crocodile/human monsters and other dragon and gargoyle like effigies. Some appear seemingly emitted onto the hand guard and cross guard with Vajra style pseudo-quillons whose finials are also decorated by minor monsters and a rain-guard decorated by the Makara or Serapendiya peacock tail or fish scales which occasionally flows over and onto the blade at the throat. The scabbard is occasionally seen with a miniature beasts head at the chape also emitting an icon or cloud pattern.
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The plan was basically an enlargement of the Botetourt design with the addition of a taller tower and a bell-shaped cupola with Georgian-style, copper finials. The Jeffersonian style chosen by Dameron combines Palladian proportions and themes with the late-Georgian neoclassicism characteristic of the early Republican period. Features included red brick construction; all-white painted columns; all-white painted trim; unfluted columns; Tuscan, Doric, Corinthian, or Ionic order capitals; portico- and-pediment primary entries; classical moldings; and square, round, octagonal, and fan-shaped windows or pediment openings. The original Dameron design includes all the elements of Jeffersonian style: the Hawkins County Courthouse is built of red bricks laid in the Fleming bond pattern; it features all-white painted columns and trim, and unfluted Tuscan columns.
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The interior of the building was also somewhat modified, often featuring three central pillars rather than one and occasionally a wooden platform bed raised high off the ground. After Andrianampoinimerina's edicts regarding construction materials in the capital were revoked in the late 1860s, wooden construction was all but abandoned in Imerina and older wooden houses were rapidly replaced with new brick homes inspired by LMS missionaries' British-style dwellings. The tandrotrano horns were gradually replaced by a simple decorative finial installed at the two ends of the roof peak. Other architectural norms such as the north-south orientation, central pillar and interior layout of homes were abandoned, and the presence of finials on roof peaks is no longer indicative of a particular social class.
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On the projecting frieze over all are seven Chaitya-window ornaments, with smaller ones between their finials, and two on the faces of each jamb. Inside the cave, three octagonal pillars on the right side are blocked out, as is also the dagoba, but without the capital. There is a horizontal soft stratum in the rock, which has probably led to the work being relinquished in its present unfinished state. This is very much to be regretted, as the whole design of this cave is certainly the most daring, though it can hardly be called the most successful, attempt on the part of the early cave architects to emancipate themselves from the trammels of the wooden style they were trying to adapt to lithic purposes.
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The John W. Griffiths Mansion is a historic house at 3806 S. Michigan Avenue in the Douglas community area of Chicago, Illinois. The house was built in 1893-94 for John W. Griffiths, a prominent building contractor who worked in Chicago during its reconstruction after the Great Chicago Fire. Architect Solon Beman designed the Chateauesque house, which features a limestone-clad exterior, an octagon-shaped tower on its northeast corner, corbels along the roof line, and dormers topped with finials. The house was typical of those on Michigan Avenue at the time, as many affluent Chicagoans built their homes there; it was also one of the last such homes, as the Panic of 1893 and industrial development led the area to lose its popularity with the wealthy.
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The central section of the convent runs south west-north east, parallel to the Ann Street boundary wall, the south western wing houses the chapel and is symmetrical with the three storeyed north eastern wing used for bedrooms and community. The convent, as it now appears, was completed in three major stages, manifest in design and construction; the 1850s house, Adderton, the 1891-2 extension and the chapel extension of 1921. The south eastern facade, where the principal entrance is located, is terminated at both ends by the projecting elevations of the transverse wings. These bays have hipped roofs partially concealed by a decorative parapeted gable, surmounted at the apex by a pedimented feature, supported on reeded pilasters and flanked by pilasters surmounted by finials.
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In 2010, according to the Conservancy, it had provided the synagogue with "$30,000 in direct grants and an additional $100,000 in pass-through funding". Funding had also been secured from the "State Environmental Protection Fund, The New York Community Trust and the families of Ronald and Leonard Lauder". It described the building as a "rare survival" of New York's wooden, vernacular synagogue architecture, A $275,000 gift from philanthropist Arnold Goldstein enabled the commencement of $1.5 million in restoration work. The Conservancy stated the restoration would "remove the present stucco coating and restore the original wood clapboard siding, wood windows and doors, Moorish-style metal domes and finials, and historic paint colors to this important building, returning it to its appearance of a century ago".
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Although there were plans for the building's demolition due to its dilapidated condition, Alistair McAlpine (property developer, treasurer of Britain's Conservative Party, and Chairman of St Georges Investments (ACP)) decided to retain and refurbish the building and rename it St George's House. St George's House therefore became ACP's corporate headquarters. In 1986, ACP commissioned the architectural firm, Oldham Boas Ednie-Brown, to carry out the restoration of St George's House, which involved partial conservation and partial adaptation with some new material being introduced. Much of the external timberwork (such as the picket fencing, verandah balustrades, and gable finials) had disappeared, the tuckpointed brickwork had been painted, original roof sheeting had been replaced, the original roof vents had gone and the single-storey front porches had been removed.
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The complex has several different roof treatments, as well as several towers, turrets, and corner finials, giving it a remarkably unified Romanesque appearance. The earliest incarnation of the Waltham Watch Company was founded on this site in 1854, and demonstrated the complete creation of a watch under a single roof. The company went through a number of management and ownership changes, and was known as the American Waltham Watch Company when the first buildings of this facility were constructed beginning in 1879, when some of the first buildings were demolished. They were lauded at the time as model facilities, dedicated to the safety and hygiene of the workers, and included amenities such as daycare facilities that were unusual for the time.
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Tenterfield railway station is associated with Sir Henry Parkes as an advocate of Federation. It was from Tenterfield railway station that he set out on a special train to Sydney after his historic speech at the Tenterfield School of Arts calling for a federation. The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. The Tenterfield railway station has aesthetic significance as a first class station building (of which only 19 were built) demonstrating the architectural features and ornamentation of Rustic Gothic in the use of steeply pitched prominent gables with decorative bargeboards, finials, pendants and label moulds, and Filigree in the use of cast iron filigree and ornamental columns to verandahs.
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1860 in flint and brick in the southwest, opposite the church; and a single-storey building in the northeast. The south lodge The house was purchased in 1810 by Silvanus Bevan, then passed to his son David Bevan, then to his son Robert Cooper Lee Bevan, then to his son Francis Augustus Bevan, four generations of bankers. At some point between 1899 and 1903, it was sold to Alfred Henry Huth (1850–1910), the bibliophile, and it housed the Huth Library until its dispersal in a series of sales after his death. The house was recorded as Grade II listed in 1986, as was the brick and flint kitchen garden wall at the rear, which has piers with urn finials and cast-iron gates.
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The Royal Sceptre of Boris III of Bulgaria An 1872 portrait of Emperor Pedro II of Brazil, holding the very large Imperial Sceptre and invested with other items of the Brazilian Crown Jewels With the advent of Christianity, the sceptre was often tipped with a cross instead of with an eagle. However, during the Middle Ages, the finials on the top of the sceptre varied considerably. In England, from a very early period, two sceptres have been concurrently used, and from the time of Richard I, they have been distinguished as being tipped with a cross and a dove respectively. In France, the royal sceptre was tipped with a fleur de lys, and the other, known as the main de justice, had an open hand of benediction on the top.
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Behind the shops on the west side of Via Roma, which runs southwards from Piazza Mazzini, lay the ghetto which persisted until the emancipation of the Jews in Piedmont following Charles Albert's concession of a constitution, the Statuto Albertino, under the revolutionary pressures of 1848. The Synagogue of Casale Monferrato is inside a building at Vicolo Olper 44 that offers no hint from its nondescript exterior that it is a synagogue, built in 1595, and recognized as one of the most beautiful in Europe. The women's galleries now host an important Jewish museum. Of particular interest are the Tablets of the Law in gilded wood, dating from the 18th century, numerous Rimonim (finials to scrolls of the Law) and Atarot (crowns for the scrolls of the Law) carved and with silver filigree.
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Vicente Martinez-Ybor's grave lies in the St. Louis section of Oaklawn Cemetery The northwest section is actually a separate cemetery known as Saint Louis Catholic Cemetery. Established in 1874, it had its own entry gates and was for many years completely separated from Oaklawn by an iron fence. Among those buried in the St. Louis section are the founder of Ybor City, Vicente Martinez Ybor, five pioneer priests (three of whom died in a 15-day period during the 1887 yellow fever epidemic) and Cecilia Morse, the foundress of Catholic parochial education in the Tampa Bay area. A few remnants of the fence are still visible including several brick fence posts with marble finials, the original driveways and the gates that serviced only the St. Louis section.
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In 1941, Virginia Weddell hired architect William Lawrence Bottomley and purchased antique stone columns from the Spanish Duke of the Infantado to reconstruct an ancient Spanish loggia on the southwest elevation of the house. Bottomley was able to incorporate the existing parapets, finials and pierced railings and posts from the north library bay windows into the loggia design, with a ceiling, reconstructed from a sixteenth-century house on the grounds of a manor in Knole, Kent, England. Wall tiles were used which indicated the use of gunpowder on the original property. Bottomley, however, was quite critical of his own work and believed his loggia was too symmetrical and lacking in the quality of picturesqueness and romance that the rest of the house displayed and proposed an octagonal stairway be added on the outside corner.
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Dining Room, The Kirna (2018) Staircase, The Kirna (2018) Staircase finial, The Kirna (2018) The Kirna retains all of its original 1867 Scots Baronial and Venetian Romanesque design features including an idiosyncratic tower in Ruskinian Gothic style. The heavy oak main staircase features distinctive turned and carved balusters also found in F T Pilkington's own house, Egremont, 38 Dick Place, Edinburgh, and grotesque finials holding shields sporting the initials of George Ballantyne and his wife Marion White Aitken (1841-1914). The dining room ceiling incorporates the initials of Colin Ballantyne and his wife Isabella Milne Welsh (1881-1969), respectively. Of special architectural note is the main entrance and heavily decorated (sculpted) elevation featuring a central flight of ashlar steps leading to a polygonal, arcaded loggia entrance area which is supported by two rope-moulded arches.
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Externally, there are slate roofs and coped gables with cross finials. The roofs have patterned bands of fishscale Whitland Abbey slates, except on the nave. There are large scale, plain unbuttressed walls without batter for the nave, a nineteenth century south porch, two transepts and a chancel with a nineteenth century addition of a north choir vestry; the dating of the priests' vestry, on the north side of the chancel, is less certain.When identifiable sacristies began to appear as identifiable spaces in parish churches by the later thirteenth century they were commonly small rectangular adjuncts on the north side of the chancel, which matches the vestry at St Padarn's; Warwick Rodwell, The Archaeology of Churches (Amberley, Stroud, 2013), p. 46. Externally, the nave downpipes on the south side are dated 1884.
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Hermitage These were made round a wooden core, usually consisting of seven pieces of oak which were primed and painted, to which fairly thin sheets of copper decorated in champlevé enamel and gilding were nailed with pins with rounded gilt heads. The flat panels were fired before the box was assembled around the wooden core, using "assembling marks" on the wood and the rear of the metal plates. In the late 14th century a new all-metal method of construction was developed, with chasses "fitted together by an ingenious system of slots, lugs, and dovetails".Stohlman, 390 There were sometimes gems, usually in fact made of glass, set on the faces, and especially into the roof-ridge, which often has finials and a row of keyhole shaped openings.
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By the early 20th century, Chelsea Bridge was in poor condition. It was unable to carry the increasing volume of traffic caused by the growth of London and the increasing popularity of the automobile; between 1914 and 1929 use of the bridge almost doubled from 6,500 to 12,600 vehicles per day. In addition, parts of its structure were beginning to work loose, and in 1922 the gilded finials on the towers had to be removed because of concerns that they would fall off. Architectural opinion had turned heavily against Victorian styles and Chelsea Bridge was now deeply unpopular with architects; former President of the Royal Institute of British Architects Reginald Blomfield spoke vehemently against its design in 1921, and there were few people supporting the preservation of the old bridge.
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This left original fabric mostly intact. Evidence of the flats and maritime industry era survive in retained large power board, cabling, letter boxes and wire front fence. Historic photos by Harold Cazneaux in a 1929 Australian Home Beautiful magazine article were an invaluable guide to multiple discoveries: original iron lacework identified when a waterfront burn-off was approved by the EPA; first floor verandah posts that'd become part of an arbor; parts of finials and a ridge capping of the Orchid house found lying around. Others were made: a network of hexagonal drainage channels in the Orchid house floor; the original well described in an 1868 advertisement as "never-failing spring well" under the main verandah floor and the 1850s stone flagging under a flat's floor and in the scullery.
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Shipton-on-Cherwell Halt was one of 26 new halts opened by the Great Western Railway in 1929. It was situated on an embankment immediately adjacent to the single-span girder bridge over the A423 road. Facilities were basic: a short sleeper-built platform on the north side of the line, together with a small wooden shelter, running in board and two wooden lamp posts supporting traditional glass lanterns with ornamental finials. A sloping cinder path led down to the A423 where a sign proclaimed the halt as a station for "Blenheim, Oxford, Banbury, etc.".Linguard, p. 16. The halt was constructed at a cost of £160 with a low platform for railmotors. The platform was later raised to standard height in 1933 at a cost of £120.Jenkins, p. 69.
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The bandstand is also an exercise in the language of classical architecture, using a simple square form plan with a pyramidal roof raised on composite order columns. The Mannerist composition of the screen derives from the Renaissance illustrations of the classical orders, in which the elements of the entablature surmounting the capital are interpreted as panels of open space between flat pilasters. The frieze band of the entablature is infilled with decorative cast iron panels, framed between chamfered square section timber posts and visually supported on corner brackets to the underside of the taenia, or plate that separates the frieze from the architrave below. Panels of decorative cast iron are fixed between columns to form a continuous balustrade, broken only at the top of the steps where it meets round iron posts with ball finials.
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A great curiosity in both the old Ratgar Basilica and the later Baroque church and cathedral was the so-called "Golden Wheel" (), a medieval musical apparatus, which was made in 1415 during the rule of the Abbot Johann I von Merlau and for over 370 years delighted the faithful with its evocation of the "music of the spheres". It was in the form of a great star, consisting of 14 rays about 2.5 metres long mounted on a round metal plate; from the rays hung 350 bells. It was set and kept in motion by two ropes or cables running round an axle, by which the star could be kept turning and the bells ringing. It was lavishly decorated with glittering golden Gothic floral finials and vesica-shaped decorations.
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He added extensively to the estate in the 1850s, 1860s and early 1870s. Amongst these additions are symbols associated with freemasonry: the cross of Lorraine finials crowning the main entrance piers; the twin cylindrical gate piers at the south-west entrance bear resemblance to the twin pillars, Boaz and Jachin; and the deep engravings in an overmantel in what is now the hotel restaurant, described by English Heritage as "masonic emblems". Other Masonic references include the motto "In hoc signo vinces" carved above the mansion's principal entrance, taken from the standard of a Commander of the Knights Templar. On the south front are paneled twin buttresses, flanking the entrance and crowned with crosses, which seem to serve no structural purpose; they are possibly a further reference to the pillars of Boaz and Jachin.
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Plaque #1, Boer War Memorial, 2015 Plaque #2, Boer War Memorial, 2015 Plaque #3, Boer War Memorial, 2015 Plaque #4, Boer War Memorial, 2015 The Boer War Memorial is situated in a small park in Allora facing Warwick Street, in which memorials to the two World Wars are also found. The park is enclosed by a substantial brick and wrought iron fence along Warwick Street with a centrally placed gateway formed by brick newels with plaster finials and with an iron gate. The Boer and First World War memorials are towards the southern, Warwick Street side of the park and the Second World War Memorial is located toward the northern, rear of the park centrally placed between the others. The Boer Memorial stands from the ground and comprises a pedestal surmounted by a digger statue.
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Jack E. Boucher's 1960 HABS photograph of the home's southwest corner detail The building is constructed of Douglas Fir framing on twelve-inch (305 mm) centers holding smooth redwood plank tongue and groove siding with redwood sleepers, ground sills and redwood exterior ornamental features. It is founded on plastered brick which surrounds the dirt floor basement and forms a pedestal to support the rest of the framing. Metal trim around the chimneys augments the wood shingle roof ("best- quality of heart redwood" shingles with clipped corners were originally specified.) Gable-ended dormers extend through the steep roofline; decorated barge-boards and heavily molded finials, corbels and string corners adorn the dormers and roof eaves. A strong sense of verticality is enhance by tall, narrow windows and the steeply-angled 52.5° roof.
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Muscarella, 115–116; EI I The ethnicity of the people who created them remains unclear,Muscarella, 116–117; EI I though they may well have been Persian, possibly related to the modern Lur people who have given their name to the area. They probably date to between about 1000 and 650 BC.EI, I The bronzes tend to be flat and use openwork, like the related metalwork of Scythian art. They represent the art of a nomadic or transhumant people, for whom all possessions needed to be light and portable, and necessary objects such as weapons, finials (perhaps for tent-poles), horse- harness fittings, pins, cups and small fittings are highly decorated over their small surface area.Frankfort, 343-48; Muscarella, 117 is less confident that they were not settled.
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Above the twelfth story, the attic story, is a blind frieze of checkered stonework, terminating in a toothy crown formed by the rise of the piers above the parapet in stepped, zigzag finials. The spandrels between the buildings windows were cast in a geometric pattern and set flush with the piers, spreading the checkered motif downward across the entire facade. The building originally had double hung windows on the upper floors, however they were replaced in 1974 with metal-clad windows. The secondary facades, facing east and south internally in the block, are defined by similar window placement, but with concrete floor banding between floors and common brick infill between windows; these facades also display "MINNESOTA BLDG." painted in large block letters between the twelfth and thirteenth window rows.
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One of the main characteristics of Banjar mosque is the three- or five-tiered roof with a steep top roof, compared to the relatively low-angled roof of Javanese mosque. Another characteristic is the absence of serambi (roofed porch) in Banjarese mosques, a traditional feature in Javanese mosques. The Banjarese mosque style is similar with the mosques of West Sumatra and are possibly related to other examples from peninsular Malaysia. Other characteristics are the employment of stilts in some mosques, a separate roof on the mihrab, the peaks of the roof are decorated with finials called pataka (the mustoko/memolo of Demak Sultanates) made of Borneo ironwood, ornaments on the corner of the roofs called jamang, and fences within the perimeter of the mosque area called kandang rasi.
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Trumland Trumland is a Category B listed house and associated estate on Rousay, in Orkney, Scotland, built in its present form in 1875. Designed by David Bryce, the house was commissioned by Sir F W Traill-Burroughs in 1870, as a new family home for himself on his return from India. Overlooking the sound between Rousay and the island of Wyre, the house is of a strong baronial design, with crow-stepped gables and canted windows, made from the local Rousay stone, with fine carved finials and architectural detailing. Built over three principal stories, with gable windows and dormers creating a fourth, the house utilized the first and second stories as the principal living and sleeping quarters for the owners, the majority of the ground floor and attics were made over to management of the house and estate.
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No tower was intended, its function being supplied by a slender flèche upon the roof, a double bellcote above the western gable was planned, and twin finials at the east end. The most unusual feature of Gough's design was a great blank arch in the east wall, furnished externally with niches for statues instead of window lights. At first the interior walling was finished off in plain brick, in anticipation of decorative glories to come. Some rich fittings had been installed by the date of consecration, notably the Caen stone pulpit, designed apparently by Gough and carved by Baron Felix de Sziemanowicz of Kennington (placed in continental fashion almost halfway down the nave, as though to distance it from the altar), some carving outside the Lady Chapel and the sedilia and piscina on the south of the Sanctuary (1888).
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In his biography of his father, Arthur Street said that it was possible that George Street's "very decided adherence to the earlier phase of Gothic, and the eagerness with which he argued that Oxford had already enough of debased types, and should revert to the purity of the early forms, may have frightened the authorities". Casson, although referring to the chapel and other parts of the college from the Victorian era as "mostly pretty dull", thought that the "sturdy pews with their flatly modelled leafy finials hold their own". The interior of the chapel facing west; the 1994 organ by William Drake stands on top of the 1693 screen added to the chapel by Jonathan Edwards. The woodwork removed by Street was sold for a nominal sum, with a condition that it could only be used for a hall, chapel or library.
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This chair form, essentially an X-frame, is associated with the Americas where it is used most widely. Examples are embellished in keeping with regional tastes and carved or brass finials, tooled leather seats, and ornate inlay work are regular features. Decorative aspects such as guadamecil found on historic examples in Mexico directly relate to Ibero-Roman aesthetic development. The majority of scholarship on the Campeche chair is by Metropolitan Museum of Art historian Cybèle Gontar, documenting hundreds of examples, considering associated terminology, bringing to light the popularity of what were called “Spanish” chairs throughout the New Republic, and showing that they were not limited to the American South. Gontar traces the form to the Iberian peninsula and indicates that, while the butaca is a “new chair for a new world,” European precedents cannot be ignored.
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The short sections of crenellated wall with ball finials which extend out either side of the villa were symbolic of medieval (or Roman) fortified town walls, and were inspired by their use by Palladio at his church of San Giorgio Maggiore in Venice and by Inigo Jones (1573–1652) (Palladio produced woodcuts of the Villa Foscari with crenellated sections of walls in his I quattro libri dell'architettura in 1570, yet they were never built). To reinforce this link, two full-length statues of Palladio and Jones by the celebrated Flemish-born sculptor John Michael Rysbrack (1694–1770) are positioned in front of these sections of wall. Palladio's influence is also felt in the general cubic form of the villa with its central hall with other rooms leading off its axis. The villa is a half cube of by by .
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Shemanski petitioned the City Council to let him gift the fountain, which began operating on September 3, 1926. In 1987, the fountain's plumbing was repaired and a new base was poured as part of a renovation of the South Park Blocks. That same year, Logan and two other men—David L. Lipman and Jeff Wolfstone, grandson and great-grandson of Shemanski, respectively—approached the Portland Bureau of Parks and Recreation, advocating for the fountain's restoration. During the renovation process, the fountain was thoroughly cleaned, had missing pieces such as finials and urns replaced and chipped corners repaired, and was coated with a sealant to protect it from the elements and graffiti. In July 1988, the fountain re-opened following nearly a year of reconditioning. A dedication ceremony to mark the restoration was held on the afternoon of July 18.
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Bronze and copper craftsmanship observable in the sculpture of deities and beasts, decorations of doors and windows and the finials of buildings, as well as items of every day use is found to be of equal splendour. The most well-developed of Nepali painting traditions is the thanka or paubha painting tradition of Tibetan Buddhism, practised in Nepal by the Buddhist monks and Newar artisans. Changu Narayan Temple, built 4th century CE has probably the finest of Nepali woodcraft; the Kathmandu, Patan and Bhaktapur Durbar Squares are the culmination of Nepali art and architecture, showcasing Nepali wood, metal and stone craftsmanship refined over two millennia. The "ankhijhyal" window, that allow a one-way view of the outside world, is an example of unique Nepali woodcraft, found in building structures, domestic and public alike, ancient and modern.
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Finial of the dome of the Taj Mahal Bronze finial for a nomad's tent-pole, Ordos culture, 6th–5th century, Mongolia A finial or hip-knob is an element marking the top or end of some object, often formed to be a decorative feature. In architecture it is a decorative device, typically carved in stone, employed to emphasize the apex of a dome, spire, tower, roof, or gable or any of various distinctive ornaments at the top, end, or corner of a building or structure. Where there are several such elements they may be called pinnacles. Smaller finials in materials such as metal or wood are used as a decorative ornament on the tops or ends of poles or rods such as tent-poles or curtain rods or any object such as a piece of furniture.
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Constructed of face brick with corrugated metal gabled roof extending as an awning to both platforms, the Medlow Bath station building is an early phase island building in standard "A8" Federation style design. It features 6 bays with linear arrangement along the platform with tuckpointed red brickwork with engaged piers between the bays. Other features include rendered and moulded two rows of string courses, moulded cornice, timber framed windows and doors with contrasting decorative trims and sills, standard iron brackets over decorative corbels supporting ample platform awnings, fretted timber work to both ends of awnings and gable ends, timber finials to gable apex, tall corbelled chimneys, timber framed double-hung windows with multi-paned and coloured upper sashes, and timber door openings with multi-paned fanlights with coloured glazing. Medlow Bath Station is an unattended station and its interiors are in an abandoned state.
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By the 1920s, many other larger and more modern hotels were opening in town, and the Dacres settled in as a mid-range traveler's hotel, housing road and railroad crews and itinerant farm workers. The hotel officially left the Dacres family in 1921 when it was sold to E.C. Davis, who had previously run the Revere Hotel in Pomeroy, Washington. In 1924 Eugene Tausick, a leading businessman and the owner of the company in charge of the rival Grand Hotel, purchased the hotel from Davis. While various upgrades were made to the interior and the storefronts over the years, and while several pediments and finials were removed or lost from the top of the building, the Dacres's outward appearance remains much as it had been in 1899, as it was spared the fate of urban renewal which claimed many historic buildings in the surrounding blocks in the 1950s and '60s.
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On November 1, 1765, the Sons of Liberty, protesting the Stamp Act, had marched down Broadway carrying an effigy of the Royal Governor. They threw rocks and bricks at the adjacent Fort George, and at Bowling Green they burned the Governor's effigy as well as his coach, which had fallen into their hands. In 1773, the city passed an anti-graffiti and anti-desecration law to counter vandalism against the monument, and a protective cast-iron fence was built along the perimeter of the park; the fence is still extant, making it the city's oldest fence. On July 9, 1776, after the Declaration of Independence was read to Washington's troops at the current site of City Hall, local Sons of Liberty rushed down Broadway to Bowling Green to topple the statue of King George III; in the process, the finials of the fence were sawn off.
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The reason for the change was due to Director Michael Bay's decree that mass displacement does not occur when they transform, requiring Optimus's vehicle form to have more mass to achieve the desired size in his robot form. Although the character was redesigned to some extent, like the other characters in the film, many classic design elements remain in his robot mode including a predominantly red torso, primarily blue legs, the presence of windows in his chest, smoke stacks on his shoulders, and a head design influenced by the original, featuring the iconic faceplate and ear finials. The faceplate is able to retract to reveal a mouth. His weapons include his iconic ion blaster, a Barrage cannon, two retractable energon blades that extend from his forearms, which is a homage to Prime's energy axe in the Generation 1 animated series, and two retractable energon hooks that extend from his wrists.
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The artist Lady Helena Gleichen offered her studio in St James's Palace for Gilbert's use. The Committee to Erect a Memorial to Queen Alexandra was set up in late 1926 and approached Gilbert in December of that year. The symbolism of the central sculptural group is explained by Gilbert in an "exegesis" he prepared for the Committee in 1927: Detail of the central sculptural group The composition is in a style adapted from Perpendicular Gothic architecture, with three buttressed and pinnacled canopies over the figures and linenfold motifs on the screen. Two further allegorical statuettes appear on finials on the throne, that on the left representing Religion and the other without an attribute to help with identification, though Truth has been proposed as its subject. The two main inscriptions read QUEEN ALEXANDRA/ 1844 A TRIBUTE TO THE EMPIRE’S LOVE 1925 (on the bronze base) and FAITH, HOPE, LOVE.
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When the Bank of Queensland was absorbed by the National Bank of Australasia in 1922, the Childers building became a branch of the National Bank. By , a verandah had been added along the eastern side and rear of the building, apparently for the use of the manager and his family. In November 1953, the Isis Shire Council approved an application by the National Bank of Australasia Ltd to erect a new bank manager's residence in Childers, and photographic evidence suggests that at this time the living quarters at the back of the building were incorporated into the banking area, the side and rear verandahs were removed, as were the central pediment, finials, and brackets and capitals to the front verandah posts. The new manager's residence, erected at the rear of the bank building, on the block of land facing Crescent Street, does not form part of the heritage listing.
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Improvement of the slum housing conditions, amongst the worst in the capital, was first undertaken by St Pancras Borough Council in 1906 at Goldington Buildings, at the junction of Pancras Road and Royal College Street, and continued on a larger scale by the St Pancras House Improvement Society (subsequently the St Pancras & Humanist Housing Association, the present owner of Goldington Buildings) which was established in 1924. Its founders were Church of England priest Father Basil Jellicoe and Irene Barclay, the first woman in Britain to qualify as a chartered surveyor. The Society's Sidney Street and Drummond Street estates incorporated sculpture panels of Doultonware designed by Gilbert Bayes and ornamental finials for the washing line posts designed by the same artist: these are now mostly destroyed or replaced with replicas.Roland Jeffery, Housing Happenings in Somers Town in Housing the Twentieth Century Nation, Twentieth Century Architecture No 9, 2008, Further social housing was built by the London County Council, which began construction of the Ossulston Estate in 1927.
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Mordaunt Crook describes the tower as being stylistically unrestrained - "its components ... extraordinarily elastic: classical acanthus capitals; pierced arcaded battlements; Gothic finials and crockets; a touch of the Saracenic; perhaps even a hint of Rosslyn Chapel - all adding up to 75 feet of Rococo fantasy rearing high above the Romantic landscape of Alnwick Park" - and quotes a commentator upset by the "defiance of all rule whatever" ... "This building is a sad monument of vanity". Above the balcony, under the Duke's crest, an inscription notes: ', which is translated: "Look around! I have measured out all these things; they are my orders, it is my planning; many of these trees have even been planted by my hand". The tower was given a Grade 1 listing in December 1969, but by the end of the 20th century had been placed on the Buildings at Risk Register owing to extensive water damage and corroded ironwork, and was closed to the public.
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The inset door, projecting plinth and 'v'-necked rusticated vermiculation (resembling tufa) were all derived from the base of Trajan's Column. The short sections of crenellated wall with ball finials which extend out either side of the villa were symbolic of medieval (or Roman) fortified town walls and were inspired by their use by Palladio at his church of San Giorgio Maggiore in Venice and by Inigo Jones (1573–1652) (Palladio also produced woodcuts of the Villa Foscari with crenellated sections of walls in his I quattro libri dell'architettura in 1570, yet in reality they were never built). To reinforce this link two full-length statues of Palladio and Jones by the celebrated Flemish-born sculptor John Michael Rysbrack (1694–1770)This attribution has been lately challenged by Richard Hewlings. See Richard Hewlings, "The Statues of Inigo Jones and Palladio at Chiswick House" in English Heritage Historical Review, Volume 2, 2007, 71–83.
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FAKL-8A09C2, Medieval Mount bearing resemblance to 'Keshcarrigan bowl' mount. The brilliantly modeled ducks-head handle on the Keshcarrigan bowl is an early masterpiece of the style, comparable to the best British work of the period such as the bird- finials on the Torrs Chamfrein horns, the stylistic identity of both heads representing ducks, and both having empty slots for studs in the eyes. The Torrs style originated in Britain in the middle or second half of the third century BC. The Keshcarrigan cup is on stylistic grounds likely to be contemporary with the Torrs pieces, with the “crimped” pattern on the rim of the Keshcarrigan bowl perhaps comparable with similar techniques used on the circular Wandsworth boss and the terminal circular insignias on the Witham Shield. The bowl seems to have close affinities to pottery bowls of identical profile from Brittany, which have a similar “crimped” pattern on their inner rims.
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Among its prominent components are a trio of parapets mixing the roles of gables and dormer windows, constructed in a Flemish Revival style; a porch with Doric columns underneath a pediment, constructed around the main entrance; and numerous corbelled chimneys. Two bays wide, the facade includes stringcourses of limestone as part of its Flemish Revival parapet, along with small finials; together with the chimneys and the steep hip roof, the parapets help to lend the house the appearance of height greater than its actual two and a half stories. In 1980, the A.M. Detmer House was listed on the National Register of Historic Places; it qualified for inclusion due to its well-preserved historic architecture. Nearly 40 other properties in Cincinnati and other parts of Hamilton County, including 14 other houses, were added to the Register at the same time as part of a multiple property submission of buildings designed by Samuel Hannaford and/or his sons.
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There was a threefold goal in its design: to relate the building to the historic context of the site, to create a vibrant new space as the home for the National Cowgirl Museum and Hall of Fame, and to provide expansion possibilities for the Museum as its collections grow. The building's location was part of the Western Heritage Plaza to be formed by the National Cowgirl Museum and Hall of Fame, the Cattle Raisers Museum and the Fort Worth Museum of Science and History. The style of the building is compatible with the nearby Will Rogers Memorial Center. The exterior is constructed with brick and cast stone with Terracotta finials formed in a ‘wild rose’ motif and glazed in vibrant colors. A large painted mural by Richard Haas, bas-relief sculpture panels, and a series of hand- carved cast relief panels show scenes related to the Cowgirl's story and depict thematic messages such as ‘East Meets West’ and ‘Saddle Your Own Horse’ that represent the story told inside the Museum.
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It has deckhouse without secondary cabin at the aft of the boat. Usually had 2 sails (usually lete sail), with upper beam supported by temporary pole and mast at the direction of the wind, or at both side of the boat, with support ropes at both upper beam. The hulls were always painted white, with polychrome sheer stripe, and the upper portions of end posts, as well as the finials painted black. Medium-sized golekan used as fish transporters were about 12 metres in length with a long deckhouse.Stenross. (2007). p. 88. The golekan of Telaga Biru were both larger and more numerous than elsewhere, consistent in size at about 55 feet (16.8 m) length and 14 feet (4.3 m) beam. The vessels remained fully traditional until mid-1970s, when the first engine was installed. The last traditional golekan was built in 1983.Stenross. (2007). p. 94. Golekans reaching Singapore in 1950s has a length of 50-55 ft (15.24-16.8 m) with 12.5-13 ft (3.81-3.96 m) beam, waterline length of 41-45 ft (12.5-13.7 m).
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The composition of a Shinto shrine The following is a list and diagram illustrating the most important parts of a Shinto shrine: #Torii – Shinto gate #Stone stairs #Sandō – the approach to the shrine #'Chōzuya or temizuya' – place of purification to cleanse one's hands and mouth #Tōrō – decorative stone lanterns #Kagura-den – building dedicated to Noh or the sacred kagura dance #Shamusho – the shrine's administrative office #Ema – wooden plaques bearing prayers or wishes #Sessha/massha – small auxiliary shrines #Komainu – the so-called "lion dogs", guardians of the shrine #Haiden – oratory or hall of worship #Tamagaki – fence surrounding the honden #Honden – main hall, enshrining the kami #On the roof of the haiden and honden are visible chigi (forked roof finials) and katsuogi (short horizontal logs), both common shrine ornamentations. The general blueprint of a Shinto shrine is Buddhist in origin. The presence of verandas, stone lanterns, and elaborate gates is an example of this influence. The composition of a Shinto shrine is extremely variable, and none of its many possible features is necessarily present.
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Summerhouse, now in Tring Park During the late 1880s Lord Rothschild began making significant structural alterations to the house: in 1889 work began on the Smoking Room extension to designs by George Devey and the whole house was refaced in red brick with white ashlar dressing. The conservatory and orangery were demolished (thereby removing the last tenuous link with Nell Gwynne) and the foundations used for the base of the new Smoking Room. In the same year the whole roof was lifted and a full-height top floor was inserted, replacing the mezzanine, with a slate Mansard roof complete with its French-style finials and a ten-foot gilded weathervane. Lord Rothschild continued to make alterations to Tring Park and these included the controversial rebuilding of the London Lodge in 1895 when two pavilions, believed to be part of Wren's original design and which originally stood on either side of the London Road, were demolished. Despite local protests, the buildings were razed and replaced with a mock-Tudor cottage ( 51°47'40.58"N 0°39'26.21"W ) designed by Tring architect William Huckvale who rebuilt many of the estate's properties in and around Tring.
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Still, by 16 April of the following year, the first of the many coloured varieties of stone were laidNepean sandstone, red sandstone from Potsdam, New York, and a grey Ohio freestone. On 1 September 1860, Prince Albert Edward, Prince of Wales (later King Edward VII) arrived in Ottawa as part of his wider royal tour of the province, and laid the cornerstone of the growing Centre Block, with a luncheon on the grounds for the workers and their families. The Ottawa Citizen said on 6 June of the upcoming event: By 1866, the United Province of Canada's parliament (Legislative Assembly of the Province of Canada and Legislative Council of the Province of Canada) sat in its first and only session in the new building, by then dominated by the central Victoria Tower on the formal front, and with an articulated rear façade shaped along the curves of the adjacent cliff. The stonework contained carved mouldings, sculpted foliage, real and mythical animals, grotesques, and emblems of France, England, Ireland, and Scotland, spread across and over pointed windows in various groupings, turrets, towers, and finials, while the roof was of grey and green slate, topped with iron cresting painted china blue with gilt tips.
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